text:
Wikipedia talk:WikiProject Dance

Coordinators' working group
Hi! I'd like to draw your attention to the new WikiProject coordinators' working group, an effort to bring both official and unofficial WikiProject coordinators together so that the projects can more easily develop consensus and collaborate. This group has been created after discussion regarding possible changes to the A-Class review system, and that may be one of the first things discussed by interested coordinators. All designated project coordinators are invited to join this working group. If your project hasn't formally designated any editors as coordinators, but you are someone who regularly deals with coordination tasks in the project, please feel free to join as well. — Delievered by §hepBot  ( Disable )  on behalf of the WikiProject coordinators' working group at 05:14, 28 February 2009 (UTC)

Help with Article on Dancer / Researcher Elizabeth Waterhouse
I am working since a while on this article about Draft :Elizabeth Waterhouse, and I am having trouble with this. Then I found the WikiProject Dance, and I wanted to reach out to you and ask if you could help. Thank you. See Draft talk:Elizabeth Waterhouse for details and current status. Harald Geisler (talk) 17:05, 31 January 2021 (UTC)

 * - I found & added book she authored "2022 — Processing Choreography: Thinking with William Forsythe's Duo" with cit. Do not know if that's enough for better notability. Also I used the Cite template as I'm not very good at references. JoeNMLC (talk) 19:29, 3 April 2022 (UTC)

Capitalisation of dance names
It seems clear from MOS:DANCECAPS that dance names are to be lowercased, but I want to double check before moving pages. There are a lot of dances at uppercase titles and that are uppercased in article text. (e.g. all of the ones in Template:Dance in India, some of Category:Dances of Japan, and the non-English words in List of Indonesian dances.) If you care please discuss this here. —  AjaxSmack 16:25, 3 April 2022 (UTC)

Italy vs Russian ballet
What are the notable differences in Italy and Russian ballet? Specifically technique and form.66.191.85.242 (talk) 19:34, 22 June 2022 (UTC)

Please help with new dance draft.
Draft:The Mayyas (dance troup) Thanx,  -  FlightTime  ( open channel ) 18:50, 17 September 2022 (UTC)

I added some templates to the talk page, the project rating still needs assessment by this project. - FlightTime  ( open channel ) 19:34, 17 September 2022 (UTC)
 * Unfortunately,, with two sentences, twenty-five words, and one source, I don't see how the article can be re-assessed higher than the current start/low grades at the present time. SnowRise let's rap 22:30, 17 September 2022 (UTC)

 * Well, I wasn't hopping for higher, I wanted correct, I guess I had and didn't know. Sorry for the bother. Thanx, -  FlightTime  ( open channel ) 23:12, 17 September 2022 (UTC)
 * No bother! I understand now; in truth, it might be worth evaluating the article at 'stub' rather than 'start' level, if anything, but other than that, I think it is appropriately calibrated where you have it. SnowRise let's rap 23:50, 17 September 2022 (UTC)
 * Actually, I wanted this Wiki project to know of it's existence. -  FlightTime  ( open channel ) 23:19, 17 September 2022 (UTC)
 * Fair enough! Very ingenuitive chreography, incidentally! SnowRise let's rap 23:50, 17 September 2022 (UTC)

Notable choreographer?
Hard to tell if Ihsan Rustem is notable, based on current used sources. Thoughts? Concerns? --- Another Believer ( Talk ) 21:08, 4 October 2022 (UTC)

Review of the article: Little Angels Children's Folk Ballet of Korea
Hello project staff. I did updated the article Little Angels Children's Folk Ballet of Korea. In the discussion there is an rating of the article as a Stub. This is no longer valid. Do someone from the project review articles and updating the ratings? Can someone give me a hint what else to improve? I still do plan rewrite the introduction, so it reflect all the content. Thanx in advance. --Dee (talk) 23:16, 10 October 2022 (UTC)

Another RfC on capitalization of all our articles
I thought this was a done deal back in this 2022 RFC but obviously not. A handful of editors did another rfc with no sports projects input at all. And it's being challenged because we just noticed it. This could affect almost every single tennis and Olympic article we have, and goodness know how many other sports. Some may have already been moved it you weren't watching the article. And not just the article titles will be affected but all the player bios that link to the articles. Sure the links would be piped to the right place if thousands of articles moved, but if the wording in a bio still said 2023 Wimbledon Championships – Men's singles or Swimming at the 2020 Summer Olympics – Men's 200 metre backstroke that would likely need to be changed by hand. There is also talk of removing the ndash completely.

Perhaps this is what sports projects want and perhaps not. Either way I certainly don't want projects ill-informed as the last RfC was handled. Express your thoughts at the following rfc. Fyunck(click) (talk) 20:49, 20 September 2023 (UTC)

Change of Status
There has been some activity in this WikiProject. Should the status be changed to at least semi-active? 23impartial (talk) 18:00, 29 September 2023 (UTC)

Avdotia Istomina
Her article is being proposed for addition to Vital articles - see Wikipedia_talk:Vital_articles/Level/5/Subpage_1 - and the description "the most celebrated Russian ballerina of the 19th century" (unsourced since the article's creation in 2005) has been challenged. Someone here might be interested? Pam D  09:00, 6 December 2023 (UTC)

Dmitri Shostakovich has an RfC
Dmitri Shostakovich has an RfC for possible consensus. A discussion is taking place. If you would like to participate in the discussion, you are invited to add your comments on the discussion page. Thank you. —CurryTime7-24 (talk) 19:00, 26 May 2024 (UTC)

title: Wikipedia talk:WikiProject Dance


text:
User talk:ScottyBoy900Q

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

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Robin Klein

Robin McMaugh Klein (born 28 February 1936) is an Australian author of books for children. She was born in Kempsey, New South Wales, Australia, and now resides near Melbourne.

Early life
Robin Klein is one of nine children. She had her first short story published at the age of 16. She worked in number of jobs before becoming an established writer, including tea lady at a warehouse, bookshop assistant, nurse, copper enamelist, and program aide at a school for disadvantaged children.In 1981, she was awarded a Literature Board grant for writing, and since then, she has published more than 20 books. She is the poet of the poem "Amanda!". Robin Klein was educated at Newcastle Girls' High School.

Career
Several of her books have been short-listed for the Children's Book Council of Australia (CBCA) Children's Book of the Year Award, including Hating Alison Ashley (also a film starring Delta Goodrem) and Halfway Across the Galaxy and Turn Left (filmed as a television series for the Seven Network in 1992). Klein's novel Came Back to Show You I Could Fly won a human rights award for literature in 1989 and also won the 1990 CBCA Children's Book of the Year Award: Older Readers. It was filmed as Say a Little Prayer in 1993.

Several of her other books have received awards in Australia, including the South Australian Festival Award for Literature, which she won in 1998 with The Listmaker. Many others, including Boss of the Pool, have also won or been short-listed. Robin Klein suffered an aneurysm rupture, and while she survived, since 2005, she has lived in a nursing home and is no longer able to write or do significant publicity work for her books.

Awards

 * Special mention – Critici in Erba Prize at Bologna for The Giraffe in Pepperell Street (1978)
 * Won – CBCA Children's Book of the Year Award: Younger Readers for Thing (1983)
 * Won – Human Rights Literature and Awards (1989)
 * Won – CBCA Children's Book of the Year Award: Older Readers for Came Back to Show You I Could Fly (1990)
 * Won – Canberra's Own Outstanding List: Fiction for Older Readers Award for People Might Hear You (1991)
 * Dromkeen Medal (1991)
 * Won – Canberra's Own Outstanding List: Fiction for Older Readers Award for Came Back to Show You I Could Fly (1992)

Collections

 * Ratbags and Rascals : Funny Stories (J.M. Dent, 1984), illustrated by Alison Lester
 * Snakes and Ladders : poems about the ups and downs of life (J.M. Dent, 1985), illustrated by Ann James
 * Tearaways (Viking, 1990, first published as Stories to Make You Think Twice)
 * All in the Blue Unclouded Weather (Viking, c1991)

Penny Pollard books
''illustrated by Ann James

 * 1) Penny Pollard's Diary (Oxford University Press, 1983)
 * 2) Penny Pollard's Letters (Oxford University Press, 1984)
 * 3) Penny Pollard in Print (Oxford University Press, 1986)
 * 4) Penny Pollard's Passport (Oxford University Press, 1988)
 * 5) Penny Pollard's Guide to Modern Manners (Oxford University Press, 1989)
 * 6) Penny Pollard's Scrapbook (Hodder Children's Books Australia, 1999)

Thing books

 * 1) Thing (Oxford University Press, 1982) illustrated by Alison Lester
 * 2) Thingnapped! (Oxford University Press, 1984)
 * 3) Thing Finds a Job (Hodder Headline, 1996), illustrated by Alison Lester
 * 4) Thing's Concert (Hodder Headline, 1996), illustrated by Alison Lester
 * 5) Thing's Birthday (Hodder Headline, 1996), illustrated by Alison Lester
 * 6) Thingitis (Hodder Headline, 1996), illustrated by Alison Lester

Miscellaneous

 * The Giraffe in Pepperell Street (Hodder and Stoughton, 1978), illustrated by Gill Tomblin
 * Junk Castle (Oxford University Press, 1983), illustrated by Rolf Heimann
 * People Might Hear You (Puffin Books, 1983)
 * Oodoolay  (Era Publications, c1983), illustrated by Vivienne Goodman
 * Brock and the Dragon (Hodder & Stoughton, 1984), illustrated by Rodney McRae
 * Hating Alison Ashley (Puffin Books, 1984)
 * Thalia, the Failure (Ashton Scholastic, 1984), illustrated by Rhyll Plant
 * The Enemies (Angus & Robertson, 1985), illustrated by Noela Young
 * Halfway Across the Galaxy and Turn Left (Viking Kestrel, 1985)
 * Serve Him Right! (Edward Arnold (Australia), 1985), illustrated by John Burge
 * You're on Your Own! (Edward Arnold, 1985)
 * Good For Something (Edward Arnold Australia, 1985)
 * Separate Places (Roo Books, 1985), illustrated by Astra Lacis
 * Games (Viking Kestrel, 1986), illustrated by Melissa Webb
 * Boss of the Pool (Omnibus in association with Penguin, 1986)
 * The Princess who Hated It (Omnibus Books, 1986), illustrated by Maire Smith
 * Robin Klein's Crookbook (Methuen Australia, 1987), illustrated by Kristen Hilliard
 * Don't Tell Lucy (Methuen Australia, 1987)
 * Birk, the Berserker (Omnibus Books, 1987), illustrated by Alison Lester
 * The Lonely Hearts Club (Oxford University Press, 1987), with Max Dann
 * I Shot an Arrow (Viking Kestrel, 1987), illustrated by Geoff Hocking
 * Christmas (Methuen, c1987), illustrated by Kristen Hilliard
 * Laurie Loved Me Best (Viking Kestrel, 1988)
 * Jane's Mansion (Shortland, 1988), illustrated by Melissa Webb
 * The Kidnapping of Clarissa Montgomery (Shortland, 1988), illustrated by Jane Wallace-Mitchell
 * Against the Odds (Puffin Books, 1989), illustrated by Bill Wood
 * Honoured Guest (Angus & Robertson, 1989)
 * Came Back to Show You I Could Fly (Viking Penguin, 1989)
 * The Ghost in Abigail Terrace (Omnibus Books, 1989), illustrated by Margaret Power
 * Boris and Borsch (Allen & Unwin, 1990), illustrated by Cathy Wilcox
 * Dresses of Red and Gold (Viking, 1992)
 * Amy's Bed (Omnibus Books, 1992), illustrated by Coral Tulloch
 * Seeing Things  (Penguin Books Australia, 1993)
 * Turn Right for Zyrgon (Puffin, 1994)
 * The Sky in Silver Lace (Penguin, 1995)
 * The Listmaker (Viking, 1997)
 * Barney's Blues (Puffin, 1998), illustrated by David Cox
 * The Goddess (Lothian, 1998), illustrated by Anne Spudvilas
 * Gabby's Fair (Omnibus Books, 1998), illustrated by Michael Johnson
 * Anything Happens
 * Tor Atar Gu (Abhishek Das Books)

Television

 * Thing
 * Penny Pollard's Diary
 * Halfway Across the Galaxy and Turn Left, adapted by Michael Harvey and John Reeves (1991–1992)

Stage

 * Hating Alison Ashley: The Play, adapted by Richard Tulloch
 * Boss of the Pool, adapted by Mary Morris

Film

 * Say a Little Prayer, based on Came Back to Show You I Could Fly, adapted and directed by Richard Lowenstein (1993)
 * Hating Alison Ashley, adapted for the screen by Chris Anastassiades and Christine Madafferi (2005)

title: Robin Klein


text:
Stare Miasto, Poznań

Stare Miasto is a part of the city of Poznań in western Poland. It was one of the five governmental districts (dzielnicas) into which the city was divided prior to 1990, and which are retained for certain administrative purposes. For details, see Administrative division of Poznań.

The Polish name Stare Miasto means "Old Town". In discussing subdivisions of Poznań, the name is ambiguous; it may refer to: In this article, Stare Miasto will have the first of the above meanings. For the osiedles contained within this district, see Administrative division of Poznań.
 * the whole area of the former dzielnica of Stare Miasto;
 * the osiedle called Stare Miasto, covering most of the city centre; or
 * the Poznań Old Town neighbourhood, covering only the area of the original walled city.

The district of Stare Miasto includes Poznań Old Town and most of the remainder of the city centre, as well as the northern part of the city, including the modern residential areas of Winogrady and Piątkowo, and the less densely populated northernmost neighbourhoods of Morasko and Radojewo. It has an area of 47.1 km2 and a population of 161,200, making it the most populous of the city's five districts.

Stare Miasto borders the districts of Nowe Miasto ("New Town") to the east (across the Warta river), Wilda to the south, and Jeżyce and Grunwald to the west. It is also bordered by the administrative districts (gminas) of Suchy Las to the north and Czerwonak across the Warta (though without any direct crossing) to the east.

Geography
The southern part of Stare Miasto district is occupied by Poznań's city centre – the Old Town itself (centred on Stary Rynek, the Old Market Square, with the Old Town Hall or Ratusz), the main street Święty Marcin (St. Martin), the old district of Chwaliszewo next to the river, the oldest buildings of Adam Mickiewicz University, and numerous other historic and modern buildings. North of the centre is the Cytadela (citadel), formerly a fortified area, now an extensive park containing a military museum and a number of cultural exhibits, and with military cemeteries (including Commonwealth and Soviet cemeteries) on its southern edge.

North of the Cytadela is the old district of Winogrady, which contains mainly houses, and then the newer Winogrady estates, consisting largely of pre-fabricated concrete panel apartment blocks. North of these are the estates of Piątkowo, built in similar style. Piątkowo is also the site of the city's main television tower.

East of Winogrady, close to the river, is the neighbourhood of Szeląg, and north of this the housing estate of Wilczy Młyn. North of this is the Naramowice neighbourhood, and then Umultowo. West of Umultowo is the estate called Osiedle Różany Potok, named after Różany Potok or Strumień Różany ("Rose Stream") which flows eastwards towards the Warta, also giving its name to the small neighbourhood of Różany Młyn ("Rose Mill"). North of Umultowo are two small neighbourhoods called Nowa Wieś Górna and Nowa Wieś Dolna ("Upper New Village" and "Lower New Village"), and then Radojewo, which has a palace and park complex and nature reserve. The main road continues northwards from there towards Biedrusko, passing through the adjacent military area.

Further west, north of Piątkowo, is a wide, mainly open area called Morasko (part of Poznań since 1987). The former village of Morasko itself is close to the city's northern boundary, and contains a palace used chiefly as a convent. West of this is a nature reserve around a series of supposed meteorite craters. This reserve also contains Poznań's highest point, the hill known as Góra Moraska, with an altitude of 154 m. The wider area of Morasko also includes the neighbourhood called Huby Moraskie, as well as the complex of buildings of Adam Mickiewicz University located just north-east of Piątkowo, used mainly for natural science teaching.

Stare Miasto contains quite extensive areas of forest, including in the area between Piątkowo and Naramowice, along the river from Naramowice northwards, and in the area of the Morasko reserve.

Poznań's fast tram line, Poznański Szybki Tramwaj (popularly known as Pestka), runs from west of the city centre, initially as an elevated line, and then in a cutting passing through Winogrady and Piątkowo to the terminus and bus station at Osiedle Sobieskiego on the northern edge of Piątkowo. There are also older tram lines serving the southern and eastern parts of Winogrady. The main railway line running east from Poznań passes through Stare Miasto, with a station called Poznań Garbary just south of the Cytadela. There is also a relief line passing through the district further north, used for freight transportation.

History
The Old Town neighbourhood – the medieval walled city – constituted the city of Poznań from its founding in 1253 until 1797, when (under Prussian rule) the city's borders were extended to take in areas to the west – the settlements of St. Martin (Święty Marcin) and St. Adalbert (Święty Wojciech). Chwaliszewo was among the areas added in the eastward expansion of 1800. During the first half of the 19th century the old city walls were taken down and the new western areas of the city (forming most of the modern city centre) were developed.

The fortifications on the Cytadela ("Fort Winiary") were built between 1828 and 1842. This was part of the overall Festung Posen system of fortifications built around the city from the 1830s onwards. The left-bank fortifications all lay within today's Stare Miasto district, following roughly the line of Al. Niepodległości and ''ul. Krakowska''. In the later 19th century an outer ring of forts was built, of which Forts IVa, V and Va now lie within Stare Miasto district.

The next northward expansion of the city's boundaries occurred in 1925, when the Cytadela and the area of Winogrady were incorporated into the city. Naramowice was added under Nazi occupation in the 1940s, and Piątkowo in 1974, leading to the extensive residential development of that neighbourhood (which was already underway in Winogrady). The most northerly parts of Poznań (Morasko, Radojewo, Umultowo, Nowa Wieś Górna, Nowa Wieś Dolna) were brought within the city boundaries in 1987.

title: Stare Miasto, Poznań


text:
Nowe Miasto, Poznań

Nowe Miasto ("New Town") is a part of the city of Poznań in western Poland. It was one of the five governmental districts (dzielnicas) into which the city was divided prior to 1990, and which are retained for certain administrative purposes. For details (and for the current governmental division of the district into osiedles), see Administrative division of Poznań.

Nowe Miasto consists of those parts of the city which lie on the right (east) bank of the Warta river. It includes the island of Ostrów Tumski, which lies between the two channels of the river and on which the city's cathedral stands. Nowe Miasto includes some of the most historical parts of the city (Śródka, Komandoria) as well as the extensive modern residential areas of Rataje.

The district covers an area of 105.1 km2 and has a population of 141,424 (at 30 June 2008).

Nowe Miasto borders the districts of Stare Miasto ("Old Town") and Wilda to the west. It is also bordered by the administrative districts (gminas) of Czerwonak to the north, Swarzędz to the north-east, Kleszczewo to the east, and Kórnik to the south-east.

History
Although settlements on Ostrów Tumski and on the neighbouring east bank of the Warta were established before the end of the 1st millennium, they did not become part of the city of Poznań until after the Partitions of Poland. It was in 1800, under Prussian rule, that the ecclesiastical possession of Ostrów Tumski, including Chwaliszewo (a town in its own right since the 15th century), and the east-bank towns of Śródka, Ostrówek (a part of the Śródka district, but a town in its own right) and Łacina (or St. Roch; to the south of Śródka), were incorporated into the city of Poznań. In 1896 the small neighbourhoods of Piotrowo and Berdychowo became part of the city.

The next major expansion of the city boundaries on the east side was in 1925, when they took in Komandoria, Główna, Rataje (the western part of the area of today's Rataje estates), and Starołęka Mała (the northern part of Starołęka). Most of the remainder of today's Nowe Miasto district was incorporated into the city in the expansion carried out under Nazi occupation in 1940–1942. German names used at that time for districts in the east of the city included Oststadt (Główna), Heinrichstadt (Śródka, Komandoria and areas to the east), Seehof (Antonin), Johannistal (Rataje), Gutenbrunn (Kobylepole), Bamberg (Żegrze, the southern part of today's Rataje), and Luisenhain (Starołęka).

The Janikowo neighbourhood (part of the village of Janikowo) was brought within the city boundaries in 1987.

Geography
The Cybina river flows through Nowe Miasto, from Swarzędz, to its confluence with the right branch of the Warta in the Ostrów Tumski region. Close to the confluence it broadens into the artificial Lake Malta, which is a popular leisure and water sports venue. There is also a series of smaller lakes further upstream. Ostrów Tumski, an island between the two branches of the Warta (of which the right one is also called Cybina), is also part of Nowe Miasto; it contains Poznań's cathedral as well as other ecclesiastical buildings, and industrial sites to the north of these.

South of Malta are the housing estates of Rataje, one of Poznań's largest modern residential districts, consisting mainly of prefabricated concrete panel blocks, of which the first was completed in 1967. South of Rataje is an industrial area, and then the district of Starołęka, including the smaller neighbourhoods of Minikowo and Marlewo. The most southerly neighbourhoods in Nowe Miasto (and in the city as a whole) are Głuszyna, Piotrowo and Sypniewo. To the east of Starołęka are Krzesiny and Szczepankowo, and the smaller neighbourhoods of Garaszewo, Krzesinki, Huby, Pokrzywno, Spławie and Michałowo. Krzesiny military airport (31st Air Base) is situated between Krzesiny and Głuszyna.

Between Szczepankowo and Rataje is Franowo, which is the site of a major retail park. East of Rataje are Kobylepole and Darzybór, and north of those, on the Cybina, is Nowy Młyn ("New Mill"). Poznań's main zoo is situated in this area. North of this is Antoninek, to the north and east of which are Antonin, Główieniec and Zieliniec, bordering the area of forest which adjoins Swarzędz Lake (Jezioro Swarzędzkie) in the neighbouring town of Swarzędz. Główieniec is also the site of a Volkswagen factory.

A large area to the north of Antoninek is occupied by the Miłostowo cemetery, one of the two main city cemeteries (the other is at Junikowo in Grunwald district). West of Antoninek and north of Lake Malta is a residential estate called Osiedle Warszawskie; further west are the old districts of Komandoria – where the ancient Church of St. John of Jerusalem Outside the Walls stands – and Śródka. North of these is the district of Główna (including Zawady and Nadolnik), which contains a number of industrial sites and older residential quarters. A stream, also called Główna, runs through this region westwards to join the Warta. At the extreme north of Nowe Miasto is the Karolin power and heat cogeneration plant, east of which is the neighbourhood of Janikowo (which is partly a separate village outside the city).

South of Śródka is the main campus of Poznań University of Technology (Politechnika Poznańska).

title: Nowe Miasto, Poznań


text:
Jeżyce, Poznań

Jeżyce is a part of the city of Poznań in western Poland. It was one of the five governmental districts (dzielnicas) into which the city was divided prior to 1990, and which are retained for certain administrative purposes. For details, see Administrative division of Poznań.

The name Jeżyce more popularly refers to a much narrower area – the old neighbourhood (and former village) of Jeżyce, centred on the Rynek Jeżycki market. This forms the south-eastern part of the wider district of Jeżyce discussed in this article. For the osiedles contained within this district – including one called Jeżyce, which closely corresponds to the old neighbourhood – see Administrative division of Poznań.

The district of Jeżyce covers the north-western part of Poznań, with an area of 57.9 km2, 22% of the city's total area. Its population of 81,300 accounts for 14.2% of the city's total. Its population density is 1,404 persons/km2.

Jeżyce is bounded by the districts of Stare Miasto to the east and Grunwald to the south. It also borders the administrative districts (gminas) of Suchy Las to the north, Rokietnica and Tarnowo Podgórne to the north-west, and Dopiewo to the west.

Geography
The boundary between Jeżyce and Stare Miasto was marked by the streets Obornicka (the main road leading north towards Oborniki), Lechicka, Piątkowska, Księcia Mieszka I, Pułaskiego and Roosevelta. The boundary with Grunwald is marked by Bukowska, the road leading from the city centre to the airport, and onwards towards Buk.

The old district of Jeżyce is a residential and commercial quarter somewhat west of the city centre. Its main street is ulica Dąbrowskiego, and it includes the large open-air market called Rynek Jeżycki ("Jeżyce Market"). Close by on Dąbrowskiego are the "New Theatre" (Teatr Nowy) and the Rialto cinema.

From old Jeżyce, Dąbrowskiego continues to become the main westerly route out of northern Poznań. It passes through the neighbourhoods of Ogrody (meaning "gardens" – the city's botanic gardens are situated there), Wola, Smochowice, Sytkowo and Krzyżowniki. To the south, between the streets Dąbrowskiego and Bukowska, is Poznań Ławica Airport.

Much of Jeżyce consists of a belt of green land along the Bogdanka stream, which flows through the district from the north-west. It forms a number of lakes, of which the two largest are Strzeszyn Lake (Jezioro Strzeszyńskie) and Lake Rusałka, both popular bathing spots. From Rusałka the Bogdanka continues (partly underground) to Sołacz Park (Park Sołacki), through Urbanowo, and then onwards underground to join the Warta.

North of old Jeżyce is Sołacz, an area with many large houses and the green areas of Sołacz Park. Smaller neighbourhoods in this area include Niestachów, Urbanowo, Wierzbak (a stream called Wierzbak runs underground here, beneath the street Nad Wierzbakiem – "Over the Wierzbak" – to meet the Bogdanka), and Bonin. North of Sołacz is the area known as Winiary. Historically the villages of Winiary were in the area of today's Cytadela and southern Winogrady in Stare Miasto district (the names Winiary and Winogrady derive from the vine cultivation that formerly occurred there) – in the 1830s, because of the Prussian authorities' plans to build fortifications there, the inhabitants were moved to the area now called Winiary.

Between Sołacz and Rusałka lake is the Golęcin area, with the Olimpia complex of sports facilities (including a tennis venue and motorcycle speedway track), and an army training college to the north. North of these areas are the main voivodeship hospital and a Home Ministry hospital, an industrial area, and then the residential districts of Podolany. West of this is the developing neighbourhood of Strzeszyn, and to the north-west the holiday and leisure complex of Strzeszynek next to Strzeszyn Lake.

In the north-western corner of Jeżyce is Poznań's largest lake, Jezioro Kierskie (Kiekrz Lake), used especially for sailing. North of the lake is the neighbourhood of Kiekrz (partly forming a village outside the city limits). To the east of Kiekrz is a neighbourhood called Psarskie, and to the south-west, on the western side of the lake, is Wielkie, the site of a former State Agricultural Farm.

Other sites of interest in Jeżyce include Poznań's Old Zoo close to the city centre (from which many animals have now been moved to the New Zoo in Nowe Miasto), the tram station on ul. Gajowa, the Church of the Sacred Heart of Jesus and Saint Florian (in old Jeżyce on Koscielna Street), the Wola horse racing track, and the Tor Poznań motor racing track west of the airport.

Trams run through old Jeżyce to Ogrody, and through Sołacz to Winiary. The railway line running north-west from central Poznań passes north of old Jeżyce, dividing into two branches – the line to Piła, which has a station called Poznań Streszyn between Podolany and Strzeszyn, and the more westerly line to Szczecin, which has the stations Poznań Wola and Poznań Kiekrz. Part of Poznań's northern relief line, used for freight transportation, also passes through the district, joining the Szczecin line close to Kiekrz.

History
The old neighbourhood of Jeżyce was a separate village until the expansion of the city's boundaries in 1900 (when the region was still under Prussian rule). Sołacz was added in 1907. Golęcin and south-eastern Podolany became part of the city in 1933, during the Second Polish Republic. Most of the remainder of the district, including Ławica and Strzeszyn, was incorporated into the city during the expansions carried out under Nazi occupation in 1940–1942. Names used for parts of the district under German occupation include Jersitz (Jeżyce), Golnau (Golęcin), Sedan (Strzeszynek) and Steineck (Ławica).

Kiekrz Lake, together with the neighbourhoods of Kiekrz and Wielkie on its northern edge, were brought within Poznań's city boundaries in 1987.

In culture
Jeżyce gave its name to the popular book series by Małgorzata Musierowicz, Jeżycjada. The term was coined by professor Zbigniew Raszewski, himself a series' fan, as a tribute to the Homer's Iliad (Iliada in Polish). The main characters of the series - Borejko family - live in tenement no. 5 on Roosevelt's Street in said district. While the characters are fictional, most of the places in the books are real (not excluding the tenement, which is often visited by the books' fans).

title: Jeżyce, Poznań


text:
Grunwald, Poznań

Grunwald is a part of the city of Poznań in western Poland. It was one of the five governmental districts (dzielnica) into which the city was divided prior to 1990, and which are retained for certain administrative purposes (see Administrative division of Poznań).

The name "Grunwald" comes from the name of the street ulica Grunwaldzka, which had been so named in 1919 in commemoration of the Battle of Grunwald. A neighbourhood located in the vicinity of that street came to be known as Grunwald, and that name was transferred to the entire dzielnica, covering the south-western parts of the city, on its creation in 1954. The name continues to be popularly used to refer specifically to the original neighbourhood, as reflected in the names of three of the osiedles into which Poznań is now divided: Stary Grunwald ("Old Grunwald"), Grunwald Północ ("Grunwald North") and Grunwald Południe ("Grunwald South"). For other osiedles contained within the wider district, see Administrative division of Poznań.

Grunwald has an area of 36.2 km2, which is 13.8% of the total area of Poznań. Its population of 125,500 accounts for 21.9% of the city's total. The population density is 3,467 persons/km².

Grunwald is bounded by the districts of Wilda and Stare Miasto to the east, and Jeżyce to the north. It is also bordered by the town of Luboń to the south, and the administrative districts (gminas) of Dopiewo to the west and Komorniki to the south-west.

Geography
The boundary between Grunwald and Jeżyce is marked by the street ulica Bukowska, which runs from the city centre to Poznań Ławica Airport (and onwards towards Buk). Grunwald's eastern boundary largely coincides with the railway line running south and then west from Poznań's main station (Poznań Główny).

At the north-east corner of Grunwald is the Poznań International Fairs site. South of this is the western entrance to Poznań Główny station, and then an industrial area adjacent to the railway. Leading south-west from the station is the main street ulica Głogowska, which runs past Park Wilsona – a park named for U.S. President Woodrow Wilson, containing a band shell and Poznań's Palm House (Palmiarnia). Głogowska then passes through the old district of Łazarz (with its open-air market, Rynek Łazarski), crosses the western branch of the railway at Górczyn, meets the A2 motorway at the Komorniki junction at the southern edge of the city, and continues towards Wrocław. Another main radial route is ulica Grunwaldzka, which passes through Grunwald's main residential areas, including Ostroróg in the north of the district, the modern osiedle Kopernika ("Copernicus estate"), and Junikowo and Plewiska in the south-west. Junikowo is the site of one of Poznań's two main cemeteries (the other being at Miłostowo in Nowe Miasto). Close to Grunwaldzka's junction with ulica Bułgarska is the city's main football stadium (Stadion Miejski), home ground of Lech Poznań and a Euro 2012 group C venue.

North of Junikowo is an extensive green area, including the Marcelin Woods (Lasek Marceliński). North of this are the neighbourhoods of Marcelin, Pogodno, Edwardowo, Wydmy and Ławica (which gives its name to Poznań Ławica Airport, situated just to the north in Jeżyce district).

Other neighbourhoods within Grunwald include Skórzewo to the north-west of Junikowo cemetery (adjoining a village outside the city boundary also called Skórzewo), Raszyn between Górczyn and Osiedle Kopernika, Zatorze to the east of Górczyn, and the mainly industrial Rudnicze and Kopanina south of Junikowo. Beginning between Rudnicze and Kopanina and running south is a series of small lakes, and the Junikowo Stream (Strumień Junikowski) also flows through this region, eventually reaching the Warta river in Luboń.

In the extreme south-west of Grunwald are the neighbourhoods of Fabianowo and Kotowo, and an Auchan retail park close to the A2 junction.

The areas in the heart of Grunwald, east of Łazarz, formerly contained extensive military barracks, originally built under German rule in the late 19th century to house the troops building and manning the city's defensive forts (see Poznań Fortress). These areas are now mainly residential. Also in this area is Jan Kasprowicz Park, which contains the Arena indoor sports and concert venue, as well as other sports grounds.

The branch of the railway running west towards Berlin passes through southern Grunwald, where the stations Poznań Górczyn and Poznań Junikowo are situated. Górczyn and Junikowo are also termini for trams running along Głogowska and Grunwaldzka to the city centre; Górczyn is also a bus terminus.

History
Of the neighbourhoods in today's Grunwald district, the first to be brought within the city of Poznań were Łazarz and Górczyn, in the expansion of the city boundaries which took place in 1900 (when Poznań was part of the German Empire). Most of the remainder of the district was incorporated into the city in 1940–1942, during the Nazi occupation. At this time the neighbourhoods were given German names, including Hermannstadt for Łazarz, Lenzingen for Junikowo and Steineck for Ławica.

The neighbourhood of Plewiska was brought within the city boundaries in 1987 (with part remaining outside the city as a separate village).

One historic building is the Evangelical-Augsburg Chapel, Poznań.

title: Grunwald, Poznań


text:
Wilda, Poznań

Wilda (German Wilda or Wilde) is a southern part of the city of Poznań in western Poland. It was the smallest of the five governmental districts (dzielnicas) into which the city was divided prior to 1990, and which are retained for certain administrative purposes. For details, see Administrative division of Poznań.

The name Wilda more popularly refers to a narrower area – the old neighbourhood (and former village) of Wilda, centred on the Rynek Wildecki market. This forms the northern part of the wider district of Wilda discussed in this article, and closely corresponds to the osiedle named Wilda in the new administrative division of Poznań. The wider district of Wilda also contains two other osiedles: Zielony Dębiec ("Green Dębiec") and Świerczewo.

The district of Wilda has an area of 15 km2, which is 5.8% of the total area of Poznań. Its population of 63,800 accounts for 11.1% of the city's total. The population density is 4,253 persons/km2

Wilda is bounded by the districts of Stare Miasto ("Old Town") to the north, Grunwald to the west, and Nowe Miasto ("New Town") across the Warta river to the east. It is also bordered by the town of Luboń to the south.

Geography
Poznań's main rail station, Poznań Główny, is located in Wilda's north-west corner, with the central PKS coach station slightly to the east. Also in the north of Wilda is Poznań's College of Physical Education (AWF), a stadium and a number of sports facilities. South of the station is the ZNTK rail vehicle repair and manufacturing plant, and further south still is the Cegielski factory.

The old neighbourhood of Wilda lies to the east of the ZNTK plant. Its central point is Rynek Wildecki (Wilda Market Place), which contains an open-air market. The former Wilda cinema to the north of this (built 1962) has been closed since 2006, but there is now a Multikino multiplex cinema ("Multikino 51", opened 1998) located at the district's northern edge.

A belt of green land runs along the Warta river on the district's eastern edge. To the south, this includes the Dębina park complex and water intake facility.

To the west of Dębina is the residential district of Dębiec, and west of this is Świerczewo.

History
Parts of the district along the left bank of the Warta became part of Poznań at the end of the 18th century, when the city's Prussian rulers expanded its boundaries beyond the line of the medieval city walls. However the old district of Wilda did not become part of the city until the subsequent expansion of the boundaries in 1900. The Cegielski company (which had previously operated in other parts of Poznań) acquired its present site in the south of Wilda in 1919–1920, following the return to Polish rule.

Dębiec was incorporated into Poznań in the expansion of 1925 (during the time of the Second Polish Republic), and Świerczewo was added in the expansion of 1940–1942 carried out under Nazi occupation.

Transport
The railway line running south from the main station (initially along Wilda's western edge) splits into three branches south of the Cegielski plant: one runs west towards Berlin, one south towards Wrocław, and one south-east towards Katowice. There are two smaller stations in Wilda: Poznań Dębiec on the southern branch, and Poznań Dębina on the eastern branch.

Trams run through Wilda from the city centre, terminating at Dębiec, which is also served by a number of bus routes.

Junction 10 of the A2 motorway (the Poznań Luboń junction) is situated south-west of the water intake, providing access to Wilda and central Poznań to the north, and Luboń to the south.

Notable residents

 * Germaine Krull (1897–1985), artist

title: Wilda, Poznań


text: Category:Noodles

title: Category:Noodles


text:
I8

I8 or I-8 may refer to:

 * Interstate 8, a highway in the southwestern United States
 * Interstate 8 (EP), an extended play by Modest Mouse
 * Resistance: Fall of Man, a video game originally known as I-8
 * Straight-eight engine, an uncommon internal combustion engine
 * JAPANESE SUBMARINE I-8, a submarine of the Imperial Japanese Navy
 * BMW i8, a plug-in hybrid sports car
 * Uppland Regiment, a Swedish Army infantry regiment disbanded in 1957
 * , a name for the 8-bit signed integer, especially in Rust

title: I8


text:
SMF

SMF may refer to:

Organizations

 * Sanjukta Mukti Fouj, a military wing of ULFA, Assam
 * Sankat Mochan Foundation, an Indian environmentalist organization
 * Santa Maria da Feira Municipality, Portugal
 * Scottish Miners' Federation, former trade union
 * Senckenberg Museum, Frankfurt collections code
 * ShadowMachine Films, Los Angeles, California, US
 * Smart & Final (New York Stock Exchange ticker symbol), food stores
 * Social Market Foundation, Westminster, London, UK
 * Société Mathématique de France (Mathematical Society of France)
 * Société mycologique de France, (Mycological Society of France)
 * Somaly Mam Foundation, for ending sex slavery
 * Special Mobile Force of the Mauritius Police Force
 * Svenska Musikerförbundet, the Swedish Musicians' Union

Science and technology

 * 5-Sulfoxymethylfurfural, a metabolite of hydroxymethylfurfural
 * Service Management Facility, a component of Solaris
 * Simple Machines Forum, a web-based forum software
 * Single-mode optical fibre, in fibre-optic communication
 * Site Master File, a key pharmaceutical manufacturing operations document
 * Standard MIDI File, a music file format
 * Synthetic mineral fibre, see Mineral wool
 * System Management Facilities, a component of z/OS

Music

 * Sick Mother Fakers, a punk hardcore band from Belgrade, Serbia
 * Stone Metal Fire, a heavy metal band from Bangkok, Thailand

Other uses

 * Sacramento International Airport (IATA airport code), outside Sacramento, California, US
 * Sua Majestade Fidelíssima, for His/Her Most Faithful Majesty, the Monarch of Portugal's style

title: SMF


text:
User talk:Phoenixdreaming

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

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title: User talk:Phoenixdreaming


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User talk:Rroddy

Hi,

I'm a small-timer here, tipping away when I can, mostly contribution to Irish topics, where appropriate.

Ruairi

rroddy 19:29, 13 Sep 2004 (UTC)

Céad Míle Fáilte
Great to see another Irish Wikipedian here. We have a notice board for people interested in Irish topics at Irish wikipedians' notice board. Generally issues affecting Irish Wikipedians are discussed on the talk page of that notice board. Hope you enjoy your time editing here!

zoney ♣ talk 16:38, 21 Oct 2004 (UTC)

title: User talk:Rroddy


text:
Spider (2002 film)

Spider is a 2002 psychological thriller film produced and directed by David Cronenberg and based on the 1990 novel of the same name by Patrick McGrath, who also wrote the screenplay.

The film premiered at the 2002 Cannes Film Festival and enjoyed some media buzz; however, it was released in only a few cinemas at the year's end by distributor Sony Pictures Classics. Nonetheless, the film enjoyed much acclaim by critics and especially by Cronenberg enthusiasts. The film garnered a Best Director Award at the Canadian Genie Awards. The stars of the film, Ralph Fiennes and particularly Miranda Richardson, received several awards for their work in the film.

Plot
Dennis Cleg is a schizophrenic man who has just been released from a mental institution. Known as "Spider", he is given a room in a halfway house catering to mentally disturbed people which is run by unrelenting landlady Mrs. Wilkinson. While in his new abode, Spider starts piecing together his memory of an apparently fateful childhood event.

Roaming the nearby derelict urban area and the local canal, Spider starts to relive a period of his childhood in 1950s London with his mother Mrs. Cleg and unfaithful father Bill. Here, Spider witnesses Bill murder his mother by hitting her on the head with a spade with the passive support of his mistress, a prostitute named Yvonne. Much to Spider's horror, she moves into the house and is presented as his "mother".

Now grown up, Spider begins seeing Mrs. Wilkinson turn into Yvonne. He responds by using strands of yarn to form a web-like construction in his room, and steals Wilkinson's keys to gain access to different rooms.

Meanwhile, Spider begins to relive a memory from childhood where he kills Yvonne by using a similar web-like pulley mechanism to turn on the gas in the kitchen. However, it appears to show Mrs. Cleg lying dead instead, implying it really was his mother all along, and Yvonne was actually a delusion.

Spider comes to this realization when he sneaks late one night into Mrs. Wilkinson's room, still seeing her alternatively as the mistress, and appears ready to kill her, but backs away after she turns back to normal. He is then taken back to the asylum after she reports him.

Production
During a Q&A session at the Kodak Lecture Series in May 2005, Cronenberg revealed that neither he, Fiennes, Richardson, nor the producers received any sort of salary during the shooting of the film. All chose to waive their salaries, so the money could be used to bankroll the under-funded production.

Release
The film premiered at the 2002 Cannes Film Festival.

Critical response
Review aggregation website Rotten Tomatoes gives the film a score of based on reviews from  critics. The site's critical consensus reads, "Ralph Fiennes is brilliant in this accomplished and haunting David Cronenberg film." On Metacritic, the film had an average score of 83 out of 100, based on 35 reviews.

Roger Ebert gave the film 3/4 stars, writing, "The details of the film and of the performances are meticulously realized; there is a reward in seeing artists working so well. But the story has no entry or exit, and is cold, sad and hopeless. Afterward, I feel more admiration than gratitude." Nev Pierce from the BBC awarded the film 3/5 stars, calling it "dour, thoughtful, and oppressive". Stephen Holden from New York Times praised the film, calling it "as harrowing a portrait of one man's tormented isolation as the commercial cinema has produced." Peter Travers of Rolling Stone awarded the film 3.5 out of 4 stars, writing, "What catches us in Spider‘s web — besides the indelible performances of Fiennes and Richardson — is the director’s sympathy with this freak man-child who struggles to order his confused memories into a kind of truth. That’s what makes Cronenberg a world-class provocateur: His movie gets under your skin." Peter Bradshaw of The Guardian rated the film 4/5 stars, calling it "an intensely controlled, beautifully designed and fascinatingly acted account of Patrick McGrath's original novel". Mike Clark from USA Today awarded the film 3/4 stars, commending the film's direction, cinematography, and performances, while also stating that it was not particularly "sizzling" as in his previous films The Fly and eXistenZ.

Awards
The film won a Genie Award for Best Director; the TIFF award for Best Canadian Feature; and the TFCA award for Best Canadian Film. In addition, the film won the Georges Delerue Award for Best Soundtrack/Sound Design at Film Fest Gent in 2002.

It was mentioned in the 2002 Sight & Sound poll by Amy Taubin, who ranked it at 10th.

title: Spider (2002 film)


text:
User talk:Snow steed~enwiki

Hi! Welcome to Wikipedia. Regarding your change on Liancourt Rocks from South Korean Administration to Control, I remind you: please explain why you made such a revert in your edit summary or Talk:Liancourt Rock! If you read my rather lengthy post on Talk:Liancourt Rocks, you'll see I posted all the facts and sources for my claim. To abide by the 3 Revert Rule, I will not revert your revert at this time, but please take note that before making any changes to the article, explain why you are making such a change to us fellow wikipedians. Thank you! Deiaemeth 04:56, 2 February 2006 (UTC)

Your account will be renamed
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ArbCom elections are now open!
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title: User talk:Snow steed~enwiki


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User talk:Ahatvani

Hello and welcome to Wikipedia! Hope you like it here, and stick around.

Here are some tips to help you get started:

 * To sign your posts (on talk pages, for example) use the '~' symbol. To insert just your name, type ~~~ (3 tildes), or, to insert your name and timestamp, use ~~~~ (4 tildes).
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title: User talk:Ahatvani


text:
Rudolph Cartier

Rudolph Cartier (born Rudolph Kacser, renamed himself in Germany to Rudolph Katscher; 17 April 1904 – 7 June 1994) was an Austrian television director, filmmaker, screenwriter and producer who worked predominantly in British television, exclusively for the BBC. He is best known for his 1950s collaborations with screenwriter Nigel Kneale, most notably the Quatermass serials and their 1954 adaptation of George Orwell's dystopian novel Nineteen Eighty-Four.

After studying architecture and then drama, Cartier began his career as a screenwriter and then film director in Berlin, working for UFA Studios. After a brief spell in the United States he moved to the United Kingdom in 1935. Initially failing to gain a foothold in the British film industry, he began working for BBC Television in the late 1930s (among other productions he was involved in the making of Rehearsal for a Drama, BBC 1939). The outbreak of war, however, meant that his contract was terminated; his television play The Dead Eye was stopped in the production stage. After the war, he occasionally worked for British films before he was again hired by the BBC in 1952. He soon became one of the public service broadcaster's leading directors and went on to produce and direct over 120 productions in the next 24 years, ending his television career with the play Loyalties in 1976.

Active in both dramatic programming and opera, Cartier won the equivalent of a BAFTA in 1957 for his work in the former, and one of his operatic productions was given an award at the 1962 Salzburg Festival. The British Film Institute's "Screenonline" website describes him as "a true pioneer of television", while the critic Peter Black once wrote that: "Nobody was within a mile of Rudolph Cartier in the trick of making a picture on a TV screen seem as wide and as deep as CinemaScope."

Early life and career
Born in Vienna, Austria-Hungary (now Austria), Cartier initially studied to become an architect, before changing career paths and enrolling to study drama at the Vienna Academy of Music and Dramatic Art. There he was taught by Max Reinhardt, who proved a major influence on Cartier. Reinhardt thought of a script as being similar to a musical score, which should be interpreted by a director in the same way as a musician interpreting a piece of music—an approach with which Cartier agreed.

Cartier became involved in the film industry in 1929, when he successfully submitted a script to a company based in Berlin, Germany. He then became a staff scriptwriter for UFA Studios, the primary German film company of the era, for which he worked on crime films and thrillers. While at UFA, he worked with noted writers, directors and producers including Ewald André Dupont and Erich Pommer. In 1933 he became a film director, overseeing the thriller Invisible Opponent for producer Sam Spiegel.

The same year as Invisible Opponent was released, the Nazis came to power in Germany, and the Jewish Cartier left the country. Several members of Cartier's family who had remained in Europe, including his mother, were murdered in the Holocaust. Encouraged by a UFA colleague, Billy Wilder, to come to Hollywood, Cartier changed his surname and moved to the United States. However, unlike Wilder, Cartier did not find success in America, and in 1935 he moved again, to the United Kingdom.

Little further is recorded of Cartier's career until after the Second World War, when he began writing storylines for several minor British films. He also worked as a film producer, overseeing a 1951 short film adaptation of the Sherlock Holmes story The Man with the Twisted Lip. Cartier returned for a time to the United States, where he studied production methods in the new medium of television.

In 1952, Michael Barry, with whom Cartier had worked on an aborted project in 1948, became the new Head of Drama at BBC Television and interviewed Cartier for a post as a staff television producer in the drama department, a job which also involved directing. At his interview, Cartier told Barry that he thought his department's output was "dreadful", and that television drama needed "new scripts and a new approach". In a 1990 interview about his career, he told BBC Two's The Late Show that the BBC drama department had "needed me like water in the desert". Barry shared many of Cartier's views on the need to improve television drama, and he hired him for the producer's job.

BBC television
Cartier's first BBC television production was a play entitled Arrow to the Heart, transmitted on the evening of 20 July 1952. It was initially adapted by Cartier from Albrecht Goes' novel Unruhige Nacht, but Barry felt that the dialogue was "too Germanic" and assigned drama department staff scriptwriter Nigel Kneale to edit the script. Arrow to the Heart was the first of many collaborations between the pair, who enjoyed during the next few years a highly productive working relationship, despite profound creative disagreements on occasion. Cartier and Kneale were an important presence in the British television drama of the era and were, according to television historian Lez Cooke, "responsible for introducing a completely new dimension to television drama in the early to mid-1950s".

Collaborations with Nigel Kneale
Cartier and Kneale's first major production was the six-part serial The Quatermass Experiment, broadcast in the summer of 1953. A science-fiction story, it relates the sending of the first humans into space by Professor Bernard Quatermass and the consequences when an alien presence invades the crew's rocket during its flight and returns to Earth in the body of the one remaining crewmember, having absorbed the consciousnesses and shredded the bodies of the other two. A critical and popular success, The Quatermass Experiment has been described by the British Film Institute's Screenonline website as "one of the most influential series of the 1950s". Cartier's contribution to the serial's success was highlighted in his 1994 obituary in The Times newspaper, which also called the serial "a landmark in British television drama as much for its visual imagination as for its ability to shock and disturb".

The success of The Quatermass Experiment led to two sequels, Quatermass II (1955) and Quatermass and the Pit (1958–59), both produced and directed by Cartier and written by Kneale. Both were successful and critically acclaimed, and Cartier's production work on them became increasingly ambitious. For Quatermass II, he pre-filmed a significant amount of material on location, using 35 mm film, opening the drama out from a confined studio setting with the most ambitious location shooting yet attempted in British television. Cartier, with his previous experience as a film director, particularly enjoyed working on these cinema-style filmed scenes.

The appeal of the Quatermass serials has been attributed by the Museum of Broadcast Communications to the depiction of "A new range of gendered fears about Britain's postwar and post-colonial security. As a result, or perhaps simply because of Kneale and Cartier's effective combination of science fiction and poignant melodrama, audiences were captivated." The Screenonline website suggests that the visual impact of Cartier's interpretation of Kneale's scripts was a major factor in their success, which it attributes to their "originality, mass appeal and dynamism... The Quatermass Experiment became a landmark of science fiction and the cornerstone of the genre on British television."

Aside from the Quatermass serials, Cartier and Kneale collaborated on several one-off dramas, including literary and theatrical adaptations of Wuthering Heights (6 December 1953) and The Moment of Truth (10 March 1955), as well as Kneale's own The Creature (30 January 1955). Of particular note was their collaboration on an adaptation of George Orwell's novel Nineteen Eighty-Four, originally broadcast on 12 December 1954, regarded as Cartier's most famous work. The Times's review the day after its broadcast noted its "vividness... the two minutes' hate was, for instance, a wonderfully riotious orgy of vindictiveness." The production also attracted considerable controversy. There were questions asked in the House of Commons concerning some of the graphic scenes of horror in the play, and the BBC received several telephone calls threatening Cartier's life if the second live performance, scheduled for 16 December, went ahead. The BBC took these threats seriously enough to assign him bodyguards. Cartier appeared live on television himself to defend the production in a studio debate, and eventually the Board of Governors of the BBC voted that the second performance should go ahead as planned. The production had by this time received the backing of the Duke of Edinburgh, who commented during a speech to the Royal Society of Arts that he and the Queen had watched and enjoyed the first performance.

Nineteen Eighty-Four had been a success, but it was also one of the most expensive television dramas ever made in the UK. Cartier often spent large amounts of money on his productions. Earlier in 1954, Michael Barry had heavily criticised him for the money and resources he had expended in an adaptation of Rebecca. In a memo written after that production's transmission, Barry admonished Cartier for his over-ambitious production:

"The performance of Rebecca seems to me to have taken us further into the danger area instead of showing any improvement. I am unable to defend at a time when departmental costs and scene loads are in an acute state the load imposed by Rebecca on Design and Supply and the expenditure upon extras and costumes... the vast area of the hall and the stairway never justified the great expenditure of effort required in building and one is left with a very clear impression of reaching a point where the department must be accused of not knowing what it is doing."

Later life and work
Despite Barry's concerns, Cartier continued to work successfully in television, and at the 1957 Guild of Television Producers and Directors Awards (later known as the British Academy Television Awards, or BAFTAs) he was the winner of the Drama category. He made a brief return to filmmaking in 1958 when he directed the feature Passionate Summer, but he saw himself primarily as a television director, and it remained his favourite medium. "The essence of television is that you can control the viewer's response to a much greater extent than other media permit," he told The Times in 1958.

Cartier also directed several operas for the BBC, a genre for which he had a great passion. He oversaw adaptations of established operas such as Salome (1957) and Carmen (1962) as well as original productions written especially for television. Tobias and the Angel, written for the BBC by Sir Arthur Bliss and Christopher Hassall and produced by Cartier in 1960, won the Merit Award in the Salzburg Opera Prize at the 1962 Salzburg Festival.

Cartier continued to direct television dramas during the 1960s, although after Barry stepped down as Head of Drama in 1961, he lost much of his creative independence. Barry's successor, Sydney Newman, abolished the BBC's traditional producer-director role and split the responsibilities into separate posts, leaving directors such as Cartier with less control over their productions. Cartier also found himself assigned to direct episodes of regular drama series, as such as Maigret and Z-Cars.

Cartier was still able to direct several notable productions during the decade, including a number which explored the Nazi era in Germany from which he had escaped in 1933. These included the World War II dramas Cross of Iron (1961, dealing with the court martial of a U-boat captain in a British prisoner of war camp) and The July Plot (1964, about the 1944 plot to assassinate Hitler), as well as Firebrand (1967, about the 1933 Reichstag fire, an event Cartier had personally witnessed). He also began, for the first time, to direct pieces which dealt with the Holocaust, such as Doctor Korczak and the Children (Studio 4, 1962), concerning the Warsaw Ghetto orphanage, and The Joel Brand Story (1965, about Adolf Eichmann's 1944 offer to the Allies of the lives of 1 million Jews in exchange for 10,000 trucks). Other significant 1960s productions included adaptations of Anna Karenina (1961, starring Sean Connery and Claire Bloom) and Wuthering Heights (1962, a new version of Kneale's 1953 script, starring Bloom and Keith Michell). Lee Oswald — Assassin (1966) was a drama-documentary telling the story of Lee Harvey Oswald, based on the Warren Commission's findings, while Conversation at Night (1969) saw the first television acting appearance of Alec Guinness.

Cartier's career continued into the 1970s. In 1974, he directed episodes of Fall of Eagles; and his final credit came with the play Loyalties, screened in 1976. By this time, he had worked on over 120 productions for the BBC. Subsequently, he worked for a time for the BBC's "purchased drama" department, advising on which plays and series might be bought-in from European broadcasters. Throughout his career, Cartier refused to work for commercial television: "I hate the idea of my creative work being constantly interrupted for commercial reasons, " he once commented. "I am an artist, not a salesman."

Cartier was married three times, lastly to Margaret Pepper from 1949 until his death. He had one daughter, Corinne, with Pepper, and another from a previous marriage. Cartier died on 7 June 1994, at the age of 90; his death was overshadowed in the media by that of Dennis Potter, another important figure in the history of British television drama, who died on the same day.

Legacy
Nearly all of Cartier's 1950s television productions were performed live, and the majority of them were not recorded—he once described them as being "gone with the speed of light". Several of those which do survive have been highly regarded by later reviewers. In 2000, the British Film Institute (BFI) compiled a list of the 100 Greatest British Television Programmes of the 20th century. Voted on by a group of industry professionals, the list featured both Nineteen Eighty-Four and Quatermass and the Pit. In the accompanying analysis of each entry to the list, Nineteen Eighty-Four was described as "An early example of the power of television drama... Even now, the torture sequences retain their power to shock and disturb."

Nigel Kneale, scriptwriter of both of the Cartier dramas acclaimed by the BFI, felt that the productions would not have been as successful as they were had they been handled by any other director. "I don't think any of the things I wrote then would have come to anything much in other hands. In his they worked." Television historian Jason Jacobs, a lecturer in film and television studies at the University of Warwick, wrote in 2000 that Kneale and Cartier together created an entirely new, more expansive vision for British television drama in the 1950s.

"It was the arrival of Nigel Kneale... and Rudolph Cartier... that challenged the intimate drama directly. Cartier is rightly recognised as a major influence on the visual development of British television drama... Cartier and Kneale had the ambition for their productions to affect a mass audience, and the scope of their attention was not confined to the 'cosy' aesthetics of intimacy. Cartier uses the close-up both to reveal emotions and as a shock device: a more threatening—and perhaps exhilarating—method than was used before. 'Intimacy' is reformulated by Cartier in terms of his power and control over the viewer—no longer a part of the family, but isolated in his home."

Cartier's pioneering use of an increased number of pre-filmed sequences to open out the studio-bound, live television drama productions of the 1950s is also praised by Lez Cooke. "While film inserts were being used in television drama from the early 1950s, Nineteen Eighty-Four represented the most extensive use of them in a TV play up to that time, and signalled Cartier's determination to extend the boundaries of TV drama." Similarly, his Times obituary stated that: "At a time when studio productions were usually as static as the conventional theatre, he was widely respected for a creative contribution to British television drama which gave it a new dimension."

In addition to his 1950s productions, several of Cartier's later works have also been regarded as influential. His 1962 production of Wuthering Heights was praised by Dennis Potter, then a television critic, who wrote in the Daily Herald newspaper that the production "was like a thunderstorm on the flat, dreary plains of the week's television... The howl of the wind against the windows, the muted pain of Claire Bloom as the wretched Cathy, and the hunted misery of Keith Mitchell as Heathcliff, made this a more than adequate offering of a great work." While Screenonline states that Lee Oswald—Assassin (1966) "could be argued [to be] of historical interest only", due to its basis in the flawed Warren Commission report, The Times praised it as being "possibly the first drama-documentary".

Not all of Cartier's work was so well regarded; in particular, his cinematic efforts have not achieved the level of praise of his television work. In the book America's Best, Britain's Finest: A Survey of Mixed Movies, critic John Howard Reid says of Cartier's 1958 film Passionate Summer: "It's hard to believe that... anyone could make such a dull movie. Yet this is precisely what director Rudolph Cartier has done. I've never heard of Mr Cartier before or since but presumably he made this brief foray into films from that synthetic world of ugly close-ups—TV."

Speaking to The Times in 1958, Cartier explained that television was still developing as a medium, and that part of his work was to help create the next generation of those who would produce television drama. "The BBC is producing producers as well as plays. They are feeling their way towards what television drama will one day be, and we are trying to create a generation of writers who study the medium." His 1994 obituary in the same newspaper judged that he had been successful in creating a lasting influence on later producers, describing his 1962 production of the opera Carmen as "an example and inspiration to a younger generation of television producers".

In 1990, the BBC Two arts magazine programme The Late Show produced an edition which featured a retrospective of Cartier's work, including a new interview with the director discussing his career. A revised version of this feature was screened on BBC Two under the title Rudolph Cartier: A Television Pioneer on 1 July 1994, followed by a tribute screening of the surviving telerecording copy of the second performance of Nineteen Eighty-Four.

Screenwriter

 * The Game of Love (dir. Victor Janson, 1928)
 * Tales from the Vienna Woods (dir. Jaap Speyer, 1928)
 * Mascots (dir. Felix Basch, 1929) — based on an operetta by Georg Okonkowski and Walter Bromme
 * The Smuggler's Bride of Mallorca (dir. Hans Behrendt, 1929)
 * Im Prater blühen wieder die Bäume (dir. E. W. Emo, 1929)
 * The Tiger Murder Case (dir. Johannes Meyer, 1930)
 * The Shot in the Talker Studio (dir. Alfred Zeisler, 1930) — based on a novel by Curt Siodmak
 * The Copper (dir. Richard Eichberg, 1930)
 * Täter gesucht (dir. Carl Heinz Wolff, 1931) — based on a novel by Frank Arnau
 * Das gelbe Haus des King-Fu (dir. Karl Grune, 1931) — based on a play by Josef Matthäus Velter
 * The Yellow House of Rio (dir. Karl Grune, Robert Péguy, 1931) — based on a play by Josef Matthäus Velter
 * Express 13 (dir. Alfred Zeisler, 1931)
 * Tropical Nights (dir. Leo Mittler, 1931) — based on Victory by Joseph Conrad
 * The Squeaker (dir. Karel Lamač, Martin Frič, 1931) — based on The Squeaker by Edgar Wallace
 * Salto Mortale (dir. E. A. Dupont, 1931) — based on a novel by Alfred Machard
 * The Paw (dir. Hans Steinhoff, 1931)
 * The Man with the Claw (dir. Nunzio Malasomma, 1931)
 * A Shot at Dawn (dir. Alfred Zeisler, 1932) — based on a play by Harry Jenkins
 * Coup de feu à l'aube (dir. Serge de Poligny, 1932) — based on a play by Harry Jenkins
 * The Star of Valencia (dir. Serge de Poligny, 1933)
 * The Star of Valencia (dir. Alfred Zeisler, 1933)
 * The Man from Morocco (dir. Mutz Greenbaum, 1945)
 * Corridor of Mirrors (dir. Terence Young, 1948) — based on a novel by Chris Massie
 * The Avenger (dir. Karl Anton, 1960) — based on The Avenger by Edgar Wallace

Director

 * Teilnehmer antwortet nicht (co-director: Marc Sorkin, 1932)
 * Invisible Opponent (1933)
 * The Oil Sharks (co-director: Henri Decoin, 1933)
 * Arrow to the Heart (1952, TV film) — based on the novel Unruhige Nacht by Albrecht Goes
 * The Quatermass Experiment (1953, TV miniseries)
 * Wuthering Heights (1953, TV film) — based on the novel Wuthering Heights by Emily Brontë
 * Nineteen Eighty-Four (1954, TV film) — based on the novel 1984 by George Orwell
 * Quatermass II (1955, TV miniseries)
 * Passionate Summer (1958) — based on the novel The Shadow and the Peak by Richard Mason
 * Quatermass and the Pit (1958–1959, TV miniseries)
 * Adventure Story (1961, TV film) — based on the play Adventure Story by Terence Rattigan
 * Maigret (1961–1963, TV series, 3 episodes) — based on Maigret novels by Georges Simenon

title: Rudolph Cartier


text:
Maps (disambiguation)

Maps is the plural of map, a visual representation of an area.

Maps or MAPS may also refer to:

Abbreviations

 * Madras Atomic Power Station
 * Mail Abuse Prevention System, an organisation that provides anti-spam support
 * Meteoritics and Planetary Science, a scientific journal
 * Metropolitan Area Projects Plan, a series of capital improvement programs in Oklahoma City, Oklahoma
 * Military Academy Preparatory School, another name for the United States Military Academy Preparatory School
 * Military Aircraft Preservation Society, USA
 * Monitoring Avian Populations and Survivorship program, an initiative by The Institute for Bird Populations
 * Moomba Adelaide Pipeline System, a network of gas pipelines in South Australia
 * Multidisciplinary Association for Psychedelic Studies, non-profit organization that researches the use of psychedelics in therapy
 * Multi-spacecraft Autonomous Positioning System, a NASA spacecraft navigation system, under test

Cartography

 * Apple Maps, web mapping service provided by Apple for use on their smartphones, tablets and computers
 * Bing Maps, web mapping service provided by Microsoft
 * Windows Maps, web mapping client software
 * Google Maps, web mapping service provided by Google
 * Google Maps (app), smartphone and tablet app version of Google's web mapping service
 * Yahoo! Maps, web mapping service provided by Yahoo!
 * Qwant Maps, web mapping service provided by Qwant

Music

 * Maps (musician), English musician
 * Maps (Get Cape. Wear Cape. Fly album), 2012
 * Maps (Mixtapes album) or the title song, 2010
 * Maps (EP), by Three Mile Pilot, 2012
 * Maps (Billy Woods and Kenny Segal album), 2023
 * "Maps" (Lesley Roy song), 2021
 * "Maps" (Maroon 5 song), 2014
 * "Maps" (Yeah Yeah Yeahs song), 2003
 * "Maps", a song by Emancipator, 2006
 * "Maps", a song by Falling Up from Captiva, 2007
 * "Maps", a song by the Front Bottoms from The Front Albums, 2011
 * "Maps", a song by STRFKR from Being No One, Going Nowhere, 2016
 * "Maps", a song written by Lisa Kron and Jeanine Tesori, from the musical Fun Home, 2013

Other uses

 * Maps (manga)
 * Maps Maponyane, South African media personality
 * Maps (novel), a novel by Nuruddin Farah

title: Maps (disambiguation)