text:
High-speed camera

A high-speed camera is a device capable of capturing moving images with exposures of less than $1⁄1 000$ second or frame rates in excess of 250 frames per second. It is used for recording fast-moving objects as photographic images onto a storage medium. After recording, the images stored on the medium can be played back in slow motion. Early high-speed cameras used photographic film to record the high-speed events, but have been superseded by entirely electronic devices using an image sensor (e.g. a charge-coupled device (CCD) or a MOS active pixel sensor (APS)), typically recording over 1 000 frames per second onto DRAM, to be played back slowly to study the motion for scientific study of transient phenomena.

Overview
A high-speed camera can be classified as:
 * 1) A high-speed film camera which records to film,
 * 2) A high-speed video camera which records to electronic memory,
 * 3) A high-speed framing camera which records images on multiple image planes or multiple locations on the same image plane (generally film or a network of CCD cameras),
 * 4) A high-speed streak camera which records a series of line-sized images to film or electronic memory.

A normal motion picture film is played back at 24 frames per second, while television uses 25 frames/s (PAL) or 29.97 frames/s (NTSC). High-speed film cameras can film up to a quarter of a million fps by running the film over a rotating prism or mirror instead of using a shutter, thus reducing the need for stopping and starting the film behind a shutter which would tear the film stock at such speeds. Using this technique one second of action can be stretched to more than ten minutes of playback time (super slow motion). High-speed video cameras are widely used for scientific research,  military test and evaluation, and industry. Examples of industrial applications are filming a manufacturing line to better tune the machine, or in the car industry filming a crash test to investigate the effect on the crash dummy passengers and the automobile. Today, the digital high-speed camera has replaced the film camera used for Vehicle Impact Testing. Television series such as MythBusters and Time Warp often use high-speed cameras to show their tests in slow motion. Saving the recorded high-speed images can be time-consuming because, consumer cameras have resolutions up to four megapixels with frame rates of over 1,000 per second which will record at a rate of 11 gigabytes per second. Technologically these cameras are very advanced, yet saving images requires use of slower standard video-computer interfaces. While recording is very fast, saving images is considerably slower. To reduce the storage space required and the time required for people to examine a recording, only the parts of an action which are of interest or relevance can be selected to film. When recording a cyclical process for industrial breakdown analysis, only the relevant part of each cycle is filmed.

A problem for high-speed cameras is the needed exposure for the film; very bright light is needed to be able to film at 40,000 fps, sometimes leading to the subject of examination being destroyed because of the heat of the lighting. Monochromatic (black and white) filming is sometimes used to reduce the light intensity required. Even higher speed imaging is possible using specialized electronic charge-coupled device (CCD) imaging systems, which can achieve speeds of over 25 million fps. These cameras, however, still use rotating mirrors, like their older film counterparts. Solid state cameras can achieve speeds of up to 10 million fps. All development in high-speed cameras is now focused on digital video cameras which have many operational and cost benefits over film cameras.

In 2010 researchers built a camera exposing each frame for two trillionths of a second (picoseconds), for an effective frame rate of half a trillion fps (femto-photography). Modern high-speed cameras operate by converting the incident light (photons) into a stream of electrons which are then deflected onto a photoanode, back into photons, which can then be recorded onto either film or CCD.

Uses in television

 * The show MythBusters prominently uses high-speed cameras for measuring speed or height.
 * Time Warp was centered around the use of high-speed cameras to slow things down that are usually too fast to see with the naked eye.
 * High-speed cameras are frequently used in television productions of many major sporting events for slow motion instant replays when normal slow motion is not slow enough, such as international Cricket matches.

Uses in science
High-speed cameras are frequently used in science in order to characterize events which happen too fast for traditional film speeds. Biomechanics employs such cameras to capture high-speed animal movements, such as jumping by frogs and insects, suction feeding in fish, the strikes of mantis shrimp, and the aerodynamic study of pigeons' helicopter-like movements using motion analysis of the resulting sequences from one or more cameras to characterize the motion in either 2-D or 3-D.

The move from film to digital technology has greatly reduced the difficulty in use of these technologies with unpredictable behaviors, specifically via the use of continuous recording and post-triggering. With film high-speed cameras, an investigator must start the film then attempt to entice the animal to perform the behavior in the short time before the film runs out, resulting in many useless sequences where the animal behaves too late or not at all. In modern digital high-speed cameras, the camera can simply record continuously as the investigator attempts to elicit the behavior, following which a trigger button will stop the recording and allow the investigator to save a given time interval before and after the trigger (determined by frame rate, image size and memory capacity during continuous recording). Most software allows saving a subset of recorded frames, minimizing file size issues by eliminating useless frames before or after the sequence of interest. Such triggering can also be used to synchronize recording across multiple cameras.

The explosion of alkali metals on contact with water has been studied using a high-speed camera. Frame-by-frame analysis of a sodium/potassium alloy exploding in water, combined with molecular dynamic simulations, suggested that the initial expansion may be the result of a Coulomb explosion and not combustion of hydrogen gas as previously thought.

Digital high-speed camera footage has strongly contributed to the understanding of lightning when combined with electric field measuring instrumentation and sensors which can map the propagation of lightning leaders through the detection of radio waves generated by this process.

Uses in industry
When moving from reactive maintenance to predictive maintenance, it is crucial that breakdowns are really understood. One of the basic analysis techniques is to use high-speed cameras in order to characterize events which happen too fast to see, e.g. during production. Similar to use in science, with a pre- or post-triggering capability the camera can simply record continuously as the mechanic waits for the breakdown to happen, following which a trigger signal (internal or external) will stop the recording and allow the investigator to save a given time interval prior to the trigger (determined by frame rate, image size, and memory capacity during continuous recording). Some software allows viewing the issues in real time, by displaying only a subset of recorded frames, minimizing file size and watch time issues by eliminating useless frames before or after the sequence of interest.

High-speed video cameras are used to augment other industrial technologies such as x-ray radiography. When used with the proper phosphor screen which converts x-rays into visible light, high-speed cameras can be used to capture high-speed x-ray videos of events inside mechanical devices and biological specimens. The imaging speed is mainly limited by the phosphor screen decay rate and intensity gain which has a direct relationship on the camera's exposure. Pulsed x-ray sources limit frame rate and should be properly synchronized with camera frame captures.

Uses in warfare
In 1950 Morton Sultanoff, a physicist for the U.S. Army at Aberdeen Proving ground, invented a super high-speed camera that took frames at one-millionth of a second, and was fast enough to record the shock wave of a small explosion. High Speed digital cameras have been used to study how mines dropped from the air will deploy in near-shore regions, including development of various weapon systems. In 2005 high speed digital cameras with 4 megapixel resolution, recording at 1500 fps, were replacing the 35mm and 70mm high speed film cameras used on tracking mounts on test ranges that capture ballistic intercepts.

title: High-speed camera


text:
Talk:Service-oriented architecture

A Serious Rewrite is Needed

 * Just restored this section header to being such PJTraill (talk) 16:33, 30 October 2013 (UTC)

In my opinion, this article is a mess. The intro is completely at odds with the rest of the article, which is rife with POV statements. The intro itself does not take into account the full scope of the article, and is, in my opinion, in itself cruising extremely close to POV. Taken in its entirety, this article more closely resembles an argument than an encyclopedic entry.

SOA is granular - it means different things at different levels of abstraction. It can be applied at a business process level, a user experience level, and a systems design & development level - each with their own definition of the concept, as defined in 'vernacular' terms.

I think the article needs to reflect this, while at the same time providing an entry point for newcomers to the subject without drowning them with the jargon of any one particular level.Gabhala 00:30, 6 October 2007 (UTC)

 * I have to agree, this article is a prototype example of a wikipedia article gone mad. My problem was that reading the article simply didn't prove useful. There are a number of reasons for this:
 * The content is vague and wandering, as often happens in wiki articles. Many of the paragraphs seem to be "blobs" rather than a sequential series of sentences that crystallize a central point, which is really a paragraph's job.
 * The sentence structures of many of the sentences are technically valid but so complicated that they leave the reader to say "Huh? What was that?"
 * Many, many sentences have grammatical problems. I was going to start to correct some of the plural conflicts (things like "the man throws a ball, men throw a ball") but I found so many of them that I decided I didn't have that kind of patience tonight.
 * This article reminded me of one of those product manuals that is translated from another language into English through a literal, word-for-word translation. Mroesler 04:03, 12 October 2007 (UTC)
 * The intro is very poor and seems to reflect one person's POV - SOA *is* primarily a distributed computing paradigm, as the rest of the article reflects. If SOA is used in areas other than computing, some examples (with references) would be helpful. There are enough books and articles out there that virtually every statement in this article could either be backed up by a reference or removed.--Michig 09:22, 19 October 2007 (UTC)

—Preceding unsigned comment added by 85.82.252.10 (talk) 23:58, 14 June 2008 (UTC)
 * Sadly it is still a mess almost four years later. Jann.poppinga (talk) 09:06, 9 August 2011 (UTC)

 * I revised the first paragraph in an attempt to open the topic up a little to the way SOA is being used today, hoping someone can step into the space and add more current content. As written, the topic addresses an audience that sounds like it might be an IT person who is on the fence about adopting SOA.  I would like the topic to also address a young programmer who is well beyond that fence, and is instead playing in a space where SOA concepts apply everywhere in software development today, and where the internet and its services have become truly transparent so that concepts like SOA are almost taken for granted and are just part of the overall mind-share on how to develop software anymore.  Does anyone out there agree with my perspective on this?  I am hoping so ... but we'll see what ends up happening to my edit tonight.  ; )

Maura Driscoll (talk) 05:30, 18 March 2013 (UTC)

 * I disagree. Wikipedia is for all audiences — for anyone simply trying to find factual information on a topic — and should not be written with any specific audience in mind or from any specific perspective or preconcieved notions.  Please see WP:NPOV --hulmem (talk) 16:11, 18 March 2013 (UTC)

 * Very much agreed, Hulmem. I tried to say something similar, but it looks like I said it quite poorly!!!  At least I scored a great link out of the deal -  WP:NPOV - thank you for that one!!!  Excellent and very much agreed!!!  Maura Driscoll (talk) 21:30, 18 March 2013 (UTC)

 * Too many people blowing smoke up each others asses here.. trying to be semantically correct. I will rewrite this when I get a moment. What I will say is that someone has made an attempt to share information even if it is misguided. A few clues here.. Stop trying to mix up SOA with web services... SOA has been around a long time now and there are some very elegant implementations and previous incarnations.. So there we go .. it is both a methodology and a technology.. Now. as technologies evolve and develop, we begin to understand the relevance of things like web services (WS) and so on but then also how things like 'semantics', 'lexicons'and ontologies play into this. I guess the moral of the story is evolution and growth of knowledge and it's application

To fully understand the context of SOA the notion of atomic structure and nested SOA needs to be considered and understood.

have a nice day :) — Preceding unsigned comment added by Rhysgambling (talk • contribs) 21:58, 10 May 2013 (UTC)

The first sentence, 'SOA is an architectural style that supports service orientation', is really a circular definition that doesn't tell us anything. Tcdaly (talk) 14:10, 30 July 2021 (UTC)
 * Came here to say the same as Tcdaly said. Basically the intro says "SOA is an A that is SO" -- which is no help at all. I also submit that it's nothing to do with or connected in any way to, for instance, modular programming. Liam Proven (talk) 16:55, 13 December 2021 (UTC)

Yeah, tagged it, wondering if SOA is just a fluff term with no meaningful application or perhaps a misdirection like SaaS

..or at maybe it just needs to be split into different articles for software and business Licriss (talk) 11:04, 4 June 2022 (UTC)

Continuum?
This sentence needs some explaining, if it's even accurate: One can consider SOA a continuum, as opposed to distributed computing or modular programming. Huh? Because up to this point, SOA has been described exactly like a form of distributed computing. Is there a reference? Because it makes no sense. —MiguelMunoz (talk) 21:07, 12 May 2011 (UTC)
 * Okay, I went through the article's history and found out that, in it's younger days, the sentence read like this: SOA can be seen in a continuum, from older concepts of distributed computing and modular programming, through to current practices of mashups, SaaS, and Cloud Computing (which some see as the offspring of SOA). (Emphasis added.) And yes, it had references. (This comes from the version dated July 1, 2009) Needless to say, this alters the meaning. I put back the original sentence, altered slightly for clarity, complete with the original references. —MiguelMunoz (talk) 23:04, 12 May 2011 (UTC)

Even with the fix, this sentence just seems odd. The word 'continuum' is lazily and inappropriately borrowed from other fields. Look at the link-to article: you'll find definitions of 'continuum' in the fields of physics, math, philosophy, and psychology; none from the history of technology. I think 'progression' may be what's really meant here. Hult041956 (talk) 21:46, 27 October 2011 (UTC)

Relationship to Web service
It seems there is some close relationship, if not equivalence, between SOA and Web services. Can someone clarify the relationship? --Kvng (talk) 15:09, 7 January 2012 (UTC)

Web services is a implementation of SOA as is stated in the article in the Implementation approaches section, although it is presented like Web services is the main solution and some others might be used as well. The article also includes a reference in the criticism section that they should not be mixed up. However, the article mixes them up all over the place. The article is heavily biased towards Web services. 84.27.42.9 (talk) 11:37, 15 May 2020 (UTC)

Does SOA have the same role and duties as the traditional operating system on a single computer?
I see in the paragraph "In a large network of computers SOA has the same role and duties as the traditional operating system on a single computer. Consequently SOA is designed in analogy to traditional multi-tasking operating systems like Windows, Unix, zOS etc." the attempt to make the SOA concept more understandable, however it is misleading: operating system processes are mandatory to run a computer and, as such, they always perform fundamental and centrally supervised operations, while SOA services are not necessarily in the network running. I suggest to suppress the quoted paragraph. Vittorioolivati (talk) 15:38, 3 August 2013 (UTC)
 * I agree. The analogy isn't even particularly accurate in my opinion.  --HighKing (talk) 14:26, 31 October 2013 (UTC)

Broken Link
A cited article "The Reason SOA Isn’t Delivering Sustainable Software" in "Criticism" section has a broken link, the only version I found on the web is http://soa.xxxxx.com/news/do-not-publishthe-reason-soa where xxxx is dzone, sice dzone.com is blacklisted by wikipedia — Preceding unsigned comment added by 2.234.41.128 (talk) 18:42, 5 December 2013 (UTC)

Warning
Apparently, a student in a class project has been assigned to this article. Keep an eye on it. See Wiki Ed/North Carolina State University/Object Oriented Design and Development (Fall 2016). -- Gestrid (talk) 21:41, 13 September 2016 (UTC)

Use in sentence does not agree with definition of service mesh
The service mesh article specifically says its an infrastructures thing, which means it could serve a SOA, or something of the sorts. Snorkop (talk) 16:42, 11 November 2021 (UTC)

Definition is not correct
In the first line it says: "In software engineering, service-oriented architecture (SOA) is an architectural style that focuses on discrete services instead of a monolithic design." Service-Oriented Architecture (SOA) is an architectural style that has a broader scope than just software engineering. It can be used in business architecture as well for example. In my opinion, this means that the concept is undesirably restricted to software development while it is about "a way of thinking".

Furthermore, the referenced source is not quoted correctly because it doesn't speak about 'discrete services instead of monolithic design'. It says: "Service-Oriented Architecture (SOA) is an architectural style that supports service orientation". It would be better to use that sentence, together with the correct quote "Service orientation is a way of thinking in terms of services and service-based development and the outcomes of services" a little further on.

Adgerrits (talk) 09:24, 11 October 2022 (UTC)

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

title: Talk:Service-oriented architecture


text: Category:British composers

title: Category:British composers


text:
Hassan Habibi

Hassan Ebrahim Habibi (29 January 1937 – 31 January 2013) was an Iranian politician, lawyer, scholar and the first vice president from 1989 until 2001 under Presidents Akbar Hashemi Rafsanjani and Mohammad Khatami. He was also a member of the High Council of Cultural Revolution and head of Academy of Persian Language and Literature from 2004 until his death in 2013.

Early life and education
Habibi was born on 29 January 1937. He studied sociology in France. He held a PhD in law and sociology. When he was a university student he visited Khomeini while the latter was in exile.

Career
Habibi was tasked by Ayatollah Khomenei to draft the prospective constitution of Iran when the latter was in exile in Paris. His version was heavily modified due to criticisms and the final text was approved by the election in November 1979.

Following the Iranian revolution, Habibi was named public spokesman for the revolutionary council. He was among the main architects of the first draft of Constitution of the Islamic Republic of Iran, which was later passed for more discussion to an elected Assembly of Experts for Constitution. The assembly made significant changes in the original draft, e.g. by introducing the new position of "leader of the Islamic Republic" based on Khomeini's concept of Guardianship of the Islamic Jurists, which gave almost unlimited power to the clergy. The modified version was approved in a popular referendum in 1979. In the 1980 presidential election, Habibi ran for office, but received only ten percent of the vote against Banisadr's seventy percent. Habibi was backed by Mohammad Beheshti in the election process. In the same year he won a parliamentary seat, being a representative of the Islamic Republican Party.

Habibi served as the minister of justice under Prime Minister Mousavi. He was first vice president of Iran from 1989 to 2001, eight years under President Rafsanjani and then four years under President Khatami. He was replaced by Mohammad Reza Aref in the post in Khatami's second term. He was also head of the Academy of Persian Language and Literature and a member of the Expediency Council.

Death
Habibi died on 31 January 2013. He was buried at the mausoleum of Imam Khomeini in Tehran on 1 February. The funeral service was attended by leading Iranian political figures, including President Ahmedinejad.

Work
Habibi is the author of several books, including God (1981), Society, Culture, Politics (1984), Islam and the Crisis of Our Time (1984), In the Mirror Of Rights: Views Of International Rights, Comparative Rights And Sociology (1988), Seeking the Roots (editing & translation) (1994), Casework of An Ages Student (1997), One Word Out Of Thousands (2 vol.) (1998-2001) and General International Rights (2 vol.) (2003).

Political affiliation
Habibi was director of the National Front publications in Europe during the 1960s. In the capacity, he was involved in publication and distribution of Payam-e-Daneshjou, organ of the party's student wing.

Habibi was a member of the Freedom Movement of Iran, before he defected to the Islamic Republican Party after the Iranian Revolution.

title: Hassan Habibi


text:
Jeetendra

Jeetendra (born Ravi Kapoor ; 7 April 1942) is an Indian actor who is known for his work in Hindi cinema. He also serves as the chairman of the Balaji Telefilms and Balaji Motion Pictures.

Early life
Jeetendra was born in a Punjabi Khatri family as Ravi Kapoor in Amritsar, Punjab, to Amarnath and Krishna Kapoor, whose business dealt with imitation jewellery, supplied to film industry. He attended St. Sebastian's Goan High School in Mumbai, Mumbai with his friend Rajesh Khanna and then studied at Siddharth College in Mumbai. While supplying jewellery to V. Shantaram, he was cast as Sandhya's character's double in the 1964 movie Geet Gaya Patharon Ne after which his career never turned back.

1964–1970: Debut and breakthrough
Jeetendra began his career in 1964 playing the lead in V. Shantaram's Geet Gaya Patharon Ne alongside Rajshree. Despite heavy promotions and positive reviews, the film proved to be an unsuccessful venture domestically. After a brief period of absence from films, he established himself with Ravikant Nagaich's spy thriller Farz in 1967. A remake of Telugu film Gudachari 116 (1966), it emerged a blockbuster at the box office and made Jeetendra a star. The music of Farz was one of the best-selling Hindi film albums of the 1960s. Majority of its songs like – "Mast Baharon Ka Main Aashiq", "Baar Baar Din Ye Aaye – Happy Birthday To You", both solos by Mohammed Rafi and "Hum To Tere Aashiq Hain", a duet by Mukesh and Lata Mangeshkar remain popular till date. In 1968, he had three releases – Suhaag Raat, Aulad and Mere Huzoor. While, Suhaag Raat and Aulad were critical and commercial failures, the lattermost co-starring Raaj Kumar and Mala Sinha received positive response from reviewers and did decent business at the box office.

In 1969, Jeetendra had three major commercial successes with L. V. Prasad's Jeene Ki Raah, T. R. Ramanna's Waris and Ravikant Nagaich's Jigri Dost. He began the 1970s with Chander Vohra's Khilona which also had Sanjeev Kumar and Mumtaz in the lead. The film emerged a huge hit with all the three leads receiving praise for their respective performances. He delivered another superhit that year with T. R. Ramanna's Humjoli which was a remake of blockbuster Tamil film Panakkara Kudumbam (1964).

1971–1979: Career slump and comeback
Despite kicking off the new decade on a successful note, Jeetendra saw a bad phase from 1971 to 1973 as majority of his films underperformed during this period, with Nasir Hussain's crime thriller Caravan (1971) opposite Asha Parekh being the only exception. It was a superhit domestically and an All Time Blockbuster in overseas markets, especially China were it is counted along with the all-time greats – Awaara (1951) and Noorie (1979). Caravan was also one of the best-selling Hindi film albums of the 1970s. Its music composed by R.D. Burman proved to be a cherry on the cake as most of the songs - "Chadti Jawani Meri Chaal Mastani", "Kitna Pyara Wada Hai" and "Piya Tu Ab To Aja" emerged instant hits and played a major role in the mega success of film. During this phase, he also received praise for his portrayal of a kind-hearted tuition teacher in Gulzar's light-hearted drama Parichay. The song "Musafir Hoon Yaroon" from Parichay was listed at #25 in the Binaca Geetmala annual list 1973 and is considered to be one of the most loved filmi songs of all time.

In 1974, Jeetendra played the lead in L. V. Prasad's Bidaai co-starring Leena Chandavarkar and Durga Khote. The film proved to be a blockbuster at the box office thus ending his dry run and also emerging one of the top 5 highest-grossing films of that year. After scoring two more hits in 1975 with Khushboo and Umar Qaid, the following year, he starred in the horror film Nagin opposite Reena Roy and the drama film Udhar Ka Sindur alongside Roy and Asha Parekh. Both the films did extremely well at ticket counters and were declared blockbusters by the end of their respective runs.

1977 proved to be a massive one for Jeetendra with a major blockbuster in Manmohan Desai's magnum opus Dharam Veer. In United Kingdom, the film had 23 shows in 5 cities. Driven by the success of Rafi's songs, the film took a record initial of £50,000 in the UK, equivalent to inr. In addition, the film sold 32 million tickets in the Soviet Union. The huge success of Dharam Veer was followed by a superhit in J. Om Prakash's third directional venture Apnapan. That same year, his final collaboration with Gulzar took place for the romantic drama Kinara opposite Hema Malini. The film is widely remembered for its heartwarming premise and the song "Naam Gum Jayega" sung by Lata Mangeshkar and Bhupinder. Jeetendra's good run continued in 1978 with another blockbuster in Dasari Narayana Rao's family drama film Swarg Narak which was a remake of director's own Telugu film Swargam Narakam. He also had major hits in Ram Maheshwari's Karmayogi alongside Raaj Kumar and K. Bapayya's Dil Aur Deewaar co-starring Ashok Kumar. He concluded the decade on a high with one more blockbuster in Rajkumar Kohli's ensemble horror thriller Jaani Dushman and a hit in Anil Ganguly's drama film Khandaan. He also appeared in T. Rama Rao's fantasy comedy Lok Parlok which ended up as an average fare.

With continuous flow of hits from 1974 to 1979, Jeetendra solidified his star-status.

1980–1990: Widespread success
Jeetendra reached his peak in the early 80s and enjoyed a strong innings throughout the decade. His first release of 1980 was J. Om Prakash's drama film Aasha which went on to become a massive blockbuster and remains his biggest solo hit till date. Its soundtrack composed by Laxmikant–Pyarelal dominated the musical charts and was one of the best selling Hindi film albums of the decade. His next release was Ravi Chopra's big-budget action thriller The Burning Train in which he starred alongside Dharmendra, Vinod Khanna, Hema Malini, Parveen Babi and Neetu Singh. The film did average business at the time of release, but received praise for its well-choreographed action sequences as well as performances of the cast and attained cult status in later years. After having another moderate success in the form of Takkar, he concluded the year with three back-to-back hits in Jyoti Bane Jwala, Judaai and Maang Bharo Sajana. In 1981, Jeetendra starred in S. V. Rajendra Singh Babu's action crime film Meri Aawaz Suno. A remake of Kannada hit Antha, The film ran into controversies due to its bold subject, but opened to excellent audience response and proved to be a huge blockbuster at the box office. The same year, he had a superhit in Ek Hi Bhool and a moderate success in Jyoti which didnt do that well in India, but was a huge success in foreign countries. With his last few films doing extremely well at ticket counters, Jeetendra decided to produce and star in H. S. Rawail's romantic drama Deedar-E-Yaar (1982) under his home banner Tirupati Films. The film which also had Rekha, Rishi Kapoor and Tina Munim in the lead, failed to live up to the expectations and proved to be a major box office flop with minimal recovery of the investment. After this unexpected debacle, Jeetendra made a solemn vow never to return into filmmaking again. Despite the disastrous response to Deedar-E-Yaar, his other releases that year performed well commercially. He delivered a blockbuster in Farz Aur Kanoon followed by hits in Jeeo Aur Jeene Do, Chorni and Samraat. Jeetendra also co-starred alongside Raaj Kumar and Rajesh Khanna in Sultan Ahmed's dacoit-drama film Dharam Kanta and reunited with Dharmendra for Rajkumar Kohli's action thriller Badle Ki Aag, both of which were box office successes. 1983 proved to be one of the best years of Jeetendra's career as he delivered three major successes and made a hit pair with Sridevi. His first release of the year Nishaan flopped commercially, but his second release Himmatwala, a remake of Telugu film Ooruki Monagadu, emerged a blockbuster with its songs, including "Nainon Mein Sapna" and "Taki O Taki" becoming a rage. Himmatwala made Sridevi a big star and she went on to deliver many successful films with Jeetendra. His other notable releases of 1983 were – Jaanidost, Mawaali and Justice Chaudhury. While Mawaali and Justice Chaudhary performed very well at the box office and proved to be superhits, Jaanidost ended up as a moderate commercial success.

In 1984, Jeetendra appeared in Tohfa which was a remake of Sobhan Babu starrer Telugu superhit Devatha. Tohfa like the original opened to excellent response and emerged a blockbuster as well as the highest earner of 1984. This was followed by a superhit in Maqsad and a hit in Qaidi, the same year. 1985 also proved to be a big one for Jeetendra with five of his films emerging commercial successes, these were - Hoshiyar, Balidaan, Haqeeqat, Pataal Bhairavi and Sanjog. The following year, he added one more blockbuster in his kitty with K. Bapayya's family drama Swarag Se Sunder co-starring Mithun Chakraborty, Jaya Prada and Padmini Kolhapure. He also worked with Dilip Kumar in K. Raghavendra Rao's actioner Dharm Adhikari. Inspite of the presence of some of the biggest stars of the time, the film failed to live upto the expectations and ended up as an average fare. After the underperformance of Dharm Adhikari, he reunited with K. Bapayya and T. Rama Rao for Ghar Sansar and Dosti Dushmani respectively, both of which emerged box office hits.

In 1987, Jeetendra played the lead in Rakesh Roshan's directional debut Khudgarz. The film proved to be a superhit and established Roshan's career as a director. The same year, he delivered three more commercial successes with Sindoor, Himmat Aur Mehanat and Insaaf Ki Pukar. In 1988 and 1989 Jeetendra had hits in Kawal Sharma's action film Mar Mitenge and Saawan Kumar Tak's drama film Souten Ki Beti, respectively, but his other releases failed to do well. This changed the following year as he delivered couple of successes with films like Amiri Garibi, Agneekaal, Mera Pati Sirf Mera Hai and Thanedaar. The lattermost co-starring Jaya Prada, Sanjay Dutt and Madhuri Dixit took a bumper initial, eventually emerging a superhit and one of the top-grossing films of 1990.

1991–present: Later career
From 1991 to 1997, Jeetendra acted in many films both as a lead as well as character artist, but few of them did well commercially, such as Maa (1991), Bhookamp (1993), Rang (1993) and Judge Mujrim (1997). In 1999, he starred in Saawan Kumar Tak's Mother, which was a critical and commercial failure. In 2003, Jeetendra received the Filmfare Lifetime Achievement Award.

His last full-fledged Hindi film appearance was in Basit Khan's romantic drama Ho Jaata Hai Pyar (2005). It received negative response from reviewers and flopped at the box office. He then made a guest appearance in the song "Deewangi Deewangi" from Farah Khan's reincarnation drama Om Shanti Om (2007).

In 2020, Jeetendra made his digital debut with the romantic web series Baarish which had Sharman Joshi and Asha Negi in the lead.

Personal life
Jeetendra had met his wife, Shobha, when she was only 14. She completed school, went to college, and was employed as an Air Hostess with British Airways. When Jeetendra was struggling between 1960–66 to establish himself as an actor, he was in a relationship with Shobha and she was his girlfriend until 1972. It was not until the release of Bidaai on 18 October 1974, that Jeetendra and Shobha decided to get married, which they did in a simple ceremony at Janki Kutir with only a few family members and friends present. In her authorized biography, Hema Malini claimed that they almost got married, but she backed out.

Jeetendra and Shobha have two children from their marriage. Elder of them, daughter Ekta Kapoor, runs Balaji Telefilms while their son Tusshar Kapoor is also an actor. Jeetendra made a brief appearance in one of his daughter's produced films Kucch To Hai, a thriller movie released in 2003, where he appeared alongside his son Tusshar.

During the 6th November, 2021 episode of The Kapil Sharma Show, when Jeetendra and Ekta Kapoor were the guests, he related an incident from 1976. He was supposed to go to Madras (now Chennai) by flight on Karva Chauth. His flight got delayed and he went back home so that Shobha could perform the necessary rituals like viewing the Moon and break her fast. Shobha refused to let him go back to the airport. So Jeetendra called his make-up man and told him to come back home, and that they would leave the next day. Around 10:30 or 11:00 pm, he looked outside from his flat (on a high-rise in Pali Hill, Bandra) and saw a fireball hurtling toward the airport. Later, after a couple of hours, his phone rang incessantly with people calling to find out what happened. The flight that he was supposed to have taken had crashed. Shobha's prescient insistence that he should not go turned out to be a blessing. That flight was Indian Airlines Flight 171.

Awards and honours

 * 1998 – Guest of Honour Award at the 18th Ujala Cinema Express Awards
 * 2002 – Lifetime Achievement Award at the Zee Gold Bollywood Movie Awards in New York.
 * 2003 – Filmfare Lifetime Achievement Award
 * 2004 – "Legend of Indian Cinema" Award at Atlantic City (United States).
 * 2005 – Screen Lifetime Achievement Award
 * 2008 – Sansui Television Lifetime Achievement Award
 * 2012 – Zee Cine Award for Lifetime Achievement
 * 2012 – Lions Gold Awards: Most Evergreen Romantic Hero

Reception and legacy

Jeetendra is regarded as one of the greatest actors of Indian cinema. He is noted for his acting, style and dance. Owing to his energetic dancing style in Farz, he earned the sobriquet of "Jumping Jack".

One of the most successful actors of 1970s and 1980s, Jeetendra appeared in Box Office India's "Top Actors" list seven times, (1980-1986).

In 2022, he was placed in Outlook India's "75 Best Bollywood Actors" list.

title: Jeetendra