Bram Stoker's Dracula
Bram Stoker's Dracula is a 1992 American gothic horror film directed and produced by Francis Ford Coppola, based on the novel Dracula by Bram Stoker. It stars Gary Oldman as Count Dracula, Winona Ryder as Mina Harker, Anthony Hopkins as Professor Abraham Van Helsing, Keanu Reeves as Jonathan Harker. Dracula grossed $215 million on a $40 million budget. Rotten Tomatoes's consensus cited "some terrific performances", although Reeves' work has been criticized, it was nominated for four Academy Awards and won three for Best Costume Design, Best Sound Editing, Best Makeup. Its score was composed by Wojciech Kilar. In 1462, Vlad Dracula, a member of the Order of the Dragon, returns from a victory against the Turks to find his wife Elisabeta having committed suicide after receiving a false report of his death; the priest proceeds to tell him. Enraged, Dracula desecrates the chapel and renounces his faith, declaring that he will rise from the grave to avenge Elisabeta with all the powers of darkness, he stabs the chapel's stone cross with his sword and drinks the blood that pours out of it.
In 1897, newly qualified solicitor Jonathan Harker takes the Transylvanian Count Dracula as a client from his colleague Renfield who has gone insane. Jonathan travels to Transylvania to arrange Dracula's real estate acquisitions in London, including Carfax Abbey. Jonathan meets Dracula who discovers a picture of his fiancée Mina Harker and believes that she is the reincarnation of Elisabeta. Dracula leaves Jonathan to be attacked and fed upon by his brides, while he sails to England with boxes of his native Transylvanian soil, taking up residence at Carfax Abbey, his arrival is foretold by the ravings of Renfield, now an inmate in Dr. Jack Seward's insane asylum. In London, Dracula emerges as a wolf-like creature amid a fierce thunderstorm and hypnotically seduces bites Lucy Westenra, with whom Mina is staying while Jonathan is in Transylvania. Lucy's deteriorating health and behavioral changes prompt her former suitors Quincey Morris and Dr. Seward, along with her fiancé Arthur Holmwood to summon Dr. Abraham Van Helsing who recognizes Lucy as the victim of a vampire.
Dracula, appearing young and handsome during daylight and charms Mina. When Mina receives word from Jonathan who has escaped the castle and recovered at a convent, she travels to Romania to marry him. In his fury, Dracula transforms Lucy into a vampire. Van Helsing, Holmwood and Morris kill the undead Lucy the following night. After Jonathan and Mina return to London and Van Helsing lead the others to Carfax Abbey, where they destroy the Count's boxes of soil. Dracula enters the asylum, he visits Mina, staying in Seward's quarters while the others hunt Dracula, confesses that he murdered Lucy and has been terrorizing Mina's friends. Confused and angry, Mina admits that she remembers Elisabeta's previous life. At her insistence, Dracula begins transforming her into a vampire; the hunters burst into the bedroom, Dracula claims Mina as his bride before escaping. As Mina changes, Van Helsing hypnotizes her and learns via her connection with Dracula that he is sailing home in his last remaining box; the hunters depart for Varna to intercept him.
The hunters split up. At night, Van Helsing and Mina are approached by Dracula's brides, they frighten Mina, but she succumbs to their chanting and attempts to seduce Van Helsing. Before Mina can feed on his blood, Van Helsing places a communion wafer on her forehead, leaving a mark, he surrounds them with a ring of fire to protect them from the brides infiltrates the castle and decapitates them the following morning. As sunset approaches, Dracula's carriage arrives at the castle, pursued by the hunters. A fight between the hunters and gypsies ensues. Morris is stabbed in the back during Dracula bursts from his coffin at sunset. Harker slits his throat; as Dracula staggers, Mina rushes to his defense. Holmwood tries to attack but Van Helsing and Harker allow her to retreat with the Count. Morris dies of his wound, surrounded by his friends. In the chapel where he renounced his faith, Dracula lies dying in an ancient demonic form, they share a kiss as the candles adorning the chapel light up and the cross repairs itself.
Dracula asks Mina to give him peace. Mina thrusts the knife through his heart and as he dies, the mark on her forehead disappears as Dracula's curse is lifted, she decapitates him and gazes up at the fresco of Vlad and Elisabeta ascending to Heaven together, reunited at long last. Ryder brought the script to the attention of Coppola; the director had agreed to meet with her so the two could clear the air after her late withdrawal from The Godfather Part III caused production delays on that film and led her to believe Coppola disliked her. Coppola was attracted to the sensual elements of the screenplay and said that he wanted portions of the picture to resemble an "erotic dream". In the months leading up to its release, Hollywood insiders who had seen the movie felt Coppola's film was too odd and strange to succeed at the box office and dubbed it "Bonfire of the Vampires" after the notorious 1990 box office bomb The Bonfire of the Vanities. Due to delays and cost overruns on some of Coppola's previous projects such
A screensaver is a computer program that blanks the screen or fills it with moving images or patterns when the computer is not in use. The original purpose of screensavers was to prevent phosphor burn-in on CRT and plasma computer monitors. Though modern monitors are not susceptible to this issue, screensavers are still used for other purposes. Screensavers are set up to offer a basic layer of security, by requiring a password to re-access the device; some screensavers use the otherwise unused computer resources to do useful work, such as processing for distributed computing projects. As well as computers, modern television operating systems, media players and other digital entertainment systems include optional screensavers. Before the advent of LCD screens, most computer screens were based on cathode ray tubes; when the same image is displayed on a CRT screen for long periods, the properties of the exposed areas of phosphor coating on the inside of the screen and permanently change leading to a darkened shadow or "ghost" image on the screen, called a screen burn-in.
Cathode ray televisions and other devices that use CRTs are all susceptible to phosphor burn-in, as are plasma displays to some extent. Screen-saver programs were designed to help avoid these effects by automatically changing the images on the screen during periods of user inactivity. For CRTs used in public, such as ATMs and railway ticketing machines, the risk of burn-in is high because a stand-by display is shown whenever the machine is not in use. Older machines designed without burn-in problems taken into consideration display evidence of screen damage, with images or text such as "Please insert your card" visible when the display changes while the machine is in use. Blanking the screen is out of the question as the machine would appear to be out of service. In these applications, burn-in can be prevented by shifting the position of the display contents every few seconds, or by having a number of different images that are changed regularly. Modern CRTs are much less susceptible to burn-in than older models due to improvements in phosphor coatings, because modern computer images are lower contrast than the stark green- or white-on-black text and graphics of earlier machines.
LCD computer monitors, including the display panels used in laptop computers, are not susceptible to burn-in because the image is not directly produced by phosphors. While modern screens are not susceptible to the issues discussed above, screensavers are still used; these are for decorative/entertainment purposes, or for password protection. They feature moving images or patterns and sometimes sound effects; as screensavers are expected to activate when users are away from their machines, many screensavers can be configured to ask users for a password before permitting the user to resume work. This is a basic security measure against another person accessing the machine while the user is absent; some screensavers activate a useful background task, such as a virus scan or a distributed computing application. This allows applications to use resources only. Decades before the first computers using this technology were invented, Robert A. Heinlein gave an example of how they might be used in his novel Stranger In A Strange Land: Opposite his chair was a stereovision tank disguised as an aquarium.
The first screensaver was written for the original IBM PC by John Socha, best known for creating the Norton Commander. The screensaver, named scrnsave, was published in the December 1983 issue of the Softalk magazine, it blanked the screen after three minutes of inactivity. By 1983 a Zenith Data Systems executive included "screen-saver" among the new Z-29 computer terminal's features, telling InfoWorld that it "blanks out the display after 15 minutes of nonactivity, preventing burned-in character displays"; the first screensaver that allowed users to change the activating time was released on Apple's Lisa, in 1983. The Atari 400 and 800's screens would go through random screensaver-like color changes if they were left inactive for about 8 minutes. Normal users had no control over this; these computers, released in 1979, are technically earlier "screen savers." And prior to these computers, the 1977 Atari VCS/2600 gaming console included color cycling in games like Combat or Breakout, in order to prevent burn-in of game images to 1970s-era televisions.
In addition, the first model of the TI-30 calculator from 1976 featured a screensaver, which consisted of a decimal point running across the display after 30 seconds of inactivity. This was chiefly used to save battery power, as the LED display was more power intensive than LCD models; these are examples of the firmware of a computer. Today with the help of modern graphics technologies there is a wide variety of screensavers; because of 3D computer graphics, which provide realistic environments, 3D screensavers are available. Screensavers are designed and coded using a variety of programming languages as well as graphics interfaces; the authors of screensavers use the C or C++ programming languages, along with Graphics Device Interface, DirectX, or OpenGL, to craft their final products. Several OS X screensavers are designed using Quartz Composer; the scree
A computing platform or digital platform is the environment in which a piece of software is executed. It may be the hardware or the operating system a web browser and associated application programming interfaces, or other underlying software, as long as the program code is executed with it. Computing platforms have different abstraction levels, including a computer architecture, an OS, or runtime libraries. A computing platform is the stage. A platform can be seen both as a constraint on the software development process, in that different platforms provide different functionality and restrictions. For example, an OS may be a platform that abstracts the underlying differences in hardware and provides a generic command for saving files or accessing the network. Platforms may include: Hardware alone, in the case of small embedded systems. Embedded systems can access hardware directly, without an OS. A browser in the case of web-based software; the browser itself runs on a hardware+OS platform, but this is not relevant to software running within the browser.
An application, such as a spreadsheet or word processor, which hosts software written in an application-specific scripting language, such as an Excel macro. This can be extended to writing fully-fledged applications with the Microsoft Office suite as a platform. Software frameworks. Cloud computing and Platform as a Service. Extending the idea of a software framework, these allow application developers to build software out of components that are hosted not by the developer, but by the provider, with internet communication linking them together; the social networking sites Twitter and Facebook are considered development platforms. A virtual machine such as the Java virtual machine or. NET CLR. Applications are compiled into a format similar to machine code, known as bytecode, executed by the VM. A virtualized version of a complete system, including virtualized hardware, OS, storage; these allow, for instance, a typical Windows program to run on. Some architectures have multiple layers, with each layer acting as a platform to the one above it.
In general, a component only has to be adapted to the layer beneath it. For instance, a Java program has to be written to use the Java virtual machine and associated libraries as a platform but does not have to be adapted to run for the Windows, Linux or Macintosh OS platforms. However, the JVM, the layer beneath the application, does have to be built separately for each OS. AmigaOS, AmigaOS 4 FreeBSD, NetBSD, OpenBSD IBM i Linux Microsoft Windows OpenVMS Classic Mac OS macOS OS/2 Solaris Tru64 UNIX VM QNX z/OS Android Bada BlackBerry OS Firefox OS iOS Embedded Linux Palm OS Symbian Tizen WebOS LuneOS Windows Mobile Windows Phone Binary Runtime Environment for Wireless Cocoa Cocoa Touch Common Language Infrastructure Mono. NET Framework Silverlight Flash AIR GNU Java platform Java ME Java SE Java EE JavaFX JavaFX Mobile LiveCode Microsoft XNA Mozilla Prism, XUL and XULRunner Open Web Platform Oracle Database Qt SAP NetWeaver Shockwave Smartface Universal Windows Platform Windows Runtime Vexi Ordered from more common types to less common types: Commodity computing platforms Wintel, that is, Intel x86 or compatible personal computer hardware with Windows operating system Macintosh, custom Apple Inc. hardware and Classic Mac OS and macOS operating systems 68k-based PowerPC-based, now migrated to x86 ARM architecture based mobile devices iPhone smartphones and iPad tablet computers devices running iOS from Apple Gumstix or Raspberry Pi full function miniature computers with Linux Newton devices running the Newton OS from Apple x86 with Unix-like systems such as Linux or BSD variants CP/M computers based on the S-100 bus, maybe the earliest microcomputer platform Video game consoles, any variety 3DO Interactive Multiplayer, licensed to manufacturers Apple Pippin, a multimedia player platform for video game console development RISC processor based machines running Unix variants SPARC architecture computers running Solaris or illumos operating systems DEC Alpha cluster running OpenVMS or Tru64 UNIX Midrange computers with their custom operating systems, such as IBM OS/400 Mainframe computers with their custom operating systems, such as IBM z/OS Supercomputer architectures Cross-platform Platform virtualization Third platform Ryan Sarver: What is a platform
A flip book or flick book is a book with a series of pictures that vary from one page to the next, so that when the pages are turned the pictures appear to animate by simulating motion or some other change. Flip books are illustrated books for children, but may be geared towards adults and employ a series of photographs rather than drawings. Flip books are not always separate books but may appear as an added feature in ordinary books or magazines in the page corners. Software packages and Websites are available that convert digital video files into custom-made flip books. Rather than "reading" left to right, a viewer stares at the same location of the pictures in the flip book as the pages turn; the book must be flipped with enough speed for the illusion to work, so the standard way to "read" a flip book is to hold the book with one hand and flip through its pages with the thumb of the other hand. The German word for flip book—Daumenkino "thumb cinema"—reflects this process, it has sometimes been assumed that the simple flip book has been around since long before the invention of the more complicated 19th-century animation devices like the phenakistiscope and the zoetrope, but no conclusive evidence has been found.
There are some medieval illuminated books such as Sigenot. The illustrations in Sigenot are framed and have short intervals between different phases of action, but the images can not produce the illusion of a fluent motion; the necessary notion of instances smaller than a second would not develop before the 19th century. The oldest known documentation of the flip book appeared in September 1868, when it was patented by John Barnes Linnett under the name kineograph, they were the first form of animation to employ a linear sequence of images rather than circular. The German film pioneer, Max Skladanowsky, first exhibited his serial photographic images in flip book form in 1894, as he and his brother Emil did not develop their own film projector until the following year. In 1894, Herman Casler invented a mechanized form of flip book called the Mutoscope, which mounted the pages on a central rotating cylinder rather than binding them in a book; the mutoscope remained a popular attraction through the mid-twentieth century, appearing as coin-operated machines in penny arcades and amusement parks.
In 1897, the English filmmaker Henry William Short marketed his "Filoscope", a flip book placed in a metal holder to facilitate flipping. Flip books are now considered a toy or novelty for children and were once a common "prize" in cereal and Cracker Jack boxes. However, in addition to their role in the birth of cinema, they have been an effective promotional tool since their creation for such decidedly adult products as automobiles and cigarettes, they continue to be used in marketing today, as well as in art and published photographic collections. Vintage flip books are popular among collectors, rare ones from the late 19th to the early 20th century have been known to fetch thousands of dollars in sales and auctions. Since 2007, Walt Disney Animation Studios has started its films with a production logo that evokes a flip book, it starts with a view of an empty page of paper as the pages start to turn, details are drawn in to reveal Mickey Mouse in Steamboat Willie. The first international flip book festival was held in 2004, by the Akademie Schloss Solitude in Stuttgart.
Another international flip book festival was held in Linz, Austria in 2005. In 2010 Hungary postal services released a flip book of stamps depicting a moving gömböc; the Israel Philatelic Federation released an "Israeli Animation Stamp Booklet" in November 2010 with 15 stamps designed by Mish to be animated when flipping the pages. It commemorated the 50th anniversary of ASIFA, the 25th anniversary of ASIFA Israel and the "Flip Book 250th Anniversary"; the Finnish passport design released in 2012 contains a flipbook of a walking moose. Flipbook.info – Includes demonstrative videos of antique flipbooks. History of Flip Books – a brief history of flipbooks
Morphing is a special effect in motion pictures and animations that changes one image or shape into another through a seamless transition. Morphing means stretching or as part of surreal sequence. Traditionally such a depiction would be achieved through cross-fading techniques on film. Since the early 1990s, this has been replaced by computer software to create more realistic transitions. Long before digital morphing, several techniques were used for similar image transformations; some of those techniques are closer to a matched dissolve - a gradual change between two pictures without warping the shapes in the images - while others did change the shapes in between the start and end phases of the transformation. Known since at least the end of the 16th century, Tabula scalata is a type of painting with two images divided over a corrugated surface; each image is only visible from a certain angle. If the pictures are matched properly, a primitive type of morphing effect occurs when changing from one viewing angle to the other.
Around 1790 French shadow play showman François Dominique Séraphin used a metal shadow figure with jointed parts to have the face of a young woman changing into that of a witch. Some 19th century mechanical magic lantern slides produced changes to the appearance of figures. For instance a nose could grow to enormous size by sliding away a piece of glass with black paint that masked part of another glass plate with the picture. In the first half of the 19th century "dissolving views" were a popular type of magic lantern show showing landscapes dissolving from a day to night version or from summer to winter. Other uses are known, for instance; the 1910 short film Narren-grappen shows a dissolve transformation of the clothing of a female character. Maurice Tourneur's 1915 film Alias Jimmy Valentine featured a subtle dissolve transformation of the main character from respected citizen Lee Randall into his criminal alter ego Jimmy Valentine; the Peter Tchaikovsky Story in a 1959 TV-series episode of Disneyland features a swan automaton transforming into a real ballet dancer.
In 1985, Godley & Creme created a "morph" effect using analogue cross-fades on parts of different faces in the video for "Cry". In animation, the morphing effect was created long before the introduction of cinema. A phenakistiscope designed by its inventor Joseph Plateau and/or painter Jean-Baptiste Madou was printed around 1835 and shows the head of a woman changing into a witch and into a monster.Émile Cohl's 1908 animated film Fantasmagorie featured much morphing of characters and objects drawn in simple outlines. In the early 1990s computer techniques that produced more convincing results began to be used; these involved distorting one image at the same time that it faded into another through marking corresponding points and vectors on the "before" and "after" images used in the morph. For example, one would morph one face into another by marking key points on the first face, such as the contour of the nose or location of an eye, mark where these same points existed on the second face; the computer would distort the first face to have the shape of the second face at the same time that it faded the two faces.
To compute the transformation of image coordinates required for the distortion, the algorithm of Beier and Neely can be used. In or before 1986 computer graphics company Omnibus created a digital animation for a Tide commercial with a Tide detergent bottle smoothly morphing into the shape of the United States; the effect was programmed by Bob Hoffman. Omnibus re-used the technique in the movie Flight of the Navigator, it featured. The plaster cast of a model of the spaceship was scanned and digitally modified with techniques that included a reflection mapping technique, developed by programmer Bob Hoffman; the 1986 movie The Golden Child implemented rather crude digital morphing effects from animal to human and back. Willow featured a more detailed digital morphing sequence with a person changing into different animals. A similar process was used a year in Indiana Jones and the Last Crusade to create Walter Donovan's gruesome demise. Both effects were created by Industrial Light & Magic using grid warping techniques developed by Tom Brigham and Doug Smythe.
In 1991, morphing appeared notably in the Michael Jackson music video "Black or White" and in the movies Terminator 2: Judgment Day and Star Trek VI: The Undiscovered Country. The first application for personal computers to offer morphing was Gryphon Software Morph on the Macintosh. Other early morphing systems included ImageMaster, MorphPlus and CineMorph, all of which premiered for the Commodore Amiga in 1992. Other programs became available within a year, for a time the effect became common to the point of cliché. For high-end use, Elastic Reality saw its first feature film use in In The Line of Fire and was used in Quantum Leap. At VisionArt Ted Fay used Elastic Reality to morph Odo for Star Trek: Deep Space Nine. Elastic Reality was purchased by Avid, having become the de facto system of choice, used in many hundreds of films; the technology behind Elastic Reality earned two Academy Awards in 1996 for Scientific and Technical Achievement going to Garth Dickie and Perry Kivolowitz. The effect is technically called a "spatially warped cross-dissolve".
The first social network designed for user-generated morph examples to be posted online was Galleries by Morpheus. In Taiwan, Aderans, a hair loss solutions provider, did a TV commercial featuring a morphing sequence in
Time is an American weekly news magazine and news website published in New York City. It was founded in 1923 and run by Henry Luce. A European edition is published in London and covers the Middle East, and, since 2003, Latin America. An Asian edition is based in Hong Kong; the South Pacific edition, which covers Australia, New Zealand, the Pacific Islands, is based in Sydney. In December 2008, Time discontinued publishing a Canadian advertiser edition. Time has the world's largest circulation for a weekly news magazine; the print edition has a readership of 26 million. In mid-2012, its circulation was over three million, which had lowered to two million by late 2017. Richard Stengel was the managing editor from May 2006 to October 2013, when he joined the U. S. State Department. Nancy Gibbs was the managing editor from September 2013 until September 2017, she was succeeded by Edward Felsenthal, Time's digital editor. Time magazine was created in 1923 by Briton Hadden and Henry Luce, making it the first weekly news magazine in the United States.
The two had worked together as chairman and managing editor of the Yale Daily News. They first called the proposed magazine Facts, they wanted to emphasize brevity. They changed the name to Time and used the slogan "Take Time–It's Brief". Hadden was liked to tease Luce, he saw Time as important, but fun, which accounted for its heavy coverage of celebrities, the entertainment industry, pop culture—criticized as too light for serious news. It set out to tell the news through people, for many decades, the magazine's cover depicted a single person. More Time has incorporated "People of the Year" issues which grew in popularity over the years. Notable mentions of them were Steve Jobs, etc.. The first issue of Time was published on March 3, 1923, featuring Joseph G. Cannon, the retired Speaker of the House of Representatives, on its cover. 1, including all of the articles and advertisements contained in the original, was included with copies of the February 28, 1938 issue as a commemoration of the magazine's 15th anniversary.
The cover price was 15¢ On Hadden's death in 1929, Luce became the dominant man at Time and a major figure in the history of 20th-century media. According to Time Inc.: The Intimate History of a Publishing Enterprise 1972–2004 by Robert Elson, "Roy Edward Larsen was to play a role second only to Luce's in the development of Time Inc". In his book, The March of Time, 1935–1951, Raymond Fielding noted that Larsen was "originally circulation manager and general manager of Time publisher of Life, for many years president of Time Inc. and in the long history of the corporation the most influential and important figure after Luce". Around the time they were raising $100,000 from wealthy Yale alumni such as Henry P. Davison, partner of J. P. Morgan & Co. publicity man Martin Egan and J. P. Morgan & Co. banker Dwight Morrow, Henry Luce, Briton Hadden hired Larsen in 1922 – although Larsen was a Harvard graduate and Luce and Hadden were Yale graduates. After Hadden died in 1929, Larsen purchased 550 shares of Time Inc. using money he obtained from selling RKO stock which he had inherited from his father, the head of the Benjamin Franklin Keith theatre chain in New England.
However, after Briton Hadden's death, the largest Time, Inc. stockholder was Henry Luce, who ruled the media conglomerate in an autocratic fashion, "at his right hand was Larsen", Time's second-largest stockholder, according to Time Inc.: The Intimate History of a Publishing Enterprise 1923–1941. In 1929, Roy Larsen was named a Time Inc. director and vice president. J. P. Morgan retained a certain control through two directorates and a share of stocks, both over Time and Fortune. Other shareholders were the New York Trust Company; the Time Inc. stock owned by Luce at the time of his death was worth about $109 million, it had been yielding him a yearly dividend of more than $2.4 million, according to Curtis Prendergast's The World of Time Inc.: The Intimate History of a Changing Enterprise 1957–1983. The Larsen family's Time stock was worth around $80 million during the 1960s, Roy Larsen was both a Time Inc. director and the chairman of its executive committee serving as Time's vice chairman of the board until the middle of 1979.
According to the September 10, 1979, issue of The New York Times, "Mr. Larsen was the only employee in the company's history given an exemption from its policy of mandatory retirement at age 65." After Time magazine began publishing its weekly issues in March 1923, Roy Larsen was able to increase its circulation by using U. S. radio and movie theaters around the world. It promoted both Time magazine and U. S. political and corporate interests. According to The March of Time, as early as 1924, Larsen had brought Time into the infant radio business with the broadcast of a 15-minute sustaining quiz show entitled Pop Question which survived until 1925". In 1928, Larsen "undertook the weekly broadcast of a 10-minute programme series of brief news summaries, drawn from current issues of Time magazine, broadcast over 33 stations throughout the United States". Larsen next arranged for a 30-minute radio program, The March of Time, to be broadcast over CBS, beginning on March 6, 1931; each week, the program presented a dramatisation of the week's news for its listeners, thus Time magazine itself was brought "to the attention of millions unaware
Gabriel Wilensky is an American author, software developer and entrepreneur. He was born in Uruguay, where his Eastern-European grandparents had emigrated to before the Second World War, he is the author of the book Six Million Crucifixions, which traces the history of antisemitism in Christianity and the role it played in the Holocaust. Wilensky co-founded the software company Gryphon Software in the early 1990s; the company produces the software product Morph, which introduced the computer graphics effect of morphing. Gryphon Software developed a pioneering new line of edutainment products, the Activity Centers. Gryphon developed many products in that line, some of which used well-known characters from Disney, Warner/DC Comics, others; the Activity Center line of products introduced video from the feature films and cartoons in the application. Gryphon was acquired by Cendant Software. Wilensky contributed to the development of these various products in the areas of software and user interface design, product management and video production and new research and development work on audio/video compression.
His software was used to make some of the special effects of several feature films, such as Francis Ford Coppola's Bram Stoker's Dracula, Robin Hood: Men in Tights, Dragon: The Bruce Lee Story and others. After Gryphon Software Wilensky worked on the development of other software products in the areas of user interface software for wireless devices, web site development, TV broadcasting for mobile devices. Most he was responsible for the development of the GoPro software applications. Wilensky spent years of research into the question of, he used his technical background for a methodical study of the question and wrote Six Million Crucifixions: How Christian Teachings About Jews Paved the Road to the Holocaust, published in 2009. Six Million Crucifixions provides an account of the two-thousand-year-old Christian teaching of contempt for Jews, argues that it was this relentless animosity and hatred toward Jews and Judaism in predominantly Christian lands that laid the foundation on which racial antisemitism stood, which led to the Holocaust.
As Holocaust scholar John K. Roth argued in the foreword of the book, "Absent Christianity, no Holocaust would have taken place."The book provides an account of how antisemitism developed from the early days of the Christian movement into full-blown hatred by the time of the Crusades. Six Million Crucifixions shows how anti-Jewish sentiment stemmed out of Christian Scriptures and the teachings of the Church Fathers, until it became second-nature to European Christians; as Dr. Carol Rittner, Distinguished Professor of Holocaust & Genocide Studies at The Richard Stockton College wrote, "Too many of those hate-filled words had their origin in the Christian Scriptures and were uttered by Christian preachers and teachers, by Christians for nearly two millennia."The book describes the role of both the Catholic and Protestant churches in the period leading to and beyond the Second World War, criticizes the Catholic Church, as well as the Protestant churches for their lack of loud and clear objection to the extermination of the Jews, for the assistance some members of the clergy gave the Nazis in their persecution of the Jews and the help some members of the Vatican gave to people who should have been regarded as war criminals to escape justice after the war.
As Holocaust scholar and Director of the Sigi Ziering Institute Michael Berenbaum wrote, "Gabriel Wilensky's Six Million Crucifixions is a powerful and passionate indictment of the Vatican for acts of omission and acts of commission."Six Million Crucifixions further presents material that he asserts could have been used for a potential indictment of any Christian clergy who may have been guilty of crimes of incitement and/or persecution against Jews before and after World War II, had the Allies pursued another international prosecution after the Nuremberg Trials. Two Software and Information Industry Association Codie awards BYTE Magazine Award of Excellence UCSD Connect Most Innovative New Product Award Bronze Award in New Media Magazine's InVision Contest Two MacUser Editor's Choice Awards - Finalist Discover Magazine Award for Technological Innovation - Finalist Six Million Crucifixions: How Christian Teachings About Jews Paved the Road to the Holocaust, San Diego: QWERTY Publishers, 2010, ISBN 978-0-9843346-4-3 Reiss, Fred.
"Was the Holocaust the legacy of the Church's teachings?". San Diego Jewish World. Breau, Elizabeth. "Six Million Crucifixions". ForeWord Reviews. Berman, Alann. "2,000 Years in the Making". San Diego Jewish Journal. Six Million Crucifixions web site Articles by Gabriel Wilensky Lecture, "How Christian Teachings About Jews Paved the Road to the Holocaust" Wilensky speaks about Six Million Crucifixions on YouTube Radio interviews Facebook Fan Page