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Film genre

A film genre is a motion-picture category based on similarities either in the narrative elements or in the emotional response to the film. Most theories of film genre borrow from literary-genre criticism; each film genre is associated with "conventions, settings, narratives and actors". Standard genre characters vary according to the film genre; some actors acquire a reputation linked to a single genre, such as Fred Astaire. A film's genre will influence the use of filmmaking styles and techniques, such as the use of flashbacks and low-key lighting in film noir, tight framing in horror films, fonts that look like rough-hewn logs for the titles of Western films, or the "scrawled" title-font and credits of Se7en, a film about a serial killer; as well, genres have associated film-scoring conventions, such as lush string orchestras for romantic melodramas or electronic music for science-fiction films. The basic genres include fiction and documentary, from which subgenres have emerged, such as docufiction and docudrama.

Other examples of subgenres include the courtroom- and trial-focused drama known as the legal drama, a subtype of drama. Types of fiction which may seem unrelated can combine to form hybrid subgenres, such as the melding of horror and comedy in the Evil Dead films. Other popular combinations include the romantic comedy, some vampire films, the action comedy film. Alan Williams distinguishes three main genre categories: avant-garde and documentary. Genre movies are "commercial feature films which, through repetition and variation, tell familiar stories with familiar characters and familiar situations". Genre affects how films are broadcast on television and organized in video-rental stores. One can classify films by the setting, topic, format, target audience or budget; the setting is the environment where the action take place. The theme or topic refers to the concepts that the film revolves around; the mood is the emotional tone of the film. Format refers to the manner of presentation. Additional ways of categorizing film genres may involve the target audience or by type of production.

Genre does not just refer to the type of its category. Genres are not fixed; the term "genre" was used to organize films according to type since the earliest days of cinema. By the 1950s, André Bazin was discussing the concept of "genre" by using the Western film as an example. In the late 1960s, the concept of genre became a significant part of film theory. Film genres draw on genres from other forms; the perceived genre of a film can change over time. A key reason that the early Hollywood industrial system from the 1920s to the 1950s favoured genre films is that in "Hollywood's industrial mode of production, genre movies are dependable products" to market to audiences, they are easy to produce and it is easy for audiences to understand a genre film. In the 1920s to 1950s, genre films had clear conventions and iconography, such as the heavy coats worn by gangsters in films like Little Caesar; the conventions in genre films enable filmmakers to create them in an industrial, assembly line fashion, an approach which can be seen in the James Bond spy films, which all use a formula of "lots of action, fancy gadgets, beautiful woman and colourful villains" though the actors and screenwriters changed.

Films are purely from one genre, in keeping with the cinema's diverse and derivative origins, it being a blend of "vaudeville, music-hall, photography" and novels. American film historian Janet Staiger states; the "idealist method" judges films by predetermined standards. The "empirical method" identifies the genre of a film by comparing it to a list of films deemed to fall within a certain genre; the apriori method uses common generic elements. The "social conventions" method of identifying the genre of a film is based on the accepted cultural consensus within society. Martin Loop contends that Hollywood films are not pure genres because most Hollywood movies blend the love-oriented plot of the romance genre with other genres. Jim Colins claims that since the 1980s, Hollywood films have been influenced by the trend towards "ironic hybridization", in which directors combine elements from different genres, as with the Western/science fiction mix in Back to the Future Part III. Many films cross into multiple genres.

Susan Hayward states that spy films cross genre boundaries wi

Quatrain

A quatrain is a type of stanza, or a complete poem, consisting of four lines. Existing in a variety of forms, the quatrain appears in poems from the poetic traditions of various ancient civilizations including Ancient India, Ancient Greece, Ancient Rome, China, continues into the 21st century, where it is seen in works published in many languages. During Europe's Dark Ages, in the Middle East and Iran, polymath poets such as Omar Khayyam continued to popularize this form of poetry known as Ruba'i, well beyond their borders and time. Michel de Nostredame used the quatrain form to deliver his famous prophecies in the 16th century. There are fifteen possible rhyme schemes, but the most traditional and common are: AAAA, ABAB, ABBA; the heroic stanza or elegiac stanza The Ruba'i form of rhymed quatrain was favored by Omar Khayyám, among others. This work was a major inspiration for Edward FitzGerald's Rubaiyat of Omar Khayyam, written in Persian; the ruba'i was a widespread verse form: the form rubaiyat reflects the plural.

One of FitzGerald's verses may serve to illustrate: The Midnight Songs poetry form is from Fourth Century China, consisting of regular five-character lines, with each quatrain formed from a pair of rhymed couplets. The person matter involves the personal thoughts and feelings of a courtesan during the four seasons, into which the quatrains are individually assigned. Shairi is an AAAA rhyming form used in The Knight in the Panther's Skin; the Shichigon-zekku form used on Classical Chinese Japanese poetry. This type of quatrain uses a seven characters length of line. Both rhyme and rhythm are key elements, although the former is not restricted to falling at the end of the phrase. Ballad meter Decasyllabic quatrain used by John Dryden in Annus Mirabilis, William Davenant in Gondibert, Thomas Gray Various hymns employ specific forms, such as the common meter, long meter, short meter. In the Malay tradition, syair and pantoum are arranged in quatrains. Bell number Combination Enclosed rhyme Rhyme scheme http://www.uni.edu/~gotera/CraftOfPoetry/quatrain.html

Carly Pearce (album)

Carly Pearce is the self-titled second studio album by country artist Carly Pearce. The album was released on February 14, 2020; the album's lead single, "Closer to You" was released on November 2, 2018."I Hope You're Happy Now", a duet with fellow country singer Lee Brice, was released as Pearce's second single from the album on September 27, 2019. Four promotional singles were issued prior to the album's release. "It Won't Always Be Like This" was released on December 6, 2019 along with the announcement of her album title and tracklist, followed by "Call Me," "Heart's Going Out of Its Mind," and "You Kissed Me First" in January 2020. Track listing adapted from iHeartRadio

Zuiyo-maru carcass

The Zuiyo-maru carcass was a basking shark corpse caught by the Japanese fishing trawler Zuiyō Maru off the coast of New Zealand in 1977. The carcass's peculiar appearance led to speculation that it might be the remains of a sea serpent or prehistoric plesiosaur. Although several scientists insisted it was "not a fish, whale, or any other mammal", analysis indicated it was most the carcass of a basking shark by comparing the number of sets of amino acids in the muscle tissue. Decomposing basking shark carcasses lose most of the lower head area and the dorsal and caudal fins first, making them resemble a plesiosaur. On April 25, 1977, the Japanese trawler Zuiyō Maru, sailing east of Christchurch, New Zealand, caught a strange, unknown creature in the trawl; the crew was convinced it was an unidentified animal, but despite the potential biological significance of the curious discovery, the captain, Akira Tanaka, decided to dump the carcass into the ocean again so not to risk spoiling the caught fish.

However, before that, some photos and sketches were taken of the creature, nicknamed "Nessie" by the crew, measurements were taken and some samples of skeleton and fins were collected for further analysis by experts in Japan. The discovery resulted in immense commotion and a "plesiosaur-craze" in Japan, the shipping company ordered all its boats to try to relocate the dumped corpse, but with no apparent success; the foul-smelling, decomposing corpse weighed 1,800 kg and was about 10 m long. According to the crew, the creature had a 1.5-m-long neck, four large, reddish fins, a tail about 2.0 m long. It lacked a dorsal fin. No internal organs remained. Professor Tokio Shikama from Yokohama National University was convinced the remains were of a extinct plesiosaur. Dr. Fujiro Yasuda from Tokyo University of Marine Science and Technology agreed with Shikama, "the photographs show the remains of a prehistoric animal". However, other scientists were more skeptical. According to Bengt Sjögren, Swedish paleontologist Hans-Christian Bjerring was soon interviewed by Swedish news agency Tidningarnas Telegrambyrå, said: "If it's true that the Japanese collected samples of fins and skin, it would be possible to conclude from a microscope what it is.

If it would be shown to be a hitherto unknown animal from the sea, it is as big of a sensation as the discovery of the coelacanth in 1938… but there is reason to be suspicious of the claims of plesiosaurs, for example, as the marine environment and fauna changed drastically since the age of the plesiosaurs on earth." Another Swedish scientist, Ove Persson, was critical of the plesiosaur interpretation. He recalled other discoveries of similar dead marine creatures resembling plesiosaurs that on closer inspection revealed them to be just decomposed, unusually large sharks, he added, "The discovery of the coelacanth was not as strange as if a plesiosaur would be discovered. The plesiosaur is breathes with lungs, it seems incredible that it would manage to remain hidden." A team of Japanese scientists, Tadayoshi Sasaki and Shigeru Kimura from the Tokyo University of Marine Science and Technology, Ikuo Obata from the National Museum of Nature and Science, Toshio Ikuya from the Atmosphere and Ocean Research Institute at the University of Tokyo, jointly concluded, while the identity of the carcass could not be determined with certainty, the carcass was most that of a large shark.

On July 28, 1977, the Zuiyō Maru carcass was commented upon in the international science magazine New Scientist. A scientist from the Natural History Museum in London had the same opinion as Bjerring and Persson, that the remains were not from a plesiosaur; the decomposition pattern of a basking shark, whose spine and brain case is highly calcified for a cartilaginous fish, can be expected to produce a similar shape to a plesiosaur. Of the view that the carcass was explained as a plesiosaur, Sjögren concluded, "it was the infamous old'Stronsay Beast' that once again haunted like on innumerable other occasions; the scholars in Japan went into the same easy trap as the Scottish naturalists did in the 19th century." The creature acknowledged as a plesiosaur. The carcass is mentioned in the credits of the 2014 film Godzilla; the plesiosaur argument is used as the basis of Lost Tapes' "Monster of Monterey" episode, in which the creature lives in the Monterey Canyon off the coast of California and is suggested as being responsible for a number of deaths.

Basking shark Globster Stronsay beast

Disaster recovery and business continuity auditing

Given organizations' increasing dependency on information technology to run their operations, Business continuity planning covers the entire organization, Disaster recovery focuses on IT. Auditing of documents covering an organization's business continuity and disaster recovery plans provides a third-party validation to stakeholders that the documentation is complete and does not contain material misrepresentations. Lack of completeness can result in overlooking secondary effects, such as when vastly increased work-at-home overloads incoming recovery site telecommunications capacity, the bi-weekly payroll, not critical within the first 48 hours is now causing perceived problems in recovering, complicated by governmental and union reaction. Used together, the terms Business Continuity and Disaster Recovery are different. Business Continuity refers to the ability of a business to continue critical functions and business processes after the occurrence of a disaster, whereas Disaster Recovery refers to the Information Technology and data-centric functions of the business, is a subset of Business Continuity.

The primary objective is to protect the organization in the event that all or part of its operations and/or computer services are rendered or unusable. Minimizing downtime and data loss during disaster recovery is measured in terms of two concepts: Recovery Time Objective, time until a system is up and running Recovery Point Objective, a measure of the ability to recover files by specifying a point in time restore of the backup copy. An auditor examines and assess that the procedures stated in the BCP and DR plan are consistent with real practice that a specific individual within the organization, who may be referred to as the disaster recovery officer, the disaster recovery liaison, the DR coordinator, or some other similar title, has the technical skills, training and abilities to analyze the capabilities of the team members to complete assigned tasks that more than one individual is trained and capable of doing a particular function. Tests and inquiries of personnel can help achieve this objective.

To maximize their effectiveness, disaster recovery plans are most effective when updated and should: be an integral part of all business analysis processes, be revisited at every major corporate acquisition, at every new product launch and at every new system development milestone. Adequate records need to be retained by the organization; the auditor examines records and contracts to verify that records are being kept. One such record is a current list of the organization's software vendors; such list is made and periodically updated to reflect changing business practice. Copies of it are stored on and off site and are made available or accessible to those who require them. An auditor tests the procedures used to determine their effectiveness. A disaster recovery plan is a documented process or set of procedures to execute an organization's disaster recovery processes and recover and protect a business IT infrastructure in the event of a disaster, it is "a comprehensive statement of consistent actions to be taken before and after a disaster".

The disaster could be environmental or man-made. Man-made disasters could be unintentional. Although there is no one-size-fits-all plan, there are three basic strategies: prevention, including proper backups, having surge protectors and generators detection, a byproduct of routine inspections, which may discover new threats correctionThe latter may include securing proper insurance policies, holding a "lessons learned" brainstorming session; the Business Continuity Plan is a comprehensive organizational plan that includes the disaster recovery plan, it consists of five component plans: Business Resumption Plan Occupant Emergency Plan Continuity of Operations Plan Incident Management Plan Disaster Recovery PlanThe first three do not deal with the IT infrastructure. The Incident Management Plan does deal with the IT infrastructure, but since it establishes structure and procedures to address cyber attacks against an organization’s IT systems, it does not represent an agent for activating the Disaster Recovery Plan, leaving The Disaster Recovery Plan as the only BCP component of interest to IT.

Like every insurance plan, there are benefits that can be obtained from proper planning, including: Minimizing risk of delays Guaranteeing the reliability of standby systems Providing a standard for testing the plan Minimizing decision-making during a disaster Reducing potential legal liabilities Lowering unnecessarily stressful work environment According to Geoffrey H. Wold of the Disaster Recovery Journal, the entire process involved in developing a Disaster Recovery Plan consists of 10 steps: Performing a risk assessment: The planning committee prepares a risk analysis and a business impact analysis that includes a range of possible disasters; each functional area of the organization is analyzed to determine potential consequences. Traditionally, fire has posed the greatest threat. A thorough plan provides for "worst case" situations, such as destruction of the main building. Establishing priorities for processing and operations: Critical needs of each department are evaluated and prioritized.

Written agreements for alternatives selected are prepared, with details specifying duration, termination conditions, system testing, any special security procedures, procedure for the notification of system changes

Jabaranpur

Jabaranpur is a small village of district Ghazipur. It situated 35 km & 14 degree north-east from Varanasi, 60 km west from Ghazipur, 50 km east from jaunpur and 70 km south from azamgarh. Jabaranpur is situated on the border of district Jaunpur. Jabaranpur touches the villages of Mathiya, Saraiya and Singarpur; the population of jabaranpur is approximate 1,000. The village is dominated by rajputs. Most of the population comprises all classes of the society, the people of the village live in peaceful atmosphere, they maintain a high degree of communal harmony. The nearest market to Jabaranpur is 1 km from the village. Patrahi is the main market of Jabaranpur; the post office of Jabaranpur is Singarpur. Jabaranpur is directly connected to Varanasi by bus; the nearest railway station of Jabaranpur is Aunrihar 15 km apart from village. There is a small line railway station which connect Aunrihar and Jaunpur at Patrahi bazar, 4 km from the village. Jabaranpur comes Under the Gram Panchayat Chandpur along with village Gahira.

Vidhan Sabha constituency of Jabaranpur is Lok Sabha Constituency is Ghazipur. Present MP of the area is State Minister of Railway's Shri Manoj Rai. Post office of village is located at Singarpur and Thana is situated at Khanpur. Tehsil of the village is Saidpur; the literacy of the village is high. There is a basic primary school in the village. For basic education students go to Patrahi. There are many inter college within 10 km range from village, including: Rehari, Athgawan, Rowapar and Khanpur. For Graduation and Post Graduation students go to nearest college by cycle; some go to Varanasi and some other places for further education, such as: Karra College, Karampur and Rowapar. Rajesh Kumar "Bhuttu" Udal Yadav Lalti Devi Bechu ram Ramagya Singh Ramagya Singh Ramagya Singh Srinath Singh Siddhartha Singh