text:
@implementation UISwitch (TFEasyCoder)

+( UISwitch *)easyCoder:(UISwitchEasyCoderBlock)block{
    return [NSObject tf_execute:[self class] back:^(id ins) {
        if (block) {
            block(( UISwitch *)ins);
        }
    }];
}

-( UISwitch *)easyCoder:(UISwitchEasyCoderBlock)block{
    if (block) {
        __weak typeof(self) weakSelf = self;
        block(weakSelf);
    }
    return self;
}

-(UISwitch  *(^)(UIColor *  onTintColor))set_onTintColor{
    __weak typeof(self) weakSelf = self;
    return ^(UIColor *  onTintColor){
        weakSelf.onTintColor = onTintColor;
        return weakSelf;
    };
}

-(UISwitch  *(^)(UIColor *  tintColor))set_tintColor{
    __weak typeof(self) weakSelf = self;
    return ^(UIColor *  tintColor){
        weakSelf.tintColor = tintColor;
        return weakSelf;
    };
}

-(UISwitch  *(^)(UIColor *  thumbTintColor))set_thumbTintColor{
    __weak typeof(self) weakSelf = self;
    return ^(UIColor *  thumbTintColor){
        weakSelf.thumbTintColor = thumbTintColor;
        return weakSelf;
    };
}

-(UISwitch  *(^)(UIImage *  onImage))set_onImage{
    __weak typeof(self) weakSelf = self;
    return ^(UIImage *  onImage){
        weakSelf.onImage = onImage;
        return weakSelf;
    };
}

-(UISwitch  *(^)(UIImage *  offImage))set_offImage{
    __weak typeof(self) weakSelf = self;
    return ^(UIImage *  offImage){
        weakSelf.offImage = offImage;
        return weakSelf;
    };
}

-(UISwitch  *(^)(BOOL  on))set_on{
    __weak typeof(self) weakSelf = self;
    return ^(BOOL  on){
        weakSelf.on = on;
        return weakSelf;
    };
}

//superclass pros UIControl
-(UISwitch  *(^)(BOOL  enabled))set_enabled{
    __weak typeof(self) weakSelf = self;
    return ^(BOOL  enabled){
        weakSelf.enabled = enabled;
        return weakSelf;
    };
}

-(UISwitch  *(^)(BOOL  selected))set_selected{
    __weak typeof(self) weakSelf = self;
    return ^(BOOL  selected){
        weakSelf.selected = selected;
        return weakSelf;
    };
}

-(UISwitch  *(^)(BOOL  highlighted))set_highlighted{
    __weak typeof(self) weakSelf = self;
    return ^(BOOL  highlighted){
        weakSelf.highlighted = highlighted;
        return weakSelf;
    };
}

-(UISwitch  *(^)(long long  contentVerticalAlignment))set_contentVerticalAlignment{
    __weak typeof(self) weakSelf = self;
    return ^(long long  contentVerticalAlignment){
        weakSelf.contentVerticalAlignment = contentVerticalAlignment;
        return weakSelf;
    };
}

-(UISwitch  *(^)(long long  contentHorizontalAlignment))set_contentHorizontalAlignment{
    __weak typeof(self) weakSelf = self;
    return ^(long long  contentHorizontalAlignment){
        weakSelf.contentHorizontalAlignment = contentHorizontalAlignment;
        return weakSelf;
    };
}

//superclass pros UIView
-(UISwitch  *(^)(UIView *  maskView))set_maskView{
    __weak typeof(self) weakSelf = self;
    return ^(UIView *  maskView){
        weakSelf.maskView = maskView;
        return weakSelf;
    };
}

-(UISwitch  *(^)(BOOL  userInteractionEnabled))set_userInteractionEnabled{
    __weak typeof(self) weakSelf = self;
    return ^(BOOL  userInteractionEnabled){
        weakSelf.userInteractionEnabled = userInteractionEnabled;
        return weakSelf;
    };
}

-(UISwitch  *(^)(long long  tag))set_tag{
    __weak typeof(self) weakSelf = self;
    return ^(long long  tag){
        weakSelf.tag = tag;
        return weakSelf;
    };
}

-(UISwitch  *(^)(long long  semanticContentAttribute))set_semanticContentAttribute{
    __weak typeof(self) weakSelf = self;
    return ^(long long  semanticContentAttribute){
        weakSelf.semanticContentAttribute = semanticContentAttribute;
        return weakSelf;
    };
}

-(UISwitch  *(^)(CGPoint  center))set_center{
    __weak typeof(self) weakSelf = self;
    return ^(CGPoint  center){
        weakSelf.center = center;
        return weakSelf;
    };
}

-(UISwitch  *(^)(CGRect  frame))set_frame{
    __weak typeof(self) weakSelf = self;
    return ^(CGRect  frame){
        weakSelf.frame = frame;
        return weakSelf;
    };
}

-(UISwitch  *(^)(UIColor *  backgroundColor))set_backgroundColor{
    __weak typeof(self) weakSelf = self;
    return ^(UIColor *  backgroundColor){
        weakSelf.backgroundColor = backgroundColor;
        return weakSelf;
    };
}

//superclass pros UIResponder
-(UISwitch  *(^)(NSUserActivity *  userActivity))set_userActivity{
    __weak typeof(self) weakSelf = self;
    return ^(NSUserActivity *  userActivity){
        weakSelf.userActivity = userActivity;
        return weakSelf;
    };
}

//superclass pros NSObject
-(UISwitch  *(^)(NSArray *  accessibilityElements))set_accessibilityElements{
    __weak typeof(self) weakSelf = self;
    return ^(NSArray *  accessibilityElements){
        weakSelf.accessibilityElements = accessibilityElements;
        return weakSelf;
    };
}

-(UISwitch  *(^)(NSArray *  accessibilityCustomActions))set_accessibilityCustomActions{
    __weak typeof(self) weakSelf = self;
    return ^(NSArray *  accessibilityCustomActions){
        weakSelf.accessibilityCustomActions = accessibilityCustomActions;
        return weakSelf;
    };
}

-(UISwitch  *(^)(BOOL  isAccessibilityElement))set_isAccessibilityElement{
    __weak typeof(self) weakSelf = self;
    return ^(BOOL  isAccessibilityElement){
        weakSelf.isAccessibilityElement = isAccessibilityElement;
        return weakSelf;
    };
}

-(UISwitch  *(^)(NSString *  accessibilityLabel))set_accessibilityLabel{
    __weak typeof(self) weakSelf = self;
    return ^(NSString *  accessibilityLabel){
        weakSelf.accessibilityLabel = accessibilityLabel;
        return weakSelf;
    };
}

-(UISwitch  *(^)(NSString *  accessibilityHint))set_accessibilityHint{
    __weak typeof(self) weakSelf = self;
    return ^(NSString *  accessibilityHint){
        weakSelf.accessibilityHint = accessibilityHint;
        return weakSelf;
    };
}

-(UISwitch  *(^)(NSString *  accessibilityValue))set_accessibilityValue{
    __weak typeof(self) weakSelf = self;
    return ^(NSString *  accessibilityValue){
        weakSelf.accessibilityValue = accessibilityValue;
        return weakSelf;
    };
}

-(UISwitch  *(^)(unsigned long long  accessibilityTraits))set_accessibilityTraits{
    __weak typeof(self) weakSelf = self;
    return ^(unsigned long long  accessibilityTraits){
        weakSelf.accessibilityTraits = accessibilityTraits;
        return weakSelf;
    };
}

-(UISwitch  *(^)(UIBezierPath *  accessibilityPath))set_accessibilityPath{
    __weak typeof(self) weakSelf = self;
    return ^(UIBezierPath *  accessibilityPath){
        weakSelf.accessibilityPath = accessibilityPath;
        return weakSelf;
    };
}

-(UISwitch  *(^)(CGPoint  accessibilityActivationPoint))set_accessibilityActivationPoint{
    __weak typeof(self) weakSelf = self;
    return ^(CGPoint  accessibilityActivationPoint){
        weakSelf.accessibilityActivationPoint = accessibilityActivationPoint;
        return weakSelf;
    };
}

-(UISwitch  *(^)(NSString *  accessibilityLanguage))set_accessibilityLanguage{
    __weak typeof(self) weakSelf = self;
    return ^(NSString *  accessibilityLanguage){
        weakSelf.accessibilityLanguage = accessibilityLanguage;
        return weakSelf;
    };
}

-(UISwitch  *(^)(BOOL  accessibilityElementsHidden))set_accessibilityElementsHidden{
    __weak typeof(self) weakSelf = self;
    return ^(BOOL  accessibilityElementsHidden){
        weakSelf.accessibilityElementsHidden = accessibilityElementsHidden;
        return weakSelf;
    };
}

-(UISwitch  *(^)(BOOL  accessibilityViewIsModal))set_accessibilityViewIsModal{
    __weak typeof(self) weakSelf = self;
    return ^(BOOL  accessibilityViewIsModal){
        weakSelf.accessibilityViewIsModal = accessibilityViewIsModal;
        return weakSelf;
    };
}

-(UISwitch  *(^)(BOOL  shouldGroupAccessibilityChildren))set_shouldGroupAccessibilityChildren{
    __weak typeof(self) weakSelf = self;
    return ^(BOOL  shouldGroupAccessibilityChildren){
        weakSelf.shouldGroupAccessibilityChildren = shouldGroupAccessibilityChildren;
        return weakSelf;
    };
}

-(UISwitch  *(^)(long long  accessibilityNavigationStyle))set_accessibilityNavigationStyle{
    __weak typeof(self) weakSelf = self;
    return ^(long long  accessibilityNavigationStyle){
        weakSelf.accessibilityNavigationStyle = accessibilityNavigationStyle;
        return weakSelf;
    };
}

-(UISwitch *(^)(id value,NSString *key))set_ValueKey{
    __weak typeof(self) weakSelf = self;
    return ^(id value,NSString *key){
        [NSObject tf_setTargetValue:weakSelf withValue:value forKey:key];
        return weakSelf;
    };
}

@end


text:
How We Transported the "Truck Night in America" Show
When we received the call from the History Channel's show creators, we learned that they had been referred to us by the Discovery Channel's Sticker Shock producers. AutoTransport.com had previously shipped 200 vintage cars successfully to and from the Sticker Shock set in Los Angeles, CA. This contract gave us the chance to supply the History Channel with vehicles for the show Truck Night in America, a knuckle-busting, teeth grinding truck versus terrain competition.
The History channel required the shipping of the competitor's customized trucks that had been selected through a national casting to the Sunnyside ATV Paradise in Jefferson County, Augusta, Georgia. AutoTransport.com was charged with the responsibility of delivering 50 trucks using enclosed trailer transportation from all corners of the country. We, therefore, put to work our logistics and coordinated dispatch, which started with calculating all the angles of this massive transport. The competitor that gets the farthest through the mountains of crushed cars and jumps overs the snake-infested swamps wins $ 10,000 prize money and the coveted title of 'Night Truck Champion' with the bragging rights that come with it. The show has a vehicle enthusiast fan base that caters to the racing and truck customization professional or amateur hobbyists.
Read More on AutoTransport.com:
History Channel Feature
Yahoo! Finance Features Our Newly Launched AutoTransport.com Division
The Daily Herald Press Release On The Launch of AutoTransport.com
Shipping a Hyundai Elantra Free of Charge for a Guest on Dr. Phil's Show
Delivering 200 Vintage Cars to Sticker Shock Show on Discovery Channel
BUSINESS INSIDER: How One Auto Transport Company is Changing the Way We Look at Moving
RETURN TO NEWS PAGE

redpajama_set_name: RedPajamaCommonCrawl


The University Club at 87 Ilam Road will be open for all conference attendees from 5pm on Sunday, Monday and Tuesday night. A map to the venue is here.
The Club bar, with a selection of fine spirits, wines and craft beers to try, will be open for an LCA welcome function from 5pm to 8pm on Sunday night. Come along to mingle with your fellow conference attendees.
Come along to the Club on Tuesday from 7pm-9pm to try a carefully curated selection of craft beers from throughout NZ, accompanied by light snacks. Don't miss out on limited seats for this one. Book your ticket here.
All speakers are invited to the traditional Speakers' Dinner. Please remember to bring your badge to gain entry to the venue.
The PDNS event is held on Wednesday night at UC Engineering Core (69 Creyke Road) from 6pm until 8pm.
This event is open for all delegates with a 'Professional' ticket, as well as for all speakers. You will need to bring your badge to gain entry to the venue.
The Penguin Dinner is taking place on Thursday night, 24th January 2019. Buses will take you to the dinner location. They will leave from the UCSA carpark at 90 Ilam Road between 6pm and 7pm. Return buses will take you back to the University campus, to Riccarton Road and to the city centre from 8:30pm onwards. The last bus will leave the venue at 11:30pm.
This event is open for all delegates with a 'Professional' ticket, for all speakers, as well as for Hobbyists and Students with a dinner ticket. You will need to bring your badge to gain entry to the venue.
There is no dress code for these events. Please dress in clean, comfortable clothes.


Immersing Your self in Their World One of many largest components of marine biology is learning aquatic organisms in their very own habitat. As a lot of North America is landlocked, many individuals in each the US and Canada develop up with their solely experiences with whales and different aquatic organisms coming both in zoos or in science class. Though each of these experiences are priceless components of an training, they merely do not evaluate to truly seeing fish, amphibians, and aquatic mammals work together in their very own surroundings. Animals thrive of their pure habitats, and the possibility to see them up shut is one thing particular. There's simply nothing like watching a faculty of dolphins or a humpback whale within the ocean, and making observations about them and their world is a good way to be taught rather a lot in a brief time period. Gaining Unforgettable Expertise Whether or not or not you select to pursue marine biology as a profession, an expertise at a camp will probably be one thing that you'll always remember. While you spend a number of days on a ship with different like-minded individuals, you are sure to develop a number of friendships that may final for a few years or perhaps a lifetime. Regardless of the place your life takes you, you'll at all times share that have with the buddies you will make on the boat, and you may at all times keep in mind the sensation of attending to find out about oceanic creatures in a hands-on surroundings, one thing only a few individuals ever get the possibility to do throughout their lifetimes. Whether or not you are trying to spark your curiosity in marine biology or acquire firsthand expertise in one thing that has at all times appealed to you, attending marine biology camps is a good way to realize your purpose. Should you're in search of a very distinctive expertise, it could possibly be a good way to spend your subsequent summer season.
What Was Magnesium Oxide Extracted From Seawater Used For?


text:
Q: Value not set in contact form 7 plugin of wordpress I'm using the contact form 7 plugin in wordpress and I have generated a text field like this:
 [text* your-name 30/ "<?php $_GET['name']; ?>"]

I have to set value of input name which comes from another form with GET method but it's not worked.  Is there a solution?

A: what you need is another hook as php might not be available here. read this plugin http://wordpress.org/extend/plugins/contact-form-7-dynamic-text-extension/ it gives the exact solution.

redpajama_set_name: RedPajamaStackExchange


text:
Senior Sinn Féin team to attend British Labour Party conference
21 September, 2013 - by Westminster
Senior Sinn Féin members Conor Murphy MP, Francie Molloy MP and Alex Maskey MLA are travelling to Brighton this weekend for the British Labour party's annual conference.
Speaking today Conor Murphy MP said, "As well as holding our own fringe meeting (details below) which Alex Maskey will be addressing along with Vernon Coaker MP (Shadow Secretary of State for the north), we will be taking part in other fringe events relating to Ireland. In addition, I will be addressing a meeting organised by Justice For Colombia, following my recent visit to Havana to meet those involved in that country's peace negotiations".
Francie Molloy MP added, "Following Martin McGuinness' historic visit to Warrington this week, our visit to the Labour conference allows us to continue the dialogue on issues such as reconciliation and dealing with the past. We will be emphasizing the role which Labour can play in advancing all of this, even in opposition, and especially in light of the extremely unhelpful remarks of Theresa Villiers at the British Irish Assocation".
Sinn Fein Labour conference fringe meeting:
Towards a new Ireland - a new phase of the peace process
Best Western Brighton Hotel, Kings Road, BN1 2PQ
Sunday 22 September 2013 5.45pm
Speakers: Alex Maskey MLA, Sinn Fein, Vernon Coaker MP, Labour Party Shadow Secretary of State
Sinn Fein are also hosting a conference in London Saturday 19 October in London, with the same title. Keynote speakers will include Sinn Fein President Gerry Adams and a host of other speakers. Details at http://www.londonirishunity.com/


text:
Home > News > Prime Minister Launches Key Development Projects In Karnataka & Tamil Nadu
Prime Minister Launches Key Development Projects In Karnataka & Tamil Nadu
2019-03-06 Announcements Construction Southern India
The Prime Minister, Shri Narendra Modi, launched key development projects at Kalaburagi in Karnataka and Kancheepuram in Tamil Nadu.
At Kalaburagi in Karnataka, the Prime Minister dedicated the ESIC Hospital and Medical College, Bengaluru to the nation, through the unveiling of the plaque. He also inaugurated the Super Specialty Block of KIMS in Hubali, the Income Tax Appellate Tribunal building in Bangalore and the Women's Hostel for Students from North Eastern Region at Bangalore University, through the press of a button. Foundation stone for the resitement of BPCL depot Raichur to Kalaburagi was also laid by the Prime Minister through the unveiling of the plaque.
At Kancheepuram in Tamil Nadu, the Prime Minister launched various National Highway projects, including the foundation stone for the four laning of NH-45C from Vikravandi to Thanjavur and the six laning of Karaipettai – Walajapet section of NH-4. He dedicated the 5 MMTPA capacity Ennore LNG Terminal to the nation. The LNG terminal will help in meeting the LNG demand in Tamil Nadu and neighbouring States. He also dedicated the electrification of Erode-Karur-Tiruchchirapalli and Salem-Karur-Dindigul railway lines to the nation.


In addition to the following options, the BodePlot command takes many of the standard plot options; see plot,options.
Specifies whether the frequencies are determined adaptively. The adaptive algorithm takes the value of the linearfreq option into account when determining the frequency distribution. The default value is false.
Specifies whether the magnitude is in decibels, that is, 20*log10(). If true, the magnitude is in decibels, otherwise, it is not transformed. The default value is assigned by DynamicSystems[SystemOptions].
Specifies frequencies to be used to generate a frequency response. The list or Vector must be sorted, from smallest to largest. The units are determined by the hertz option.
Specifies the frequency scale. If this value is set to true, the scale is linear; otherwise, by default, the scale is logarithmic.
Specifies whether the vertical axis (magnitude) is a linear or logarithmic scale. If true, the scale is linear, otherwise it is logarithmic. The default is the value of the keyword option decibels.
Setting linearmag to false and decibels to true is generally not desirable; the effective scale is a logarithm of a logarithm, that is, decibels are plotted on a logarithmic scale. If the magnitude is less than one, the decibels are negative and that part of the plot does not appear.
Selects the method used to compute the frequency response. The function method generates the transfer functions of sys and evaluates them at the selected frequencies. The matrix method generates the state-space matrices of sys and evaluates the expression C.Iz−A−1.B+D at specific values of z. The default is to use the function method for frequency-domain systems (TF, Coeff, and ZPK), and to use the matrix method for time-domain systems (DE and SS).
Specifies the number of points. The default is 100.
output = one of arrayplot, dualaxis, horizontalplot, magnitudeplot, magnitudedata, phaseplot, phasedata, or verticalplot, or a list of these names.
Specifies the output of BodePlot. A list of these names returns a list of the corresponding values, in the order specified.
The arrayplot option is the same as the horizontalplot option.
The dualaxis option plots both magnitude and phase in the same plot, with the left axis the magnitude scale and the right axis the phase scale. Associated magnitude/phases are plotted with the same color; the magnitude plot is shown as a solid line and the phase plot is shown as a dashed line.
The horizontalplot option generates an array plot with the magnitude plot on the left and the phase plot on the right.
The magnitudeplot and magnitudedata options specify the plot and data of the magnitude plot, respectively. The data returned by the magnitudedata and phasedata options is returned as a Matrix for a single response and a list of Matrices for more than one response. Each Matrix has two columns: the first is the frequency, the second is the value at that frequency. The units are selected by appropriate options.
The phaseplot and phasedata options select the plot and data values of the phase plot, respectively.
The verticalplot option generates an array plot with the magnitude plot above the phase plot.
Specifies whether the phase is in radians or degrees. If true, the phase is in radians, otherwise it is in degrees. The default value is assigned by DynamicSystems[SystemOptions].
The BodePlot command plots the magnitude versus frequency and the phase versus frequency response of a System object, sys. By default, the BodePlot command returns an arrayplot which consists of the magnitudeplot and the phaseplot.
The BodePlot command uses the plot option axis to assign a logarithmic scale to an axis. This feature does not work with the default plot driver used in the Classic Worksheet interface. To use this feature in the Classic worksheet interface, or with command-line Maple, use plotsetupmaplet. For details, see plot,device.
The BodePlot command takes all standard plot,options.
Plot the two subsystems on the matrix diagonal. This is the command to create the plot from the Plotting Guide.


Chris Vargas, New Museum in MOTHA drag, 2018, digital image.
The letter refers to museum's alleged attempts to halt a union effort that is being by led 74 New Museum employees. Representatives from the union organizers told ARTnews last week that the museum had engaged in "fear-mongering" by bringing on the Kentucky-based consulting firm Adams Nash Haskell & Sheridan to halt their unionization. In a release, the union said the museum was leading "a harsh union-busting campaign." An election for the proposed union is currently set for January 24.
We stand in solidarity with the New Museum Union.
We are troubled by New Museum leadership's decision to hire an anti-union firm to sow fear and hostility and to misinform both management and staff about the role of unions in the workplace. Intimidation and misinformation do not constitute open engagement with the museum employees. Moreover, such behavior goes against everything that the museum has historically stood for—that is, equity, diversity, and a commitment to institutional responsibility.
We implore New Museum leadership to do the right thing and allow their employees to form a union without interference. We also urge leadership to bargain with the New Museum Union in good faith for a fair contract. Your coworkers are not simply union supporters but devoted colleagues who deeply love and believe in the institution and are fully committed to its future.
Update, 10:05 p.m.: This post has been updated with a statement that the New Museum made in response to today's open letter.


text:
FILM: Top Picks From The Multiplex To The Arthouse
■ By Craig J. Clark
2012 had plenty to offer the discerning moviegoer, if only they knew where to look for it. Sure, there were plenty of flashy action movies like The Avengers, The Dark Knight Rises and Looper, and such adventurous fare as Prometheus, Cloud Atlas and Life of Pi, but there's more to the movies than big-budget spectacle (although I do count the crazily ambitious Cloud Atlas among my favorites of the year). In order to get a handle on the vast array of good-to-great films that came our way last year, I've separated them into categories. There are a number of films that I haven't gotten the chance to see, though (like The Loneliest Planet, Django Unchained, Amour and Zero Dark Thirty), so this round-up is at best a work in progress.
Before he teamed up with Lana and Andy Wachowski to bring David Mitchell's sprawling Cloud Atlas to the screen, Tom Tykwer turned out 3, his most stylistically inventive film since Run Lola Run, which follows the lives of two men and one woman, observing how they intertwine in unexpected ways. As confounding as those connections can be, though, they have nothing on the plight of the protagonists in The Turin Horse, which is the film Hungarian master Béla Tarr has chosen to retire on. An ultra-bleak drama, which Tarr co-directed with Ágnes Hranitzky, The Turin Horse recounts the hardships faced day in and day out by a cab driver, his daughter and their broken-down horse. Not an easy film by any stretch of the imagination, but it's one that rewards those with the patience to see it through to the end.
It's impossible to sum up the achievements of Asghar Farhadi's A Separation in a couple of sentences, but the one thing I will say about last year's Best Foreign Film at the Academy Awards is that its tightly constructed screenplay was robbed. (As much as I liked Woody Allen's Midnight in Paris, its comparatively lax script can't help but pale in comparison.) At the other end of the spectrum is Leos Carax's Holy Motors, which is all over the map, but in a way that's completely exhilarating. An unabashed love letter to cinema in all its permutations, Holy Motors is without a doubt my favorite film of the year, built around a virtuoso performance by the incomparable Denis Lavant. A Best Actor nod, as well-deserved as it might be, is probably too much to hope for, though. (Incidently, if you missed it at the IU Cinema you'll have a second chance to see it in January when it returns as part of The Ryder series.)
On the horror front, Daniel Radcliff attempted to break out of the Harry Potter mold with Hammer's The Woman in Black, which had atmosphere to burn but was a lot creakier than it needed to be. Much better was the genre-busting The Cabin in the Woods, which director Drew Goddard co-wrote with Joss Whedon (who had an exceedingly good year between this and The Avengers). A clever deconstruction of slasher-movie tropes, Cabin stands as a rebuke to those in the industry who think the lowest common denominator is something to aspire to. And while not every segment in the horror omnibus V/H/S worked, it was another reminder that Ti West (whose The Innkeepers sadly never made it to theaters here) is an up-and-comer to watch.
Unfortunately, I didn't get to see all the documentaries that came through town last year (which means The Queen of Versailles and The Imposter are conspicuously missing from my list), but leading the pack was Oscar nominee Pina, which was Wim Wenders's tribute to the late Pina Bausch, a daring choreographer who never stopped taking risks and pushing herself. That could also be said about the subject of David Gelb's Jiro Dreams of Sushi, about an 85-year-old sushi master and the son who's very eager to take over the family restaurant. And family matters were also front and center in Ross McElwee's Photographic Memory, which charts the acclaimed documentarian's difficult relationship with his adult son while giving him the opportunity to explore his own past.
In the field of animation, 2012 was a very strong year, with robust offerings from Studio Ghibli (The Secret World of Arrietty), Aardman (The Pirates! Band of Misfits), and Pixar (Brave). It also brought us Czech animator Jan Svankmajer's latest, the gleefully anarchic Surviving Life (Theory and Practice), which was screened as part of a retrospective of his work at the IU Cinema. And Tim Burton expanded his early short Frankenweenie to feature length using the medium of stop-motion (an improvement over his previous such effort, the listless Corpse Bride). The biggest surprise of the year, though, was Disney's Wreck-It Ralph, with its fully realized video-game world and well-developed characters. It's also the strongest indicator of the influence Pixar has had on its parent company to date.
After a long absence, Whit Stillman emerged from the wilderness with his campus-set comedy of ill manners Damsels in Distress, which hopefully heralds a Terrence Malick-like renaissance for the much-missed chronicler of the upper crust. He was joined by Richard Linklater, who returned to form with the wickedly funny Bernie, which gave Jack Black his best role in years (as a beloved mortician who's so charming, he almost gets away with murder). Woody Allen's To Rome with Love was less substantial, but still enjoyable, and it was neatly counterbalanced by Todd Solondz's Dark Horse, about the aspirations of less worldly individuals. When it comes to dark comedy, though, nothing this year came close to William Friedkin's Killer Joe, his second collaboration with playwright Tracy Letts. Not a film for everyone (there's a very good reason why it got slapped with an NC-17 rating), but its most infamous scene (involving a piece of fried chicken) will be talked about for years to come.
When looking for dramatic source material it's hard to go wrong with Shakespeare, as Ralph Fiennes proved with his directorial debut, which transformed the less-heralded play Coriolanus into a dynamic war film. And with the horrific events in Newtown, Connecticut, fresh in people's minds, I imagine Lynne Ramsay's chilling We Need to Talk About Kevin is due for a reevaluation. At the very least, it should be more widely recognized that Tilda Swinton turned in a riveting performance as the mother of an unrepentant high school shooter. Failing that, if Rachel Weisz doesn't score a nomination for her work in Terence Davies's The Deep Blue Sea, based on the play by Terence Rattigan about a love affair that's essentially doomed from the start, we can officially declare the Academy completely out of touch.
AUTEUR CORNER
Finally, we come to the place for directors with such singular visions that they transcend genre. The ever-industrious Steven Soderbergh delivered a powerful one-two punch with the ass-kicking Haywire (which re-teamed him with screenwriter Lem Dobbs, late of Kafka and The Limey) and the buns-baring Magic Mike (which Matthew McConaughey effortlessly stole out from under Channing Tatum). I loved Guy Maddin's existential gangster fantasy Keyhole and Wes Anderson's whimsical coming-of-age tale Moonrise Kingdom so much I saw both of them twice. And Japanese humanist Hirokazu Kore-eda continued his winning streak with the down-to-earth I Wish, about two brothers trying to reunite their divided family.
Unsurprisingly, the second half of the year was just as strong as the first. Newcomer Benh Zeitlin burst onto the scene in a big way with the Sundance favorite Beasts of the Southern Wild. David Cronenberg took on Dom DeLillo and the challenge of trying to get Robert Pattinson to act in Cosmopolis. Paul Thomas Anderson took on Scientology-by-proxy with The Master (which featured mesmerizing performances by Joaquin Phoenix, Philip Seymour Hoffman and Amy Adams). And David O. Russell's Silver Linings Playbook proved that you don't have to be nuts to fall in love with a mentally ill person, but it doesn't hurt.
I could go on at length about any one of these films, but I'd like to close by highlighting Marcel Carné's Children of Paradise, which was restored and re-released to great acclaim last year. For as great as 2012's crop of films was at times, I don't think any of them transported me in quite the same way as Carné's 1945 classic. If you managed to see it when it screened at the IU Cinema, you should count yourself lucky. I know I certainly do.