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Talk:Two's complement

Division
This page covers addition, subtraction and multiplication. But what about division? (restoring/non-restoring) —Preceding unsigned comment added by 128.54.69.212 (talk • contribs) 18:50, 7 February 2007

 * It's in the to-do list. Have at it. Dicklyon 01:08, 8 February 2007 (UTC)

I suppose it should be here, but all that I know of don't do it in two's complement. It is usual to divide the magnitude and apply the appropriate sign to the result. Partly that is because that is what has been expected since the days of sign magnitude machines. Fortran, for example, originated on the sign magnitude 704. Gah4 (talk) 20:59, 7 May 2015 (UTC)

 * More specifically, the sign of the remainder depends on which way you do it. Gah4 (talk) 20:03, 15 February 2017 (UTC)

Weighting of LSB is assumed to be 1 for this article.
The weight of the least significant bit (LSB) is often assumed in this article to be 1, which is not a problem for addition or subtraction, and multiplication. However, the value 0111 in a two's compliment system can represent 7, 7/8, 7/4, for LSB weights of 1, 1/8th, and 1/4 respectively. This *usually* does not matter for many operators; however, it does in fact matter for some operators. E.g, the square root operator used on 0100 would produce 0010 if the weight of the LSB is 1, but would produce approimately 0101 (trucation) or 0110 (rounding) if the weight of the LSB is 1/8. Tata2007 18:11, 3 October 2007 (UTC)

 * It is always much easier to discuss the two's-complement representation of integers, but you're right that a note somewhere about how fixed-point fractions and floating-point mantissas use these integers with a power-of-two multiplier, whether implicit or explicit. Dicklyon 21:11, 3 October 2007 (UTC)

 * While many people understand decimal fractions, not so many such fractions in other radices. As with decimal, it can be generalized once the integer representation is understood. There could be a whole article on scaled binary (and other radix) arithmetic.  PL/I is one of the few languages that can do this. Gah4 (talk) 21:32, 14 September 2018 (UTC)

 * Recent edits remind me of this. I believe that the IBM descriptions for S/360 and successors don't restrict them to integers, but generically fixed point values, where one must keep track of the radix point. Note that most processors generate a double length product, and accept a double length dividend, both necessary when the radix point isn't immediately to the right of the LSD. Few computer languages (PL/I being one that I have used) directly support fixed point with a moved radix point.  (PL/I allows it to move either direction.)   Since INTEGER in Fortran, and later int in C, have reinforced this distinction, it is not commonly taught.  It might be that this article would be a good place to do it. Gah4 (talk) 23:27, 2 March 2019 (UTC)

 * I agree that this article should mention fixed-point fractions, but perhaps the fixed-point arithmetic article is a better place for the details. --DavidCary (talk) 08:29, 3 March 2022 (UTC)

Multiplication for two's complement
This edit re-added multiplication to the list of operations which are identical to those for unsigned binary numbers, which is not true: if you feed two's complement numbers into a circuit or a function which computes the product of two unsigned binary numbers, you'll get wrong results if one of the numbers is negative. If you think otherwise, please provide references. – Adrian Willenbücher (talk) 14:57, 15 September 2012 (UTC)

 * I did not have any references in mind when I made the change. This morning I did a quick look for references and I could not find any supporting my change, but I didn’t really notice any mentioning addition and subtraction without multiplication as an advantage either. What I did notice is while most sources tend to do binary addition and subtraction by wrapping rather than expanding the result (N bits ± N bits → N bits), they tend to ignore the possibility of doing multiplication that way and instead expand the result so that overflow is impossible (N bits × N bits → 2N bits). What do you think about changing the wording along the lines of
 * "The usual technique used for unsigned binary addition and subtraction with a fixed word size can also be used for two's complement numbers. The usual technique for unsigned multiplication with a double word size result needs to be modified to account for negative values."
 * BTW I do believe multiplication works if overflow is handled by wrapping:
 * "(2N − x)y = 2Ny − xy"
 * which wraps to −xy. Vadmium (talk, contribs) 02:40, 16 September 2012 (UTC).

 * Yes, it seems you're right about signed multiplication giving the same result as unsigned multiplication if the result is truncated to N bits – I actually didn't know that (since I always considered 2N-results only, for which this is not the case), so thanks for the insight! With that in mind, I think we can keep the current wording, but I still think that we need a citation, since this issue is neither trivial nor obvious. Unfortunately, I couldn't find any references either (most textbooks only treat the N x N -> 2N case). – Adrian Willenbücher (talk) 10:31, 17 September 2012 (UTC)

You need the 2N bit product for the case of fixed-point non-integer (binary point other than to the right of the LSB) multiplication, and for some other calculations. Most high-level languages don't provide for a 2N bit product, though. There are processors that supply one (N bit), the other (2N bit), or both. Gah4 (talk) 11:06, 18 September 2012 (UTC)
 * Yes, so? – Adrian Willenbücher (talk) 13:57, 18 September 2012 (UTC)
 * The low half of the product is the same for unsigned and two's complement. Gah4 (talk) 02:09, 10 May 2023 (UTC)
 * The low half of the product is the same for unsigned and two's complement. Gah4 (talk) 02:09, 10 May 2023 (UTC)
 * The low half of the product is the same for unsigned and two's complement. Gah4 (talk) 02:09, 10 May 2023 (UTC)

Fractional 2's complement?
I wonder if it might be useful to explain 2's complement of fractional numbers like 1.5 or -1.5. I'm an elecrical engineering student, and the computer science professors want us to know how to represent a number like -6.5625 in 2's complement. I wasn't able to find an explanation anywhere on the web. The explanation should be easy as the digit to have 1 added to it is still the LSB (as opposed to the '1's' digit). Another thought would be a clarification that there are no 'negative binary numbers' until a coding scheme is used to encode them. 71.139.179.199 (talk) 01:59, 6 February 2013 (UTC)

Once you come up with the binary representation, you can move the binary point around all you want. It works the same as moving the decimal point around in base 10, but the changes are in factors of two instead of 10. Gah4 (talk) 21:11, 7 May 2015 (UTC)

Not the complement of 2^N
2's complement of a N-bit number (sign bit included) can be calculated by 1's complement + 1 (LSB), but that is not the same as the N-bit number subtracted from 2^N, as stated in the original article. It is the same as the N-bit number subtracted from 2^(N+1) or from 0 (zero), with the most significant bit (MSB) ignored after the subtraction in both cases. The reason is that the original N-bit number plus its negative, must equal zero. 137.158.153.203 (talk) 10:53, 19 February 2013 (UTC)
 * Yes, the current formulation is not tidy enough. It would be correct to say: two's complement of a positive number $x$ is the same bit vector as unsigned binary of $2^{N} − x$. Objections against this rewording? Incnis Mrsi (talk) 11:32, 19 February 2013 (UTC)

My comment above regarding 2^(N+1) is wrong, the article is correct. One must just realize that with a N-bit number it is meant that the sign bit is included in the N bits. Henniedmouton (talk) 13:49, 19 February 2013 (UTC)
 * The problem exists, although possibly not the same that the IP said (and thought) about. $x* = 2^{N} − x$ may not be posed as a definition or an unconditional rule for computing $x*$, since it only makes sense for positive $x$ (unless we consider all things modulo $2^{N}$, in which case the $2^{N}$ additive term can be omitted and the formula looks tautological). Incnis Mrsi (talk) 18:18, 19 February 2013 (UTC)

Range of the two's complement system.
In the first part of the article, the formula $−(2^{N − 1})$ to $+(2^{N − 1} − 1)$  is given to get the highest and lowest number in a two's complement system. The problem is, this is only true if you use a binary system. The article is about binary systems, but shouldn't it be changed? You can use it with a decimal system and any system with a different radix as well. The formula would change from

$−(2^{N − 1})$ to $+(2^{N − 1} − 1)$ to

$−(R^{N})/2$ to $+((R^{N})/2) − 1)$

Where R is the radix of the system and N the amount of digits. — Preceding unsigned comment added by 89.98.82.197 (talk) 17:55, 11 September 2013
 * The two's complement by definition is used only for binary numbers (since the term is derived from ones' complement), and only for integers. Certainly you can generalize it for other positional numeral systems, you can do it in several ways, and not necessarily for even radices. But is any of such generalizations mentioned in WP:reliable sources? Incnis Mrsi (talk) 12:26, 12 September 2013 (UTC)

 * The more general names, I believe from Knuth, are digit complement and radix complement. That said, the radix complement system for base three should be called twos' complement, (if I understand, again, the Knuth notation regarding the apostrophe). In decimal, you have 10's complement and nines' complement. Gah4 (talk) 19:28, 26 August 2015 (UTC)

 * I agree that Wikipedia should describe ten's complement, nines' complement, and other generalized systems. But rather than put every detail in this two's complement article, wouldn't it be better to put those details about non-binary systems in the general method of complements article? --DavidCary (talk) 15:30, 25 February 2016 (UTC)

notation versus operation
The article suggests the following. Statements 2 and 3 seem awkwardly at odds. Likewise for statements 1 and 4.
 * 1) 1001, 11001, 111001 are two's complement representations of negative seven. [a]
 * 2) 0111, 00111, 000111 are two's complement representations of seven. [b]
 * 3) 1001, 11001, 111001 are two's complements of seven. [c]
 * 4) 0111, 00111, 000111 are two's complements of negative seven. [c]

Rather than using headings "converting from..." and "converting to..." it might be helpful to expand the headings to say "converting from x to y". Then provide algorithms that take an x as input and produce a y as output. One does not convert a number to some representation. Rather, one converts a representation of a number into another representation of that same number. I imagine language like, "To convert a number in notation A into notation B use operation C."

[a] from Converting to two's complement representation: "negative numbers are represented by the two's complement of the absolute value"

[b] from Converting to two's complement representation: "In two's complement notation, a non-negative number is represented by its ordinary binary representation"

[c] from From the ones' complement: "To get the two's complement of a binary number, the bits are inverted...the value of 1 is then added"

IOLJeff (talk) 20:33, 30 May 2015 (UTC)

most arithmetic
A recent edit has the summary misleading and incorrect. I suppose it is a little misleading, but not so incorrect. But now I see: The two's complement of a number behaves like the negative of the original number in most arithmetic, This leaves the question of what most arithmetic is? Two's complement doesn't behave like the negative in decimal arithmetic, which many people might consider most. There is ten's complement for that, but maybe not an article on it. Is most here misleading and/or incorrect? Gah4 (talk) 19:56, 15 February 2017 (UTC)

idk
2: hey 1 ur really cool 1: thx — Preceding unsigned comment added by 100.6.110.197 (talk) 11:06, 27 May 2017 (UTC)

Explanation in terms of an other definition.
"The two's complement [is] equivalent to taking the ones' complement and then adding one"

Amusing for kids wanting to play tag through Wikipedia (Can we create a loop? Let's take ones' complement and define it by twos' complement!)

Correct from a mathematical point of view, but absolutely wrong, unhelpful, and un-encyclopedic for an encylopedia.

And it's in the introduction. — Preceding unsigned comment added by 203.206.162.148 (talk) 08:36, 18 July 2017 (UTC)

 * When I learned, when I was fairly young, this was the definition of twos complement. That is, one+1=two. Gah4 (talk) 20:30, 18 July 2017 (UTC)

 * FIXED. Thank you.

"Sum of a number and its two's complement will always equal –1"??
Two weeks ago, you [//en.wikipedia.org/w/index.php?title=Two%27s_complement&oldid=811768634 made an edit to a page] with the following note:

I have recently removed this text (along with a few other things) both in the interest of brevity, and because I don't believe it's correct. The article itself states:

From this and my own understanding (and the additions I've made to the introduction), the sum of a number and its two's complement is in fact 0. Would you care to clarify? —Pennbrook (talk) 10:20, 2 December 2017 (UTC)

 * Your comment that a positive integer plus the two's complement of that number are 0 is correct. Instead of subtracting you add a number and the two's comp of the second number instead of subtracting.  To get a two's comp of a number you do the following two operations.  First change all the zeros to ones and all the ones to zeros.  Then add a 1 to the LSB (Least Significant Bit) of the one's comp to get two's comp.  To get the two's comp of the equivalent of two decimal (using a nibble which is just 4 bits or half a byte):

 * 0010 (2 in binary)
 * 1101 (one's comp)
 * 1110 (two's comp)
 * 0111 (7 in binary)

 * Now add the two's comp of 2 to the 7 with both in binary. Just remember that for each bit
 * 0 + 0 = 0
 * 0 + 1 = 1
 * 1 + 0 = 1
 * 1 + 1 = 0 carry 1 to the next bit
 * 1 + 1 + 0 from no carry = 0 carry 1
 * 1 + 1 + 1 from carry = 1 carry 1

 * 0111 + 1110 = 0101 with carry 1 out of range which is ignored if you have a two's comp number
 * 0101 = 5 decimal which means that yes, we just subtracted 2 from 7.

 * What if we add the two's comp of 7 to 7 in binary?

 * 0111 (the decimal number 7 in binary which is the largest positive number)
 * 1000 (one's comp)
 * 1001 (two's comp)

 * 0111 + 1001 = 0000 carry 1

 * What happens if you add just 1 to the largest integer?

 * 0111 + 0001 = 1000

 * 1000 is the equivalent of -8 in decimal using two's comp arithmetic. For the following number of bits we have the following range for our integers if we use two's comp arithmetic using base 10 to show the maximums:
 * nibble: -8 ... 7
 * byte: -128 ... 127
 * two bytes: -32768 .. 32767
 * four bytes: -2,147,483,648 ... 2,147,483,647

 * Don't complain about me using base 10. I could use the sexagesimal (base 60) system instead.  Use of base 60 is even on Cuneiform tablets.  The base 10 system wasn't even complete until the adoption of the Arabic numerals, the adding of zero, and the brillliance to see that you can indicate fractional parts of the whole using negative powers of 10 just like you used them with base 60. That was finished in the 15th and 16th centuries AD.  Now will somebody correct all of this?  I am still recoverying from my C3 / C4 surgery.  My 100+ WPM in English with almost no mistakes is down to less than 15 WPM in English with too many mistakes. hhhobbit (talk)  — Preceding undated comment added 03:13, 24 November 2020 (UTC)

Recent changes to the introductory table
You made some changes to my recent revision to this page, accompanied by the following note:

I see now that the tables, as I rewrote them, were not as clear as I had intended. The columns represent: a binary (two's-complement) representation of a number, the corresponding decimal number, and its two's complement. I labeled the first column "binary" in the interest of brevity and on the assumption that "two's-complement notation" would be safely implied, but in retrospect, it opened the table to misinterpretation.

To be clear, the instructive purpose of the table is for readers to be able to connect the right- and left-hand values of a given decimal number and its negation (e.g., 010 represents 2 which has two's complement 110 which represents -2 which has two's complement 010). As you've edited them, the lefthand columns are identical to the righthand columns, except that they are blank for negative values. The instructive purpose of this presentation is not clear to me.

I have reverted the changes and reorganized and relabelled the table. What are your thoughts?

—Pennbrook (talk) 06:24, 6 December 2017 (UTC)

At this point, the numeral is the ones' complement of the decimal value −5. < < Should this be a positive 5??
From the ones' complement To get the two's complement of a binary number, the bits are inverted, or "flipped", by using the bitwise NOT operation; the value of 1 is then added to the resulting value, ignoring the overflow which occurs when taking the two's complement of 0.

For example, using 1 byte, the decimal number 5 is represented by

0000 01012 The most significant bit is 0, so the pattern represents a non-negative value. To convert to −5 in two's-complement notation, the bits are inverted; 0 becomes 1, and 1 becomes 0:

1111 10102 At this point, the numeral is the ones' complement of the decimal value −5. To obtain the two's complement, 1 is added to the result, giving:

1111 10112

Dotarpa (talk) 23:05, 7 April 2018 (UTC)

 * Yes, it is confusing. The subsection is supposed to describe converting ones' complement to two's complement representation. It actually described converting +5 (in any binary representation) to -5 in two's complement. But also, as you are noticing, has the ambiguity described in the article: that the terms ones' complement and two's complement apply to both the representation, and to the negation operation. You have to figure out from context which one is meant. Gah4 (talk) 00:06, 8 April 2018 (UTC)

 * It's not as simple as changing the sentence to read "At this point, the numeral is the ones' complement with the decimal value −5"?? Perhaps it is just going over my head.  Is not "1111 1010" the ones' complement of +5?  Dotarpa (talk) 16:21, 8 April 2018 (UTC)

 * 1111 1010, representing -5 in ones complement representation, is the ones' complement of 0000 0101, representing +5. Gah4 (talk) 18:46, 8 April 2018 (UTC)

radix complement
Should there be an article on the general, radix independent method, called radix complement? Specifically, ten's complement is convenient for working with decimal numbers. (Though many computers that do decimal arithmetic, do it sign magnitude.) Gah4 (talk) 21:36, 14 September 2018 (UTC)
 * Yes. I see radix complement is currently a redirect to method of complements. Is that the article you wanted, Gah4? --DavidCary (talk) 04:03, 1 September 2020 (UTC)
 * I suppose so. It seems to be mostly decimal, and doesn't make it quite obvious that it generalizes. It also doesn't keep nines and tens's complement quite separate enough.  But it is an article, so that is good. Gah4 (talk) 01:51, 10 September 2020 (UTC)
 * I suppose so. It seems to be mostly decimal, and doesn't make it quite obvious that it generalizes. It also doesn't keep nines and tens's complement quite separate enough.  But it is an article, so that is good. Gah4 (talk) 01:51, 10 September 2020 (UTC)
 * I suppose so. It seems to be mostly decimal, and doesn't make it quite obvious that it generalizes. It also doesn't keep nines and tens's complement quite separate enough.  But it is an article, so that is good. Gah4 (talk) 01:51, 10 September 2020 (UTC)

Add a section on Computational effects of Big Endian vs Little Endian or Middle Endian ie melong types
I get confused over converting outputs in linux... there is no binary dump and the hexdump and hd or od octal dumps act strange by swapping nibbles of data for big endian vs little endian. So most code I read seems to limit transmission of data to 1 character at a time instead of in words to avoid this problem.

In octal I am especially confused because the bits will not align unless 3 bytes (or a multiple of 3 bytes) are used; every 2 octals is only 6 bits leaving 2 bits unused from a byte. So to use up every bit the number bits needs to be divisible by 3. This occurs at 24 bits which is every 3 bytes. Every Octal is three bits. I am confused about the end of string marker \0 is this octal zero which is 3 bits or is this two ASCII chars which is 2 bytes. Also would \0x1b be equal to \033 Is there the leading zero padding?? — Preceding unsigned comment added by 2600:6C51:7001:200:9856:7AA4:80B6:A255 (talk) 00:13, 10 September 2019 (UTC)

000 + 000 = 1000 ?
The current intro text says
 * The two's complement of an $N$-bit number is defined as its complement with respect to $2^{N}$. For instance, for the three-bit number 010, the two's complement is 110, because $2^{N}$. The two's complement is calculated by inverting the digits and adding one.

This sounds a bit odd since the table lists the two's complement of 000 as 000, and by the same pattern we would have $010 + 110 = 1000$. Clearly wrong, so what is the best way to rephrase this? Does the true definition of two's complement include an expanded bit range in the output (so that the table is wrong, and the two's complement of 000 is actually 1000), or ...? --Nanite (talk) 17:13, 1 December 2019 (UTC)

Wraparound, not truncation
The intro to the article previously said that you can do addition and subtraction on bit patterns without knowing if they are unsigned or two's complement, provided truncation is used on overflow. I changed this to wraparound, because, for example with 3-bit numbers with no wraparound or truncation:

111 + 010 = 1001

What we want here is 001. 'Truncation' is a confusing term for this because in other contexts 'truncation' is used to mean throwing away the LEAST-significant digits, whereas here we are throwing away the MOST-significant digit. I changed it to wraparound. Bayle Shanks (talk) 15:58, 29 June 2020 (UTC)
 * Yes truncation is commonly used for discarding low bits. I am not sure how often it is used in the case of high bits. But wrap-around is the logical (arithemtic) result, not the physical process (throwing away bits).  Gah4 (talk) 20:37, 29 June 2020 (UTC)
 * Yes truncation is commonly used for discarding low bits. I am not sure how often it is used in the case of high bits. But wrap-around is the logical (arithemtic) result, not the physical process (throwing away bits).  Gah4 (talk) 20:37, 29 June 2020 (UTC)

The "Three-bit signed integers" and "Eight-bit signed integers" tables are confusing and don't make sense
In the current version, it reads as if "001" is the two's complement of the decimal value "1"! I'm not an expert on this, but 1 + 001 =/= 8.

I suggest the below. Or have I got this completely wrong?

Possible diagram
Saw this figure on TeXample.net: https://texample.net/tikz/examples/complement/ I'm not sure what the caption would be, or where it would fit in the article. But if someone who knows more about this subject can add it, I think it's under a Creative Commons license with attribution. — Preceding unsigned comment added by 2601:1C2:680:DDE0:C904:B420:F87B:3F4E (talk) 18:30, 25 January 2021 (UTC)

Little Endian/Big Endian as it relates to positive/negative bit
The article states that the Most significant bit indicates sign for big endian, and Least significant bit indicates sign for little endian. My understanding is that this is not correct as Little Endian/Big Endian are related to BYTE by BYTE order and not bit by bit order. For example if you have 0xAB (10101011) this would not be 0xD5 (11010101) in the alternate endianness. It would be the same as it is a single byte. 68.38.218.65 (talk) 15:06, 29 July 2022 (UTC)
 * for two's complement, the sign is always the most significant bit. Which end its byte is on, depends on endianness. For sign magnitude, the sign could be on either end. IBM S/360 (and still supported in current z/ systems) fixed point BCD puts the sign nibble with the least significant digit. That allows one to truncate a value, just using the low digits and sign. Sometimes bit-endianness is important. For one, bit serial transmission, such as Ethernet, chooses a bit order. Ethernet transmits LSB first. Most often that doesn't matter, but the unicast/multicast bit is transmitted first. In usual notation, that is the rightmost bit of the leftmost byte. But Ethernet MAC addresses are not numbers, so they don't have byte significance. There are machines with bit addressing instructions, which give them bit endianness. And even without that, documentation can number the bits either way. Many IBM machines number the MSB as bit 0, consistent with big endian addressing. Most little endian machines number the LSB as bit 0, consistent with little endian addressing. Gah4 (talk) 20:43, 29 July 2022 (UTC)
 * for two's complement, the sign is always the most significant bit. Which end its byte is on, depends on endianness. For sign magnitude, the sign could be on either end. IBM S/360 (and still supported in current z/ systems) fixed point BCD puts the sign nibble with the least significant digit. That allows one to truncate a value, just using the low digits and sign. Sometimes bit-endianness is important. For one, bit serial transmission, such as Ethernet, chooses a bit order. Ethernet transmits LSB first. Most often that doesn't matter, but the unicast/multicast bit is transmitted first. In usual notation, that is the rightmost bit of the leftmost byte. But Ethernet MAC addresses are not numbers, so they don't have byte significance. There are machines with bit addressing instructions, which give them bit endianness. And even without that, documentation can number the bits either way. Many IBM machines number the MSB as bit 0, consistent with big endian addressing. Most little endian machines number the LSB as bit 0, consistent with little endian addressing. Gah4 (talk) 20:43, 29 July 2022 (UTC)

The definition of two's complement
Right now, the definition of two's complement is

> Two's complement is a mathematical operation to reversibly convert a positive binary number into a negative binary number with equivalent (but negative) value, using the binary digit with the greatest place value (the leftmost bit in big-endian numbers, rightmost bit in little-endian numbers) to indicate whether the binary number is positive or negative (the sign).

But I don't think it is an "operation". Maybe "converting to two's complement" is an operation, but two's complement is official a representation method, or representation of positive and negative numbers using binary digits. — Preceding unsigned comment added by Winterheat (talk • contribs) 16:18, 13 August 2022 (UTC)
 * You can "two's complement" a number by flipping all the bits and adding 1, which negates a number that's in two's complement representation. Ones' complement is also written with the first paragraph talking about the operation of "ones' complementing" a number, but it also talks about "ones' complement arithmetic" and "ones' complement binary". This article, however, doesn't, but it probably should. Guy Harris (talk) 19:39, 13 August 2022 (UTC)

origin of the name
I put a cn on the explanation for the name, and especially never heard it before. When I learned it when I was about 10, it was that two's complement is one more than one's complement. (The way they spelled it 55 years ago.) I never searched for an explanation of the name before, but it should trace back close to when the name was first used.Gah4 (talk) 02:15, 10 May 2023 (UTC)

Apollo's computer struggle
If 2s complement were discovered in 1945, then why did the Apollo mission adopted the 1's complement and then only after a long time, they "re-discovered" 2's complement ? ref: youtube / J-5aT2zSfSA?t=617 — Preceding unsigned comment added by Drout 0 (talk • contribs) 13:56, 28 August 2023 (UTC)
 * why did the Apollo mission adopted the 1's complement To quote R-700 MIT's Role in Project Apollo, Final Report on Contracts NAS 9-163 and NAS 94065, Volume III, Computer Subsystem, section 2.3.2 "Number Representation":
 * "The addition of numbers of opposite sign requires either one's or two's complementation or comparison of magnitude, and sometimes both may be used. The one's complement notation has the advantage of having easy sign reversal, this being equivalent to Boolean complementation. Hence a single machine instruction performs both functions. Zero is ambiguously represented by all zero's and by all one's, so that the number of numerical states in an n-bit word is 2^n - 1. Two's complement arithmetic is advantageous where end around carry is difficult to mechanize, as is particularly true in serial computers. An n-bit word has 2^n states, which is desirable for input conversions from such devices as pattern generators, geared encoders, or binary scalers, Sign reversal is awkward, however, since a full adddition is required in the process. These considerations led to the use of a one's complement number system in the AGC."
 * and then only after a long time, they "re-discovered" 2's complement ? They "re-discovered" nothing; as the discussion above indicates, they knew about ones complement, two's complement, and sign/magnitude format, and deliberately chose ones complement for the reason given.  They were also aware of the advantages of two's complement when dealing with input from external devices.  The discussion that begins at around 10 minutes, 17 seconds into the video speaks of that. Guy Harris (talk) 22:21, 28 August 2023 (UTC)

Suggested revision of introduction
This article goes into a great deal of detail, but I think the fundamentals of two's complement need some work to make the article useful to the less committed reader (like me). I also think that one part of it is very misleading.

Firstly, the misleading bit: under Procedure it says "Two's complement is achieved by...". But shouldn't this say "The two's complement representation of a negative number is obtained by..."? Between that and the intro paragraph, I was left with the impression that the bit-flipping operation is applied to all numbers, positive or negative, to obtain the two's complement representation. It was only by reading elsewhere that I discovered that positive numbers are left as they are (with the leftmost bit being 0 to indicate positive sign).

Secondly, the intro is a rather unbalanced: the only aspect of the design of the two's complement representation that it mentions is that the bit with the greatest place value is used as a sign bit, as if that was the unique distinguishing feature of TC (which, as far as I understand, isn't the case). I would include the complete procedure in the introduction. I don't think that this is too much detail for the introduction: the method is very short, and easy to understand for the likely reader of the page, ie someone who's heard of two's complement and would like to get an idea of what it's all about.

Thirdly, I think that the reasons why two's complement is useful could be expressed more clearly.

Time to put my money where my mouth is. I don't feel qualified to alter the article, but here's what I think would be a better introduction:

"Two's complement is the most common method of representing signed (positive, negative, and zero) integers on computers, and more generally, fixed point binary values.

Two's complement uses the binary digit with the greatest place value (ie the most significant bit) as the sign to indicate whether the binary number is positive or negative. When the most significant bit is 1, the number is signed as negative; and when the most significant bit is 0 the number is signed as positive.

If the number is positive, the magnitude of the number is represented in the remaining bits in the normal binary representation.

If the number is negative, the two's complement representation is obtained by:

 * starting with the corresponding positive number

 * inverting (or flipping) all bits – changing every 0 to 1, and every 1 to 0

 * adding 1 to the result (ignoring any overflow)

The two's complement representation has the advantage over other representations of negative numbers that exactly the same procedure can be used for adding two numbers, regardless of whether either of them is negative. Also, it has only one representation of zero, whereas other representations, such as one's complement, can represent zero in two ways." Macboff (talk) 10:24, 11 October 2023 (UTC)

 * I'm fine with adding more details to the lead. The confusion here comes from the fact that two's complement is both a "mathematical operation on binary numbers, and a number representation based on this operation" (as the short description puts it). —Dexxor (talk) 07:36, 12 October 2023 (UTC)
 * I was confused when I saw the operations and it didn't say it was only if the decimal number was negative. I agree with adding that precision. Recedeno (talk) 14:38, 27 October 2023 (UTC)
 * If you want decimal, then it would be ten's complement. — Preceding unsigned comment added by Gah4 (talk • contribs) 05:53, 28 October 2023 (UTC)
 * If you want decimal, then it would be ten's complement. — Preceding unsigned comment added by Gah4 (talk • contribs) 05:53, 28 October 2023 (UTC)

relation to two's complement?
the statement "The relationship to two's complement is realised by noting that 256 = 255 + 1, and (255 − x) is the ones' complement of x." is confusing. The article is already about two's complment.Chris2crawford (talk) 03:17, 14 June 2024 (UTC)

title: Talk:Two's complement


text:
Hans-Christian Schmid

Hans-Christian Schmid (born 1965) is a German film director and screenwriter.

Life and work
Hans-Christian Schmid has collaborated with Michael Gutmann on several of the movies that he directed. Gutmann wrote screenplays for 23 — Nichts ist so wie es scheint (1998), and Crazy (2000). Gutmann also directed Heart Over Head (2001) for which he and Schmid wrote the screenplay.

Awards

 * 1995: Findling Award for Heaven and Hell
 * 2003: Bavarian Film Award, Best Screenplay
 * 2003: Findling Award for Distant Lights

Filmography

 * Sekt oder Selters (1989)
 * Die Mechanik des Wunders (1992)
 * Heaven and Hell (1994 film) (Himmel und Hölle, 1994)
 * After Five in the Forest Primeval (Nach Fünf im Urwald, 1995)
 * 23 — Nichts ist so wie es scheint (1998)
 * Crazy (2000)
 * Distant Lights (Lichter, 2003)
 * Requiem (2006)
 * Storm (Sturm, 2009)
 * Home for the Weekend (Was bleibt, 2012)
 * Das Verschwinden (2016/17)
 * We Are Next of Kin (2022)

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

title: Hans-Christian Schmid


text:
Fatih Akin

Fatih Akin (Fatih Akın, born 25 August 1973) is a Turkish-German film director, screenwriter and producer. His films have won numerous awards and accolades, including the Golden Bear at the Berlin Film Festival for his film Head-On (2004), Best Screenplay at the Cannes Film Festival for his film The Edge of Heaven (2007), and the Golden Globe Award for Best Foreign Language Film for his film In the Fade (2017).

Early life
Akin was born in Hamburg to Turkish parents. He has one brother, Cem Akin, who works as an actor. He attended the University of Fine Arts of Hamburg to study visual communications and graduated in 2000.

Akin has been married to German-Mexican actress Monique Obermüller since 2004. The couple live in Hamburg-Altona, close to where he was raised. They have two children.

Career
Akin made his debut as director of a full-length film as early as 1998 with Short Sharp Shock (Kurz und schmerzlos), which brought him the "Bronze Leopard" award at the Locarno International Film Festival in Switzerland and the "Pierrot", the Bavarian Film Award for Best New Director in Munich the same year. Since then he has directed feature films such as In July (Im Juli) in 2000, We forgot to go back (Wir haben vergessen zurückzukehren) in 2001 and Solino' in 2002.

His fourth film, Head-On (Gegen die Wand), starring Sibel Kekilli, was a major success in 2004 and received several prizes, among them the Golden Bear award at the Berlin Film Festival and the "Best Film" and the "Audience Award" at the 2004 European Film Awards.

In 2005, he directed a documentary about the Istanbul music scene, Crossing the Bridge: The Sound of Istanbul, which includes musicians such as Ceza, Sezen Aksu, Aynur Doğan and Brenna MacCrimmon. It is narrated by a member of a German experimental band Einstürzende Neubauten, Alexander Hacke, who also produced music for Head-On.

In 2007, Akin's The Edge of Heaven, a German-Turkish cross-cultural tale of loss, mourning and forgiveness, won the prize for Best Screenplay at the 60th Cannes Film Festival in 2007. On 24 October 2007 the same film was awarded the first edition of the LUX prize for European cinema by the European Parliament. About the comedy Soul Kitchen (2009) he has said he chose this more light-hearted film because he needed a break after making the "tough" films Head-On and The Edge of Heaven before making his next planned film The Devil. "But", he says, "now I feel ready to finish the trilogy".

In 2012, his documentary film Polluting Paradise was screened in the Special Screenings section at the 2012 Cannes Film Festival.

His 2014 film The Cut was selected to compete for the Golden Lion at the 71st Venice International Film Festival.

In 2017, Akin's film In the Fade was selected to compete for the Palme d'Or in the main competition section at the 2017 Cannes Film Festival. At Cannes that year, Diane Kruger won the Best Actress award. The film was subsequently selected as the German entry for the Best Foreign Language Film at the 90th Academy Awards, making the December shortlist. In the Fade won the Golden Globe for Best Foreign Language Film.

Awards

 * 1998 Bavarian Film Awards, Best New Director
 * 2004 Golden Bear at the Berlin Film Festival
 * 2004 European Film Awards, Best Film, Audience Award
 * 2007 Antalya Golden Orange Film Festival Golden Orange Award, Best Director
 * 2007 Bavarian Film Awards, Best Director
 * 2007 LUX Prize for European Cinema awarded by European Parliament
 * 2007 Cannes Film Festival, Best Screenplay
 * 2010 Order of Merit of the Federal Republic of Germany for his contribution in depicting the problems of Turkish-Germans.
 * 2018 Golden Globe Award, Best Foreign Language Film

title: Fatih Akin


text:
Tampax

Tampax (a portmanteau of tampon and packs) is a brand of tampons currently owned by Procter & Gamble. It was based in White Plains, New York, US until its sale to Procter & Gamble in 1997. It is a subsidiary of P&G's Always brand and is sold in over 100 countries.

The product was designed by Earle Haas, who filed a patent in the 1930s. The original product was designed from the start as flushable and biodegradable.

History
In 1937, Tampax worked with McCann Erickson for its marketing campaigns. In 1949, the brand appeared in more than 50 stores. From 1930s to 1940s Tampax chose sportswomen as their brand ambassadors.

During World War II, Tampax produced wound dressings for the military.

Tampax conducted medical studies in 1945 to prove the safety of tampons.

In 1984, the company was renamed Tambrands Inc.

Marketing for the product includes the company's BeingGirl website.

Tampax was an independent company based in Palmer, Massachusetts and headquartered in New York City for over 50 years. Renamed Tambrands, Inc. in 1984, the company was purchased by Procter & Gamble in 1997. Tampax is available in over 100 countries; there is no distribution in Germany and Austria.

title: Tampax


text: File:I Should Coco.jpg

title: File:I Should Coco.jpg


text:
Category:Moscow Oblast

Topics, Towns and Cities relating to Moscow Oblast in Russia

title: Category:Moscow Oblast


text:
Category:Non-free images used with permission

__NOGALLERY__

Note that the Non-free with permission tag must be used in conjunction with another non-free use image tag. If no other tag is present on the description page of an image uploaded after May 19, 2005, the image would be speedily deleted.


text:
NORDO

In North American aviation, a NORDO aircraft is an aircraft flying without a radio. While sometimes used to denote small general aviation aircraft that are not equipped with a radio, the term is more commonly applied to aircraft that have experienced a radio failure while flying.

The term originates from the 5-character uppercase abbreviated notation "NORDO" displayed on controllers' radar scopes when an aircraft transmits the "radio failure" code on its transponder. An alternate explanation is that "NO RDO" was the standard note made on maintenance and equipment sheets used in military aviation, starting in the 1930s, as a code to identify planes which needed radio repairs or were not equipped with radios. The term has made its way into standard aviation jargon, used as an adjective or a noun to describe an aircraft without a radio, even among pilots and others who are not air traffic controllers.

In-flight radio failure may constitute an emergency, as determined by the pilot. Aircraft equipped with a transponder should indicate a NORDO situation by setting the appropriate transponder code: 7600 ("seven-six: radio fix"). NORDO aircraft declaring an emergency are given priority over other aircraft (providing a more serious emergency does not occur on another aircraft).

If the radio failure occurs in visual flight rules (VFR) conditions in an area where radio communication is required, the pilot is expected to continue under VFR and land when feasible. If flying under instrument flight rules (IFR) conditions, and VFR conditions exist or are encountered after the failure, the flight should be continued in VFR conditions and the pilot shall land as soon as practicable. If VFR conditions do not exist, the pilot will then continue the route last assigned by ATC. See FAR 91.185.

Air traffic control may re-establish communications with NORDO aircraft by using emergency frequencies, voice features of NAVAIDs, or aviation light signals. In the event of one-way communications (i.e. aircraft can receive only), the controller may request the aircraft make identifying turns, flash their navigational lights, transmit codes or IDENT signals on the transponder, rock their wings, etc., to acknowledge clearances or instructions.

title: NORDO


text: Category:Satirical magazines

title: Category:Satirical magazines


text:
Michael "Bully" Herbig

Michael Herbig (born 29 April 1968) is a German comedian and actor. His nickname "Bully" (in German commonly associated with the VW Bully, rather than the English term) became part of his stage name as a comedian.

Career
His career began in 1992 with regular appearances on radio (more than 800), leading to appearances on various television shows. He gained wider fame as writer, actor and director of the comedy show Bullyparade. The show featured him as the host, his good friend Rick Kavanian, Christian Tramitz and Diana Herold as a dancer and occasional actress in the skits. The show featured many different themes, including stereotypical gay archetypes in a Star Trek parody, an homage to westerns, and of the Austrian royal, Elisabeth of Bavaria, known as Sissi. On the show, he let the audience vote which theme to use for each of his movies based upon characters from the show. The first, the 2001 Der Schuh des Manitu ("Manitou's Shoe") was seen by over 11.7 million people, one of the most successful German films to date. His second film, (T)Raumschiff Surprise – Periode 1 (2004) was also a commercial success, cementing his career. In January 2008, Variety reported that Herbig was set to film a live-action adaptation of animated series Vicky the Viking. The film, carrying the same name as the animated series, was released in 2009.

In 2018, the film Balloon was released, in which he acted as a director, screenwriter and producer. It is his first directorial work that is not a comedy. The movie depicts the balloon escape of the Strelzyk and Wetzel families, from East to West Germany in 1979.

Herbig voiced Sheriff Woody in the German dubs of Toy Story 3 and 4, after his former German dubber Peer Augustinski had a stroke in 2005 and died in 2014.

Since April 2021, Herbig has been the Host of Last One Laughing: Germany on Amazon Prime.

Awards

 * 2001 Bavarian Film Awards (Special Prize)

title: Michael "Bully" Herbig


text:
Tavernier

Tavernier may refer to:

 * Tavernier (surname)
 * Tavernier, Florida, United States of America
 * Tavernier Blue, the precursor diamond to the Blue Diamond of the French Crown
 * Tavernier River, a tributary of the Mégiscane River in Senneterre, Quebec, Canada

title: Tavernier


text:
Talk:Bill (payment)

Renamed
I renamed this article from "Bill of Lading" as the latter term has a different, specific meaning (see article Bill of lading) -- Picapica 23:31, 31 Jul 2004 (UTC)

Merge to invoice
I agree with the merge suggestion.--Ethnicstage 09:20, 25 September 2007 (UTC)

Merge Telephone bill? ...
... since it is likely that there could be thousands of types of bills articles all dealing with more or less the same thing. And since this article look fairly small as it is (there being no need to spin of subtopics). --rannṗáirtí anaiṫnid (coṁrá) 22:19, 20 June 2009 (UTC)

 * Agree with proposal. It is a bill/invoice.  That it relates to a telephone is by-the-by. -- billinghurst (talk) 01:14, 23 June 2009 (UTC)

 * Oppose Telephone bills have distinctive features and there are entire books written upon that topic. Colonel Warden (talk) 11:33, 27 June 2009 (UTC)

Comment
For such an essential and commonplace topic, this article is surprisingly (and painfully) short. -- Intelligent  sium  22:24, 20 June 2009 (UTC)

Defrauding an Innkeeper/Theft of services
The section about not paying a bill in the U.S. is wrong. In some states, people can be charged with "Defrauding an Innkeeper" or "Theft of services".

title: Talk:Bill (payment)


text:
Helmut Dietl

Helmut Dietl (22 June 1944 – 30 March 2015) was a German film director and author from Bad Wiessee.

Work
After leaving grammar school in 1958, Dietl completed a degree in theatre studies and history of art. He then became head of photography and later assistant director to the Munich Kammerspiele theatre. He first achieved directorial success with the TV series Monaco Franze, eventually moving on to create several notable films with the aid of Patrick Süskind's writing.

In 1998, he was a member of the judging panel at the 48th Berlin International Film Festival.

He died in Munich on 30 March 2015.

Awards

 * 1996 Bavarian Film Awards, Best Director
 * 2013 Deutscher Filmpreis, lifetime achievement award
 * 2014 Bambi Award, lifetime achievement award

title: Helmut Dietl


text:
Vail Pittman

Vail Montgomery Pittman (September 17, 1880 – January 29, 1964) was an American businessman and politician. A member of the Democratic Party, he served as the 19th governor of Nevada.

Biography
Pittman was born in Vicksburg, Mississippi, the youngest of four sons born to William Buckner Pittman and Katherine Key Pittman, a direct descendant of Francis Scott Key. His siblings included Key Pittman, a longtime United States Senator from Nevada. William and Katherine Pittman died when Vail Pittman was an infant, and the Pittmans were raised in Lake Providence, Louisiana, by their uncle and aunt, Mr. and Mrs. Vail Montgomery. Vail Pittman was educated by private tutors and in the public schools until he attended Sewanee Military Academy. He then attended the University of the South and Brown's Business College, but returned to Lake Providence in 1903 to manage the family cotton plantation after Vail Montgomery's death.

Career
Pittman moved to Tonopah, Nevada, in 1904, and worked initially at the Tonopah-Goldfield Lumber and Coal Company until purchasing the company's coal business and operating it as a separate company. He sold the coal business in 1907, and subsequently engaged in a variety of occupations, including undersheriff of Nye County, sergeant-at-arms of the Nevada Senate, and partner in a mining company. On May 20, 1919, he married Ida Louise Brewington. In 1920 Vail and Ida Pittman bought the Ely Daily Times of Ely, Nevada, and he began a successful career in the newspaper business. Pittman was also involved in several civic and business organizations, including the good roads movement and the local chamber of commerce. From 1925 to 1929 Pittman served in the Nevada Senate. After his brother Key's 1940 death, Vail Pittman unsuccessfully sought the governor's appointment to his U.S. Senate seat.

Pittman was elected the 19th lieutenant governor of Nevada in 1942. He was a candidate in the Democratic primary for United States Senate in 1944, but was defeated by the incumbent, Pat McCarran. He became governor when Edward P. Carville resigned in 1945 to accept appointment to a vacant U.S. Senate seat. Pittman was elected to a full term in 1946, and served until 1951. He was an unsuccessful candidate for reelection in 1950 and in 1954, losing both times to Charles H. Russell. After leaving office Pittman resumed operation of the Ely Daily Times. He later sold the newspaper, and became an officer of the Nevada Savings and Loan Association and the Nevada State Bank. He was involved in the Rotary Club and was a delegate to international conferences in Switzerland and Japan. He served as a delegate to the 1956 and 1960 Democratic National Conventions.

Death
Pittman died from cancer on January 29, 1964, in a hospital in San Francisco, California at the age of 83. He is interred at Masonic Memorial Gardens, Reno, Washoe County, Nevada, US.

title: Vail Pittman


text:
Aeterni regis

The papal bull Aeterni regis [English: "Of the king's eternal [grace]"] was issued on 21 June 1481 by Pope Sixtus IV. It confirmed the substance of the Treaty of Alcáçovas, reiterating that treaty's confirmation of Castile in its possession of the Canary Islands and its granting to Portugal all further territorial acquisitions made by Christian powers in Africa and eastward to the Indies.

Background
The War of the Castilian Succession was fought between Portugal and Castile from 1475 to 1479 over who should succeed Henry IV of Castile, his daughter, Joanna or his half-sister, Isabella. Joanna was married to Afonso V of Portugal and Isabella was wed to Ferdinand II of Aragon. Underlying this were decades-long disagreements over hegemony of the Atlantic. Both kingdoms claimed territorial sovereignty over the Canary Islands and the West Coast of Africa. While Castile had some success in land battles, Portugal had the advantage at sea.

Treaty of Alcaçovas
Through the good offices of Beatrice, Duchess of Viseu, first cousin of Afonso V and aunt to Isabella of Castile, the parties negotiated a settlement. A treaty was entered into at Alcáçovas, in southern Portugal, (at the house of Dona Beatrice), on 4 September 1479. Each side agreed to relinquish any claims to the other's kingdom. The agreement incorporated terms of a 1431 agreement regarding restitution of places, release of prisoners, and demolition of fortresses. In addition, Portugal ceded the Canaries to Castile, and Castile, in turn recognized Portugal's possession and rights of trade in the Azores, Madeira, the Cape Verde Islands, and the coast of Guinea. It was further stipulated that any violation of the terms would incur a fine of 300,000 gold "doblas".

A collateral agreement, the "Tercerias de Moura" arranged the marriage of Afonso V's grandson Alfonso to Isabella of Castile's oldest daughter, also named Isabella. It provided that the children would live at Mouros, a town near the border between both kingdoms, under the supervision of Dona Beatrice, until they were old enough to wed.

The treaty also states that the parties took a solemn oath to abide by its terms, and pledged not to subsequently seek or avail themselves of a dispensation from the oath from the Pope or his representative.

On May 4, 1481, King Afonso V of Portugal granted his son, Infante Joao the trade and fisheries of Guinea, and prohibited anyone from going there without a license from the prince. By the end of August Prince John had succeeded his father as king. His main objective was to find a sea route to the East.

Papal endorsement
The bull confirmed the earlier bulls Romanus Pontifex, issued by Nicholas V in 1455. It also incorporated the terms already agreed to by Portugal and Castile in the Treaty of Alcáçovas, lending moral authority to the parties' territorial division.

According to Malyn Newitt in A History of Portuguese Overseas Expansion, "Portuguese's ... empire was able to grow in a manner which would have been impossible if it had been challenged by a well-armed opponent." However, Isabella and Ferdinand were involved in the Granada War, England was embroiled in dynastic conflict, and Louis XI of France was drawn to the affairs of Italy.

title: Aeterni regis


text:
Joseph Vilsmaier

Joseph Vilsmaier (, 24 January 1939 – 11 February 2020) was a German film director who began his career as a technician and cameraman. He is internationally known for films such as Comedian Harmonists.

Life
Born in Munich. Vilsmaier attended a boarding school near Augsburg. He then trained as a technician to make film cameras, and studied piano at the Musikhochschule München. He was a member of a jazz group. After working as a technician, he moved into film, first as a material and camera assistant, then from 1961 as a cameraman. He filmed episodes of television series such as Tatort.

His debut film as director, Herbstmilch in 1988, starring his wife, Dana Vávrová, was a huge success. In 1995, he directed Schlafes Bruder, after the novel by Robert Schneider. In 1997, he directed Comedian Harmonists which became an international success. For the films he directed, Vilsmaier was also the producer and first cameraman.

While filming Der Letzte Zug in 2005, probably the last film produced by Artur Brauner, he was injured when he fell off a camera tower. Subsequently, his ability to work was limited, and his wife took over directing the film. The couple was awarded the special jury prize at the 2006 Bavarian Film Awards for Der letzte Zug.

Vávrová died on 5 February 2009. The couple had three daughters, Janina Vilsmaier, Theresa Vilsmaier, and Josefina Vilsmaier, all of whom became actresses and starred in a number of their films.

Vilsmaier died on 11 February 2020.

Awards

 * Bavarian Film Awards
 * 1990 Best Production
 * 1992 Bavarian Film Awards, Best Producing, Best Cinematography
 * 1995 Bavarian Film Award, Best Production
 * 1997 Bavarian Film Award, Best Director
 * 2006 Bavarian Film Award, Special Prize
 * 18th Moscow International Film Festival
 * Nominated – Stalingrad

Filmography
Vilsmaier directed films and television films, including:

 * Herbstmilch (1988)
 * Rama dama (film) (1990)
 * Stalingrad (1993)
 * Charlie & Louise – Das doppelte Lottchen (1994)
 * Schlafes Bruder (1995)
 * And Nobody Weeps for Me (1996)
 * Comedian Harmonists (1997)
 * Marlene (2000)
 * Leo & Claire (2001)
 * Rock Crystal (2004 film) (2004)
 * Der letzte Zug (2006)
 * Ship of No Return: The Final Voyage of the Gustloff (2008, TV film)
 * The Legend of Brandner Kaspar (2008)
 * Nanga Parbat (2010)
 * Russisch Roulette (2012, TV film)
 * The Perjured Farmer (2012 film) (2012, TV film)
 * Bavaria – Traumreise durch Bayern (2012)

title: Joseph Vilsmaier


text: Category:Drug rehabilitation

title: Category:Drug rehabilitation


text:
Duck Key

Duck Key is an island in Monroe County, Florida, United States, in the middle Florida Keys. It is part of the Duck Key, Florida census-designated place. The CDP also includes the neighboring island of Conch Key.

History
The key was the site of a salt manufacturing operation in the 1820s & 1830s. Occupation of the island ceased after the Labor Day Hurricane of 1935 and did not resume until the key was connected to the highway by a causeway in 1953. J.W. Norie, in his Piloting Directions for the Gulf of Florida, The Bahama Bank & Islands (1828) states: "Duck Key - Some two miles (3 km) long, low, rocky, & covered with mangroves; some small patches of good land with a little timber. This island formerly saltworks but they were transferred latterly to Key West, owned by Mr. Howe, who is also possessor of this Key." Hawk's Cay Resort is currently located here, and the island is sometimes known by that name. Noted Michigan Senate leader, Emil Lockwood, retired in Duck Key, where he served in many civic and political capacities until his death in 2002.

Geography
Duck Key is located oceanside of U.S. 1 (or the Overseas Highway), at approximately mile marker 61, between Conch Key and Grassy Key.

title: Duck Key


text: Category:Support groups

title: Category:Support groups


text:
Sönke Wortmann

Sönke Wortmann (25 August 1959 in Marl, North Rhine-Westphalia) is a German film director and producer.

Biography
Wortmann's father was a miner. After Wortmann's A-Levels he wanted to become a professional football player and started playing with Westfalia Herne and later SpVgg Erkenschwick in the German 3rd division. After three years he gave up the idea of becoming a professional football player.

One semester he studied sociology before entering the University of Television and Film Munich to study film directing. After spending some time at the London Royal College of Art he finished his career successfully. While studying, he worked as a taxi driver and actor, for example in the TV series Die glückliche Familie. His debut feature film Der bewegte Mann was released in 1994. It became one of the most successful German film of the post-war era.

The Superwife (1996) was filmed, as he himself said, to prove that it is possible to make "a successful film out of a successful novel". Der Campus was more or less accomplished on the same terms, but achieved fewer viewers. Films like Mr. Bluesman and the drama film in episodes St Pauli Night, for which he was acclaimed by critics, turned out to be commercial failures and didn't run a long time in cinemas. Wortmann shot The Hollywood Sign, based on Leon de Winter's novel "De hemel van Hollywood", in the US with a very good cast. The Hollywood Sign came out in 2004 in Germany, but didn't run long in cinemas. Wortmann sees The Miracle of Bern as his greatest success, which became the most successful film in German cinemas in the year 2003.

During the Confederations Cup 2005 and the Football World Cup 2006 he joined the Germany national team on their trip. At every match he sat on the trainer's bench and, by order and for account of national team manager Jürgen Klinsmann, he prepared films which were later shown to the players in order to prepare them for an upcoming match. The two-hour documentary film on the world cup, produced from over 100 hours of filming material, was presented to the Germany national football team on 14 August 2006 as a preview and premiered in cinemas on 5 December 2006 under the title Deutschland. Ein Sommermärchen. The film had more than 4 million viewers and was a big success. The net profits of the film were donated to SOS Children's Villages.

In 1998 Wortmann founded his own production company.

From 2007 he worked on the project to adapt the novel "Pope Joan". The production was carried out by Bernd Eichinger. Initially, the female pope Johanna was going to be portrayed by Franka Potente. In Mai 2008 though, the production company announced that Johanna Wokalek was going to play the pope. The production was also conducted under Oliver Berben. In the year 2009, the film was released in cinemas.

Sönke Wortmann is married to the actress Cecilia Kunz and has three children.

Wortmann is an active member of the German authors' national football team (Autonama). He also supports "Dein Fußballclub" since April 2008. This club's aim is to engage over 30,000 new members every year, who pay €39.95 each every year. The foundation of this club was modeled after the English club Ebbsfleet United F.C.

Sönke Wortmann is also member of Alliance '90/The Greens political party.

Awards

 * 1985 – Special award at the Royal College of Art in London for Nachtfahrer (Night driver)
 * 1988 – Kodak-Eastmann award for Three D
 * 1988 – Nomination for the Oscar category of student film for Three D
 * 1988 – Filmband in gold for Noblesse oblige
 * 1991 – promotional award from the Hypo-Bank for the Munich Film Festival for Alone Among Women
 * 1991 – German video award for Alone Among Women
 * 1992 – Filmband in gold for Little Sharks
 * 1992 – Award (Best young director) at the World Film Festival for Little Sharks
 * 1992 – Award (Best film) at the film festival in Quebec for Little Sharks
 * 1994 – DIVA award
 * 1994 – Bambi award for Der bewegte Mann
 * 1995 – German film award, nomination (film, director) for Der bewegte Mann
 * 1995 – Ernst Lubitsch award for Der bewegte Mann
 * 1998 – Bavarian film award for Der Campus
 * 2003 – Bavarian film award for The Miracle of Bern
 * 2004 – Landesmedien award from North Rhine-Westphalia for The Miracle of Bern
 * 2006 – Bambi for the category "Documentary" for Deutschland. Ein Sommermärchen
 * 2007 – Adolf-Grimme award for the category "information and culture" for Germany for Deutschland. Ein Sommermärchen
 * 2007 – Merrit award from North Rhine-Westphalia
 * 2009 – culture award from the Sparkasse culture-foundation Rhine-Westphalia
 * 2010 – Askania Award

As a director

 * 1981: Nachtfahrer (Short)
 * 1984: Anderthalb (Short)
 * 1986: Fotofinish (Short)
 * 1988:
 * 1990: Liebesgeschichten: Die Hochzeit des Figaro (TV series episode)
 * 1990: A Crazy Couple (TV film)
 * 1991:
 * 1992: Little Sharks
 * 1993:
 * 1994: Der bewegte Mann (Maybe, Maybe Not) — based on comic books by Ralf König
 * 1996: The Superwife — based on a novel by Hera Lind
 * 1996:  (TV film) — based on Charley's Aunt by Brandon Thomas
 * 1998: Der Campus (Campus) — based on a novel by Dietrich Schwanitz
 * 1999:  — based on a novel by Frank Göhre
 * 2001: The Hollywood Sign — based on a novel by Leon de Winter
 * 2003: The Miracle of Bern
 * 2006: Freunde für immer – Das Leben ist rund (TV series, 2 episodes)
 * 2006: Deutschland. Ein Sommermärchen (Germany. A summer fairy tale)
 * 2009: Pope Joan — based on Pope Joan by Donna Woolfolk Cross
 * 2012:  (The Wedding Video)
 * 2014: Wrecked — based on a novel by Charlotte Roche
 * 2015: Frau Müller muss weg! — based on a play by Lutz Hübner and Sarah Nemitz
 * 2017: Charité (TV series, 6 episodes)
 * 2017: Sommerfest — based on a novel by Frank Goosen
 * 2018: How About Adolf? — based on a play by Alexandre de La Patellière and Matthieu Delaporte
 * 2020: Contra
 * 2022: Family Affairs (2022 film) — sequel to How About Adolf

As a producer

 * Lammbock (2001)
 * The Miracle of Bern (2003)
 * Arnies Welt (2005) (TV film)
 * Hardcover (2008)
 * Hangtime (film) (2009)
 * Eine Insel namens Udo (2011)
 * Lommbock (2017)

As an actor

 * 1987–1991: Die glückliche Familie (as Ritchie)
 * 1997: Knocking on Heaven's Door

Advertisements

 * For Nike, Gerolsteiner, Bitburger, Sony, Air Berlin, Deutsche Bank, Prinzenrolle, Nivea, DFB, König Pilsener, Früh Kölsch
 * Vodafone, Honda, Dresdner Bank, SolarWorld AG, Commerzbank AG
 * HanseMerkur Versicherung, starring Mario Gómez (August 2007)
 * AachenMünchener, starring Mario Adorf,
 * Rewe Group 2010, starring Lukas Podolski
 * Deutsche Bahn AG, in which he himself appears.

Other work

 * Deutschland. Ein Sommermärchen (2006) Diary of the World Cup
 * Das Wunder von Bern, audiobook at Hörverlag, ISBN 3-89940-205-7

title: Sönke Wortmann


text:
Marsha Hunt (actress, born 1917)

Marsha Hunt (born Marcia Virginia Hunt; October 17, 1917 – September 7, 2022) was an American actress with a career spanning nearly 80 years. She was blacklisted by Hollywood film studio executives in the 1950s during McCarthyism.

She appeared in many films, including Born to the West (1937) with John Wayne, Pride and Prejudice (1940) with Greer Garson and Laurence Olivier, Kid Glove Killer (1942) with Van Heflin, Cry 'Havoc' (1943) with Margaret Sullavan and Joan Blondell, The Human Comedy (1943) with Mickey Rooney, Raw Deal (1948) with Claire Trevor, The Happy Time (1952) with Charles Boyer, and Dalton Trumbo's Johnny Got His Gun (1971).

In the midst of the blacklist era, she became active in the humanitarian cause of world hunger and in her later years aided homeless shelters, supported same-sex marriage, raised awareness of climate change, and promoted peace in Third World countries.

Early life
Hunt was born on October 17, 1917, in Chicago, Illinois, the youngest of two daughters. Her parents were Earl Hunt, a lawyer and later a Social Security Administrator, and Minabel Hunt, a vocal teacher, and organist. Her elder sister, Marjorie, a teacher, died in 2002. Marcia later changed the spelling of her first name to Marsha. Hunt and her family were active in the Methodist church. Interviewed for a 1999 book, she said about her family: "I lucked into the most fortuitous, warm, constructive kind of family context imaginable. My father was a top scholar, a Phi Beta Kappa. My mother was a voice coach and accompanist of singers in the concert and opera fields. We didn't have the term 'liberated woman', but my mother certainly was...They were brought up, both, in the state of Indiana, which is now called the Bible Belt. They were wholesome, they neither smoked nor drank, and they never used the Lord's name in vain. I never heard a four-letter word. It didn't exist in my wholesome family setting."

Hunt's family moved to New York City when she was young, and she began performing in school plays and church functions. She graduated from the Horace Mann High School for Girls in 1934 at age 16.

Modeling
Hunt's parents wanted her to pursue a college degree, but Hunt, unable to "locate a single college or university in the land where you could major in drama before your third year", found work modeling for the John Powers Agency and began taking stage acting classes at the Theodora Irvine Studio. She was one of the highest-earning models by 1935. In May 1935, she planned on studying stage acting at the Royal Academy of Dramatic Art in the United Kingdom.

Years at Paramount
Although initially reluctant to pursue a film career, in June 1935, at age 17, Hunt signed a seven-year contract with Paramount Pictures. Paramount discovered her when she was visiting her uncle in Los Angeles and the comedian Zeppo Marx (of the Marx Brothers fame) saw a picture of her in the newspaper. She was then offered a screen test for The Virginia Judge. At Paramount, Hunt mainly played ingenue parts. Between 1935 and 1938, she made 12 pictures at Paramount, including starring roles in Easy to Take (1936), Gentle Julia (1936), The Accusing Finger (1936), Murder Goes to College (1937), and two on "loan-out" to RKO and 20th Century Fox. In 1937, she starred opposite John Wayne, a couple of years before his breakthrough in Hollywood, in the Western film Born to the West.

The studio terminated Hunt's contract in 1938, and she spent a few years starring in B-films produced by poverty row studios such as Republic Pictures and Monogram Pictures. She also headed to New York City for work in summer stock theatre shortly before winning a supporting role in MGM's These Glamour Girls (1939) opposite Lana Turner and Lew Ayres. The role of Betty was said to have been written especially with Hunt in mind. Other roles in major studio productions soon followed, including supporting roles as Mary Bennet in MGM's version of Pride and Prejudice (1940) with Laurence Olivier, and as Martha Scott's surrogate child Hope Thompson in Cheers for Miss Bishop (1941).

Years at MGM
In 1941, Hunt signed a contract with MGM, where she remained for the next six years. While filming Blossoms in the Dust, film director Mervyn LeRoy lauded Hunt for her heartfelt and genuine acting ability. During this period she had starring roles in 21 films, including The Penalty (1941) opposite Lionel Barrymore, Panama Hattie (1942) opposite Ann Sothern and Red Skelton, and the war drama Pilot No. 5 (1943) in which she was cast as the love interest of Franchot Tone, and The Valley of Decision (1945). In 1944 she polled seventh in a list by exhibitors of "Stars of Tomorrow". She previously did a screen test to play Melanie Hamilton in Gone with the Wind (1939) and was told by David O. Selznick she would play the role, but to "keep it a secret for now." Three days later, it was announced that Olivia de Havilland was cast. In 1944, she appeared in None Shall Escape, a film that is now regarded as the first about the Holocaust. She played Marja Pacierkowski, the Polish fiancée of a German Nazi officer named Wilhelm Grimm.

Hollywood blacklist
In 1945, Hunt was invited to join the board of the Screen Actors Guild.

Disturbed by the actions of the House Committee on Unamerican Activities (HCUA), Hunt and her husband, screenwriter Robert Presnell Jr., became members of the Committee for the First Amendment in 1947. According to NPR, she was – at the time of her 100th birthday – the last surviving member of the group.

On October 26 that same year, aged 30, Hunt took part in Hollywood Fights Back, a star-studded radio program co-written by her husband protesting the activities of HCUA. In 2020, Hunt recalled: "We made our speeches and did a radio programme called Hollywood Fights Back and came home thinking we'd been patriots and had defended our profession. If there were some communists among us that was their business and not ours."

The next day, Hunt flew with a group of about 30 actors, directors, writers, and filmmakers (including John Huston, Humphrey Bogart, Lauren Bacall, and Danny Kaye) to Washington to protest the actions of HCUA. When she returned to Hollywood just three days later, things had changed. She was asked to denounce her activities if she wanted to find more work; she refused.

In 1950, Hunt was named as a potential Communist or Communist sympathizer (along with 151 other actors, writers, and directors) in the anti-Communist publication Red Channels. The publication claimed that her leanings were made evident by her supposedly subversive actions, including asking the Supreme Court to review the convictions of John Howard Lawson and Dalton Trumbo, recording a message in support of a rally organized by the Stop Censorship Committee in 1948, signing a statement in 1946 issued by the Hollywood Independent Citizens Committee of the Arts, Sciences and Professions (HICCASP), and speaking at a rally organized by the Progressive Citizens of America in 1946.

After the publication of Red Channels in 1950, work became scarce for Hunt and Presnell. Hunt said in 2012, "The town turned against us. Just about-face...I was appalled, hurt, shocked that journalism could be so far out in prejudice."

After her 1950 blacklisting, Hunt found most work in television, not film. She appeared in only a handful of films during the next eight years. She later recalled: "Agencies and producers agreed to deem all one hundred and fifty 'unemployable'. That actually began the blacklist practice, ending all our careers and livelihoods in broadcasting. I don't know that the movie studios would have blacklisted me if Red Channels hadn't named me and made them think I might be a Communist. So to play safe, they put me on their secret blacklist...I think by 1950 it was clear that the whole of show business was under political siege. But, miraculously, the Broadway stage was spared. People were not denied work on the Broadway stage. Movies, radio and television were overcome, but the theatre was not. When I was unable to work in any of the blacklist media, I could always do a play in stock, around the country."

During an interview in 1995, Hunt stated that she believed producer Richard J. Collins was among those responsible for her inclusion on the blacklist. She later said: "I never met Richard Collins, but when he was in some executive post on Bonanza, a friend of mine knew him slightly. At one point, when I was recommended for a script, she was astonished to hear him say, 'Don't bother bringing up Marsha Hunt to me. As long as I am connected with this show, she will never work on it.'"

In 1957, her career began to pick up. She appeared in six films during the next three years before announcing her semi-retirement in 1960.

Later work
Following her semi-retirement in 1960, Hunt appeared in small roles in five films and numerous television shows, including an episode of the medical drama Breaking Point. In 1962, she appeared in the season-nine episode of Gunsmoke titled "The Glory and the Mud". In 1967, she had a leading role as Katie's Aunt Cecile in an episode of My Three Sons entitled "The Aunt Who Came To Dinner".

In 1971, she appeared in the film Johnny Got His Gun, written by fellow blacklist member Dalton Trumbo, playing the mother of the title character, portrayed by Timothy Bottoms. It won the Grand Prix at the 1971 Cannes Film Festival. On February 8, 1988, she appeared in Star Trek: The Next Generation in the episode "Too Short a Season" as Anne Jameson, wife of an admiral who took an age-reversing drug. In 1997, she appeared as Ethel Thayer in the Santa Susana Repertory Company's production of On Golden Pond.

In 1993, her book The Way We Wore: Styles of the 1930s and '40s and Our World Since Then was published by Fallbrook Publishing.

She produced the CD Tony London: Songs From the Heart with the Page Cavanaugh Trio which includes two of the 50 songs Hunt has composed.

Hunt played Elizabeth Lyons in Chloe's Prayer, a 2006 film. In 2008, Hunt appeared in a short film noir, The Grand Inquisitor, as Hazel Reedy, the could-be widow of one of America's most infamous unapprehended serial killers.

In 2013, Hunt debuted a clip of a song she wrote 40 years earlier titled "Here's to All Who Love" about love and same-sex marriage. Sung by Glee guest actor Bill A. Jones, the clip immediately went viral. It was featured in Marsha Hunt's Sweet Adversity, a documentary about her life. The documentary debuted at the Palm Springs and Santa Barbara International Film Festivals in January 2015.

When she was 99 in April 2017, Hunt made a public appearance at the 2017 Los Angeles Jewish Film Festival to honor the achievements of actor and activist Ed Asner.

Humanitarian work
In 1955, after a trip opened her eyes to the issue of hunger in the Third World, Hunt gave speeches throughout the United States, encouraging Americans to join the fight against starvation in the Third World by joining the United Nations Association. Hunt was a founder of the San Fernando Valley Mayor's Fund for the Homeless and helped to open one of the first homeless shelters in the San Fernando Valley. In 1960, she produced an hour-long telecast about refugee problems that featured stars such as Paul Newman, Jean Simmons, and Bing Crosby. She raised funds for the creation of Rose Cottage, a daycare shelter for homeless children; and served for many years on the advisory board of directors for the San Fernando Valley Community Mental Health Center, a large non-profit, where she advocated for adults and children affected by homelessness and mental illness. She was named honorary mayor of Sherman Oaks, California, in 1983.

Hunt still identified as a political liberal and was very concerned with such issues as global pollution, worldwide poverty, peace in Third World nations, and population growth.

Personal life
Hunt married director Jerry Hopper, assistant head of the editing department at Paramount and later a director, on November 23, 1938. They divorced in 1943.

Hunt married her second husband, screenwriter and radio director Robert Presnell Jr. on February 10, 1946.

Hunt was pregnant and very sick while filming Carnegie Hall. Her only biological child, a premature daughter, was born on July 1, 1947, and died the next day. She and her second husband later became foster parents. They remained together until his death on June 14, 1986, at age 71.

Hunt resided in the Sherman Oaks neighborhood of Los Angeles, in a home she had owned since 1946. She died there from natural causes on September 7, 2022, at the age of 104.

Awards and honors

 * On February 8, 1960, Hunt received a star on the Hollywood Walk of Fame at 6658 Hollywood Boulevard.
 * In 1999, she was one of the 250 actresses nominated for the American Film Institute's selection of the 25 greatest female screen legends who debuted before 1950.
 * In 2002, she received a Golden Boot Award for her contributions to Western television shows and films.
 * In March 2015, it was announced that Hunt would be honored with the inaugural "Marsha Hunt for Humanity Award" at a Hollywood screening series founded by Kat Kramer, daughter of the late film director Stanley Kramer and actress Karen Sharpe.
 * In 2016, Hunt received the Cinecon Legacy Award at the 52nd annual Cinecon Classic Film Festival in Hollywood. It was presented by Stan Taffel who interviewed her after a screening of None Shall Escape.
 * Three of the films in which Hunt has appeared have won the Academy Award. Both Pride and Prejudice and Blossoms in the Dust received an Oscar in the category Academy Award for Best Production Design in 1941 and 1942 respectively. The Human Comedy received an Oscar in the now-defunct category Academy Award for Best Story in 1944.

title: Marsha Hunt (actress, born 1917)


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Detlev Buck

Detlev Buck (born 1 December 1962 in Bad Segeberg) is a German film director, actor, producer and screenwriter.

Life and work
From his first short film at the age of 21 in 1982, , he has remained one of the most important filmmakers working in Germany. His first feature, 1991's Karniggels, put him on the international radar and since then he has continued to make both short and feature films. He is known for making cameo appearances in his work and acting in films of fellow directors. A nice example of his acting skills can be seen in Blue Moon.

Selected filmography
As director
 * 1984:
 * 1991:  (with Bernd Michael Lade, Ingo Naujoks and Julia Jäger)
 * 1993: No More Mr. Nice Guy (with Joachim Król, Horst Krause and Sophie Rois)
 * 1996: Jailbirds (with Til Schweiger, Marie Bäumer and Heike Makatsch)
 * 1999:  (with Moritz Bleibtreu and Heike Makatsch)
 * 2000: Bundle of Joy (2000 film) (with Anke Engelke)
 * 2006: Tough Enough (with David Kross)
 * 2007: Hands off Mississippi (Family film)
 * 2009: Same Same But Different (with Apinya Sakuljaroensuk and David Kross)
 * 2011:  (with Matthias Schweighöfer and Alexandra Maria Lara)
 * 2012: Measuring the World (Adaptation of the book of the same name)
 * 2014: Bibi & Tina (film) (Family film)
 * 2014: Bibi & Tina: Bewildered and Bewitched (Family film)
 * 2016: Bibi & Tina: Girls vs. Boys (Family film)
 * 2017: Bibi & Tina: Perfect Pandemonium (Family film)
 * 2018: Asphaltgorillas
 * 2018: Wuff – Folge dem Hund
 * 2021: Confessions of Felix Krull (2021 film)

As actor
 * 1984:  (Short) ... Gerhard Ramm
 * 1994: Back to Square One - Dir. Reinhard Münster (with Katharina Thalbach and Harald Juhnke) ... Chauffeur
 * 1995: Under the Milky Way - Dir. Matthias X. Oberg (with Fabian Busch and Sophie Rois) ... Instructor
 * 1996: Jailbirds (with Til Schweiger, Marie Bäumer and Heike Makatsch) ... Hammer-Gerd
 * 1999: Sonnenallee - Dir. Leander Haußmann (with Alexander Beyer, Henry Hübchen, Robert Stadlober, Katharina Thalbach) ... Policeman Horkefeld
 * 1999: Aimée & Jaguar - Dir. Max Färberböck (with Maria Schrader and Juliane Köhler) ... Günther Wust
 * 2000: Bundle of Joy (2000 film) (with Anke Engelke) ... Wusch
 * 2002: Blue Moon - Dir. Andrea Maria Dusl (with Josef Hader) ... Ignaz Springer
 * 2003: Berlin Blues - Dir. Leander Haußmann (with Christian Ulmen) ... Karl
 * 2005: NVA - Dir. Leander Haußmann ... Colonel Kalt
 * 2005: Intrigue and Love (2005 film) - Dir. Leander Haußmann ... Wurm
 * 2007: Midsummer Madness - Dir. Alexander Hahn ... Axel
 * 2009: The White Ribbon - Dir. Michael Haneke ... Eva's father
 * 2009: 12 Paces Without a Head - Dir. ... Arms Dealer
 * 2009: Contact High - Dir. Michael Glawogger ... Harry
 * 2011:  (with Matthias Schweighöfer and Alexandra Lara) ... Jürgen Honk
 * 2012: The Marriage Swindler and His Wife - Dir. Manfred Stelzer ... Sigi Krugschenk
 * 2012: Waiting for the Sea - Dir. Bakhtyar Khudojnazarov (with Egor Beroev and Anastasiya Mikulchina) ... Balthazar
 * 2013: Shark Alarm at Müggel Lake ... Policeman Müller
 * 2014: Bibi & Tina (film) ... Dr. Eichhorn
 * 2014: The Man Cave - Dir. Franziska Meyer Price ... Helmut
 * 2014: Bibi & Tina: Bewildered and Bewitched ... Dr. Eichhorn
 * 2016: Bibi & Tina: Girls vs. Boys ... Dr. Eichhorn
 * 2017: Bibi & Tina: Perfect Pandemonium ... Dr. Eichhorn
 * 2017: Teenosaurus Rex - Dir. Leander Haußmann ... Holger
 * 2017: Magical Mystery or: The Return of Karl Schmidt
 * 2020: Lindenberg! Mach dein Ding - Dir. Hermine Huntgeburth ... Mattheisen

Awards

 * 1991 Bavarian Film Awards, Best New Director
 * 1993 43rd Berlin International Film Festival Wir können auch anders … - Honourable Mention.
 * 2007 Bavarian Film Award, Best Young People's Film

title: Detlev Buck


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Category:Therapy

Therapy or treatment is the remedy of a health problem, after the diagnosis.

title: Category:Therapy


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Frank Beyer

Frank Paul Beyer (26 May 1932 – 1 October 2006) was a German film director. In East Germany he was one of the most important film directors, working for the state film monopoly DEFA and directed films that dealt mostly with the Nazi era and contemporary East Germany. His film Trace of Stones was banned for 20 years in 1966 by the ruling SED. His 1975 film Jacob the Liar was the only East German film ever nominated for an Academy Award. After the fall of the Berlin Wall in 1989 until his death he mostly directed television films.

Early life and career
Frank Beyer was born as Frank Paul Beyer in Nobitz in Thuringia, Germany, to Paul Beyer, a clerk, and Charlotte Beyer, a sales clerk. He had a brother, Hermann Beyer (born 30 May 1943) who should have become a successful actor. After the Machtergreifung of the Nazi Party in 1933 his father, a social democrat lost his job and was unemployed for several years. In 1942 he was drafted for military service and was killed one year later at the Eastern Front.

In 1938 Frank Beyer started attending primary school in Nobitz, and later the Realgymnasium Ernestinum in Altenburg. His education was interrupted for a few months in the aftermath of World War II. In fall 1946 he continued his education in Altenburg and played in an amateur dramatic society. He also became a member of the Free German Youth and later of the Socialist Unity Party of Germany. After finishing school with his Abitur in 1950 he wanted to study history at the University of Leipzig, but at the request of the socialist unity party he stayed in Altenburg and worked as district party secretary for the local cultural association. At the same time he trained to become a film projectionist, and being interested in theater wrote play reviews for the local newspaper. Later he worked at the theater of the towns of Crimmitschau and Glauchau as an assistant director and dramaturge.

In 1952 Frank Beyer began to study drama at Humboldt University in Berlin, but transferred to the Film School of the Academy of Performing Arts (FAMU) in Prague shortly afterwards. In Prague he studies film directing together with his future colleagues Konrad Petzold and Ralf Kirsten. In 1954 he works as an intern at the DEFA film studio during the production of the film Ernst Thälmann – Sohn seiner Klasse directed by Kurt Maetzig. He completed another internship as an assistant director for a film adapted from the opera Zar und Zimmermann and directed by Hans Müller. In his fourth year of studies, in 1957, he worked as an assistant director for Kurt Maetzig's two part film Schlösser und Katen with a special permission of his university. In 1957 he graduated from FAMU with the anti-war film Zwei Mütter. Based on a screenplay by Leonie Ossowski, his diploma film tells the story of a French and a German mother that fight for a child that has been mistakenly taken by the German after a bomb raid. The film had a theatrical release and became a success.

Beyer at the DEFA studios (1957–1967)
After graduation Frank Beyer worked as a freelancer for the DEFA studios. He had declined an offer for a permanent position as an assistant director, as he would have been assigned to film projects and would not have had the freedom to choose. He started his directorial career with two short films in the satirical film series Das Stacheltier. His second feature film Eine alte Liebe based on a story by Werner Reinowski and released in 1958 did not follow the success of his directorial debut Zwei Mütter. His third feature film Five Cartridges released in 1960 was a major critical and popular success and made him known in East Germany and abroad. The film was based on a screenplay by Walter Gorrish and tells the story of the members of an international brigade during the Spanish Civil War.

He continued to direct films that focused on anti-fascist themes. The 1962 film Star-Crossed Lovers was again based on a screenplay by Walter Gorrish and told the story of the antifascist activist Michael who has to serve in a penal military unit on the Eastern Front during World War II, and escapes with the help of his childhood friend Jürgen. Deserting to the Red army he hopes to meet his childhood friend and love Magdalena in Moscow, as she had fled from Nazi Germany to the Soviet Union. The experimental film made extensive use of flashbacks and extreme angles of view to express the emotions of the characters. His next project was the 1963 film Naked Among Wolves based on the 1958 novel of the same name by Bruno Apitz. The film told the story of prisoners in the Buchenwald concentration camp who risk their lives to hide a jewish boy, Stefan Jerzy Zweig. The film is now regarded as a classic anti-fascist DEFA studio films. His next film, the 1963 comedy Carbide and Sorrel was a major popular success.

In 1966 Frank Beyer directed the film Trace of Stones based on a novel by Erik Neutsch. The film is set in contemporary East Germany and is about the clash between conservative party functionaries, an unconventional and brazen foreman and a young and pragmatic party secretary and engineer on a construction site. Although the premiere at the Worker's Film Festival in Potsdam on 15 June 1966 was a success, the film premiere two weeks later in East Berlin caused a major scandal. After a few minutes the screening was interrupted by protests over the depiction of party functionaries in the film. Similar protests occurred during other film screening in East Berlin, Leipzig and Rostock and after three days the film was recalled from distribution and all press coverage ceased except for a harsh film review in Neues Deutschland. Only in 1989 shortly before the fall of the Berlin Wall was Trace of Stones] shown again publicly in East Germany.

Work for television (1967–1980)
Frank Beyer faced severe personal consequences. He had to leave the DEFA studios and was for several years not allowed to direct theatrical films. To "rehabilitate" him the party sent him to Dresden where he worked at the State Theater from 1967 to 1969. As a guest he also worked at the Gerhart-Hauptmann-Theater in Görlitz and Zittau and at the Maxim Gorki Theater in East Berlin.

Despite being banned from directing theatrical films, Frank Beyer was allowed to direct a film for East German television in 1968. The television film Der Geizige after the play The Miser by Molière was realized with the cast of the State Theater in Dresden. In 1971 he directed the five part television film Rottenknechte on the last days of the German navy during World War II, and in 1973 the four part television film Die sieben Affären der Doña Juanita with his wife Renate Blume in the leading role. The film, which concentrates on the private and romantic life of a young woman, generated debates on marriage, relationships and socialist moral across the country.

His first theatrical film after almost ten years was Jacob the Liar in 1975, adapted from a novel by Jurek Becker and a co-production of the DEFA studios and East German television. The film is set in World War II in German-occupied Poland. It tells the story of the Jewish protagonist Jakob Heym in a Jewish ghetto who pretends to own a radio and being able to receive news from the outside world. The film, which was remade into the Hollywood film Jakob the Liar in 1999, was Frank Beyer's biggest critical and popular success. At the 25th Berlin International Film Festival in West Berlin in 1975 the film won a Silver Bear and was nominated for the Best Foreign Language Film at the 49th Academy Awards in 1977. It was East Germany's first and only nomination for an Academy Award.

In 1977 he directed the romantic comedy Das Versteck again based on a screenplay by Jurek Becker and starring Jutta Hoffmann and Manfred Krug. Shortly before the completion of the production the East German government stripped the singer and dissident Wolf Biermann of his citizenship while he was on a concert tour in West Germany. Frank Beyer, Jurek Becker and the lead actors signed a letter protesting the actions of the East German government. Frank Beyer was reprimanded by the party and prohibited to work for the DEFA studios. Because the lead actor Manfred Krug had applied for permission to leave East Germany, the film was shelved and not shown in theaters. Frank Beyer's situation worsened with the television film Geschlossene Gesellschaft in 1978. The film, which ostensibly depicts a marriage crisis, was heavily criticized by party functionaries due to a perceived criticism of the socialist society. Frank Beyer was now prohibited from working for television and in 1980 his party membership was suspended.

Work in East and West (1980–1989)
Although prohibited to work in East Germany in 1980 Frank Beyer was given permission to work in West Germany. For the West German public broadcaster ARD he directed the television films  and The Second Skin in 1981. In 1982 Frank Beyer was given permission to direct a film in East Germany at the DEFA studios. The Turning Point after a novel by Hermann Kant tells the story of a German prisoner of war at the end of World War II who is wrongly accused of being a war criminal. The film was controversial upon release as Polish commentators and officials criticized that the film showed the Polish army wrongly accusing a German soldier of war crimes. The controversy also resulted in a withdrawal of the film from the Berlin International Film Festival, where it was originally planned to be screened and was expected to successfully compete for the awards.

In 1983 he directed the road movie Bockshorn (film) which was shot in the USA and in Cuba and was not very successful at the box office after the theatrical release in 1984. For several years, until 1989 Frank Beyer worked on several projects in East and West Germany, with none being realized. He also worked as a director at the political cabaret Pfeffermühle in Leipzig. Only in 1988 one of his projects was realized. Together with the screenwriter Wolfgang Kohlhaase he wrote the script to the criminal-comedy film  based on a true event from post-war Berlin. The film was realized as a co-production between East and West Germany. A popular success in East Germany, the film was a box office disappointment in West Germany.

Career after 1989
After the fall of the Berlin Wall and the German reunification Frank Beyer had no problems continuing his work. In 1990 he directed the two part television film Ende der Unschuld about German physicists and the development of a German nuclear bomb. In 1991 his last theatrical and DEFA film, Der Verdacht, was released. The film is about a love story in East Germany in the 1970s, but was not very successful at the box office.

Since then Frank Beyer had only worked for television. He directed the romantic comedy Sie und Er and the comedy Das große Fest in 1992. The international co-production The Last U-Boat followed in 1993. In the same year he was the Head of the Jury at the 43rd Berlin International Film Festival. He adapted a story by Jurek Becker in 1995 in Wenn alle Deutschen schlafen and had a major popular and critical success with the Nikolaikirche in 1995. The film concentrated on the last years of East Germany and tells the story of a family that is torn between the protest movement and the Stasi. Another success was the film Der Hauptmann von Köpenick based on the play The Captain of Köpenick by Carl Zuckmayer. In 1998 he directed Abgehauen, a film about the circumstances of the deprivation of Wolf Biermann's citizenship and the departure of Manfred Krug from East Germany. His last project was a film based on the novel Anniversaries by Uwe Johnson. He had already developed the project and completed pre-production, but due to conflicts with the producers he was replaced with Margarethe von Trotta. Frank Beyer died after a long illness on 1 October 2006 at the age of 74 in Berlin. He was buried on the Dorotheenstädtischen Cemetery in Berlin.

Personal life
In 1956 Frank Beyer married a make-up artist he met at the theater in Altenburg. Their daughter Elke was already born in March 1955. In 1965 they were divorced. In January 1969 he married the actress Renate Blume. Their son Alexander was born in June 1969. They were divorced in spring 1975. Their son Alexander was adopted by Renate Blume's second husband, the singer and actor Dean Reed. Under his name Alexander Reed he became an actor, and had minor roles in two of his father's films, Der Hauptmann von Köpenick in 1997 and Abgehauen in 1998. In 1985 Frank Beyer married for a third time. The marriage to the television announcer Monika Unferferth was ended several years later. Until his death he lived together with the poet Karin Kiwus in Berlin.

Filmography
All titles directed and written by Frank Beyer unless stated otherwise. Source: DEFA Foundation. All films are in German language, some were made available with English subtitles but never dubbed in English. Exceptions are noted in the list.

title: Frank Beyer