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Wikipedia:Articles for deletion/25 Years of Beauty

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was - deleted - SimonP 00:07, Jun 16, 2005 (UTC)

25 Years of Beauty
Vanity. --W(t) 04:42, 2005 Jun 2 (UTC)
 * Vanity. But written just sneakily enough to avoid a speedy. Delete -- Barfooz  (talk)  05:04, 2 Jun 2005 (UTC)
 * Speedy Why should we give points for creativity? A pile of poo referred to as "a large amount of that which helps roses to grow" still stinks.  --Xcali 05:49, 2 Jun 2005 (UTC)
 * Delete, vanity. This doesn't appear to fall within the Criteria for speedy deletion. --bainer (talk) 08:39, 2 Jun 2005 (UTC)
 * Delete, vanity. — Knowledge Seeker দ 09:09, 2 Jun 2005 (UTC)
 * Delete obviously vanity Bluemoose 09:15, 2 Jun 2005 (UTC)
 * Delete, vanity nonsense. -- BD2412 talk 18:54, 2005 Jun 2 (UTC)
 * Delete and ban this user, how many of these does he have to create before someone does something?!? - Jersyko    talk   22:11, Jun 2, 2005 (UTC)
 * He's been blocked for 96 hours for his latest Fructose Addiction article, after he promised he would stop posting POV material. This is his third block.  Next time will be 8 days.  RickK 22:32, Jun 2, 2005 (UTC)
 * Delete nn vanity. --Etacar11 00:03, 3 Jun 2005 (UTC)
 * Comment An album of 9 songs dedicated to one girl in his computer science class? That poor girl . . . - Jersyko    talk   02:36, Jun 3, 2005 (UTC)
 * Delete argh not again. Vanity. --Kiand 19:27, 6 Jun 2005 (UTC)
 * keep good song, good performance, good article, andrew, go easy on the s.d.s. issue!!! Agata Bugaj 08:58, 11 Jun 2005 (UTC)
 * Users first and only contribution to the Wikipedia. --Kiand 09:33, 11 Jun 2005 (UTC)
 * And the subject of song in the article. I'm willing to bet this user, as well as the next 4, are all sockpuppets. - Jersyko  talk  15:30, Jun 11, 2005 (UTC)
 * I've been informed by Agata (a real-life friend of mine) that this user isn't her, but is some account created using her name. --NeuronExMachina 00:43, 31 July 2005 (UTC)

 * KEEP!!! Good work 68.170.0.238 14:07, 11 Jun 2005 (UTC)
 * Article author. --Kiand 14:14, 11 Jun 2005 (UTC)

 * Keep Andrew wrote a good song and performed it for us. Richard Morrison 14:09, 11 Jun 2005 (UTC)
 * Users first and only contibution to the Wikipedia. --Kiand 14:14, 11 Jun 2005 (UTC)

 * Keep Same reason as Richard. Dan Smith 2 14:10, 11 Jun 2005 (UTC)
 * Users first and only contibution to the Wikipedia. --Kiand 14:14, 11 Jun 2005 (UTC)

 * Keep article sounds OK with me ...Thomas H Johnson 14:13, 11 Jun 2005 (UTC)
 * Users first and only contibution to the Wikipedia. --Kiand 14:14, 11 Jun 2005 (UTC)
 * Also, in view of the user's only other edit, most likely a sockpuppet of Andrew Lin (the article's author, aka 68.170.0.238) - Jersyko talk  15:28, Jun 11, 2005 (UTC)

 * Delete as soon as possible. Aecis 14:17, 11 Jun 2005 (UTC)

 * Delete sheer vanity. Karia 18:05, Jun 13, 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page .


text:
Ugetsu

Ugetsu (雨月物語, Ugetsu Monogatari, lit. "Rain-moon tales") is a 1953 Japanese period fantasy film directed by Kenji Mizoguchi starring Masayuki Mori and Machiko Kyō. It is based on the stories "The House in the Thicket" and "The Lust of the White Serpent" from Ueda Akinari's 1776 book Ugetsu Monogatari, combining elements of the jidaigeki (period drama) genre with a ghost story.

Drawing from Ueda's tales, the film is set in Japan's civil war–torn Azuchi–Momoyama period (1568–1600). In a small rural community, a potter leaves his wife and young son behind to make money selling pottery and ends up being seduced by a spirit that makes him forget all about his family. A subplot, inspired by Guy de Maupassant's 1883 short story "How He Got the Legion of Honor" ("Décoré !"), involves his brother-in-law, who dreams of becoming a samurai and chases this goal at the unintended expense of his wife.

The film won the Silver Lion Award at the 1953 Venice Film Festival and other honours. Ugetsu is one of Mizoguchi's most celebrated films, regarded by critics as a masterpiece of Japanese cinema, credited with simultaneously helping to popularize Japanese cinema in the West and influencing later Japanese film.

Plot
In the farming village Nakanogō, on the shore of Lake Biwa in Ōmi Province in the Sengoku period, Genjūrō, a potter, takes his wares to nearby Ōmizo. He is accompanied by his brother-in-law Tōbei, who dreams of becoming a samurai. A respected sage tells Genjūrō's wife Miyagi to warn him about seeking profit in times of upheaval, and to prepare for an attack on the village. Returning with profits, Miyagi asks him to stop but Genjūrō nevertheless works to finish his pottery. That night, Shibata Katsuie's army sweeps through Nakanogō, uprooting Genjūrō, Tōbei and their wives; Genjūrō decides to take his pots to a different marketplace. As the couples travel across Lake Biwa, a boat appears out of the thick fog. The sole passenger tells them he was attacked by pirates, warns them, and dies. The men decide to return their wives to the shore but Tōbei's wife Ohama refuses to go. Miyagi begs Genjūrō not to leave her, but is left on the shore with their young son Genichi clasped to her back. At market, Genjūrō's pottery sells well. After taking his share of the profits, Tōbei buys samurai armor and sneaks into a samurai clan. Lost from her companions, Ohama wanders beyond Nagahama searching for Tōbei and gets raped by soldiers. Noblewoman Lady Wakasa and her female servant visit Genjurō, ordering several pieces of pottery and telling him to take them to the Kutsuki mansion. There, Genjūrō learns that Nobunaga's soldiers attacked the manor and killed all who lived there, except Wakasa and her servant. He also learns that Wakasa's father haunts the manor. Genjūrō is seduced by Lady Wakasa and she convinces him to marry her. Meanwhile, Nakanogō is under attack. In the woods, several soldiers desperately search Miyagi for food. She fights them and is stabbed, collapsing with her son clutching her back.

Tōbei presents the severed head of a general that he stole to the commander of the victor, receiving armor, a mount, and a retinue. Tōbei later rides into the marketplace on his new horse, eager to return home to show his wife. However, he visits a brothel and finds her working there as a prostitute. Tōbei promises to buy back her honor.

Genjūrō meets a priest who tells him to return to his loved ones or accept death. When Genjūrō mentions Wakasa, the priest reveals that she is dead and must be exorcised and invites Genjūrō to his home, painting Buddhist symbols on his body. Genjūrō returns to the Kutsuki mansion. He admits that he is married, has a child, and wishes to return home. Wakasa refuses to let him go. She and her servant admit they are spirits, returned to this world so that Wakasa, slain before she knew love, could experience it. They tell him to wash away the symbols. Genjūrō reaches for a sword, throws himself out of the manor, and passes out. The next day, he is awakened by soldiers accusing him of stealing the sword, but he denies it, saying it is from the Kutsuki mansion. The soldiers laugh at him, saying the Kutsuki mansion was burned down over a month ago. Genjūrō arises and finds the mansion nothing more than a pile of burnt wood. The soldiers confiscate his money, but because Shibata's army burned down the prison, they leave him in the rubble. He returns home by foot, searching for his wife.

Miyagi, delighted to see him, will not let him tell of his terrible mistake. Genjūrō holds his sleeping son in his arms, and eventually falls asleep. The next morning, Genjūrō wakes to the village chief knocking on his door. He is surprised to see Genjūrō home and says that he has been caring for Genjūrō's son. Genjūrō calls for Miyagi; the neighbor asks if Genjūrō is dreaming as Miyagi was killed after she was stabbed. The next morning, as Tōbei bought back Ohama's honor, they return to Nakanogō. Tōbei reflects on his mistakes, both resolving to work hard from now on. Genjūrō continues looking after Genichi and working on his pottery. Ohama gives Genichi a plate of food, which he takes and puts on his mother's grave.

Cast

 * Machiko Kyō as Lady Wakasa
 * Mitsuko Mito as Ohama
 * Kinuyo Tanaka as Miyagi
 * Masayuki Mori as Genjūrō
 * Eitaro Ozawa as Tōbei (as Sakae Ozawa)
 * Ichisaburo Sawamura as Genichi
 * Kikue Mōri as Ukon, Lady Wakasa's Nurse
 * Ryōsuke Kagawa as Village Master
 * Eigoro Onoe as Knight
 * Saburo Date as Vassal
 * Sugisaku Aoyama as Old Priest
 * Reiko Kongo as an Old Woman in Brothel
 * Shozo Nanbu as Shinto Priest
 * Ichirō Amano as Boatsman
 * Kichijirō Ueda as Shop Owner
 * Teruko Omi as Prostitute
 * Keiko Koyanagi as Prostitute
 * Mitsusaburō Ramon as Captain of Tamba Soldiers
 * Jun Fujikawa as Lost Soldier
 * Ryuuji Fukui as Lost Soldier
 * Masayoshi Kikuno as Soldier
 * Hajime Koshikawa
 * Sugisaka Koyama as High Priest
 * Ryuzaburo Mitsuoka as Soldier
 * Koji Murata
 * Fumihiko Yokoyama

Development
After the success of his previous film The Life of Oharu (1952), Mizoguchi was offered to make a film by his old friend Masaichi Nagata at Daiei Film studios. The deal promised Mizoguchi complete artistic control and a large budget. Despite this, Mizoguchi was eventually pressured to make a less pessimistic ending for the film. Mizoguchi's screenwriter and long-time collaborator Yoshikata Yoda said that originally, Mizoguchi did not envision making an anti-war film, instead wishing to capture the sensations and lucidity of Ueda's book Ugetsu Monogatari.

Mizoguchi based his film on two stories from Ueda's book, "The House in the Thicket" (Asaji ga Yado) and "The Lust of the White Serpent" (Jasei no In). "The Lust of the White Serpent" is about a demon who appears as a princess and attempts to seduce a man. It was the basis of the plot in which Lady Wakasa seduces Genjūrō. "The House in the Thicket" gave the film its ending, in which the protagonist returns home after a long absence, only to meet the spirit of his lost wife. The film is set in the 16th century, though "The House in the Thicket" is set in the 15th century and "The Lust of the White Serpent" is set in an earlier time frame. Other inspirations for the film's script include Guy de Maupassant's Décoré! (How He Got the Legion of Honour). This story provided a basis for Tōbei's subplot. In the short story, the protagonist receives the French Legion of Honour by ignoring his wife's adultery with a member of the Legion. Similarly, Tōbei becomes a samurai while his wife becomes a prostitute.

Despite initial intentions, as the film developed, Yoda said anti-war messages, particularly about how war makes women suffer, kept surfacing and soon became the most prominent theme. While writing the script, Mizoguchi told Yoda "Whether war originates in the ruler's personal motives, or in some public concern, how violence, disguised as war, oppresses and torments the populace both physically and spiritually ... I want to emphasise this as the main theme of the film". During the shooting Yoda was constantly rewriting and revising scenes due to Mizoguchi's perfectionism.

Casting
The film was Machiko Kyō's second collaboration with Mizoguchi, as she had a small role in The Three Danjuros (1944). She had collaborated much more frequently with Masayuki Mori. As Lady Wakasa, Kyō's costume was modeled after fashion before the Edo period and her face was designed to appear similar to a mask common in Noh theatre. As such, her eyebrows were styled using a practice known as hikimayu.

Kinuyo Tanaka, who played Miyagi, found the scene where she is a ghost to be the most stressful, as she had to play a ghost and appear to be an actual wife at the same time. After rehearsals and the shooting, Mizoguchi lit a cigarette for Mori, indicating his rare degree of satisfaction with the scene. Eitaro Ozawa, who played Tōbei, said the actors frequently rehearsed alone, or with the cinematographer, while Mizoguchi was willingly absent during these preparations.

Filming
Mizoguchi told his cinematographer Kazuo Miyagawa that he wanted the film "to unroll seamlessly like a scroll-painting". The Southern School of Chinese painting was particularly an inspiration the filmmakers aspired to. The film has been praised for its cinematography, such as the opening shot and the scene where Genjūrō and Lady Wakasa have sex by a stream and the camera follows the flow of the water instead of lingering on the two lovers. Mizoguchi never personally handled the camera and did not participate in planning the lighting of his film. To achieve the appearance the filmmakers wanted, Miyagawa kept lighting low and filmed as near to sunset as circumstances would allow. Many of the shots were taken from cranes, with Miyagawa claiming in 1992 that these shots made up 70% of the film. Miyagawa also stated that this film was the only occasion in which Mizoguchi complimented him for his camera work.

The set depicting Kutsuki Manor was based on the Katsura Imperial Villa in Kyoto. These sets are decorated with props evocative of feudal-era aristocrats, such as kimono and armor, personally chosen by Mizoguchi. The scene where the protagonists travel through Lake Biwa on a boat was in fact shot on a pool in the studio, with added smoke. The assistant directors had to push the boat through the cold waters. Miyagawa identified this as one of the scenes shot from a crane.

Music
For the film score, Mizoguchi relied on composer Fumio Hayasaka and the assistant directors, and was not involved in their creative process. Fumio Hayasaka was a strong proponent of using Japanese music in Japanese films, though he incorporated several elements of Western music as well. For Ugetsu, he employed geza music, common in Kabuki theatre. Additional, uncredited composers were Ichirō Saitō and Tamekichi Mochizuki, whose music was blended with Hayasaka's, and could provide accurate music reflective of the period.

The score employs drums, flutes and chanting. The film's sounds also include bells heard in improbable places. There is significant use of the harp, restricted to the presence of the supernatural.

Themes
According to Professor Martha P. Nochimson, a common interpretation of the film is that Mizoguchi refashioned the stories of Ugetsu Monogatari to express regret about the pro-war extremism leading to World War II, with Mizoguchi personally having made the pro-war propaganda film The 47 Ronin in 1941. These reflections on militarism, greed and arrogance connected with audiences not only in Japan but around the world in the wake of the war. The subplot of Tōbei and Ohama particularly reflects the comfort women, who were made into prostitutes by the Imperial Japanese Army. Mizoguchi struggled with Daiei to give the subplot an unhappier ending than what appears in the film, in line with real comfort women's experiences after the war. Tōbei's subplot reveals the mistake of war can also be a "tragicomedy".

According to British critic Tony Rayns the film's presentation of the vanity of a man, neglecting his family, is a critique of historic men in feudal Japanese culture. In his relationship with Wakasa, Genjūrō is insignificant and is seduced by something greater, that he can never comprehend. However, by neglecting his family, Genjūrō failed to appreciate he has already been blessed with a good life, and in the process, loses it.

As a ghost story, the film delves into a relationship between a spirit and a living person, which runs contrary to nature and will lead to the death of the person. Although ghosts are not mentioned in the initial parts of the film, Japanese writer Kazushi Hosaka stated Mizoguchi foreshadowed it using the scenery, which suggests a detachment from real life. The scene where the protagonists cross Lake Biwa is an example, given the fogs that turn the film away from the jidaigeki genre. Professor Robin Wood argues that the film's depiction of the main ghost character evolves from the mere demon of "The Lust of the White Serpent" into the more humane and tragic Lady Wakasa, and this makes the story more complex. Wood further opines the combination of the story with "The House in the Thicket," combining the male protagonist of each tale into one character, Genjūrō, also connects the demon character and the ghost wife. Both Lady Wakasa and Miyagi are killed by a male-dominated society, and both are wronged by Genjūrō. Wood believes Ugetsu can be considered a feminist film for its exploration of the negative impact of a patriarchy.

Genjūrō's pottery is also a major theme in the film. Professor Wood argues his pottery evolves in three phases, reflecting Mizoguchi's changing approach to filmmaking. Genjūrō begins making the pottery for commercial reasons, shifts to pure aesthetics while isolated with Lady Wakasa, and finally moves on to a style that reflects life and strives to understand it.

Release
Ugetsu was released in Japan on 26 March 1953. It was shown at the 1953 Venice Film Festival. Accompanied by Yoda and Kinuyo Tanaka, Mizoguchi made his first trip outside Japan to attend the festival. He spent much of his time in Italy in his hotel room praying to a scroll with a portrait of Kannon for victory. While in Venice he met director William Wyler, whose film Roman Holiday was also screening in competition at the festival and was rumoured to be the winner of the Silver Lion for best director. The film opened in New York City on 7 September 1954, with the English title Ugetsu being a truncation of Ugetsu Monogatari, the Japanese title, from Ueda's book. It was distributed elsewhere in the United States by Harrison Pictures under the title Tales of Ugetsu on 20 September 1954.

In September 2006, Film Forum screened the film in New York City over six days, opening a Mizoguchi tribute. A 4K digital restoration also screened as part of the Cannes Classics section at the 2016 Cannes Film Festival, Il Cinema Ritrovato in Bologna, and the 2016 New York Film Festival. The restoration "was undertaken by The Film Foundation and Kadokawa Corporation at Cineric Laboratories in New York".

Home media
Ugetsu was released on VHS by Home Vision Entertainment, with English subtitles. The film was released on LaserDisc in the United States by Voyager Company on November 24, 1993. On 8 November 2005, the film became available for the first time on Region 1 DVD when the Criterion Collection released a two-disc edition of the film, which includes numerous special features such as a 150-minute documentary on Mizoguchi, Kenji Mizoguchi: The Life of a Film Director, directed by Kaneto Shindo. The box-set also includes a booklet with an essay by Keiko I. McDonald, the author of Mizoguchi and editor of Ugetsu, and the three short stories from which the film draws inspiration. The film was released on Blu-Ray through the Criterion Collection years later, with all the features included.

In April 2008, Ugetsu Monogatari was released in the U.K. on Region 2 DVD by Eureka Entertainment as part of their Masters of Cinema series. The two-disc special edition containing new transfers is released in a double pack which twins it with Mizoguchi's film Miss Oyu (1951). This U.K. set was released on Blu-ray on 23 April 2012.

Critical reception
Ugetsu is often regarded as a masterwork of Japanese cinema and a definitive piece during Japan's Golden Age of Film. It is one of a number of films arguably more popular in western countries than in Japan. Japanese film historian Tadao Satō remarked that while this film, along with Mizoguchi's other works of the period The Crucified Lovers and Sansho the Bailiff, was probably not meant specifically to be sold to westerners as an "exotic" piece, it was perceived by studio executives as the kind of film that would not necessarily make a profit in Japanese theaters but would win awards at international film festivals.

The film was immediately popular in western countries and praised by such film critics as Lindsay Anderson and Donald Richie. Richie called it "one of the most perfect movies in the history of Japanese cinema" and especially praised the beauty and morality of the film's opening and closing shots. Richie analyzed how the film starts with "a long panorama" and shots spanning from a lake to the shore and the village. He judged the ending's "upward tilting panorama" from the grave to above to reflect the beginning. Bosley Crowther, in The New York Times, wrote that the film had "a strangely obscure, inferential, almost studiedly perplexing quality". Variety staff praised the film's visuals for reminiscence to Japanese prints, costumes and set design, and the performances of Masayuki Mori and Machiko Kyō.

The film appeared in Sight & Sound magazine's top 10 critics poll of the greatest films ever made, which is held once every decade, in 1962 and 1972. In the 2012 Sight & Sound poll, it was voted the 50th greatest film of all time. Ugetsu currently holds a 100% approval rating on Rotten Tomatoes, based on 30 reviews, with a weighted average of 9.40/10. The site's critical consensus states, "With its thought-provoking themes, rich atmosphere, and brilliant direction, Kenji Mizoguchi's Ugetsu monogatari is a towering classic of world cinema". Roger Ebert added Ugetsu to his Great Movies list in 2004, calling it "one of the greatest of all films", and said that "At the end of Ugetsu, aware we have seen a fable, we also feel curiously as if we have witnessed true lives and fates". Director Martin Scorsese has also listed it as one of his favourite films of all time and included it on a list of "39 Essential Foreign Films for a Young Filmmaker." It was also listed by Russian filmmaker Andrei Tarkovsky as one of his top ten favorite films.

In 5001 Nights at the Movies, film critic Pauline Kael found it to be "subtle, violent yet magical", and termed Ugetsu as "one of the most amazing of the Japanese movies that played American art houses". In 2000, The Village Voice newspaper ranked Ugetsu 29th on their list of the 100 best films of the 20th century.

Accolades
Ugetsu won the Silver Lion Award for Best Direction at the Venice Film Festival in 1953. The night before, Mizoguchi, believing that if the film did not win an award the shame would prevent him from returning to Japan, stayed in his hotel room and prayed. In Japan it was named third in Kinema Junpo's Best Ten for Japanese films of 1953. and won two awards at the 8th Mainichi Film Awards.

Legacy
Along with Akira Kurosawa's film Rashomon (1950), Ugetsu is credited with having popularised Japanese cinema in the West. The film, and Yasujirō Ozu's Tokyo Story, released the same year, particularly created awareness of other Japanese filmmakers. Mizoguchi cemented his reputation among film aficionados in Europe with his film Sansho the Bailiff (1954). Ugetsu and Sansho the Bailiff made an impact on French New Wave directors Jean-Luc Godard and François Truffaut, and U.S. director Paul Schrader, who sought Kazuo Miyagawa for advice on the film Mishima: A Life in Four Chapters (1985).

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

title: Ugetsu


text:
Jonas Wendell

Elder Jonas Wendell (December 25, 1815 – August 14, 1873) of Edinboro, Pennsylvania, was a zealous Adventist preacher following in the spirit of William Miller. Following the "Great Disappointment" Wendell experienced periods of weak faith, as did many Adventists. He eventually recovered his faith after renewing his study of Bible chronology (historic and prophetic) and began to preach extensively throughout Ohio, Pennsylvania, the Virginias, and New England. By the late 1860s he had been studying the chronology of the Bible, and was encouraged by conclusions showing Christ's return would occur in either 1868 or 1873/4. In 1870 Wendell published his views in the booklet entitled The Present Truth, or Meat in Due Season concluding that the Second Advent was sure to occur in 1873.

Unknown to him, attendance at one of his presentations restored Charles Taze Russell's faith in the Bible as the true word of God, leading to Russell's ministry.

Coverage of disputed charges
In 1871, the Associated Press circulated a story that Wendell had been arrested in Pennsylvania on the charge of "improper intimacy" with a 16-year-old girl. No evidence of impropriety was ever produced, and Wendell publicly denied not only the charges, but that he had ever been arrested.

Obituary
The magazine The World's Crisis in the September 10, 1873 issue offered an obituary written by fellow Adventist and personal friend, George Stetson. A brief summary appears below:

In Memory of Elder Jonas Wendell

"He was born December 25, 1815, and fell asleep August 14 1873. Age fifty seven years, seven months, and fourteen days. ...

"He had settled on 1873 as the year in which "the hope of seeing Jesus and being made like him" should be realized by a waiting and expectant church, and set forth the reasons for his hope in a little work entitled, "Present truth," or "Meat in Due Season," ...

"... on Wednesday evening, 13 August, by request, in absence of the pastor, he led the prayer and conference meeting, and much edified all present by his unusual fervency in prayer, exhortation, and singing. "What a friend we have in Jesus" was the last hymn he ever sung with us. On Thursday the 14th, he went to the Sabbath School picnic in most excellent spirits, and seemed to be very happy in the Lord. When time for adjournment arrived, he got out his horse to return home, but seeing a lad in trouble from a sickly horse, he went to his assistance, where he overtaxed his physical strength, and returned to his own buggy quite exhausted. But he got in and took the lines from his niece, to start home, but immediately loosened his hold, dropped them, and fell over backward in his seat, dead. He gave but two slight gasps for breath, and all was over...

"On Saturday, 16 August, at 2 P.M. his funeral was numerously attended at our chapel, when all the clergy of our village came to observe his obsequies, sympathize with his bereaved family, and participate in the services of the occasion... Medical opinion is divided between apoplexy and heart disease as cause of death.

Works

 * The Present Truth or Meat in Due Season, 1870

title: Jonas Wendell


text:
The Desperate Hours (1955 film)

The Desperate Hours is a 1955 film noir starring Humphrey Bogart and Fredric March. It was produced and directed by William Wyler and based on the 1954 novel and 1955 play of the same name, written by Joseph Hayes, which were loosely built on actual events. The film takes place on the Northside of Indianapolis and took great pains to be accurate as to street names and locations within the city and Indiana in general.

The original Broadway production had actor Paul Newman in the Bogart role but he was passed over for the movie because Bogart was a much bigger star. The character of Glenn Griffin was made older in the script so Bogart could play the part. Bogart said he viewed the story as "Duke Mantee grown up." Spencer Tracy was originally cast as Daniel Hilliard. Although he and Bogart were very good friends, both insisted on top billing, and Tracy eventually withdrew from the picture. Fredric March replaced Tracy.

The Desperate Hours was the first black-and-white film in VistaVision, Paramount's wide-screen process. The house used in the final seasons of the television series Leave It to Beaver was used for exterior shots of the Hilliards' home. In 1956, Joseph Hayes won an Edgar Award from the Mystery Writers of America for Best Motion Picture Screenplay.

Plot
Glenn Griffin is the leader of a trio of escaped convicts who invade a randomly selected suburban home in Indianapolis and hold four members of the Hilliard family, who live in the home, hostage. There they await the arrival of a package, being sent by Griffin's girlfriend, that contains funds to aid the three fugitives in their escape.

Police organize a statewide manhunt for the escapees and eventually discover the distraught family's plight. Griffin menaces and torments the Hilliards and threatens to kill them. A garbage collector, George Patterson, happens upon the situation after noticing Griffin's car in the garage. He is forced to drive into the country, where he is murdered by Sam Kobish, one of the three convicts.

Hal, the third convict and the younger brother of Glenn, is terrified by activities of police and decides to leave the house and his fellow convicts. Later, while in a phone booth, he shoots a police officer and tries to flee, but is run over by a truck and killed. Subsequently, Kobish is ambushed by police and FBI.

Daniel Hilliard, the family patriarch, convinces law enforcement personnel that their plan to storm the residence is too risky for his family. He then plays a trick on Griffin using an unloaded handgun and forces him out of the house with Griffin's own weapon. Griffin is machine-gunned to death when he hurls the firearm at a police spotlight and makes a break for it.

Cast

 * Humphrey Bogart as Glenn Griffin
 * Fredric March as Daniel C. Hilliard
 * Arthur Kennedy as Deputy Sheriff Jesse Bard
 * Martha Scott as Ellie Hilliard
 * Dewey Martin as Hal Griffin
 * Gig Young as Chuck Wright
 * Mary Murphy as Cindy Hilliard
 * Richard Eyer as Ralphy Hilliard
 * Robert Middleton as Samuel Kobish
 * Walter Baldwin as George Patterson
 * Whit Bissell as FBI Agent Carson
 * Ray Teal as State Police Lieutenant
 * Ray Collins as Sheriff Masters
 * Simon Oakland as State Trooper (uncredited)
 * Burt Mustin as Night Watchman ("Carl") (uncredited)
 * Alan Reed as Policeman ("Dutch")
 * Joe Flynn as motorist (uncredited)
 * Beverly Garland as Miss Swift

Background
Actual events that took place on September 11 and 12 in 1952, wherein the five members of the Hill family were held hostage for 19 hours, inspired the 1954 Joseph Hayes novel which, in turn, inspired the 1955 play on which the movie was based. The Hill family (formerly of Whitemarsh Township, Pennsylvania) sued Time, Inc., because Life magazine published an article in the February 1955 issue about the play, describing it as based on the actual events. The article was illustrated by staged photos with actors in the actual home that was the scene of the events, the Hills having moved away, making efforts to discourage publicity. The Hills' complaint was that the article falsely described the actual events while claiming it represented the truth. Immediately following the home invasion event, Mr. Hill had told the press the family had not been molested or harmed, and in fact had been treated courteously. The Life article, however, stated that some family members had been assaulted, profanity used, and in other ways – according to a New York appellate court – differed from the account Hill had given. Suing in a New York court, the plaintiffs relied on a New York statute which permitted damages suits for violation of the right of privacy only in instances of use of a person's name or picture for commercial purposes without consent. The statute, however, had been interpreted by the New York courts to make the truth of the publication a defense. The defense for Time, Inc., was that the matter was of general interest and the article had been published in good faith. A jury awarded compensatory and punitive damages, but the state appellate court awarded a new trial at which only compensatory damages could be considered, while sustaining liability. This order was affirmed by the highest state court.

Time, Inc., appealed the case to the United States Supreme Court, which ruled that the First Amendment prohibited holding the publisher liable unless the article was known by it to be false, or at least was published with disregard as to its truth or falsity (i.e., recklessly). The jury had not been so instructed, so the judgment could not stand. This ruling was a significant expansion of press protection, for a (qualified) immunity from damages was being extended to publishing matter about people who were newsworthy only by accident, as opposed to, for example, government officials. To this point the relevant cases had only dealt with such so-called "public figures" who were suing publishers. Mr. Hill was represented in the High Court by Richard M. Nixon, at that time an attorney in private practice. The Supreme Court thus made it extremely difficult even for ordinarily private persons to prevail in a defamation or "false light" invasion of privacy case. From the Supreme Court, the case was sent back in 1967, to the New York courts for disposition under this newly announced constitutional standard, probably involving a new trial, or perhaps summary judgment rendered on the basis of affidavits and depositions.

Music
The film featured music by Gail Kubik and Daniele Amfitheatrof (who was uncredited).

Songwriters Burt Bacharach and Wilson Stone, who were staff writers for Paramount Pictures at the time, were commissioned by Paramount to write a song for possible inclusion in the film. Their song, also titled "The Desperate Hours", was recorded by Eileen Rodgers and The Ray Conniff Orchestra and released as a single by Columbia records in 1955 (Columbia – 40594). The song is not to be confused with Mel Tormé's "These Desperate Hours", an unrelated song written for a 1960 episode of the television show Dan Raven. The Tormé recording has been erroneously included on anthologies of music by Bacharach and incorrectly identified as a tie-in to the Paramount film.

Remakes
The movie was remade in 1990 as Desperate Hours, starring Mickey Rourke, Anthony Hopkins, Mimi Rogers, Kelly Lynch, Lindsay Crouse and David Morse. The remake, directed by Michael Cimino, received poor reviews.

The 1994 black comedy film The Ref also features a similar plot, with a criminal on the lam (Denis Leary) taking a couple (Kevin Spacey and Judy Davis) hostage in their own home.

The film was also remade in India as the Hindi film 36 Ghante (1974).

title: The Desperate Hours (1955 film)


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Wikipedia:Articles for deletion/List of serial killers by number of victims

 This page is an archive of the discussion about the proposed deletion of the article below. This page is no longer live. Further comments should be made on the article's talk page rather than here so that this page is preserved as an historic record. The result of the debate was - no consensus - SimonP 00:09, Jun 16, 2005 (UTC)

List of serial killers by number of victims
Articles need to be verifiable, and this chart is inherently unverifiable and impossible to list. Bathory, for instance, has been suggested to have killed anywhere from 0 to 600 people, the 600 figure listed here is pure folklore. Also, a ranking by number of deaths is inherently a ghoulish scorecard mentality that should not be endorsed by this encyclopedia. The existence of this article can only cause problems. DreamGuy 04:47, Jun 2, 2005 (UTC)

 * Delete Agree completely with DreamGuy -CunningLinguist 05:46, 2 Jun 2005 (UTC)
 * Delete as above. AlexTiefling 09:00, 2 Jun 2005 (UTC)
 * Delete - Some of the historical cases are questionable - not to mention that at least some may be based of fraudulent accusations or folktale-enhanced body counts - sometimes law enforcement cannot find all the victims or prove all the kills, sometimes the killer may claim more victims that he actually killed and so on. Unverifiable, rumormonger bait - Skysmith 10:11, 2 Jun 2005 (UTC)
 * Keep but perhaps clarify - the victim count would do better to be split into lower and upper bounds (perhaps 'confirmed' (by agencies) and 'assumed' (i.e. folklore)). The fact that figures are hard to relate to is no worse than on something like List of metropolitan areas by population, where the figures are also very debatable and difficult to compare.  The ghoulishness argument is invalid: a global encyclopedia cannot pander to the squeamishness of any individual or group.  --Douglas 13:13, 2 Jun 2005 (UTC)
 * Delete as unverifiable. --Scimitar 15:05, 2 Jun 2005 (UTC)
 * Keep and tag for verification and cleanup. We should purge the ones we're not sure of, but the # of victims for many killers is verifiable. We should also add in a lead, noting that the list isn't comprehensive due to lack of verifiable totals for some killers. Meelar (talk) 15:07, Jun 2, 2005 (UTC)
 * There's no point to tagging it for verification when verification is inherently impossible. That defeats the entire purpose of putting the tag there. DreamGuy 17:45, Jun 2, 2005 (UTC)
 * Verification is not inherently impossible; for example, John Wayne Gacy mentions exactly 33 victims. What I'm arguing is that this page should include only killers with verifiable victim counts, and include a lead at the top saying that there exist other killers such as X, Y, or Z who may have more. Meelar (talk) 21:46, Jun 2, 2005 (UTC)
 * Which is what my Keep vote indicates. Keep only those who are verifiable. -- Longhair | Talk 21:50, 2 Jun 2005 (UTC)
 * If you only keep those that are actually verifiable it'll will be a tiny list missing most of the names most people would expect to see when they went here. I can;t see how that would be useful either. DreamGuy 11:33, Jun 6, 2005 (UTC)

 * Keep. agree with Meelar and don't forget to include American serial killers. Mgm|(talk) 15:43, Jun 2, 2005 (UTC)
 * Delete. AFAIK, and I've done some reading on the subject, "# of victims" is often unverifiable; bodies are never found, mass graves contain an unknown number of victims, killers lie about the number of victims (both reducing and exaggerating the count), law enforcement officials sometimes credit deaths/missing persons to serial killers simply to "close" the case (and are sometimes later proved wrong).  "Number of victims" is often a best guess done by collating proven victims w/claimed victims w/missing person reports w/alleged travels of the killer w/possible victims.  Much less exact than "population of metropolitan areas."  Soundguy99 16:38, 2 Jun 2005 (UTC)
 * Keep -- verifiable list. - Longhair | Talk 18:43, 2 Jun 2005 (UTC)
 * Delete. Unverifiable.  Even for a serial killer as famous and well-researched as Jack the Ripper, the number of victims is not known. --Carnildo 21:44, 2 Jun 2005 (UTC)
 * Delete inherently unverifiable. Serial killers have lots of reasons to lie -- to minimize their crime and possibly get off with a lesser sentence, or to make exaggerated claims to increase their reputation. No body count for any serial killer should be considered firmly established. carmeld1 00:59, 3 Jun 2005 (UTC)
 * Delete, not verifiable. Also, trivia != encyclopedic. Radiant_* 11:19, Jun 3, 2005 (UTC)
 * Keep, agree with Douglas and Meelar. -- Lochaber 13:10, 3 Jun 2005 (UTC)
 * Delete In accord with Soundguy99. Denni ☯ 01:00, 2005 Jun 4 (UTC)
 * Keep useful information.  Grue   12:27, 5 Jun 2005 (UTC)
 * Delete. Ghoulish and in the worst possible taste. Content is not censored on wikipedia, and rightly so, but that doesn't mean we have present the information in such a low and base way (thats what tabloids and other forms of muckracking media are for). We already have a list of serial killers, and a category, we don't need this. Sabine's Sunbird 15:58, 5 Jun 2005 (UTC)
 * Weak keep. -Sean Curtin 01:23, Jun 7, 2005 (UTC)
 * Delete. Agree that Wikipedia should not endorse kill-scores. Also, not much chance of accuracy, which would be an excuse for the article. Decius 02:53, 7 Jun 2005 (UTC)
 * Keep if only to demonstrate how little is known about these things. Add explanatory paragraph, and have a table for reputed an another for "known".  Also indicate that this is murder rather than killing we are talking about. Rich Farmbrough 20:22, 7 Jun 2005 (UTC)
 * Delete because the list is largely incomplete and inaccurate. Matjlav 01:56, 11 Jun 2005 (UTC)

 * This page is now preserved as an archive of the debate and, like some other VfD subpages, is no longer 'live'. Subsequent comments on the issue, the deletion, or the decision-making process should be placed on the relevant 'live' pages.  Please do not edit this page .


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Porsche 114

The Porsche 114 was a 1938 proposed design for a sports car powered by a 1493 cc V10 engine.

History
After designing the Volkswagen for the German government's KDF program Ferdinand Porsche considered building a sports car version of the VW. Internally known as the Porsche Type 64 this car would feature an aluminium streamlined body, a 1.5L version of the Volkswagen's original 1.0L engine, and a top speed of at least 160 km/h (100 mph). Originally the car was to use a large number of VW parts, but due to the intricacies of then German law it was not legal to sell government made parts to a private company.

Design
By 1938 Ferdinand had given up trying to arrange for a supply of VW parts for the Type 64. Ferdinand and his son Ferry Porsche decided to redesign the car from the ground up to be built internally by Porsche. This would have been the first car actually built by Porsche themselves. Known as the Type 114, or F-Wagen, a sort of portmanteau of Ferry and P-Wagen, it was a significant departure from the Type 64. Although it never reached the prototype stage the design drawings were all but completed and included a novel water cooled 72 BHP V10 twin camshaft engine in a true mid engine layout, as opposed to the VW's rear engine layout. Suspension was by trailing arms in front and swing axles in the rear, with drum brakes at all four corners. The body was aluminum and resembled a lower, stretched, and streamlined VW. Porsche had hopes of producing this car, but international tensions and a poor economy lead to its cancellation. Porsche did manage to salvage part of its investment by selling the transaxle design to Volkswagen.

Legacy
The Porsche Type 114 never came to be, but it lived on in a number of Porsche cars. After World War II Ferry Porsche began to build sports cars based on the VW, and eventually began production of the Porsche 356 which in concept was identical to the Type 64. Also aerodynamic research for the 114 led to a series of bodies produced by Porsche for racing and land speed record cars, such as the Type 60K10, a highly modified VW Beetle. While the type 114 was in the end little more than a design study it had a large impact on the future course of Porsche and the cars that would make the company a dominant force in the automotive world.

title: Porsche 114


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User:Nickmandler

"It is impossible not to live in the past."

nickmandler is, like many people, known for various actions, depending on the context. While the most information about him can be found on his website, nickmandler.tk, other nickmandler related websites include his music site, his art site, and this wikipedia site.

nickmandler has not been human since March 27, 2003.

title: User:Nickmandler


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Oh! great

Ito Ōgure (大暮 維人), known professionally as '''Oh! great', is a Japanese manga artist best known for his manga series Tenjho Tenge (1997–2010) and Air Gear'' (2002–2012). In 2006, Air Gear earned him the Kodansha Manga Award in the shōnen category.

Career
Oh! great's favorite manga as a child included Fist of the North Star and Ring ni Kakero. While working as a salaryman, Oh! great acquired debt playing pachinko and entered a manga contest for the award money. He made his debut in Byakuya-Shobo's adult magazine Manga Hot Milk in 1995 with a manga called September Kiss.

His pen name "Oh! great" is a play on words. His real name, written in Japanese order (family name before given name), is "Ōgure Ito", which is pronounced similarly to and can be romanized the same as the Japanese rendering of the English words "Oh great", ōgurēto.

Oh! great also created the pornographic series Silky Whip, which was his first work published outside Japan by Eros Comix. Since 2018, he has been creating a manga adaptation of Nisio Isin's Bakemonogatari series of novels.

Outside of manga, Oh! great designed some of the alternate character outfits in the PlayStation 2 version of Tekken 5, and a guest character in Soul Calibur IV named Ashlotte.

Style
Characteristics of Oh! great's style include violent plots, the use of English words amidst kanji and female characters that provide large amounts of fan service. Kai-Ming Cha of Publishers Weekly wrote that his "ability to weave together compelling narratives without shying away from sex or violence has set him apart from other manga-ka while earning him a number of loyal fans." She also wrote that his use of sex in Tenjho Tenge is recognized by readers as an important aspect of the story, hence their outrage when it was censored in its original English release. Oh! Great also often includes the themes of flashbacks and backstory in his stories.

Works

 * Biorg Trinity (illustrations only, text: Ōtarō Maijō)
 * Tenjho Tenge
 * In one unusual Tokyo high school, education takes a backseat to brawling as warring clubs wreak havoc in the hallways and chaos in the classrooms, all vying to be the baddest team around! Although they often contribute their fair share, only a handful of students serve to stem the tide of violence in this untamed outpost. These are the few, the proud, the powerful: the members of the Juken Club!
 * Air Gear
 * Itsuki Minami needs no introduction – everybody's heard of the “Babyface” of the Eastside. He's the toughest kid at Higashi Junior High School, easy on the eyes but dangerously tough when he needs to be. Plus, Itsuki lives with the mysterious and sexy Noyamano sisters. Life is never dull, but it becomes dangerous when Itsuki leads his school to victory over some vindictive Westside punks with gangster connections. Now he stands to lose his school, his friends, and everything he cares about. But in his darkest hour, the Noyamano girls come to Itsuki's aid. They can teach him a powerful skill that will save their school from the gangsters’ siege–and introduce Itsuki to a thrilling and terrifying new world.
 * Silky Whip
 * Silky Whip is a collection of different Hentai short stories, it has a sequel called Silky Whip Extreme. The first Oh! great creation released outside Japan, published by Eros Comix.
 * Legend of Himiko
 * Original PSX Character Design. Himejima Himiko doesn't know who her parents are. In fact, she can't remember much about her past at all. She, in fact, is a sacred child from a parallel fantasy realm. At the event of her birth, during a sacred flame ritual, an evil general with sadistic intentions invades the palace, causing the six guardians of the flame to be dispersed, and nearly killing Himiko. Several years later, Himiko and her adoptive brother return to Himiko's homeland, to find it torn apart by war; it's up to Himiko to reunite the six guardians and return order to the realm.
 * Majin Devil
 * Majin Devil is the connection of two stories. It begins with a young gang member who is transformed into a monster by the Majin Devil. The second is the story of how one boy genius uses his intellect to defeat the Majin Devil with the help of some allies he meets along the way.
 * Naked Star
 * A collection of short hentai stories set in various dystopian futures.
 * Burn-Up W and Burn-Up Excess
 * One-shot manga adaptation of these two Burn-Up series.
 * Tekken 5
 * Designed Asuka Kazama's third costume (female yakuza/yakuza wife).
 * Designed Yoshimitsu's third costume.
 * Tekken 6
 * Designed Lili's third costume (bride outfit).
 * Tekken Tag Tournament 2
 * Designed Anna Williams's second costume.
 * Soulcalibur IV
 * Designed the bonus character Ashlotte.
 * Pen & Ink guide to penning and inking manga
 * Book, with Yasuhiro Nightow and Satoshi Shiki! (2006), Published by Digital Manga
 * Digimon Story: Cyber Sleuth
 * Designed Eater (Character)
 * Bakemonogatari
 * The manga adaptation of the novel series with the same name.

title: Oh! great


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User talk:Bernie Sanders' DNA

Thanks for experimenting with Wikipedia. Your test worked, and has been reverted or removed. Please use the sandbox for any other tests you want to do. Take a look at the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks. --Boothy443 | comhrÚ 04:51, 2 Jun 2005 (UTC)

title: User talk:Bernie Sanders' DNA


text: Talk:Zeichnungen des Patienten O. T.

title: Talk:Zeichnungen des Patienten O. T.


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Electric potential energy

Electric potential energy is a potential energy (measured in joules) that results from conservative Coulomb forces and is associated with the configuration of a particular set of point charges within a defined system. An object may be said to have electric potential energy by virtue of either its own electric charge or its relative position to other electrically charged objects.

The term "electric potential energy" is used to describe the potential energy in systems with time-variant electric fields, while the term "electrostatic potential energy" is used to describe the potential energy in systems with time-invariant electric fields.

Definition
The electric potential energy of a system of point charges is defined as the work required to assemble this system of charges by bringing them close together, as in the system from an infinite distance. Alternatively, the electric potential energy of any given charge or system of charges is termed as the total work done by an external agent in bringing the charge or the system of charges from infinity to the present configuration without undergoing any acceleration.

The electrostatic potential energy can also be defined from the electric potential as follows:

Units
The SI unit of electric potential energy is joule (named after the English physicist James Prescott Joule). In the CGS system the erg is the unit of energy, being equal to 10−7 Joules. Also electronvolts may be used, 1 eV = 1.602×10−19 Joules.

One point charge q in the presence of another point charge Q

The electrostatic potential energy, UE, of one point charge q at position r in the presence of a point charge Q, taking an infinite separation between the charges as the reference position, is:

where r is the distance between the point charges q and Q, and q and Q are the charges (not the absolute values of the charges—i.e., an electron would have a negative value of charge when placed in the formula). The following outline of proof states the derivation from the definition of electric potential energy and Coulomb's law to this formula.

One point charge q in the presence of n point charges Qi
The electrostatic potential energy, UE, of one point charge q in the presence of n point charges Qi, taking an infinite separation between the charges as the reference position, is:

where ri is the distance between the point charges q and Qi, and q and Qi are the assigned values of the charges.

Electrostatic potential energy stored in a system of point charges
The electrostatic potential energy UE stored in a system of N charges q1, q2, …, qN at positions r1, r2, …, rN respectively, is:

where, for each i value, V(ri) is the electrostatic potential due to all point charges except the one at ri, and is equal to: $$V(\mathbf{r}_i) = k_e\sum_\stackrel{j=1}{j \ne i}^N \frac{q_j}{r_{ij}},$$ where rij is the distance between qi and qj.

Energy stored in a system of one point charge
The electrostatic potential energy of a system containing only one point charge is zero, as there are no other sources of electrostatic force against which an external agent must do work in moving the point charge from infinity to its final location.

A common question arises concerning the interaction of a point charge with its own electrostatic potential. Since this interaction doesn't act to move the point charge itself, it doesn't contribute to the stored energy of the system.

Energy stored in a system of two point charges
Consider bringing a point charge, q, into its final position near a point charge, Q1. The electric potential V(r) due to Q1 is $$ V(\mathbf r) = k_e \frac{Q_1}{r} $$

Hence we obtain, the electrostatic potential energy of q in the potential of Q1 as $$U_E = \frac{1}{4\pi\varepsilon_0} \frac{q Q_1}{r_1}$$ where r1 is the separation between the two point charges.

Energy stored in a system of three point charges
The electrostatic potential energy of a system of three charges should not be confused with the electrostatic potential energy of Q1 due to two charges Q2 and Q3, because the latter doesn't include the electrostatic potential energy of the system of the two charges Q2 and Q3.

The electrostatic potential energy stored in the system of three charges is: $$U_\mathrm{E} = \frac{1}{4\pi\varepsilon_0} \left[ \frac{Q_1 Q_2}{r_{12}} + \frac{Q_1 Q_3}{r_{13}} + \frac{Q_2 Q_3}{r_{23}} \right]$$

Energy stored in an electrostatic field distribution in vacuum
The energy density, or energy per unit volume, $\frac{dU}{dV}$, of the electrostatic field of a continuous charge distribution is: $$ u_e = \frac{dU}{dV} = \frac{1}{2} \varepsilon_0 \left|{\mathbf{E}}\right|^2.$$

Energy stored in electronic elements
Some elements in a circuit can convert energy from one form to another. For example, a resistor converts electrical energy to heat. This is known as the Joule effect. A capacitor stores it in its electric field. The total electrostatic potential energy stored in a capacitor is given by $$ U_E = \frac{1}{2}QV = \frac{1}{2} CV^2 = \frac{Q^2}{2C}$$ where C is the capacitance, V is the electric potential difference, and Q the charge stored in the capacitor.

The total electrostatic potential energy may also be expressed in terms of the electric field in the form $$U_E = \frac{1}{2} \int_V \mathrm{E} \cdot \mathrm{D} \, dV$$

where $$\mathrm{D}$$ is the electric displacement field within a dielectric material and integration is over the entire volume of the dielectric.

(A virtual experiment based on the energy transfert between capacitor plates reveals that an additional term must be taken into account when the electrostatic energy is expressed in terms of the electric field and displacement vectors .

While this extra energy cancels when dealing with insulators, in general it cannot be ignored, as for instance with semiconductors.)

The total electrostatic potential energy stored within a charged dielectric may also be expressed in terms of a continuous volume charge, $$\rho$$, $$U_E = \frac{1}{2} \int_V \rho \Phi \, dV$$ where integration is over the entire volume of the dielectric.

These latter two expressions are valid only for cases when the smallest increment of charge is zero ($$dq \to 0$$) such as dielectrics in the presence of metallic electrodes or dielectrics containing many charges.

title: Electric potential energy