title: Devil May Cry 4

text: Two of the game's PC exclusive features are Turbo Mode (previously used only in "Devil May Cry 3: Special Edition") giving the game a twenty percent speed boost, and a new difficulty mode called Legendary Dark Knight Mode which can display over 100 enemies in some missions at once. Both features returned in the "" release.


title: Devil May Cry 4

text: The PC version also has both DirectX 9 and DirectX 10 mode. It is labeled Games for Windows and runs on XP, Windows Vista and Windows 7. It assumes a Gamepad is present and only uses the mouse in the menus, providing the same interface as the Xbox 360 version.


title: Devil May Cry 4

text: Hiroyuki Kobayashi noted the production team began working with the game using a PC-based engine. He said that this was the first PlayStation 3 game developed by Capcom, and making this transition was a "hard step", particularly because no member of the production team was familiar with the console's capabilities.


title: Devil May Cry 4

text: Capcom justified the game's multi-platform crossover by emphasizing the Xbox 360's success in the North American and European markets, labeling the move as "natural". The final version of "Devil May Cry 4" uses Capcom's internally developed MT Framework engine. In a thread questioning the move on the official Capcom message board, the company's senior director of strategic planning and research, Christian Svensson, responded by saying that they were moved by people's strong feelings about the decision, but that it was the best decision for the company and consumers. He also claimed that the contents would be identical, except that "the feel of the controller" may cause a slight difference. Despite Capcom having already used the MT Framework to create two Xbox 360 games-"Dead Rising" and "Lost Planet", the team found difficulties with this engine. The developers first showed a demo of the game at Tokyo Game Show 2006 where Dante fought the boss character Berial. The visuals satisfied the Capcom staff to the point where they called them a "miracle".


title: Devil May Cry 4

text: Itsuno said in the "Famitsu" article that the visuals attempt to deliver a satisfying feel of being in the air. The actions of Nero's Devil Bringer could not be done on second generation consoles, but they could be done on the new generation of consoles such as the PlayStation 3. Kobayashi said the Xbox 360 and PlayStation 3 versions would be identical, although he did not comment on the PC version. Kobayashi confirmed the PC version "would be great, because the same team is working on both". The PlayStation 3 version requires the user to install 5GB of game data which takes 20 minutes and shortens the length of the loading screens throughout the game.


title: Devil May Cry 4

text: During production, new gameplay options were implemented to "keep up with fresh action games"; among these is the Devil Bringer's ability to bring enemies towards the characters. Unlike Dante's progress in "Devil May Cry 3", Nero was designed to become stronger by upgrading his Devil Bringer ability instead of receiving new weapons after defeating boss characters. During development the production team decided that Nero would be one of two main characters and that Dante was not going to be the only character from previous entries to appear in the series. Producer Hiroyuki Kobashi noted before the game's release they wanted to make Dante seem significantly more powerful than Nero. This was done to create an obvious difference between the strength of a "veteran" when compared to a "rookie". Unlike "Devil May Cry 3", the game's difficulty would be the same in both the Japanese and European versions as the version released in North America.


title: Devil May Cry 4

text: For the first time in the series Bingo Morihashi was the game's writer. He collaborated with film director Yuji Shimomura who worked on the earlier games. Morihashi had many issues with the making of the game to the point he quit Capcom. However, after Itsuno's asked him to return, he did so. He finished writing the game's events, which took a year. Morihashi had difficulties with the characterization of Nero, the new protagonist. Dante returned as a supporting character. Itsuno was responsible for most of Kyrie's elements. She was envisioned as an "ordinary, cute heroine" who had a big impact on Nero despite not being a fighter. Her role was to motivate Nero and the player as the story progresses.


title: Devil May Cry 4

text: The writings of late manga artist Ramo Nakajima in the series "Amagasaki City" inspired Morihashi to write Nero's story; "I love you, so I protect the city you love." Love is the focus of the "Devil May Cry" series; "Devil May Cry 4" focuses on Nero's love for Kyrie. While "Devil May Cry 4" is a simple story similar to Hollywood movies involving a damsel in distress, the staff were satisfied with it because it also carried Morihashi's ideas well. The Capcom staff created Nero as a new protagonist who would develop across the "Devil May Cry" series because Dante had become stronger with each game. Nero was created as a weaker character who develops new powers as the story progresses until he reaches Dante's level. This was done mostly through his "Devil Bringer" ability, which makes him stand out. Another reason for Nero's introduction was to attract new gamers to the franchise.


title: Devil May Cry 4

text: Before commencing the designs for the characters in "Devil May Cry 4", character designer Tatsuya Yoshikawa consulted with several members of the staff who had worked on the series before to become familiar with previous elements. The characters were designed to emphasize their moves, which made the staff controlling their motions vital to the design. Some of the antagonist's demonic forms in "Devil May Cry 4" resemble angels. These characters were designed to be attractive to the game's audience while providing a contrast when compared to other demons in the game. Yoshikawa noted that several of the boss characters presented some difficulty when creating them. He said that Nero's design was one of the biggest challenges he had experienced in his career, because the character had to be accepted by the public and fit in the series' universe. Yoshikawa liked the interactions between Nero and Dante because of the balance the two playable characters make.


title: Devil May Cry 4

text: Yoshikawa also created another devil transformation, the Devil Trigger, for Nero. Unlike Dante's transformation that makes him look like a devil, Nero's Devil Trigger generates a creature situated behind his back. One that did not appear in the game turned Nero into a demon like Dante. Nero's hood covers one eye as a symbol whose interpretation is left up to the fans. Yoshikawa wanted to incorporate this into the game and hoped to make it into a figurine, but this was not possible.


title: Devil May Cry 4

text: Both main voice actors motion capture actors, Reuben Langdon and Bosch, expressed pleasure working as Dante and Nero, respectively with the former noting he made Dante like his younger "Devil May Cry 3" persona but more mature. Langdon's inspiration for the character was Roy Focker of the anime series "The Super Dimension Fortress Macross".


title: Devil May Cry 4

text: The soundtrack for "Devil May Cry 4" was composed by Tetsuya Shibata, Shusaku Uchiyama, Kento Hasegawa, Akihiko Narita, Kota Suzuki, Rei Kondoh, Masayoshi "Chamy" Ishi, Masami Ueda and Shinichiro Sato. Shibata said that since the release of "Devil May Cry 3" he had wanted to emphasized lyrics in the fourth title. The game is noted for its use of heavy metal songs.


title: Devil May Cry 4

text: "Devil May Cry 4 Original Soundtrack" in a three-disc, 104 track soundtrack. It was released in Japan on February 27, 2008.


title: Devil May Cry 4

text: The first teaser trailer was shown at E3 2005, depicting Dante traveling through a snow-covered environment. A more substantial trailer was released at that year's Tokyo Game Show, with a more rugged and older Dante in a city-like setting. Both teasers show very little detail of the game itself. At the 2006 Tokyo Game Show, a more complete trailer debuted, along with a playable demo, featuring the character Nero.


title: Devil May Cry 4

text: A fourth trailer, released on December 17, 2007, revealed more gameplay and story detail, as well as information on new songs for the game. These included a new version of "Lock and Load", Dante's theme music from the first "Devil May Cry", with new lyrics written and performed by Shawn "Shootie HG" McPherson, the lyricist and lead vocalist on the soundtrack of "". Released with the Japanese version of the game is Japanese rock band, "L'Arc-en-Ciel", and their new single, "Drink It Down", which is used as the Japanese opening for the game. The company presented the game's first demo at an event titled "Capcom's Gamer's Day", where Kobayashi highlighted several of the game's features. With the team focused on completing the game, a new demo was not produced in time for the 2007 E3 Media and Business Summit.


title: Devil May Cry 4

text: A collector's edition of the game was released at the same time as the regular version. The North American version features a bonus disc containing the making of "Devil May Cry 4", and an additional disc of the first four episodes of "", while the European and Australian versions include a signed artbook instead, titled "Art of the Devil" A very small number of Collector's Edition packages were signed by the game's producer, Hiroyuki Kobayashi, on the back of the metal tin on Dante's left shoulder. This number was reported to be as low as only 100 signed copies for each console, for a total of 200 signed copies. Both versions were packaged in a steelbook case.


title: Devil May Cry 4

text: An iOS version called "Devil May Cry 4: Refrain" was announced January 11, 2011. It was released on February 3, 2011.


title: Devil May Cry 4

text: "Devil May Cry 4" received favorable reviews, according to review aggregator Metacritic. Japanese gaming magazine "Famitsu" gave the game a "Platinum" rank as part of its review. It praised the difficulty balance and gameplay options.


title: Devil May Cry 4

text: "Devil May Cry 4" received praise for its hack and slash mechanics. "Xbox World Australia" called it "the most solid of all of the Devil May Cry games" citing its responsive controls despite being the first game in the series to be released for the Xbox 360 and PlayStation 3. "PSM3" rated the game's degree of difficulty positively based on how the system ranks the player and the challenges the game offers. 1UP.com praised the gameplay and "predictably slick" looks. However, sites often criticized the game's backtracking elements, a big issue found within the level design. Some criticized the theme songs. The use of boss fights and the approach to the action's style was well received by "GameSpot". They felt it would attract and appeal to gamers despite the backtracking issues.


title: Devil May Cry 4

text: As to the presentation, GameTrailers praised the voice acting, fight scenes, but criticized the corny dialogue. GameSpy said the game succeeds thanks to its gameplay and visuals. The introduction of Nero as new protagonist was well received. Bosch's voice acting in the English-language version was also praised by GameZone and GameSpot. Despite the similarities between Nero and Dante, IGN still found the new protagonist appealing based on how different his gameplay is from the returning hero's. IGN agreed, finding Nero's story appealing. The GameSpy review also praised the Nero character for "[bringing] something fresh to the franchise" and being "as diverse as DMC3 SE's Vergil". When it came to the console version, IGN said fans would enjoy the video game, but might be disappointed that Dante had fewer weapons and missions than he did in "Devil May Cry 3". GameSpy also said that "it cheapens things a little to see that the team has opted to recycle assets in lieu of showing us more of this rich world". They did not find the soundtrack appealing. "Hyper"s Dirk Watch commended the game for "looking great, combos galore and being more fun than "Devil May Cry 3"". However, he criticized it for "still playing like "Devil May Cry 2"" and for its "choppy pacing and level design".


title: Devil May Cry 4

text: The PC version received mixed reviews. 1UP.com appreciated the port's exclusive Legendary Dark Knight mode where the character is cornered by multiple enemies in a single battle. However, they felt that Capcom could have made a more comfortable controller as it had similar issues as the one from "Resident Evil 4". They expected the developers to have put in more features. While also appreciating Dark Knight and the Turbo mode that increased the game's speed, IGN said this port was only for hardcore fans of the series since it was not too different from the original console versions. Nevertheless, GameZone said that Capcom did not rush the port and praised it for being as enjoyable as the original game in contrast to other PC ports.


title: Devil May Cry 4

text: Capcom expected "Devil May Cry 4" to ship 1.8 Million Units by the end of its fiscal year. Upon its release week in Japan, the PlayStation 3 version outsold the Xbox 360 version—140,000 units to 28,000. On February 20, 2008, Capcom's president Haruhiro Tsujimoto announced in a press release that the game shipped two million copies in its first month, making it the fastest selling title in the series. By the end of the title's launch year, it had sold 2.32 million copies and would eventually reach the milestone of three million units sold by December 31, 2014. Capcom's Christian Svensson noted the PC retail version's sales in the US did not meet his expectations. A digital download version was only available in pirated form as Capcom Japan did not allow the game to be sold online. A PC digital distribution release was made available over a year later.


title: Devil May Cry 4

text: A two-volume graphic novel adaptation of the game titled "Devil May Cry 4: Deadly Fortune" was released in 2009 by Capcom. It is written by Bingo Morihashi and his assistant writer Yasui Kentarou. In the afterword, Morihashi wrote that some of the novel's scenes were intended to be included in the game but were removed due to production issues.


title: Devil May Cry 4

text: Director Hideaki Itsuno noted the action system implemented in the game was expanded further in his next title "Dragon's Dogma". Kobayashi said fans of "Devil May Cry 4" might enjoy this new RPG game.


title: Devil May Cry 4

text: The series' original creator, Hideki Kamiya, said he used this game for research while developing "Bayonetta", an action game that would use a similar style and which borrowed elements from the "Devil May Cry" series. In 2010, the game was included as one of the titles in the book "1001 Video Games You Must Play Before You Die".


title: Devil May Cry 4

text: In the fighting game "Street Fighter V", Dante and Nero's original appearance serve as alternate costumes.


title: Devil May Cry 4

text: A sequel, "Devil May Cry 5", was announced by Capcom in June 2018. It released on 8 March 2019 and featured the return of Nero, Dante and introduced a new playable character known as "V".


title: Atlantic Time Zone

text: The Atlantic Time Zone is a geographical region that keeps standard time—called Atlantic Standard Time (AST)—by subtracting four hours from Coordinated Universal Time (UTC), resulting in . AST is observed in parts of North America and some Caribbean islands. During part of the year, some portions of the zone observe daylight saving time, referred to as Atlantic Daylight Time (ADT), by moving their clocks forward one hour to result in . The clock time in this zone is based on the mean solar time of the 60th meridian west of the Greenwich Observatory.


title: Atlantic Time Zone

text: In Canada, the provinces of New Brunswick, Nova Scotia, and Prince Edward Island are in this zone, though legally they calculate time specifically as an offset of four hours from Greenwich Mean Time (GMT–4) rather than from UTC. Small portions of Quebec (eastern Côte-Nord and the Magdalen Islands) also observe Atlantic Time. Officially, the entirety of Newfoundland and Labrador observes Newfoundland Standard Time, but in practice Atlantic Time is used in most of Labrador.


title: Atlantic Time Zone

text: No portion of the continental United States currently uses Atlantic Time, although it is used by the territories of Puerto Rico and the U.S. Virgin Islands. In the 2010s, several U.S. states considered legislation to move from the Eastern Time Zone to Atlantic Standard Time. Any changes must be approved by the United States Department of Transportation and the United States Congress before taking legal effect.


title: Atlantic Time Zone

text: The United States National Hurricane Center's official advisories typically report AST and UTC when tracking storms in the Caribbean that threaten the U.S., which may confuse the mainland public not familiar with the time zone designation.


title: Atlantic Time Zone

text: All six of the New England states in the northeastern U.S., currently in the Eastern Time Zone (with daylight saving time), have considered legislation to shift to UTC−04:00, equivalent to Atlantic Standard Time (with no observance of daylight saving time) or Eastern Daylight Time. Virtually all of this region is west of the theoretical western border of the zone at 67.5°W; only a small portion of Maine lies east of that meridian. A Massachusetts commission concluded in 2017 that the benefits of changing to Atlantic Standard Time year-round would outweigh the disadvantages, provided that a majority of northeastern states make the same change. In May 2017, the Maine Senate approved a change to AST, on the condition that there would be a referendum, and that Massachusetts and New Hampshire decided to make the same switch. Also in 2017, the New Hampshire House of Representatives approved a bill in favor of a regional change, but this was voted down by the state's Senate. Similar bills have been put forward in Connecticut, Rhode Island, and Vermont.


title: Atlantic Time Zone

text: In 2018, Florida enacted into law the "Sunshine Protection Act", under which the state would observe daylight saving time year-round. Most of the state would permanently keep Eastern Daylight Time, which is equivalent to Atlantic Standard Time; the state's panhandle region would move to year-round Central Daylight Time / Eastern Standard Time. However, the change cannot take effect until it is passed into federal law by the United States Congress.


title: Atlantic Time Zone

text: On March 15, 2022, the United States Senate voted unanimously to advance a federal version of the "Sunshine Protection" legislation from Florida, also called the "Sunshine Protection Act", to the United States House of Representatives. If the bill passes the House and earns the president's signature, Daylight Saving will be made permanent in most of the United States in November 2023, effectively making the parts of the US in the Eastern Time Zone a part of the Atlantic Standard Time Zone year-round.


title: Dora Maar

text: Henriette Theodora Markovitch (22 November 1907 – 16 July 1997), known as Dora Maar, was a French photographer, painter, and poet. A romantic partner of Pablo Picasso, Maar was depicted in a number of Picasso's paintings, including his "Portrait of Dora Maar and Dora Maar au Chat."


title: Dora Maar

text: Henriette Theodora Markovitch was the only daughter of Josip Marković (aka Joseph Markovitch) (1874–1969), a Croatian architect who studied in Zagreb, Vienna, and then Paris where he settled in 1896, and of his spouse, Catholic-raised Louise-Julie Voisin (1877–1942), originally from Cognac.


title: Dora Maar

text: In 1910, the family left for Buenos Aires where the father obtained several commissions including for the embassy of Austria-Hungary. His achievements earned him the honor of being decorated by Emperor Francis Joseph I, even though he was "the only architect who did not make a fortune in Buenos Aires".


title: Dora Maar

text: In 1926, the family returned to Paris. Dora Maar, a pseudonym she chose, took courses at the Central Union of Decorative Arts and the School of Photography. She also enrolled at the École des Beaux-Arts and the Académie Julian which had the advantage of offering the same instruction to women as to men. Maar frequented André Lhote's workshop where she met Henri Cartier-Bresson.


title: Dora Maar

text: While studying at the École des Beaux-Arts, Maar met fellow female surrealist Jacqueline Lamba. About her, Maar said, "I was closely linked with Jacqueline. She asked me, "where are those famous surrealists?" and I told her about Cafe de la Place Blanche." Lamba then began to frequent the cafe where she would eventually meet André Breton, whom she would later marry.


title: Dora Maar

text: When the workshop ceased its activities, Maar left Paris, alone, for Barcelona and then London, where she photographed the effects of the economic depression following the Wall Street Crash of 1929 in the United States. On her return, and with the help of her father, she opened another workshop at 29 Rue d'Astorg in the 8th "arrondissement" of Paris.


title: Dora Maar

text: In 1935, Maar was introduced to Pablo Picasso and became his companion and muse. She took pictures in his studio at the Grands Augustins and tracked the latter stages of his epic work, "Guernica". She later acted as a model for his piece titled "Monument à Apollinaire", a tribute to the late poet Guillaume Apollinaire.


title: Dora Maar

text: Maar's earliest surviving photographs were taken in the early 1920s while on a cargo ship going to the Cape Verde Islands.


title: Dora Maar

text: At the beginning of 1930, she set up a photography studio on rue Campagne-Première (14th arrondissement of Paris) with Pierre Kéfer, photographer, and decorator for Jean Epstein's 1928 film, "The Fall of the House of Usher". In the studio, Maar and Kefer worked together mostly on commercial photography for advertisements and fashion magazines. Her father assisted with her finances in this period of her life as she was establishing herself while trying to earn a living. The studio displayed fashion, advertising and nudes, and it became very successful.


title: Dora Maar

text: She met the photographer Brassaï with whom she shared the darkroom in the studio. Brassai once said that she had "bright eyes and an attentive gaze, a disturbing stare at times".


title: Dora Maar

text: During this time working in advertising and fashion photography, the influence of Surrealism could be seen in her work through her heavy use of mirrors and contrasting shadows . She felt that art should represent the content of reality through links with intuitions or ideas, rather than visually reproduce the natural. Maar also met Louis-Victor Emmanuel Sougez, a photographer working for advertising, archeology and artistic director of the newspaper "L'Illustration", whom she considered a mentor.


title: Dora Maar

text: Maar frequented the "October group", formed around Jacques Prévert and Max Morise after their break from surrealism.


title: Dora Maar

text: It is the gelatin silver works of the surrealist period that remain the most sought after by admirers: "Portrait of Ubu" (1936), "29 rue d'Astorg", black and white, collages, photomontages or superimpositions. The photograph represents the central character in a popular series of plays by Alfred Jarry called "Ubu Roi". The work was first shown at the Exposition Surréaliste d'objets at the Galerie Charles Ratton in Paris and at the International Surrealist Exhibition in London in 1936. She also participated in Participates in Fantastic Art, Dada, Surrealism, at the MoMA in New York the same year.


title: Dora Maar

text: Surrealist concepts and interests often aligned with the ideas of the political left of the time and so Maar became very politically active at this point in her life. After the fascist demonstrations of 6 February 1934, in Paris along with René Lefeuvre, Jacques Soustelle, supported by Simone Weil and Georges Bataille, she signed the tract "Appeal to the Struggle" written at the initiative of André Breton. Much of her work is highly influenced by leftist politics of the time, often depicting those who had been thrown into poverty by the Depression. She was part of an ultra-leftist association called "Masses", where she first met Georges Bataille, an anti-fascist organization called the Union of Intellectuals Against Fascism, and a radical collective of left-wing actors and writers called October.


title: Dora Maar

text: She also was involved in many Surrealist groups and often participated in demonstrations, convocations, and cafe conversations. She signed many manifestos, including one titled "When Surrealists were Right" in August 1935 which concerned the Congress of Paris, which had been held in March of that year.


title: Dora Maar

text: In 1935, she took a photo of fashion illustrator and designer Christian Berard that was described by writer and critic Michael Kimmelman as "wry and mischievous with only his head perceived above the fountain as if he were John the Baptist on a silver platter".


title: Dora Maar

text: Maar first saw Pablo Picasso at the end of 1935 when she was taking promotional shots on the set of the Jean Renoir film "The Crime of Monsieur Lange". She was captivated by him, but they did not formally meet. Maar was introduced to Picasso a few days later by their mutual friend Paul Eluard at Cafe des Deux Magots. The story of their first encounter was told by the writer Jean-Paul Crespelle, "the young woman serious face, lit up by pale blue eyes which looked all the paler because of her thick eyebrows; a sensitive uneasy face, with light and shade passing alternately over it. She kept driving a small pointed pen-knife between her fingers into the wood of the table. Sometimes she missed and a drop of blood appeared between the roses embroidered on her black gloves... Picasso would ask Dora to give him the gloves and would lock them up in the showcase he kept for his mementos."


title: Dora Maar

text: Picasso was intrigued by Maar's seductive and masochistic behaviour, which served as inspiration for many of his works throughout their relationship. Their liaison would last nearly nine years, during which time Picasso did not end his relationship with Marie-Thérèse Walter, mother of his daughter Maya.


title: Dora Maar

text: Maar photographed the successive stages of the creation of "Guernica", painted by Picasso in his studio in the rue des Grands-Augustins from May to June 1937; Picasso used these photographs in his creative process. She was Picasso's principal model, and he often represented her in tears. Maar boosted Picasso's understanding of politics and taught him skills in photography. Maar also introduced Picasso to the method of combining photography and printmaking, also known as the cliché verre technique.


title: Dora Maar

text: Maar is very well known for her role as Picasso's lover, subject, and muse. As such, he painted many portraits of her. In the majority of these paintings, Maar was represented as a tortured, anguished woman. The most well known of these portraits is "The Weeping Woman". Picasso was very inspired by the tragedies of the Spanish Civil War, and he thought of Maar as a living depiction of the pain and suffering that people experienced during this time. Maar did not appreciate Picasso's depiction of her in this way. When asked about his portraits of her, she said "all portraits of me are lies. They're Picassos. Not one is Dora Maar".


title: Dora Maar

text: Her liaison with Picasso, who physically abused her and made her fight Marie-Therese Walter for his love, ended in 1943, although they met again episodically until 1946. Thus, on 19 March 1944, she played the role of "Fat Anguish" in the reading, at the home of Michel Leiris, of Picasso' first play, "Desire Caught by the Tail", led by Albert Camus. In 1944, through the intermediary of Paul Éluard, Maar met Jacques Lacan, who took care of her nervous breakdown through years of analysis, in which her mental health began to improve. Picasso bought her a house in Ménerbes, Vaucluse, where she retired and lived alone. She turned to the Catholic religion, met the painter Nicolas de Staël (who lived in the same village), and turned to abstract painting.


title: Dora Maar

text: The painted works of Maar remained unrecognized until their posthumous sale, organized in 1999, which made the public and professionals discover a very personal production that had never left her studio.


title: Dora Maar

text: Maar abandoned photography for painting alongside leaving Picasso and his influence, or rather the crushing presence of the painter, who had imposed on her a cubistic style. Pushed by Picasso to express herself in this style, one can wonder about Picasso's desire to remove his lover from the domain where she excelled, and to constrain her in a style of painting which he had long mastered.


title: Dora Maar

text: It was from the painful separation of Picasso that Maar truly became a painter. Tragic figurative works, such as the "Portrait of Eluard", or "Self-Portrait" to "The Child of 1946", translate, in dark tones, the pain of post-war years.


title: Dora Maar

text: After years of struggling with depression, Maar confined herself within her own memories. It is between the 1960s and 70s that there was the beginning of a respite when she experimented with abstract formats in shimmering colors. It was in the 1980s, though that the painter expressed herself fully in her many paintings of the Luberon region. Paintings of the landscapes around her house in Ménerbes, showed locations dominated by wind and clouds, strongly revealing the struggle of an artist with the ghosts of her past.


title: Dora Maar

text: Maar spent her last years in her apartment in Rue de Savoie, in the Left Bank of Paris. She died on 16 July 1997, at 89 years old. She was buried in the Bois-Tardieu cemetery in Clamart. Her experiments with photograms and dark-room photography were only found posthumously.


title: Dora Maar

text: Although Maar is mostly remembered as one of Picasso's lovers, there have been many recent exhibits presenting her as an artist in her own right, including exhibitions at the Haus der Kunst, Munich, 13 October 2001 – 6 January 2002; the Centre de la Vieille Charité, Marseille, 20 January – 4 May 2002; the Centre Cultural Tecla Sala, Barcelona, 15 May – 15 July 2002; the Centre Pompidou, Paris, 5 June 2019 – 29 July 2019; and the Tate Modern, London, 20 November 2019 – 15 March 2020.


title: Dora Maar

text: Maar was played by Samantha Colley in the 2018 season of "Genius", which focuses on the life and art of Picasso.


title: Dora Maar

text: Content in this edit is translated from the existing French Wikipedia article at ; see its history for attribution.


title: Needful Things

text: Needful Things is a 1991 horror novel by American author Stephen King. It is the first novel King wrote after his rehabilitation from drug and alcohol addiction. It was made into a film of the same name in 1993 which was directed by Fraser C. Heston. The story focuses on a shop that sells collectibles and antiques, managed by Leland Gaunt, a new arrival to the town of Castle Rock, Maine, the setting of many King stories. Gaunt often asks customers to perform a prank or mysterious deed in exchange for the item they are drawn to. As time goes by, the many deeds and pranks lead to increasing aggression among the townspeople, as well as chaos and death. A protagonist of the book is Alan Pangborn, previously seen in Stephen King's novel "The Dark Half".


title: Needful Things

text: According to the cover, this novel is "The Last Castle Rock Story." However, the town later serves as the setting for the short story "It Grows on You" (published in King's 1993 collection "Nightmares & Dreamscapes" which, according to King, serves as an epilogue to "Needful Things)", as well as King's 2017 novella "Gwendy's Button Box" (cowritten with Richard Chizmar) and his 2018 novella "Elevation".


title: Needful Things

text: A new shop named "Needful Things" opens in the small town of Castle Rock, Maine, sparking the curiosity of its citizens. The proprietor, Leland Gaunt, is a charming elderly gentleman purportedly from Akron, Ohio who always seems to have an item in stock that is perfectly suited to any customer who comes through his door. The prices are surprisingly low, considering the merchandise – such as a rare Sandy Koufax baseball card, a carnival glass lampshade, and a fragment of petrified wood stated to be from Noah's Ark – but he expects each customer to also play a little prank on someone else in town. Each customer enters a trance and becomes highly agreeable when making a deal with Gaunt, afterwards forgetting anything abnormal about the encounter. Gaunt has complete knowledge of the long-standing private histories and conflicts between the various townspeople, and the pranks are his means of forcing them to escalate.


title: Needful Things

text: Shortly after Gaunt opens his shop, he marks local Sheriff Alan Pangborn and Polly Chalmers, Alan's sweetheart and proprietor of a local sewing shop, as "tough customers" who are likely to question and interfere with him. Gaunt avoids Alan and offers Polly an ancient charm that relieves the terrible arthritic pain in her hands, as well as giving Gaunt control over her. Tensions in Castle Rock rapidly grow after Nettie Cobb, Polly's housekeeper, and her enemy Wilma Jerzyck kill each other with knives in a confrontation sparked by local boy Brian Rusk vandalizing Wilma's home and alcoholic Hugh Priest killing Nettie's dog. Other rivalries begin to fester, spurred by the personal motives and secrets of the people involved. Gaunt hires petty criminal John "Ace" Merrill as his assistant, providing him with high-quality cocaine and hinting at buried treasure that could relieve the debt he owes to a pair of drug dealers. Ace's first assignment is to retrieve crates of pistols, ammunition, and blasting caps from a garage in Boston; Gaunt soon begins to sell the pistols to his customers so they can protect their purchases.


title: Needful Things

text: The truth is eventually revealed: for centuries, Gaunt has tricked unsuspecting people into buying worthless junk that magically appears to be whatever they treasure or desire most. They then become so paranoid about keeping their items safe that they eagerly buy up the weapons that he offers and trade away their souls, until the whole town is caught up in madness and violence. Ace begins to suspect the supernatural background of his new employer, but Gaunt keeps him in line through intimidation and promises of revenge against Alan and the town.


title: Needful Things

text: Several cases of violence happen simultaneously: gym coach Lester Pratt attacks Deputy John LaPointe (his fiancée's ex-boyfriend) and is killed in self-defense; Hugh Priest and bar owner Henry Beaufort kill each other in a shootout; Brian commits suicide out of guilt for his role in Wilma and Nettie's deaths; and town selectman Danforth "Buster" Keeton (who has been secretly embezzling from public funds to fuel his gambling addiction) attacks Deputy Norris Ridgewick before escaping to his home and killing his wife, Myrtle, with a hammer. Buster is then recruited by Ace to join him in his work for Gaunt. With the violence in Castle Rock rapidly escalating, Ace and Buster plant dynamite all over town, using the caps Ace brought back. Alan sets out to kill Ace, led by Gaunt to believe him responsible for the car accident that killed his wife and son. Polly realizes the evil of the charm she bought and destroys it. Norris attempts suicide, realizing that his prank on Priest led to the fatal shootout, but decides to go to the police station to help. As the bombs explode, Buster is wounded by Norris and is put out of his misery by Ace. Taking Polly hostage, Ace demands that Alan hand over a hoard of buried cash he allegedly stole. Norris kills Ace, leaving Alan to face off against Gaunt.


title: Needful Things

text: Using sleight of hand and magic novelties that suddenly come to life, Alan forces Gaunt back and grabs his valise, which contains the souls of his customers. Gaunt flees the scene, his car turning into a horse-drawn wagon, and the survivors are left to ponder an uncertain future. The novel ends as it begins, in first-person direct address indicating that a new and mysterious shop called "Answered Prayers" is about to open in a small Iowa town – an ominous implication that Gaunt is ready to begin his business cycle again.


title: Needful Things

text: In 1993, a film adaptation of King's book directed by Fraser C. Heston and starring Max von Sydow, Ed Harris, Bonnie Bedelia and J. T. Walsh was released in theaters. It received generally negative reviews from critics, with an overall rating of 31% on Rotten Tomatoes.


title: Needful Things

text: The "Rick and Morty" episode "Something Ricked This Way Comes" features the Devil as the proprietor of a store named "Needful Things", which sells cursed items.


title: Needful Things

text: It inspired the name of Necessary Things, a popular comic book store and publishing house brand in Turkey.


title: Serbian Air Force and Air Defence

text: The Serbian Air Force and Air Defence (), is the air force of Serbia and service branch of the Serbian Armed Forces. Its mission is to guard and protect the sovereignty of Serbian airspace, and jointly with the Serbian Army, to protect territorial integrity of the country.


title: Serbian Air Force and Air Defence

text: Serbian Air Force was established in 1912, thus making Serbia one of the first fifteen states in the world to have an air force. It was subsequently absorbed into the air forces of various Yugoslav states between 1918 and 2006.


title: Serbian Air Force and Air Defence

text: The idea to form air forces in the Royal Serbian Army was first mentioned in the General Army Formation Act from 2 August 1893. This act envisioned that within each division of the Army be formed one air force balloon company.


title: Serbian Air Force and Air Defence

text: The first aviation pioneer in Serbia was Lieutenant Kosta Miletić (1874–1953), trained as a balloon pilot at the Technical Aeronautical School in Saint Petersburg, Russia, from 1901 to 1902. On the recommendation of Miletić, the Royal Serbian Army posed messenger pigeon stations and bought two free spherical and one tied kite balloon from the August Ridinger company from German city of Augsburg. At the reception ceremony, on 19 April 1909, Kosta Miletić flew a spherical balloon called "Srbija". One balloon was provided from Russia. A gas chamber was ordered from the Dillmann company in Berlin, and a field winch from Saint Petersburg. A hydrogen unit was provided from the Swiss company Oerlikon. The equipment was delivered to Serbia in 1909 and 1910.


title: Serbian Air Force and Air Defence

text: The first competition for cadet airmen was opened in 1911, and in the following year the first class of Serbian pilots started their flying training in France and got the rank of pilot. They finished the course at the beginning of the First Balkan War with aircraft and the balloons that had already been obtained prior to the outbreak of war. In the autumn of 1912, Serbia got the aircraft for its armed forces. and on 24 September 1912 by the Act of the Minister of Army Radomir Putnik, an Aviation Command was established in Niš. Serbian Aviation ("Srpska avijatika") comprised the Aircraft Detachment (which counted 12 aircraft), the Balloon Company, the pigeon post and the airbase. This date is regarded as the official founding of the Serbian Air Force.


title: Serbian Air Force and Air Defence

text: The First Balkan War broke out in October 1912; Montenegro, Bulgaria, Greece, and Serbia waged it against the Ottoman Empire. In this war, the Serbian Aviation Command had its first combat experience. In February 1913, the High Command of the Royal Serbian Army formed an expeditionary Coastal Airplane Detachment in order to aid the Montenegrin army against Ottoman troops who were reinforced at the town of Shkodra near the Adriatic coast. Air support for this formation was assigned to the newly established Coastal Airplane Squad, the first Serbian air combat unit, with 4 airplanes (Blériot XI one-seater, Blériot XI two-seater, Deperdussin TT and Farman HF.20) and 5 pilots under the command of Major Kosta Miletić. In March 1913, this combat air unit was relocated near the frontline at a newly built auxiliary airfield in the village of Barbalusi. The first reconnaissance flight was made on 20 March, by Liutenant Živojin Stanković and Sergeant Mihajlo Petrović. In this combat-reconnaissance flight on his Farman HF.20 over the Shkodra Front on 20 March 1913, Sergeant Mihajlo Petrović was killed, thus becoming the first casualty in the history of the Serbian military aviation and the second one in world aviation history. Mihajlo Petrović, the first trained Serbian airplane pilot, completed his training at the famous Farman pilot school in France and was awarded the international FAI license no. 979 in June 1912; his Serbian pilot's license carries the number 1. The next day, pilots Liutenant Živojin Stanković and Sergeant Miodrag Tomić successfully completed their first reconnaissance flights, and in the following days, pilots Miloš Ilić, Stanković and Tomić dropped a number of small bombs and conducted reconnaissance flights.


title: Serbian Air Force and Air Defence

text: After Bulgaria attacked Serbia at Bregalnica, the Second Balkan War began. The first reconnaissance mission had been performed by Miodrag Tomić, and after that Tomić and Stanković took turns and during a period of a month and a half, as the war with Bulgarians lasted, the two airmen performed 21 reconnaissance missions, of which Tomić did 14 flights. During one flight above Kriva Palanka, Tomić encountered a Bulgarian plane in the air, but neither one had weapons and they just greeted one another by hand waving.


title: Serbian Air Force and Air Defence

text: General mobilization in the summer of 1914 found the Serbian Aeroplane Wing not well prepared. The Aeroplane Wing had only 9 aeroplanes of which 7 were in flying condition. Five planes and three pilots were relocated to the auxiliary Dabića airfield. From that airfield, Captain Živojin Stanković and 2nd Lieutenant Miodrag Tomić on 13 August 1914 commenced their first reconnaissance flights in the World War I. Tomić took off from the airfield at Jevremovac on 27 August. Above Mišar he encountered an enemy plane Parabellum which opened fire on Tomić, who did not expect this but he avoided it with an appropriate and fast maneuver, so the plane did not sustain any hits. It was probably the first exchange of fire between aircraft in history. Serbian pilots who were actually skilled and experienced from the Balkan Wars had succeeded to give the valuable information about the number, the movements, and the position of the enemy troops. They contributed to early Serbian victories in 1914 at Cer Mountain, Kolubara and Drina river. At the beginning of 1915, armed with machine guns and bombs, Serbian pilots succeeded to fight back the enemy by attacking their aircraft flying over the Serbian sovereign territory or by bombing the important targets in the background positions. Because of air superiority of the Austro-Hungarian Aviation Troops over the Serbian Front, in March 1915 the French squadron (Escadrille MF 99 S) arrived under command of Captain Roger Vitrat to aid the Serbian Aeroplane Wing. The French squadron held the frontline from Smederevo to Loznica, and the Serbian wing from Smederevo to Golubac. After the conquest of Serbia by the Central Powers in the autumn of 1915 and the great retreat of the Serbian army to the Greek island of Corfu, the Salonica front was formed. During the invasion on Serbia in October 1915, Manfred von Richthofen ("Red Baron") was commenced its first combat flight as a pilot. Also, in the autumn of 1915, the first medical transport of the wounded and sick in world aviation history was conducted in Serbia. One of the ill soldiers in that first medical transport was Milan Stefanik, a Czechoslovakian pilot-volunteer. In June 1916 the reconstituted Serbian army sailed from Corfu and joined the French and British at Thessaloniki. At the Salonica front line, with the support of the Allied forces, the Serbian Aeroplane Wing was reorganized. From mid-1916 to 1918 at the Serbian part of the new established frontline, five squadrons (N521, N522, N523, N524 and N525) were operated and were staffed mostly of French and Serbian personnel. These air force units were officially known as the Serbian Army Air Service and were attached to the Supreme Command of Royal Serbian Army which was a part of Allied Macedonian Army. In the beginning of 1918 the new reorganisation was started when the 1st Squadron was formed on 17 January, and the 2nd Squadron on 1 May 1918, staffed with Serbian personnel.


title: Serbian Air Force and Air Defence

text: Serbia formed on 8 June 1915 one of the first air defense and air warning units in the world. This was due to the massive onslaught of German and Austro-Hungarian aircraft. The first airplane shot down by ground fire unit in World War I happened over skies of Serbia. During the German air attack on city of Kragujevac on 30 September 1915, air defense artillerist Radivoje-Raka Lutovac from "Tanasko Rajić" Regiment, shot his first hit, by his artillery modified gun, a Farman airplane with two crew members.


title: Serbian Air Force and Air Defence

text: The period between two world wars was marked by a significant growth of Air Force, accompanied by the production of modern and sophisticated aircraft, with then ongoing organizational-formation changes within the Air Force. With the establishment of the Kingdom of Yugoslavia, an Army Aviation Department was formed out of Serbian and ex-Austro-Hungarian (Croatian and Slovenian) personnel. In 1923, a major initiative was launched to replace World War I era aircraft still in service with more modern designs. Contracts were placed abroad and with newly established local factories. The Aviation Department was renamed the Aviation Command and placed directly under the control of the Ministry of Military and Navy. In 1930, the Aviation Command was renamed the Royal Yugoslav Air Force ("Jugoslovensko kraljevsko ratno vazduhoplovstvo").


title: Serbian Air Force and Air Defence

text: The attacking forces engaged in the April War (6 to 17 April 1941) were 2,373 aircraft strong, including 1,212 aircraft from Germany, 647 from Italy and 287 from Hungary, while the Royal Yugoslav Air Force had 494 airplanes, only 269 of a modern type. Thus the ratio in the beginning of operations was 5:1 in favor of the Axis powers, and if counting only modern Yugoslav aircraft the ratio climbs to 7:1 in favor of the Axis powers. In spite of huge logistic difficulties and acts of treason (proclamation of the puppet-state Independent State of Croatia on 10 April 1941) the Royal Yugoslav Air Force fulfilled its duties with honor. Yugoslav airmen (5th and 6th Fighter Regiment pilots especially) fought courageously against an enemy superior both technically and numerically. During the war operations a total of 1,416 take-offs was made, 993 of which were performed by fighters and 423 by bombers. During this short war 135 flight crew members and 576 ground personnel lost their lives. About 300 Royal Yugoslav Air Force personnel evacuated, first to Greece then to Crete. After the Battle of Crete they went on to the deserts of the Near and Middle East, where for a short time they found a safe place. In June 1941 the 20th Hydroaviation Squadron under command of Lieutenant Vladeta Petrović with their no surrender war flag was renamed in the 2nd Yugoslav Squadron, attached to No. 230 Squadron RAF. Up until 23 April 1942 the squadron flew 912 combat mission (1,760 flying hours) and lost four aircraft. The main mission of the squadron was anti-submarine patrol and protected allied shipping.


title: Serbian Air Force and Air Defence

text: After World War II the Air Force underwent several developmental stages, the first major air force modernization being performed from 1953 to 1959. Aircraft made in the West (such as German Dornier Do 28) were introduced thus broaching the era of jet aviation. With the forming of first helicopter squadron in 1954 the chopper units were also incorporated within the reorganised Air Forces branch, renamed to Yugoslav Air Force ("Jugoslovensko ratno vazduhoplovstvo"). At the beginning of 1960s Soviet supersonic fighter MiG-21 was introduced, followed by intensive growth of Yugoslav aviation industry in that period. A number of jet planes prototypes were constructed, which served as basis for the development of training fighters and fighter aircraft, such as Soko G-2 Galeb and J-21 Jastreb, G-4 Super Galeb and Soko J-22 Orao and the most advanced Soviet fighter aircraft MiG-29 was introduced in the late 1980s.


title: Serbian Air Force and Air Defence

text: In June 1991 the Slovenes resistance to re-imposition of federal control over Slovenia rapidly escalated into an armed conflict with Yugoslav People's Army. During the Ten-Day War in Slovenia two Yugoslav Air Force helicopters were shot down, while it launched air strikes on TV transmitters and Slovenian territorial defence positions. During the War in Croatia, the Yugoslav Air Force was active providing transport and close air support missions to Yugoslav Ground Forces, but was gradually forced to abandon air bases outside of ethnic Serbian held areas. The Yugoslav Air Force equipment in Bosnia and Herzegovina was given to the new Republika Srpska Air Force and used during the War in Bosnia. In 1991 and 1992, the Yugoslav Air Force lost a total of 46 airplanes and helicopters in Slovenia, Croatia and Bosnia-Herzegovina. The bulk of the Yugoslav Air Force was inherited by the newly-formed Air Force of Serbia and Montenegro in 1992.


title: Serbian Air Force and Air Defence

text: An important portion of the 1999 war between Yugoslavia and the NATO coalition involved combat between the Air Force of Serbia and Montenegro ("Ratno vazduhoplovstvo Srbije i Crne Gore"), which was the predecessor of today's Serbian Air Force, and the opposing air forces of NATO. United States Air Force F-15s and F-16s flying mainly from Italian air bases attacked the defending Serbo-Montenegrin fighters, usually MiG-29s, which were in bad shape, due to lack of spare parts and maintenance. A total of six MiG-29s were shot down in 1999, of which three were shot down by USAF F-15s, one by a USAF F-16, and one by a RNAF F-16. One aircraft was hit by friendly fire from the ground. Another four were destroyed on the ground. During the course of the air war, Serbo-Montenegrin anti-aircraft defenses downed a USAF F-16C and an F-117 Nighthawk, the first stealth aircraft ever to be shot down in combat, along with dozens of UAVs.


title: Serbian Air Force and Air Defence

text: Two primary missions of the Serbian Air Force and Air Defence are: maintaining airspace dominance over the country (including intercepting and eliminating airspace violators) and providing air support and transport for ground forces. Other important role is responding to natural disasters.


title: Serbian Air Force and Air Defence

text: The Serbian Air Force and Air Defence consists of four brigades, two independent battalions directly attached to the Air Force and Air Defence Command, as well as the Aeronautical Overhaul Institute and Air Medical Institute. There are three operating air bases: Batajnica Air Base, Lađevci Air Base and Niš Air Base. In addition other bases (Jakovo, Zuce, Pančevo, Kragujevac, Novi Sad) house air defence units. Long-range surveillance radar station is located at Murtenica.


title: Art history

text: Art history is the study of aesthetic objects and visual expression in historical and stylistic context. Traditionally, the discipline of art history emphasized painting, drawing, sculpture, architecture, ceramics and decorative arts; yet today, art history examines broader aspects of visual culture, including the various visual and conceptual outcomes related to an ever-evolving definition of art. Art history encompasses the study of objects created by different cultures around the world and throughout history that convey meaning, importance or serve usefulness primarily through visual representations.


title: Art history

text: As a discipline, art history is distinguished from art criticism, which is concerned with establishing a relative artistic value upon individual works with respect to others of comparable style or sanctioning an entire style or movement; and art theory or "philosophy of art", which is concerned with the fundamental nature of art. One branch of this area of study is aesthetics, which includes investigating the enigma of the sublime and determining the essence of beauty. Technically, art history is not these things, because the art historian uses historical method to answer the questions: How did the artist come to create the work?, Who were the patrons?, Who were their teachers?, Who was the audience?, Who were their disciples?, What historical forces shaped the artist's oeuvre and how did he or she and the creation, in turn, affect the course of artistic, political and social events? It is, however, questionable whether many questions of this kind can be answered satisfactorily without also considering basic questions about the nature of art. The current disciplinary gap between art history and the philosophy of art (aesthetics) often hinders this inquiry.


title: Art history

text: Art history is an interdisciplinary practice that analyzes the various factors—cultural, political, religious, economic or artistic—which contribute to visual appearance of a work of art.


title: Art history

text: Art historians employ a number of methods in their research into the ontology and history of objects.


title: Art history

text: Art historians often examine work in the context of its time. At best, this is done in a manner which respects its creator's motivations and imperatives; with consideration of the desires and prejudices of its patrons and sponsors; with a comparative analysis of themes and approaches of the creator's colleagues and teachers; and with consideration of iconography and symbolism. In short, this approach examines the work of art in the context of the world within which it was created.


title: Art history

text: Art historians also often examine work through an analysis of form; that is, the creator's use of line, shape, color, texture and composition. This approach examines how the artist uses a two-dimensional picture plane or the three dimensions of sculptural or architectural space to create their art. The way these individual elements are employed results in representational or non-representational art. Is the artist imitating an object or can the image be found in nature? If so, it is representational. The closer the art hews to perfect imitation, the more the art is "realistic". Is the artist not imitating, but instead relying on symbolism or in an important way striving to capture nature's essence, rather than copy it directly? If so the art is non-representational—also called abstract. Realism and abstraction exist on a continuum. Impressionism is an example of a representational style that was not directly imitative, but strove to create an "impression" of nature. If the work is not representational and is an expression of the artist's feelings, longings and aspirations or is a search for ideals of beauty and form, the work is non-representational or a work of expressionism.


title: Art history

text: An iconographical analysis is one which focuses on particular design elements of an object. Through a close reading of such elements, it is possible to trace their lineage, and with it draw conclusions regarding the origins and trajectory of these motifs. In turn, it is possible to make any number of observations regarding the social, cultural, economic and aesthetic values of those responsible for producing the object.


title: Art history

text: Many art historians use critical theory to frame their inquiries into objects. Theory is most often used when dealing with more recent objects, those from the late 19th century onward. Critical theory in art history is often borrowed from literary scholars and it involves the application of a non-artistic analytical framework to the study of art objects. Feminist, Marxist, critical race, queer and postcolonial theories are all well established in the discipline. As in literary studies, there is an interest among scholars in nature and the environment, but the direction that this will take in the discipline has yet to be determined.


title: Art history

text: The earliest surviving writing on art that can be classified as art history are the passages in Pliny the Elder's "Natural History" (c. AD 77-79), concerning the development of Greek sculpture and painting. From them it is possible to trace the ideas of Xenokrates of Sicyon (c. 280 BC), a Greek sculptor who was perhaps the first art historian. Pliny's work, while mainly an encyclopaedia of the sciences, has thus been influential from the Renaissance onwards. (Passages about techniques used by the painter Apelles c. (332-329 BC), have been especially well-known.) Similar, though independent, developments occurred in the 6th century China, where a canon of worthy artists was established by writers in the scholar-official class. These writers, being necessarily proficient in calligraphy, were artists themselves. The artists are described in the "Six Principles of Painting" formulated by Xie He.


title: Art history

text: While personal reminiscences of art and artists have long been written and read (see Lorenzo Ghiberti "Commentarii," for the best early example), it was Giorgio Vasari, the Tuscan painter, sculptor and author of the "Lives of the Most Excellent Painters, Sculptors, and Architects", who wrote the first true "history" of art. He emphasized art's progression and development, which was a milestone in this field. His was a personal and a historical account, featuring biographies of individual Italian artists, many of whom were his contemporaries and personal acquaintances. The most renowned of these was Michelangelo, and Vasari's account is enlightening, though biased in places.


title: Art history

text: Vasari's ideas about art were enormously influential, and served as a model for many, including in the north of Europe Karel van Mander's "Schilder-boeck" and Joachim von Sandrart's "Teutsche Akademie". Vasari's approach held sway until the 18th century, when criticism was leveled at his biographical account of history.


title: Art history

text: Scholars such as Johann Joachim Winckelmann (1717–1768), criticized Vasari's "cult" of artistic personality, and they argued that the real emphasis in the study of art should be the views of the learned beholder and not the unique viewpoint of the charismatic artist. Winckelmann's writings thus were the beginnings of art criticism. His two most notable works that introduced the concept of art criticism were "Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst", published in 1755, shortly before he left for Rome (Fuseli published an English translation in 1765 under the title "Reflections on the Painting and Sculpture of the Greeks"), and "Geschichte der Kunst des Altertums" ("History of Art in Antiquity"), published in 1764 (this is the first occurrence of the phrase ‘history of art’ in the title of a book)". Winckelmann critiqued the artistic excesses of Baroque and Rococo forms, and was instrumental in reforming taste in favor of the more sober Neoclassicism. Jacob Burckhardt (1818–1897), one of the founders of art history, noted that Winckelmann was 'the first to distinguish between the periods of ancient art and to link the history of style with world history'. From Winckelmann until the mid-20th century, the field of art history was dominated by German-speaking academics. Winckelmann's work thus marked the entry of art history into the high-philosophical discourse of German culture.


title: Art history

text: Winckelmann was read avidly by Johann Wolfgang Goethe and Friedrich Schiller, both of whom began to write on the history of art, and his account of the Laocoön group occasioned a response by Lessing. The emergence of art as a major subject of philosophical speculation was solidified by the appearance of Immanuel Kant's "Critique of Judgment" in 1790, and was furthered by Hegel's "Lectures on Aesthetics". Hegel's philosophy served as the direct inspiration for Karl Schnaase's work. Schnaase's "Niederländische Briefe" established the theoretical foundations for art history as an autonomous discipline, and his "Geschichte der bildenden Künste", one of the first historical surveys of the history of art from antiquity to the Renaissance, facilitated the teaching of art history in German-speaking universities. Schnaase's survey was published contemporaneously with a similar work by Franz Theodor Kugler.


title: Art history

text: Heinrich Wölfflin (1864–1945), who studied under Burckhardt in Basel, is the "father" of modern art history. Wölfflin taught at the universities of Berlin, Basel, Munich, and Zurich. A number of students went on to distinguished careers in art history, including Jakob Rosenberg and Frida Schottmuller. He introduced a scientific approach to the history of art, focusing on three concepts. Firstly, he attempted to study art using psychology, particularly by applying the work of Wilhelm Wundt. He argued, among other things, that art and architecture are good if they resemble the human body. For example, houses were good if their façades looked like faces. Secondly, he introduced the idea of studying art through comparison. By comparing individual paintings to each other, he was able to make distinctions of style. His book "Renaissance and Baroque" developed this idea, and was the first to show how these stylistic periods differed from one another. In contrast to Giorgio Vasari, Wölfflin was uninterested in the biographies of artists. In fact he proposed the creation of an "art history without names." Finally, he studied art based on ideas of nationhood. He was particularly interested in whether there was an inherently "Italian" and an inherently "German" style. This last interest was most fully articulated in his monograph on the German artist Albrecht Dürer.


title: Art history

text: Contemporaneous with Wölfflin's career, a major school of art-historical thought developed at the University of Vienna. The first generation of the Vienna School was dominated by Alois Riegl and Franz Wickhoff, both students of Moritz Thausing, and was characterized by a tendency to reassess neglected or disparaged periods in the history of art. Riegl and Wickhoff both wrote extensively on the art of late antiquity, which before them had been considered as a period of decline from the classical ideal. Riegl also contributed to the revaluation of the Baroque.


title: Art history

text: The next generation of professors at Vienna included Max Dvořák, Julius von Schlosser, Hans Tietze, Karl Maria Swoboda, and Josef Strzygowski. A number of the most important twentieth-century art historians, including Ernst Gombrich, received their degrees at Vienna at this time. The term "Second Vienna School" (or "New Vienna School") usually refers to the following generation of Viennese scholars, including Hans Sedlmayr, Otto Pächt, and Guido Kaschnitz von Weinberg. These scholars began in the 1930s to return to the work of the first generation, particularly to Riegl and his concept of "Kunstwollen", and attempted to develop it into a full-blown art-historical methodology. Sedlmayr, in particular, rejected the minute study of iconography, patronage, and other approaches grounded in historical context, preferring instead to concentrate on the aesthetic qualities of a work of art. As a result, the Second Vienna School gained a reputation for unrestrained and irresponsible formalism, and was furthermore colored by Sedlmayr's overt racism and membership in the Nazi party. This latter tendency was, however, by no means shared by all members of the school; Pächt, for example, was himself Jewish, and was forced to leave Vienna in the 1930s.


title: Art history

text: Our 21st-century understanding of the symbolic content of art comes from a group of scholars who gathered in Hamburg in the 1920s. The most prominent among them were Erwin Panofsky, Aby Warburg, Fritz Saxl and Gertrud Bing. Together they developed much of the vocabulary that continues to be used in the 21st century by art historians. "Iconography"—with roots meaning "symbols from writing" refers to subject matter of art derived from written sources—especially scripture and mythology. "Iconology" is a broader term that referred to all symbolism, whether derived from a specific text or not. Today art historians sometimes use these terms interchangeably.


title: Art history

text: Panofsky, in his early work, also developed the theories of Riegl, but became eventually more preoccupied with iconography, and in particular with the transmission of themes related to classical antiquity in the Middle Ages and Renaissance. In this respect his interests coincided with those of Warburg, the son of a wealthy family who had assembled an impressive library in Hamburg devoted to the study of the classical tradition in later art and culture. Under Saxl's auspices, this library was developed into a research institute, affiliated with the University of Hamburg, where Panofsky taught.


title: Art history

text: Warburg died in 1929, and in the 1930s Saxl and Panofsky, both Jewish, were forced to leave Hamburg. Saxl settled in London, bringing Warburg's library with him and establishing the Warburg Institute. Panofsky settled in Princeton at the Institute for Advanced Study. In this respect they were part of an extraordinary influx of German art historians into the English-speaking academy in the 1930s. These scholars were largely responsible for establishing art history as a legitimate field of study in the English-speaking world, and the influence of Panofsky's methodology, in particular, determined the course of American art history for a generation.


title: Art history

text: Heinrich Wölfflin was not the only scholar to invoke psychological theories in the study of art. Psychoanalyst Sigmund Freud wrote a book on the artist Leonardo da Vinci, in which he used Leonardo's paintings to interrogate the artist's psyche and sexual orientation. Freud inferred from his analysis that Leonardo was probably homosexual.


title: Art history

text: Though the use of posthumous material to perform psychoanalysis is controversial among art historians, especially since the sexual mores of Leonardo's time and Freud's are different, it is often attempted. One of the best-known psychoanalytic scholars is Laurie Schneider Adams, who wrote a popular textbook, "Art Across Time", and a book "Art and Psychoanalysis".


title: Art history

text: An unsuspecting turn for the history of art criticism came in 1914 when Sigmund Freud published a psychoanalytical interpretation of Michelangelo's Moses titled Der Moses des Michelangelo as one of the first psychology based analyses on a work of art. Freud first published this work shortly after reading Vasari's "Lives". For unknown purposes, Freud originally published the article anonymously.


title: Art history

text: Carl Jung also applied psychoanalytic theory to art. C.G. Jung was a Swiss psychiatrist, an influential thinker, and founder of analytical psychology. Jung's approach to psychology emphasized understanding the psyche through exploring the worlds of dreams, art, mythology, world religion and philosophy. Much of his life's work was spent exploring Eastern and Western philosophy, alchemy, astrology, sociology, as well as literature and the arts. His most notable contributions include his concept of the psychological archetype, the collective unconscious, and his theory of synchronicity. Jung believed that many experiences perceived as coincidence were not merely due to chance but, instead, suggested the manifestation of parallel events or circumstances reflecting this governing dynamic. He argued that a collective unconscious and archetypal imagery were detectable in art. His ideas were particularly popular among American Abstract expressionists in the 1940s and 1950s. His work inspired the surrealist concept of drawing imagery from dreams and the unconscious.


title: Art history

text: Jung emphasized the importance of balance and harmony. He cautioned that modern humans rely too heavily on science and logic and would benefit from integrating spirituality and appreciation of the unconscious realm. His work not only triggered analytical work by art historians, but it became an integral part of art-making. Jackson Pollock, for example, famously created a series of drawings to accompany his psychoanalytic sessions with his Jungian psychoanalyst, Dr. Joseph Henderson. Henderson who later published the drawings in a text devoted to Pollock's sessions realized how powerful the drawings were as a therapeutic tool.


title: Art history

text: The legacy of psychoanalysis in art history has been profound, and extends beyond Freud and Jung. The prominent feminist art historian Griselda Pollock, for example, draws upon psychoanalysis both in her reading into contemporary art and in her rereading of modernist art. With Griselda Pollock's reading of French feminist psychoanalysis and in particular the writings of Julia Kristeva and Bracha L. Ettinger, as with Rosalind Krauss readings of Jacques Lacan and Jean-François Lyotard and Catherine de Zegher's curatorial rereading of art, Feminist theory written in the fields of French feminism and Psychoanalysis has strongly informed the reframing of both men and women artists in art history.


title: Art history

text: During the mid-20th century, art historians embraced social history by using critical approaches. The goal was to show how art interacts with power structures in society. One critical approach that art historians used was Marxism. Marxist art history attempted to show how art was tied to specific classes, how images contain information about the economy, and how images can make the status quo seem natural (ideology).


title: Art history

text: Marcel Duchamp and Dada Movement jump started the Anti-art style. Various artist did not want to create artwork that everyone was conforming to at the time. These two movements helped other artist to create pieces that were not viewed as traditional art. Some examples of styles that branched off the anti-art movement would be Neo-Dadaism, Surrealism, and Constructivism. These styles and artist did not want to surrender to traditional ways of art. This way of thinking provoked political movements such as the Russian Revolution and the communist ideals.


title: Art history

text: Artist Isaak Brodsky work of art 'Shock-worker from Dneprstroi' in 1932 shows his political involvement within art. This piece of art can be analysed to show the internal troubles Soviet Russia was experiencing at the time.


title: Art history

text: Perhaps the best-known Marxist was Clement Greenberg, who came to prominence during the late 1930s with his essay "Avant-Garde and Kitsch". In the essay Greenberg claimed that the avant-garde arose in order to defend aesthetic standards from the decline of taste involved in consumer society, and seeing kitsch and art as opposites. Greenberg further claimed that avant-garde and Modernist art was a means to resist the leveling of culture produced by capitalist propaganda. Greenberg appropriated the German word 'kitsch' to describe this consumerism, although its connotations have since changed to a more affirmative notion of leftover materials of capitalist culture. Greenberg later became well known for examining the formal properties of modern art.


title: Art history

text: Meyer Schapiro is one of the best-remembered Marxist art historians of the mid-20th century. Although he wrote about numerous time periods and themes in art, he is best remembered for his commentary on sculpture from the late Middle Ages and early Renaissance, at which time he saw evidence of capitalism emerging and feudalism declining.


title: Art history

text: Arnold Hauser wrote the first Marxist survey of Western Art, entitled "The Social History of Art". He attempted to show how class consciousness was reflected in major art periods. The book was controversial when published during the 1950s since it makes generalizations about entire eras, a strategy now called "vulgar Marxism".


title: Art history

text: Marxist Art History was refined in the department of Art History at UCLA with scholars such as T.J. Clark, O.K. Werckmeister, David Kunzle, Theodor W. Adorno, and Max Horkheimer. T.J. Clark was the first art historian writing from a Marxist perspective to abandon vulgar Marxism. He wrote Marxist art histories of several impressionist and realist artists, including Gustave Courbet and Édouard Manet. These books focused closely on the political and economic climates in which the art was created.


title: Art history

text: Linda Nochlin's essay "Why Have There Been No Great Women Artists?" helped to ignite feminist art history during the 1970s and remains one of the most widely read essays about female artists. This was then followed by a 1972 College Art Association Panel, chaired by Nochlin, entitled "Eroticism and the Image of Woman in Nineteenth-Century Art". Within a decade, scores of papers, articles, and essays sustained a growing momentum, fueled by the Second-wave feminist movement, of critical discourse surrounding women's interactions with the arts as both artists and subjects. In her pioneering essay, Nochlin applies a feminist critical framework to show systematic exclusion of women from art training, arguing that exclusion from practicing art as well as the canonical history of art was the consequence of cultural conditions which curtailed and restricted women from art producing fields. The few who did succeed were treated as anomalies and did not provide a model for subsequent success. Griselda Pollock is another prominent feminist art historian, whose use of psychoanalytic theory is described above.


title: Art history

text: While feminist art history can focus on any time period and location, much attention has been given to the Modern era. Some of this scholarship centers on the feminist art movement, which referred specifically to the experience of women. Often, feminist art history offers a critical "re-reading" of the Western art canon, such as Carol Duncan's re-interpretation of Les Demoiselles d'Avignon. Two pioneers of the field are Mary Garrard and Norma Broude. Their anthologies "Feminism and Art History: Questioning the Litany", "The Expanding Discourse: Feminism and Art History", and "Reclaiming Feminist Agency: Feminist Art History After Postmodernism" are substantial efforts to bring feminist perspectives into the discourse of art history. The pair also co-founded the Feminist Art History Conference.


title: Art history

text: As opposed to iconography which seeks to identify meaning, semiotics is concerned with how meaning is created. Roland Barthes's connoted and denoted meanings are paramount to this examination. In any particular work of art, an interpretation depends on the identification of denoted meaning—the recognition of a visual sign, and the connoted meaning—the instant cultural associations that come with recognition. The main concern of the semiotic art historian is to come up with ways to navigate and interpret connoted meaning.


title: Art history

text: Semiotic art history seeks to uncover the codified meaning or meanings in an aesthetic object by examining its connectedness to a collective consciousness. Art historians do not commonly commit to any one particular brand of semiotics but rather construct an amalgamated version which they incorporate into their collection of analytical tools. For example, Meyer Schapiro borrowed Saussure's differential meaning in effort to read signs as they exist within a system. According to Schapiro, to understand the meaning of frontality in a specific pictorial context, it must be differentiated from, or viewed in relation to, alternate possibilities such as a profile, or a three-quarter view. Schapiro combined this method with the work of Charles Sanders Peirce whose object, sign, and interpretant provided a structure for his approach. Alex Potts demonstrates the application of Peirce's concepts to visual representation by examining them in relation to the "Mona Lisa". By seeing the "Mona Lisa", for example, as something beyond its materiality is to identify it as a sign. It is then recognized as referring to an object outside of itself, a woman, or "Mona Lisa". The image does not seem to denote religious meaning and can therefore be assumed to be a portrait. This interpretation leads to a chain of possible interpretations: who was the sitter in relation to Leonardo da Vinci? What significance did she have to him? Or, maybe she is an icon for all of womankind. This chain of interpretation, or “unlimited semiosis” is endless; the art historian's job is to place boundaries on possible interpretations as much as it is to reveal new possibilities.


title: Art history

text: Semiotics operates under the theory that an image can only be understood from the viewer's perspective. The artist is supplanted by the viewer as the purveyor of meaning, even to the extent that an interpretation is still valid regardless of whether the creator had intended it. Rosalind Krauss espoused this concept in her essay “In the Name of Picasso.” She denounced the artist's monopoly on meaning and insisted that meaning can only be derived after the work has been removed from its historical and social context. Mieke Bal argued similarly that meaning does not even exist until the image is observed by the viewer. It is only after acknowledging this that meaning can become opened up to other possibilities such as feminism or psychoanalysis.


title: Art history

text: Aspects of the subject which have come to the fore in recent decades include interest in the patronage and consumption of art, including the economics of the art market, the role of collectors, the intentions and aspirations of those commissioning works, and the reactions of contemporary and later viewers and owners. Museum studies, including the history of museum collecting and display, is now a specialized field of study, as is the history of collecting.


title: Art history

text: Scientific advances have made possible much more accurate investigation of the materials and techniques used to create works, especially infra-red and x-ray photographic techniques which have allowed many underdrawings of paintings to be seen again. Proper analysis of pigments used in paint is now possible, which has upset many attributions. Dendrochronology for panel paintings and radio-carbon dating for old objects in organic materials have allowed scientific methods of dating objects to confirm or upset dates derived from stylistic analysis or documentary evidence. The development of good colour photography, now held digitally and available on the internet or by other means, has transformed the study of many types of art, especially those covering objects existing in large numbers which are widely dispersed among collections, such as illuminated manuscripts and Persian miniatures, and many types of archaeological artworks.


title: Art history

text: Concurrent to those technological advances, art historians have shown increasing interest in new theoretical approaches to the nature of artworks as objects. Thing theory, actor–network theory, and object-oriented ontology have played an increasing role in art historical literature.


title: Art history

text: The making of art, the academic history of art, and the history of art museums are closely intertwined with the rise of nationalism. Art created in the modern era, in fact, has often been an attempt to generate feelings of national superiority or love of one's country. Russian art is an especially good example of this, as the Russian avant-garde and later Soviet art were attempts to define that country's identity.


title: Art history

text: Most art historians working today identify their specialty as the art of a particular culture and time period, and often such cultures are also nations. For example, someone might specialize in the 19th-century German or contemporary Chinese art history. A focus on nationhood has deep roots in the discipline. Indeed, Vasari's "Lives of the Most Excellent Painters, Sculptors, and Architects" is an attempt to show the superiority of Florentine artistic culture, and Heinrich Wölfflin's writings (especially his monograph on Albrecht Dürer) attempt to distinguish Italian from German styles of art.


title: Art history

text: Many of the largest and most well-funded art museums of the world, such as the Louvre, the Victoria and Albert Museum, and the National Gallery of Art in Washington are state-owned. Most countries, indeed, have a national gallery, with an explicit mission of preserving the cultural patrimony owned by the government—regardless of what cultures created the art—and an often implicit mission to bolster that country's own cultural heritage. The National Gallery of Art thus showcases art made in the United States, but also owns objects from across the world.


title: Art history

text: The discipline of art history is traditionally divided into specializations or concentrations based on eras and regions, with further sub-division based on media. Thus, someone might specialize in "19th-century German architecture" or in "16th-century Tuscan sculpture." Sub-fields are often included under a specialization. For example, the Ancient Near East, Greece, Rome, and Egypt are all typically considered special concentrations of Ancient art. In some cases, these specializations may be closely allied (as Greece and Rome, for example), while in others such alliances are far less natural (Indian art versus Korean art, for example).


title: Art history

text: Non-Western or global perspectives on art have become increasingly predominant in the art historical canon since the 1980s.


title: Art history

text: "Contemporary art history" refers to research into the period from the 1960s until today reflecting the break from the assumptions of modernism brought by artists of the neo-avant-garde and a continuity in contemporary art in terms of practice based on conceptualist and post-conceptualist practices.


title: Art history

text: In the United States, the most important art history organization is the College Art Association. It organizes an annual conference and publishes the "Art Bulletin" and "Art Journal". Similar organizations exist in other parts of the world, as well as for specializations, such as architectural history and Renaissance art history. In the UK, for example, the Association of Art Historians is the premiere organization, and it publishes a journal titled "Art History".


title: Silsila (1981 film)

text: Silsila () is a 1981 Indian Hindi-language romantic drama film co-written, directed, and produced by Yash Chopra. The story revolves around the love triangle of Amit (Amitabh Bachchan), a romantic playwright, Shobha (Jaya Bachchan), his wife, and Chandni (Rekha), his former partner. "Silsila" follows the incidents faced by Amit and Shobha in their forced marriage, which drifts them apart, and his encounter with Chandni that leads to an extramarital affair. The soundtrack was composed by Shiv–Hari, with lyrics from Javed Akhtar, Hasan Kamal, Meera Dev Burman, Nida Fazli, Rajendra Krishan, and Harivansh Rai Bachchan.


title: Silsila (1981 film)

text: "Silsila" attracted considerable attention from the media when it was in production due to its casting. Principal photography took place in Amsterdam, Bombay (now Mumbai), Delhi, and Kashmir from November 1980 and May 1981. The film, however, failed at the box office after premiered on 14 August 1981, grossing only . At the 29th Filmfare Awards, the film received nominations for Best Actor (Amitabh Bachchan), Best Actress (Jaya Bachchan), and Best Music Director (Shiv–Hari). Critically, it received negative notice for the story and the cast's performances.


title: Silsila (1981 film)

text: Orphaned at a young age, the brothers Shekhar and Amit Malhotra live independently. Shekhar is the squadron leader of the Indian Air Force, while Amit is a Delhi-based romantic playwright. They have fallen for Shobha and Chandni, respectively, and plan to get married on the same day. However, Shekhar dies in the Indo-Pakistani War of 1971, leaving the pregnant Shobha alone. Therefore, an obligated Amit breaks up with Chandni and, in order to avoid social pressure, marries Shobha, leaving Chandni heart-broken.


title: Silsila (1981 film)

text: Tragedy strikes once more after Shobha loses her child in a car accident. She is treated by Dr. Anand, who marries Chandni, surprising Amit. With no child to bind them together, Amit and Shobha drift apart. Amit runs to Chandni and secretly rekindle their romantic relationship. They meet on the sly until a night when Chandni, in a car, driving, with Amit hits a passerby on the way home from a tryst. The police get involved but Amit manages to hush the matter up. However, the affair is endangered since one of the police investigating the accident is Shobha's cousin, who wants to expose them.


title: Silsila (1981 film)

text: Amit decides to not longer continue his loveless marriage and wishes to reconcile with Chandni. The news shatters Shobha, who has genuinely fallen for Amit but believes that her love will make him return. Anand is also aware of Chandni's infidelity and feels devastated. When he leaves on a business trip, Amit and Chandni secretly leave the town to start a new life. Anand's plane, however, crashes and causes them to rush to the wreckage site. There, Amit is confronted by Shobha, who reveals that she is expecting his child. After Anand is rescued, Chandni realises her love for her husband and decides to live together with him. The film ends with Amit and Shobha living happily in their marriage.


title: Silsila (1981 film)

text: "Silsila" was directed and produced by Yash Chopra for his banner Yash Raj Films. He co-wrote the screenplay with Sagar Sarhadi, who also co-wrote the story with Preeti Bedi. According to Sarhadi, Chopra "fell madly in love with the subject". The dialogue was written by Romesh Sharma. The film is about an extramarital relationship, the first time for a Hindi-language film; after he failed with action films, Chopra had decided to make a romantic film for his next venture.


title: Silsila (1981 film)

text: Chopra's biographer Rachel Dwyer described the casting as complicated, for which the film was controversial before release. Speculations about the relationship between Amitabh Bachchan, who was married to Jaya Bachchan, and Rekha was common in gossip magazines and newspapers at the time. Chopra called his ability to cast the three his greatest achievement. He initially considered Parveen Babi and Smita Patil for Rekha's and Jaya Bachchan's parts, respectively, but abandoned the plans owing to their unsuitability in playing their respective roles. On the recommendations of Amitabh Bachchan, who had agreed to star in the film in 1980, Chopra subsequently replaced them with Rekha and Jaya Bachchan. Rekha designed her own costumes and jewellery. This was her final collaboration with Amitabh Bachchan.


title: Silsila (1981 film)

text: "Silsila" was shot by Raju Kaygee. Filming was done from November 1980 to May 1981, starting in Kashmir and later Amsterdam, Bombay (now Mumbai), and Delhi. Wanting no exposure from the media, Chopra did the filming privately with the entire cast and crew. He described the production as "real life coming into reel life" but said that there are no incidents on the sets and all the lead actors were co-operative. The Delhi schedule sometimes took place at 5.30 PM when the weather was cold; Rekha recounted how she hated it and that she did so only for Chopra. The film, edited by Keshav Naidu, runs for 166 minutes. Hariprasad Chaurasia and Shivkumar Sharma provided the background score.


title: Silsila (1981 film)

text: The soundtrack to the film, released by Saregama on 18 May 1981, was composed by Shiv–Hari. The lyrics were by Javed Akhtar, Hasan Kamal, Meera Dev Burman, Nida Fazli, Rajendra Krishan, and Harivansh Rai Bachchan. "Yeh Kahan Aa Gaye Hum" was one of the songs sung by Lata Mangeshkar in her concert "Lata Live". Akhtar, who previously collaborated with Salim Khan in screenwriting, turned to lyrical composition and "Dekha Ek Khwab" was his first written song. Akhtar was chosen after Chopra hearing his poetry and being astonished by it. "Rang Barse Bhige Chunar Wali" became one of the most-played songs in the Holi celebration.


title: Silsila (1981 film)

text: "Silsila" was released on 14 August 1981 and failed at the box office, which Chopra believed due to the audience's attentions mostly given to the controversy, resulted by the casting, rather than the plot. Around a week later, a screening was held at the Mumbai Metro and collected , with being donated to the Nargis Dutt Foundation. Sunil Sethi of "India Today" criticized the cliché storyline and called the cast uninteresting. In his review, Sethi concluded,


title: Silsila (1981 film)

text: Dwyer wrote that Amitabh Bachchan's then-popular screen persona as an "angry young man", which he got from "Deewaar" (1975), was incompatible with his role in "Silsila" as a lover. The film received three nominations at the 29th Filmfare Awards: Best Actor (Amitabh Bachchan), Best Actress (Jaya Bachchan), and Best Music Director (Shiv–Hari). It marked the beginning of the setback in Chopra's career; in spite of this, he called "Silsila" one of his favourite films in a 2011 interview.


title: Asante Blackk

text: Asante Duah Ma'at (born October 20, 2001) known professionally as Asante Blackk, is an American actor. He is best known for his role in the miniseries "When They See Us" (2019), for which he received a Primetime Emmy Award nomination. He has been a series regular of the television series "This Is Us" since 2019, for which he was nominated for a Critics' Choice Television Award.


title: Asante Blackk

text: Blackk began acting as an elementary school student at Judith P. Hoyer Montessori School. His first role was Mowgli in a performance of "The Jungle Book". One of his first professional roles was in "How I Learned to Be a Kid" at the Howard Theatre in Washington, after which he got an agent. Blackk originally auditioned for the role of Korey Wise, one of the exonerated members of the Central Park Five, in the dramatized miniseries "When They See Us" but was instead cast as the 14-year-old Kevin Richardson in the series. The role earned him an Primetime Emmy Award nomination, making him one of the youngest nominees in its history. Since 2019, he has appeared as a series regular in "This Is Us".


title: The Devil in Miss Jones

text: The Devil in Miss Jones is a 1973 pornographic film, written, directed and produced by Gerard Damiano and starring Georgina Spelvin and Harry Reems. It is widely regarded as a classic adult film, released during the Golden Age of Porn (1969–1984). After his 1972 success with "Deep Throat", Damiano shot the film in a converted apple-packing plant in Milanville, Pennsylvania. Along with "Deep Throat" and "Behind the Green Door", the film is associated with a time in American culture known as "porno chic", in which adult erotic films were just beginning to be widely released, publicly discussed by celebrities (like Johnny Carson and Bob Hope) and taken seriously by film critics (like Roger Ebert). The film's plot was inspired by the 1944 play "No Exit" by French philosopher Jean-Paul Sartre. "The Devil in Miss Jones" went on to spawn numerous remakes and sequels.


title: The Devil in Miss Jones

text: As with many films of the Golden Age of Porn, the copyright status of "The Devil in Miss Jones" is unresolved. VCX claims a copyright; rival distributor Arrow Productions distributed unauthorized copies of the film for a time before 2009, when (as part of a mutual truce between the companies) Arrow agreed to accept VCX's copyright claim in exchange for not challenging Arrow's copyright claim on "Deep Throat".


title: The Devil in Miss Jones

text: Justine Jones, a lonely and depressed spinster, decides that suicide is the only way out of her routinely dull existence. She slits her wrists with a shaving blade while bathing, and dies.


title: The Devil in Miss Jones

text: The angel Abaca (John Clemens) informs Jones that although she has lived a "pure" life, her suicide has disqualified her from entering Heaven, and she must spend eternity in Limbo. Angered that her sole indiscretion has left her with only the options of Limbo or Hell, Jones begs Abaca to let her "earn" her place in Hell by being allowed to return to Earth and become the embodiment of Lust. After an intense session of pain and pleasure with a menacing man who goes only by the title of "The Teacher" (Harry Reems), Justine has several bizarre and sexually deviant encounters, the last of which is a graphic threesome.


title: The Devil in Miss Jones

text: Just as Jones is enjoying her new life of lust, the time she was given to fulfill herself runs out, and she is faced with eternity in Hell. Though she is at first horrified at the pain she will be forced to endure, Abaca dispels the common human myth of Hell, and promises Jones that she will be "quite comfortable." Now a raging sex addict, Jones finds herself confined to a small room with an impotent man who is more interested in catching flies than her. She desperately begs the man for sex, but he merely asks her to be quiet while he listens for the buzzing of the insects.


title: The Devil in Miss Jones

text: Spelvin was 36 when she made the film. "The Devil in Miss Jones" was one of her first acting appearances following a career as a chorus girl on Broadway where she was featured in productions such as "Cabaret", "Guys and Dolls", "Sweet Charity", and "The Pajama Game".


title: The Devil in Miss Jones

text: Her role in "The Devil in Miss Jones" was typical of her career, as she often played celibate spinsters who have a sexual awakening, then become sex fiends (e.g. "Sleepyhead"). She also meets a tragic end in several of her other films. The film marked the first time she used the moniker Georgina Spelvin, a reference to George Spelvin, a traditional stagename used to hide a performer's identity, for any number of reasons. According to her interview on Dave's Old Porn, Spelvin also did the craft services and cooking on the set. The actress billed in the movie as Claire Lumiere was hired to do craft services only, but was offered $100 to do a lesbian scene with Spelvin, which she accepted.


title: The Devil in Miss Jones

text: In an audio interview with The Rialto Report in 2013, Spelvin spoke about how she and Lumiere were lovers at the time and they accepted the adult film work as a means of raising money for their film collective.


title: The Devil in Miss Jones

text: The movie was given an X rating by the MPAA and premiered at the 57th Street Playhouse in New York City. In many theaters it was shown after "Deep Throat" as part of a double bill. "The Devil in Miss Jones" broke the box office record for a pornographic film. It was more commercially successful than both "Deep Throat" and "Behind the Green Door", and successfully competed against mainstream films. It earned $15 million in gross rental at the U.S. box office, making it the tenth most successful film of 1973, just behind "Paper Moon" with Ryan O'Neal and "Live and Let Die" with Roger Moore.


title: The Devil in Miss Jones

text: As with the other films of the porno chic era, it was reviewed by the film critics of mainstream newspapers. The film's review in "Variety" said, "With "The Devil in Miss Jones", the hard-core porno feature approaches an art form, one that critics may have a tough time ignoring in the future", and compared its plot to Jean-Paul Sartre's play "No Exit". The review went on to say, "Damiano has expertly fashioned a bizarre melodrama", and described the opening scene as "a sequence so effective it would stand out in any legit theatrical feature". It finished by stating, "Booking a film of this technical quality into a standard sex house is tantamount to throwing it on the trash heap of most current hard-core fare."


title: The Devil in Miss Jones

text: According to Peter Michelson there is, "a relatively small corpus of [pornographic] films—e.g., "Deep Throat", "Devil in Miss Jones", "Behind the Green Door"—that have a minimal but still sufficient artistic interest to distinguish themselves from the rest of the genre".


title: The Devil in Miss Jones

text: Other critics have described it as, along with "Deep Throat", one of the "two best erotic motion pictures ever made". Roger Ebert gave "Deep Throat" a no-stars rating, but described "The Devil in Miss Jones" as the "best" of the genre he had seen and gave it three stars out of a possible four. He wrote that the relatively high production values and storytelling were partly the reason for his positive review, but that Spelvin's performance was the main draw: "she is not only the best, but possibly the only, actress in the hard-core field. By that I mean when she's on the screen, her body and actions aren't the only reasons we're watching her. Alone among porno stars, she never seems exploited." Elsewhere (in the December, 1973 review for "Behind the Green Door"), Ebert wrote: "The only hard-core film I’ve seen that was effectively erotic was 'The Devil in Miss Jones' -- and it was erotic not because of its hard-core content but in spite of it. It worked because its star, Georgina Spelvin, was so able to project emotion, involvement, and abandon. [...] The genius of 'The Devil in Miss Jones' was that the title character had a fictional reality and motivation that made the sex scenes credible."