Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
The Palme d'Or is the highest prize awarded at the Cannes Film Festival. It was introduced in 1955 by the festival's organizing committee. From 1939 to 1954, the highest prize at the festival was the Grand Prix du Festival International du Film. In 1964, The Palme d'Or was replaced again by the Grand Prix, before being reintroduced in 1975; the Palme d'Or is considered to be one of the most prestigious awards in the film industry. In 1954, the festival decided to present an award annually, titled the Grand Prix of the International Film Festival, with a new design each year from a contemporary artist; the festival's board of directors invited several jewellers to submit designs for a palm, in tribute to the coat of arms of the city of Cannes. The original design by the jeweller Lucienne Lazon had the bevelled lower extremity of the stalk forming a heart, the pedestal a sculpture in terracotta by the artist Sébastien. In 1955, the first Palme d'Or was awarded to Delbert Mann for Marty. From 1964 to 1974, the Festival temporarily resumed a Grand Prix.
In 1975, the Palme d'Or was reintroduced and has since remained the symbol of the Cannes Film Festival, awarded every year to the director of the winning film, presented in a case of pure red Morocco leather lined with white suede. As of 2018, Jane Campion is the only female director to have won the Palme d'Or, for her work on The Piano. However, in 2013, when Blue Is the Warmest Color won the Palme d'Or, the Steven Spielberg-headed jury awarded it to the film's director Abdellatif Kechiche, as well as the film's actresses Adèle Exarchopoulos and Léa Seydoux; this marks the first time. The jury decided to award the actresses alongside the director due to a Cannes policy that forbids the Palme d'Or-winning film from receiving any additional awards, thereby preventing the jury from rewarding both the film and the film's actresses separately. Of the unorthodox decision, Spielberg said that "had the casting been 3% wrong, it wouldn't have worked like it did for us". Kechiche auctioned off his Palme d'Or trophy to fund his new feature film, expressed mixed feelings about the festival having given out multiple trophies in an interview with The Hollywood Reporter.
Since its reintroduction, the prize has been redesigned several times. At the beginning of the 1980s, the rounded shape of the pedestal, bearing the palm transformed to become pyramidal in 1984. In 1992, Thierry de Bourqueney redesigned its pedestal in hand-cut crystal. In 1997, a new design, created by Caroline Scheufele from Chopard, was created; the winner of the 2014 Palme d'Or, Winter Sleep—a Turkish film by Nuri Bilge Ceylan—occurred during the same year as the 100th anniversary of Turkish cinema. Upon receiving the award, Ceylan dedicated the prize to both the "young people" involved in the ongoing political unrest in Turkey and the workers who were killed in the Soma mine disaster, which occurred on the day prior to the commencement of the awards event. In 2017, the award was re-designed to celebrate the festival's 70th anniversary; the diamonds were provided by an ethical supplier certified by the Responsible Jewellery Council. * Director's nationality given at time of film's release.
§ Denotes unanimous win ‡ The Palme d'Or for Union Pacific was awarded in retrospect at the 2002 festival. The festival's debut was to take place in 1939, but it was cancelled due to World War II; the organisers of the 2002 festival presented part of the original 1939 selection to a professional jury of six members. The films were: Goodbye Mr. Chips, La Piste du Nord, Lenin in 1918, The Four Feathers, The Wizard of Oz, Union Pacific, Boefje. Eight directors or co-directors have won the award twice: 1946 & 1951 Alf Sjöberg 1974 & 1979 Francis Ford Coppola 1988 & 1992 Bille August 1985 & 1995 Emir Kusturica 1983 & 1997 Shohei Imamura 1999 & 2005 Luc and Jean-Pierre Dardenne 2009 & 2012 Michael Haneke 2006 & 2016 Ken Loach In 2002 the festival began to sporadically award a non-competitive Honorary Palme d'Or to directors who had achieved a notable body of work but who had never won a competitive Palme d'Or. In 2011 the festival announced that the award would be given out annually, however plans for this fell through and it was not awarded again until four years in 2015.
American director Woody Allen was the inaugural recipient while pioneering French filmmaker Agnès Varda was the first woman to receive the award in 2015. In 2016, Jean-Pierre Léaud became the first person to be awarded for acting. In 2018, the Cannes jury awarded a "Special Palme d'Or" for the first time. Golden Bear, the highest prize awarded at the Berlin Film Festival Golden Lion, the highest prize awarded at the Venice Film Festival Palme d'Or Winners, 1976 to present, by gross box-office Festival-cannes.com Cannes Film Festival IMDB
Cinéma vérité is a style of documentary filmmaking, invented by Jean Rouch, inspired by Dziga Vertov's theory about Kino-Pravda and influenced by Robert Flaherty’s films. It combines improvisation with the use of the camera to unveil truth or highlight subjects hidden behind crude reality, it is sometimes called observational cinema, if understood as pure direct cinema: without a narrator's voice-over. There are subtle, yet important, differences among terms expressing similar concepts. Direct Cinema is concerned with the recording of events in which the subject and audience become unaware of the camera's presence: operating within what Bill Nichols, an American historian and theoretician of documentary film, calls the "observational mode", a fly on the wall. Many therefore see a paradox in drawing attention away from the presence of the camera and interfering in the reality it registers when attempting to discover a cinematic truth. Cinéma vérité can involve stylized set-ups and the interaction between the filmmaker and the subject to the point of provocation.
Some argue that the obvious presence of the filmmaker and camera was seen by most cinéma vérité filmmakers as the best way to reveal the truth in cinema. The camera is always acknowledged, for it performs the raw act of filming real objects and events in a confrontational way; the filmmaker's intention was to represent the truth in what he or she was seeing as objectively as possible, freeing people from any deceptions in how those aspects of life were presented to them. From this perspective, the filmmaker should be the catalyst of a situation. Few agree on the meanings of these terms the filmmakers whose films are being described. Pierre Perrault sets situations up and films them, for example in Pour la suite du monde where he asked old people to fish for whale; the result is not a documentary about whale fishing. In this sense cinéma vérité is concerned with anthropological cinema, with the social and political implications of what is captured on film. How a filmmaker shoots a film, what is being filmed, what to do with what was filmed, how that film will be presented to an audience, all were important for filmmakers of the time.
In all cases, the ethical and aesthetic analysis of documentary form of the 1950s and 1960s has to be linked with a critical look at post-war propaganda analysis. The best way to describe this type of cinema is to say that it is concerned with notions of truth and reality in film. Feminist documentary films of the 1970s used cinéma-vérité techniques. Soon this sort of'realism' was criticized for its deceptive pseudo-natural construction of reality; as Edgar Morin wrote: "There are two ways to conceive of the cinema of the Real: the first is to pretend that you can present reality to be seen. In the same way, there were two ways to conceive cinéma vérité; the first was to pretend. The second was to pose the problem of truth." Pioneers Michel Brault Robert Drew Robert Flaherty Richard Leacock D. A. Pennebaker Pierre Perrault Lionel Rogosin Jean Rouch Dziga VertovOthersJon Alpert Joe Berlinger and Bruce Sinofsky David Bradbury Varon Bonicos Nick Broomfield Linda Goode Bryant John Cassavetes Pedro Costa Ricardo Costa Kirby Dick Tamara Goldsworthy Amos Gitai Paul Greengrass Gilles Groulx Kazuo Hara Florence Jaugey Claude Jutra Allan King Louis King Abbas Kiarostami Barbara Kopple Harmony Korine Roman Kroitor Barbara Loden Louis Malle Chris Marker Andrea Arnold John Marshall Pau Masó The Maysles Brothers Jehane Noujaim David Perlov Oday Rasheed Ulrich Seidl Kaneto Shindo Ellen Spiro Bela Tarr Frederick Wiseman À Hauteur d'homme After Life Bad Boys The Carter C'était un rendez-vous Children of Hiroshima Chronique d'un été Citizenfour Cocksucker Blues Crisis: Behind a Presidential Commitment Distance Down for Life Dancer in the Dark Eat the Document The Emperor's Naked Army Marches On F for Fake Faces Flag Wars Gimme Shelter Grey Gardens Happy Mother's Day Hoop Dreams Hospital Import/Export Iraq in Fragments In Vanda's Room Jesus Camp The Leader, His Driver and the Driver's Wife Lonely Boy Manic Medium Cool Mists Moi, un noir Mysterious Object at Noon Near Death Orderers Phantom India Photographic Memory Project X Les Raquetteurs Ram ke Naam Salesman Seventeen Shadows Sleep The Plaint of Steve Kreines as recorded by his younger brother Jeff Titicut Follies Wanda The War Room Warrendale West 47th Street Woodstock Jordon Saffron Taste This!
The Act of Killing Spark: A Burning Man Story Love & Pop The techniques of cinéma vérité can be seen in fiction films such as The Battle of Algiers, The Blair Witch Project, Children of Men and Judy, Rachel Getting Married, Diary of the Dead, District 9, Harry Potter and the Deathly Hallows - Part 1, Battle: Los Angeles, REC, Saving Private Ryan, The Bourne Ultimatum and Paranormal Activity, among others. Many film directors of the 1960s and adopted use of the handheld camera and cinéma vérité styles for their fiction films based on screenplays and actors, they had actors using improvisation to get a more spontaneous quality in their talks and action. Influentia
Photojournalism is a particular form of journalism that employs images in order to tell a news story. It is now understood to refer only to still images, but in some cases the term refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in journalistic terms. Photojournalists create pictures that contribute to the news media, help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door, they deliver news in a creative format, not only informative, but entertaining. Timeliness The images have meaning in the context of a published record of events. Objectivity The situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative The images combine with other news elements to make facts relatable to audiences.
Like a writer, a photojournalist is a reporter, but he or she must make decisions and carry photographic equipment while exposed to significant obstacles. The practice of illustrating news stories with photographs was made possible by printing and photography innovations that occurred in the mid 19th century. Although early illustrations had appeared in newspapers, such as an illustration of the funeral of Lord Horatio Nelson in The Times, the first weekly illustrated newspaper was the Illustrated London News, first printed in 1842; the illustrations were printed with the use of engravings. The first photograph to be used in illustration of a newspaper story was a depiction of barricades in Paris during the June Days uprising taken on 25 June 1848. During the Crimean War, the ILN pioneered the birth of early photojournalism by printing pictures of the war, taken by Roger Fenton. Fenton was the first official war photographer and his work included documenting the effects of the war on the troops, panoramas of the landscapes where the battles took place, model representations of the action, portraits of commanders, which laid the groundwork for modern photojournalism.
Other photographers of the war included Carol Szathmari. The American Civil War photographs of Mathew Brady were engraved before publication in Harper's Weekly. Disaster, including train wrecks and city fires, was a popular subject for illustrated newspapers in the early days; the printing of images in newspapers remained an isolated occurrence in this period. Photos were used to enhance the text rather than to act as a medium of information in its own right; this began to change with the work of one of the pioneers of photojournalism, John Thomson, in the late 1870s. In collaboration with the radical journalist Adolphe Smith, he began publishing a monthly magazine, Street Life in London, from 1876 to 1877; the project documented in photographs and text, the lives of the street people of London and established social documentary photography as a form of photojournalism. Instead of the images acting as a supplement to the text, he pioneered the use of printed photographs as the predominant medium for the imparting of information combining photography with the printed word.
On March 4, 1880, The Daily Graphic published the first halftone reproduction of a news photograph. In March 1886, when General George Crook received word that the Apache leader Geronimo would negotiate surrender terms, photographer C. S. Fly attached himself to the military column. During the three days of negotiations, Fly took about 15 exposures on 8 by 10 inches glass negatives, his photos of Geronimo and the other free Apaches, taken on March 25 and 26, are the only known photographs taken of American Indians while still at war with the United States. Fly coolly posed his subjects, asking them to move and turn their heads and faces, to improve his composition; the popular publication Harper's Weekly published six of his images in their April 1886 issue. In 1887, flash powder was invented, enabling journalists such as Jacob Riis to photograph informal subjects indoors, which led to the landmark work How the Other Half Lives. By 1897, it became possible to reproduce halftone photographs on printing presses running at full speed.
In France, agencies such as Rol and Chusseau-Flaviens syndicated photographs from around the world to meet the need for timely new illustration. Despite these innovations, limitations remained, many of the sensational newspaper and magazine stories in the period from 1897 to 1927 were illustrated with engravings. In 1921, the wirephoto made it possible to transmit pictures as as news itself could travel; the "Golden Age of Photojournalism" is considered to be the 1930s through the 1950s. It was made possible by the development of the compact commercial 35mm Leica camera in 1925, the first flash bulbs between 1927 and 1930, which allowed the journalist true flexibility in taking pictures. A new style of magazine and newspaper appeared; the Berliner Illustrirte Zeitung was the first to pioneer the format of the illustrated news magazine. Beginning in 1901, it began to print photographs inside a revolutionary innovation. In the su
Royal Library of the Netherlands
The Royal Library of the Netherlands is based in The Hague and was founded in 1798. The mission of the Royal Library of the Netherlands, as presented on the library's web site, is to provide "access to the knowledge and culture of the past and the present by providing high-quality services for research and cultural experience"; the initiative to found a national library was proposed by representative Albert Jan Verbeek on August 17 1798. The collection would be based on the confiscated book collection of William V; the library was founded as the Nationale Bibliotheek on November 8 of the same year, after a committee of representatives had advised the creation of a national library on the same day. The National Library was only open to members of the Representative Body. King Louis Bonaparte gave the national library its name of the Royal Library in 1806. Napoleon Bonaparte transferred the Royal Library to The Hague as property, while allowing the Imperial Library in Paris to expropriate publications from the Royal Library.
In 1815 King William I of the Netherlands confirmed the name of'Royal Library' by royal resolution. It has been known as the National Library of the Netherlands since 1982, when it opened new quarters; the institution became independent of the state in 1996, although it is financed by the Department of Education and Science. In 2004, the National Library of the Netherlands contained 3,300,000 items, equivalent to 67 kilometers of bookshelves. Most items in the collection are books. There are pieces of "grey literature", where the author, publisher, or date may not be apparent but the document has cultural or intellectual significance; the collection contains the entire literature of the Netherlands, from medieval manuscripts to modern scientific publications. For a publication to be accepted, it must be from a registered Dutch publisher; the collection is accessible for members. Any person aged 16 years or older can become a member. One day passes are available. Requests for material take 30 minutes.
The KB hosts several open access websites, including the "Memory of the Netherlands". List of libraries in the Netherlands European Library Nederlandse Centrale Catalogus Books in the Netherlands Media related to Koninklijke Bibliotheek at Wikimedia Commons Official website
Biblioteca Nacional de España
The Biblioteca Nacional de España is a major public library, the largest in Spain, one of the largest in the world. It is located on the Paseo de Recoletos; the library was founded by King Philip V in 1712 as the Palace Public Library. The Royal Letters Patent that he granted, the predecessor of the current legal deposit requirement, made it mandatory for printers to submit a copy of every book printed in Spain to the library. In 1836, the library's status as Crown property was revoked and ownership was transferred to the Ministry of Governance. At the same time, it was renamed the Biblioteca Nacional. During the 19th century, confiscations and donations enabled the Biblioteca Nacional to acquire the majority of the antique and valuable books that it holds. In 1892 the building was used to host the Historical American Exposition. On March 16, 1896, the Biblioteca Nacional opened to the public in the same building in which it is housed and included a vast Reading Room on the main floor designed to hold 320 readers.
In 1931 the Reading Room was reorganised, providing it with a major collection of reference works, the General Reading Room was created to cater for students and general readers. During the Spanish Civil War close to 500,000 volumes were collected by the Confiscation Committee and stored in the Biblioteca Nacional to safeguard works of art and books held until in religious establishments and private houses. During the 20th century numerous modifications were made to the building to adapt its rooms and repositories to its expanding collections, to the growing volume of material received following the modification to the Legal Deposit requirement in 1958, to the numerous works purchased by the library. Among this building work, some of the most noteworthy changes were the alterations made in 1955 to triple the capacity of the library's repositories, those started in 1986 and completed in 2000, which led to the creation of the new building in Alcalá de Henares and complete remodelling of the building on Paseo de Recoletos, Madrid.
In 1986, when Spain's main bibliographic institutions - the National Newspaper Library, the Spanish Bibliographic Institute and the Centre for Documentary and Bibliographic Treasures - were incorporated into the Biblioteca Nacional, the library was established as the State Repository of Spain's Cultural Memory, making all of Spain's bibliographic output on any media available to the Spanish Library System and national and international researchers and cultural and educational institutions. In 1990 it was made an Autonomous Entity attached to the Ministry of Culture; the Madrid premises are shared with the National Archaeological Museum. The Biblioteca Nacional is Spain's highest library institution and is head of the Spanish Library System; as the country's national library, it is the centre responsible for identifying, preserving and disseminating information about Spain's documentary heritage, it aspires to be an essential point of reference for research into Spanish culture. In accordance with its Articles of Association, passed by Royal Decree 1581/1991 of October 31, 1991, its principal functions are to: Compile and conserve bibliographic archives produced in any language of the Spanish state, or any other language, for the purposes of research and information.
Promote research through the study and reproduction of its bibliographic archive. Disseminate information on Spain's bibliographic output based on the entries received through the legal deposit requirement; the library's collection consists of more than 26,000,000 items, including 15,000,000 books and other printed materials, 4,500,000 graphic materials, 600,000 sound recordings, 510,000 music scores, more than 500,000 microforms, 500,000 maps, 143,000 newspapers and serials, 90,000 audiovisuals, 90,000 electronic documents, 30,000 manuscripts. The current director of the Biblioteca Nacional is Ana Santos Aramburo, appointed in 2013. Former directors include her predecessors Glòria Pérez-Salmerón and Milagros del Corral as well as historian Juan Pablo Fusi and author Rosa Regàs. Given its role as the legal deposit for the whole of Spain, since 1991 it has kept most of the overflowing collection at a secondary site in Alcalá de Henares, near Madrid; the Biblioteca Nacional provides access to its collections through the following library services: Guidance and general information on the institution and other libraries.
Bibliographic information about its collection and those held by other libraries or library systems. Access to its automated catalogue, which contains close to 3,000,000 bibliographic records encompassing all of its collections. Archive consultation in the library's reading rooms. Interlibrary loans. Archive reproduction. Biblioteca Digital Hispánica, digital library launched in 2008 by the Biblioteca Nacional de España List of libraries in Spain Media related to Biblioteca Nacional de España at Wikimedia Commons Official site Official web catalog
The Algerian War known as the Algerian War of Independence or the Algerian Revolution was fought between France and the Algerian National Liberation Front from 1954 to 1962, which led to Algeria gaining its independence from France. An important decolonization war, it was a complex conflict characterized by guerrilla warfare, maquis fighting, the use of torture; the conflict became a civil war between the different communities and within the communities. The war took place on the territory of Algeria, with repercussions in metropolitan France. Started by members of the National Liberation Front on November 1, 1954, during the Toussaint Rouge, the conflict led to serious political crises in France, causing the fall of the Fourth French Republic replaced by the Fifth Republic with a strengthened Presidency; the brutality of the methods employed by the French forces failed to win hearts and minds in Algeria, alienated support in metropolitan France and discredited French prestige abroad. After major demonstrations in Algiers and several other cities in favor of independence and a United Nations resolution recognizing the right to independence, De Gaulle decided to open a series of negotiations with the FLN.
These concluded with the signing of the Évian Accords in March 1962. A referendum took place on 8 April 1962 and the French electorate approved the Évian Accords; the final result was 91% in favor of the ratification of this agreement and on 1 July, the Accords were subject to a second referendum in Algeria, where 99.72% voted for independence and just 0.28% against. The planned French withdrawal led to a state crisis; this included various assassination attempts on de Gaulle as well as some attempts at military coups. Most of the former were carried out by the Organisation armée secrète, an underground organization formed from French military personnel supporting a French Algeria, which committed a large number of bombings and murders both in Algeria and in the homeland to stop the planned independence. Upon independence in 1962, 900,000 European-Algerians fled to France within a few months in fear of the FLN's revenge; the French government was unprepared for the vast number of refugees, which caused turmoil in France.
The majority of Algerian Muslims who had worked for the French were disarmed and left behind as the treaty between French and Algerian authorities declared that no actions could be taken against them. However, the Harkis in particular, having served as auxiliaries with the French army, were regarded as traitors and many were murdered by the FLN or by lynch-mobs after being abducted and tortured. About 90,000 managed to flee to France, some with help from their French officers acting against orders, as of 2016 they and their descendants form a significant part of the Algerian-French population. On the pretext of a slight to their consul, the French invaded Algeria in 1830. Directed by Marshall Bugeaud, who became the first Governor-General of Algeria, the conquest was violent, marked by a "scorched earth" policy designed to reduce the power of the native rulers, the Dey, including massacres, mass rapes, other atrocities. Between 500,000 and 1,000,000, from 3 million Algerians, were killed within the first three decades of the conquest.
French losses from 1830–51 were 3,336 killed in action and 92,329 dead in the hospital. In 1834, Algeria became a French military colony and was subsequently declared by the constitution of 1848 to be an integral part of France and divided into three departments: Alger and Constantine. Many French and other Europeans settled in Algeria. Under the Second Empire, the Code de l'indigénat was implemented by the Sénatus-consulte of July 14, 1865, it allowed Muslims to apply for full French citizenship, a measure that few took, since it involved renouncing the right to be governed by sharia law in personal matters and was considered a kind of apostasy. Its first article stipulated: The indigenous Muslim is French, he may be admitted to serve in the navy. He may be called to civil employment in Algeria, he may, on his demand, be admitted to enjoy the rights of a French citizen. Prior to 1870, fewer than 200 demands were registered by 152 by Jewish Algerians; the 1865 decree was modified by the 1870 Crémieux decrees, which granted French nationality to Jews living in one of the three Algerian departments.
In 1881, the Code de l'Indigénat made the discrimination official by creating specific penalties for indigènes and organizing the seizure or appropriation of their lands. After World War II, equality of rights was proclaimed by the Ordonnance of March 7, 1944, confirmed by the Loi Lamine Guèye of May 7, 1946, which granted French citizenship to all the subjects of France's territories and overseas departments, by the 1946 Constitution; the Law of September 20, 1947 granted French citizenship to all Algerian subjects, who were not required to renounce their Muslim personal status. Algeria was unique to France because, unlike all other overseas possessions acquired by France during the 19th century, only Algeria was considered and classified an integral part of France. Both Muslim and European Algerians took part in World War II. Algerian Muslims served as tirailleurs (such regiments were created as