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] | 879,000 |
- @ set and post @ - @ production sound was poorly recorded. anderegg wrote that this, in combination with welles'fast @ - @ paced camera movements and editing, makes the shakespearean dialogue more difficult to understand. many scenes are shot in long shots or with character's backs facing the camera, most likely for practical purposes when actors were not present, creating more sound problems. " in effect, " anderegg writes, " welles generates a constant tension between what we see and what we hear, a tension that points to the ambiguous status of language in its relation to action. " during the battle of shrewsbury sequence welles
| 2,036 |
[
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] | 879,001 |
used a complex and layered soundtrack that included the sounds of swords and armor clanking, soldiers grunting and screaming, bones breaking, boots in the mud and the film's musical score to add to the chaos of the scene. = = = interpretation of shakespeare = = = welles's adaptation of five shakespeare plays was not a chronological transcription of the original texts. shakespearean scholar kenneth s. rothwell said that welles " goes beyond mere tinkering with shakespeare's scenes ; [ he ] massively reworks, transposes, revises and deletes, indeed reconstructs them. " these changes included taking
| 2,641 |
[
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"is",
"fa",
"##ls",
"##taff"
] | 879,002 |
lines of dialogue from one play and inserting them into scenes from another. specific changes include a scene near the end of the film in which hal pardons an imprisoned street rabble @ - @ rouser just before his expedition to invade france ; welles slightly altered this scene from henry v, act 2, scene 2. in the film it is stated that this man is falstaff, and that the incident he is pardoning is falstaff's disturbance of hal's coronation. although both the pardoned prisoner and falstaff are said to drink wine, shakespeare does not imply that the pardoned prisoner is falstaff
| 115 |
[
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"'",
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".",
"throughout",
"the"
] | 879,003 |
. in both chimes at midnight and in henry v, this scene is followed by falstaff's death. the film contains no true soliloquies, since characters are never alone and don't speak directly to the audience during their speeches. henry iv is usually shown standing or sitting with very little action involved — this, says anderegg, makes it appear that he speaks only to himself even when others are present. gielgud was known for his classical interpretation of shakespeare, and his performance consists almost entirely of words, which are unable to defeat either northumberland's rebels or hal's wild behavior. throughout the
| 2,284 |
[
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"'",
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"later",
"."
] | 879,004 |
film, falstaff, hal and hotspur imitate gielgud, mocking the words of henry iv. = = reception = = = = = critical response = = = chimes at midnight premiered to a positive audience reception at the 1966 cannes film festival. however, after new york times critic bosley crowther's unfavorable advance review, american distributor harry saltzman decided to give the film little publicity and minimal distribution when it was released in the u. s. the next year. critical reception on its first release was mostly negative ; the film was not regarded as one of welles's best until years later.
| 2,296 |
[
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"less",
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"than",
"with",
"body",
"english"
] | 879,005 |
crowther criticized the film's poor audio track and called it " a confusing patchwork of scenes and characters... designed to give major exposure to jack falstaff. " welles's performance, he said, was " a dissolute, bumbling street @ - @ corner santa claus. " penelope houston called it " a film which seems to turn its back on brilliance. " a time review also criticized welles, stating that " [ he ] is probably the first actor in the history of the theater to appear too fat for the role... he takes command of scenes less with spoken english than with body english
| 2,715 |
[
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"'",
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] | 879,006 |
", but that he is " never entirely bad. " judith crist praised the film as " stark, simple, concentrating on word and performance, serv [ ing ] as a reminder of where the substance of the play lies. " pauline kael also criticized the poor sound, but gave a favorable review overall, singling out the film's casting and calling welles's performance " very rich, very full. " she said the battle of shrewsbury sequence was " unlike any battle scene done on the screen before. " cahiers du cinema critic serge daney also praised both the film and welles's ability to make great
| 2,403 |
[
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".",
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".",
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"with",
"that"
] | 879,007 |
films on the subject of power. roger ebert praised the film as " a magnificent film, clearly among welles'greatest work. " welles held chimes at midnight in high regard. " it's my favorite picture, yes, " he told interviewer leslie megahey in a 1982 interview for bbc arena : if i wanted to get into heaven on the basis of one movie, that's the one i would offer up. i think it's because it is to me the least flawed ; let me put it that way. it is the most successful for what i tried to do. i succeeded more completely in my view with that
| 2,559 |
[
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",",
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"reception"
] | 879,008 |
than with anything else. he also considered it to be his most personal film, along with the magnificent ambersons. many critics, including peter bogdanovich and jonathan rosenbaum, also consider chimes at midnight to be welles's finest work. several years after its initial release, film critic vincent canby of the new york times wrote that chimes at midnight " may be the greatest shakespearean film ever made, bar none. " joseph mcbride has called it " welles's masterpiece, the fullest, most completely realized expression of everything he had been working towards since citizen kane. " welles was disappointed with the film's reception
| 2,173 |
[
",",
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"chi",
"##mes",
"at",
"midnight",
"than",
"from"
] | 879,009 |
, complaining that " almost nobody has seen it in america, and that drives me nuts. " the battle of shrewsbury sequence has been particularly admired, and inspired later movies, including braveheart and saving private ryan. film critics have compared it to the odessa steps sequence in battleship potemkin and the battle on the ice sequence in alexander nevsky, both directed by sergei eisenstein. kenneth branagh's henry v used welles's battle of shrewsbury sequence as an inspiration for the battle of agincourt, and depicted prince hal's rejection of falstaff in a way that was more influenced by chimes at midnight than from
| 2,111 |
[
"more",
"traditional",
"interpretations",
"of",
"the",
"scene",
".",
"in",
"1988",
",",
"director",
"patrick",
"garland",
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"a",
"version",
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"##mes",
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"midnight",
"starring",
"simon",
"call",
"##ow",
"as",
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"##ls",
"##taff",
"at",
"the",
"chichester",
"festival",
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".",
"michael",
"and",
"##ere",
"##gg",
"said",
"that",
"chi",
"##mes",
"at",
"midnight",
"'",
"s",
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"angle",
"lenses",
",",
"low",
"@",
"-",
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"key",
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"and",
"costumes",
",",
"and",
"its",
"focus",
"on",
"the",
"relationship",
"between",
"fa",
"##ls",
"##taff",
"and",
"prince",
"hal",
"influenced",
"my",
"own",
"private",
"idaho",
"—",
"gus",
"van",
"sant",
"'",
"s",
"1991",
"loose",
"adaptation",
"of",
"henry",
"iv",
"parts",
"1",
"and",
"2",
".",
"in",
"2011",
",",
"bon",
"##ham",
"'",
"s",
"auction",
"house",
"sold",
"a",
"large",
"archive",
"of",
"welles",
"'",
"s",
"material",
"that",
"had",
"once",
"belonged",
"to",
"the",
"film",
"'",
"s",
"executive",
"producer",
"alessandro",
"ta"
] | 879,010 |
more traditional interpretations of the scene. in 1988, director patrick garland staged a version of chimes at midnight starring simon callow as falstaff at the chichester festival theatre. michael anderegg said that chimes at midnight's use of wide angle lenses, low @ - @ key lighting and costumes, and its focus on the relationship between falstaff and prince hal influenced my own private idaho — gus van sant's 1991 loose adaptation of henry iv parts 1 and 2. in 2011, bonham's auction house sold a large archive of welles's material that had once belonged to the film's executive producer alessandro ta
| 2,296 |
[
"##sca",
"di",
"cut",
"##o",
".",
"most",
"of",
"the",
"material",
"was",
"from",
"chi",
"##mes",
"at",
"midnight",
",",
"and",
"included",
"welles",
"'",
"s",
"original",
"artwork",
",",
"photographs",
"and",
"memo",
"##s",
".",
"this",
"collection",
"was",
"later",
"donated",
"to",
"the",
"university",
"of",
"michigan",
"for",
"scholarly",
"study",
".",
"in",
"2012",
",",
"for",
"the",
"british",
"film",
"institute",
"'",
"s",
"sight",
"and",
"sound",
"poll",
",",
"11",
"film",
"critics",
"and",
"two",
"directors",
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"chi",
"##mes",
"at",
"midnight",
"one",
"of",
"the",
"10",
"greatest",
"films",
"of",
"all",
"time",
",",
"including",
"mcbride",
"and",
"todd",
"mccarthy",
".",
"spanish",
"writer",
"and",
"director",
"of",
"the",
"film",
"library",
"of",
"catalonia",
"este",
"##ve",
"ri",
"##am",
"##bau",
"published",
"a",
"book",
"about",
"the",
"film",
"called",
"the",
"things",
"we",
"'",
"ve",
"seen",
":",
"welles",
"and",
"fa",
"##ls",
"##taff",
"in",
"2015",
".",
"at",
"the",
"1966",
"cannes",
"film",
"festival"
] | 879,011 |
##sca di cuto. most of the material was from chimes at midnight, and included welles's original artwork, photographs and memos. this collection was later donated to the university of michigan for scholarly study. in 2012, for the british film institute's sight and sound poll, 11 film critics and two directors voted chimes at midnight one of the 10 greatest films of all time, including mcbride and todd mccarthy. spanish writer and director of the film library of catalonia esteve riambau published a book about the film called the things we've seen : welles and falstaff in 2015. at the 1966 cannes film festival
| 2,296 |
[
",",
"chi",
"##mes",
"at",
"midnight",
"was",
"screened",
"in",
"competition",
"for",
"the",
"palm",
"##e",
"d",
"'",
"or",
"and",
"won",
"the",
"20th",
"anniversary",
"prize",
"and",
"the",
"technical",
"grand",
"prize",
".",
"welles",
"was",
"nominated",
"for",
"a",
"bafta",
"award",
"for",
"best",
"foreign",
"actor",
"in",
"1968",
"in",
"spain",
",",
"the",
"film",
"won",
"the",
"citizens",
"writers",
"circle",
"award",
"for",
"best",
"film",
"in",
"1966",
".",
"because",
"of",
"legal",
"disputes",
"over",
"the",
"rights",
",",
"chi",
"##mes",
"at",
"midnight",
"has",
"only",
"been",
"released",
"twice",
"on",
"vhs",
"video",
"in",
"the",
"united",
"states",
",",
"neither",
"of",
"which",
"is",
"currently",
"available",
".",
"harry",
"salt",
"##zman",
"'",
"s",
"widow",
"adrian",
"##a",
"salt",
"##zman",
",",
"the",
"families",
"of",
"producers",
"emilia",
"##no",
"pie",
"##dra",
"and",
"angel",
"es",
"##cola",
"##no",
"and",
"the",
"estate",
"of",
"orson",
"welles",
"—",
"maintained",
"by",
"beatrice",
"welles",
"—",
"among",
"others"
] | 879,012 |
, chimes at midnight was screened in competition for the palme d'or and won the 20th anniversary prize and the technical grand prize. welles was nominated for a bafta award for best foreign actor in 1968 in spain, the film won the citizens writers circle award for best film in 1966. because of legal disputes over the rights, chimes at midnight has only been released twice on vhs video in the united states, neither of which is currently available. harry saltzman's widow adriana saltzman, the families of producers emiliano piedra and angel escolano and the estate of orson welles — maintained by beatrice welles — among others
| 2,717 |
[
"have",
"all",
"claimed",
"ownership",
"of",
"the",
"film",
".",
"for",
"many",
"years",
"the",
"only",
"available",
"source",
"was",
"a",
"region",
"@",
"-",
"@",
"free",
"dvd",
"from",
"brazil",
".",
"mr",
"bon",
"##go",
"records",
"screened",
"a",
"restored",
"version",
"in",
"the",
"uk",
"at",
"picture",
"##house",
"cinemas",
"on",
"august",
"1",
",",
"2011",
".",
"in",
"february",
"2015",
",",
"the",
"film",
"was",
"screened",
"at",
"the",
"se",
"##don",
"##a",
"international",
"film",
"festival",
".",
"beatrice",
"welles",
"attended",
"and",
"announced",
"that",
"\"",
"a",
"major",
"dvd",
"/",
"blu",
"@",
"-",
"@",
"ray",
"label",
"is",
"interested",
"in",
"restoring",
"and",
"releasing",
"chi",
"##mes",
"at",
"midnight",
".",
"\"",
"the",
"pristine",
"35",
"##mm",
"print",
"was",
"discovered",
"by",
"di",
"##st",
"##ri",
"##b",
"##pi",
"##x",
"inc",
".",
",",
"who",
"said",
"it",
"was",
"\"",
"in",
"such",
"great",
"condition",
"that",
"it",
"is",
"begging",
"for",
"a",
"full",
"4",
"##k"
] | 879,013 |
have all claimed ownership of the film. for many years the only available source was a region @ - @ free dvd from brazil. mr bongo records screened a restored version in the uk at picturehouse cinemas on august 1, 2011. in february 2015, the film was screened at the sedona international film festival. beatrice welles attended and announced that " a major dvd / blu @ - @ ray label is interested in restoring and releasing chimes at midnight. " the pristine 35mm print was discovered by distribpix inc., who said it was " in such great condition that it is begging for a full 4k
| 2,794 |
[
"scan",
"restoration",
".",
"\"",
"the",
"film",
"had",
"a",
"european",
"release",
"on",
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"and",
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",",
"at",
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"in",
"new",
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"city",
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"ci",
"##ne",
"##fa",
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"##ly",
"in",
"los",
"angeles",
".",
"this",
"restored",
"version",
"is",
"not",
"derived",
"from",
"the",
"di",
"##st",
"##ri",
"##b",
"##pi",
"##x",
"print",
".",
"a",
"new",
"restoration",
"by",
"jan",
"##us",
"films",
"and",
"the",
"criterion",
"collection",
"screened",
"at",
"the",
"film",
"forum",
"in",
"new",
"york",
"january",
"1",
"–",
"12",
",",
"2016",
".",
"peter",
"becker",
",",
"criterion",
"'",
"s",
"president",
",",
"said",
"that",
"the",
"release",
"is",
"the",
"product",
"of"
] | 879,014 |
scan restoration. " the film had a european release on dvd and blu @ - @ ray on june 29, 2015. = = = 2016 restoration = = = janus films released a restored version of the film on dcp that premiered on january 1, 2016, at film forum in new york city and cinefamily in los angeles. this restored version is not derived from the distribpix print. a new restoration by janus films and the criterion collection screened at the film forum in new york january 1 – 12, 2016. peter becker, criterion's president, said that the release is the product of
| 2,794 |
[
"more",
"than",
"20",
"years",
"of",
"effort",
":",
"\"",
"there",
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",",
"and",
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",",
"he",
"said",
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"and",
"blu",
"@",
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"=",
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"##ls",
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"=",
"=",
"=",
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"##ls",
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"=",
"=",
"=",
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"##ls",
"##taff",
"to",
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"\"",
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"s",
"greatest",
"creation",
"\"",
"and",
"said",
"that",
"the",
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"was",
"\"",
"the",
"most",
"difficult",
"part",
"i",
"'",
"ve",
"ever",
"played",
".",
"\"",
"keith",
"baxter",
"believed",
"that",
"making",
"the",
"film",
"was",
"welles",
"'",
"s",
"life",
"'",
"s",
"ambition",
".",
"before"
] | 879,015 |
more than 20 years of effort : " there is no film we have waited longer for or worked harder to free up, and none we are prouder to present ", he said. criterion will release this restoration on dvd and blu @ - @ ray in august 2016. = = welles and falstaff = = = = = welles's views on sir john falstaff = = = welles considered falstaff to be " shakespeare's greatest creation " and said that the role was " the most difficult part i've ever played. " keith baxter believed that making the film was welles's life's ambition. before
| 2,165 |
[
"the",
"1939",
"boston",
"premiere",
"of",
"five",
"kings",
",",
"welles",
"told",
"journalists",
"\"",
"i",
"will",
"play",
"him",
"as",
"a",
"tragic",
"figure",
".",
"i",
"hope",
",",
"of",
"course",
",",
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"will",
"be",
"funny",
"to",
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",",
"just",
"as",
"he",
"was",
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"to",
"those",
"around",
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".",
"but",
"his",
"humor",
"and",
"wit",
"were",
"aroused",
"merely",
"by",
"the",
"fact",
"that",
"he",
"wanted",
"to",
"please",
"the",
"prince",
".",
"fa",
"##ls",
"##taff",
",",
"however",
",",
"had",
"the",
"potential",
"of",
"great",
"##ness",
"in",
"him",
".",
"\"",
"reviews",
"for",
"the",
"1939",
"play",
"mention",
"welles",
"'",
"choice",
"to",
"down",
"##play",
"the",
"traditional",
"comedic",
"elements",
"of",
"fa",
"##ls",
"##taff",
"in",
"his",
"performance",
".",
"this",
"rev",
"##erence",
"for",
"the",
"character",
"increased",
"over",
"the",
"years",
"and",
"by",
"the",
"time",
"welles",
"made",
"chi",
"##mes",
"at",
"midnight",
",",
"his",
"focus",
"was"
] | 879,016 |
the 1939 boston premiere of five kings, welles told journalists " i will play him as a tragic figure. i hope, of course, he will be funny to the audience, just as he was funny to those around him. but his humor and wit were aroused merely by the fact that he wanted to please the prince. falstaff, however, had the potential of greatness in him. " reviews for the 1939 play mention welles'choice to downplay the traditional comedic elements of falstaff in his performance. this reverence for the character increased over the years and by the time welles made chimes at midnight, his focus was
| 2,356 |
[
"entirely",
"on",
"the",
"relationships",
"between",
"fa",
"##ls",
"##taff",
",",
"hal",
"and",
"henry",
"iv",
".",
"he",
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"that",
"the",
"core",
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"the",
"story",
"was",
"\"",
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".",
"\"",
"welles",
"called",
"hal",
"'",
"s",
"rejection",
"of",
"fa",
"##ls",
"##taff",
"\"",
"one",
"of",
"the",
"greatest",
"scenes",
"ever",
"written",
",",
"so",
"the",
"movie",
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"really",
"a",
"preparation",
"for",
"it",
".",
"everything",
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"for",
"it",
".",
"\"",
"throughout",
"the",
"film",
",",
"hal",
"constantly",
"turns",
"his",
"back",
"on",
"fa",
"##ls",
"##taff",
",",
"fore",
"##sha",
"##do",
"##wing",
"the",
"film",
"'",
"s",
"ending",
".",
"welles",
"said",
",",
"\"",
"the",
"film",
"was",
"not",
"intended",
"as",
"a",
"lame",
"##nt",
"for",
"fa",
"##ls",
"##taff",
",",
"but",
"for",
"the",
"death",
"of",
"mer",
"##rie",
"england",
".",
"mer",
"##rie",
"england",
"as",
"a",
"conception",
",",
"a",
"myth",
"which",
"has",
"been"
] | 879,017 |
entirely on the relationships between falstaff, hal and henry iv. he believed that the core of the story was " the betrayal of friendship. " welles called hal's rejection of falstaff " one of the greatest scenes ever written, so the movie is really a preparation for it. everything prepares for it. " throughout the film, hal constantly turns his back on falstaff, foreshadowing the film's ending. welles said, " the film was not intended as a lament for falstaff, but for the death of merrie england. merrie england as a conception, a myth which has been
| 2,599 |
[
"very",
"real",
"to",
"the",
"english",
"@",
"-",
"@",
"speaking",
"world",
",",
"and",
"is",
"to",
"some",
"extent",
"expressed",
"in",
"other",
"countries",
"of",
"the",
"medieval",
"epoch",
":",
"the",
"age",
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"##ry",
",",
"of",
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",",
"of",
"may",
"##time",
"and",
"all",
"that",
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"##ls",
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"it",
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"s",
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".",
"\"",
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"and",
"welles",
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"##s",
"have",
"written",
"about",
"the",
"rec",
"##urrent",
"theme",
"of",
"the",
"\"",
"lost",
"eden",
"\"",
"in",
"welles",
"'",
"s",
"work",
"and",
"of",
"characters",
"who",
"are",
"nos",
"##tal",
"##gic",
"for",
"an",
"ideal",
"##ized",
"past",
",",
"which",
"welles",
"called",
"\"",
"the",
"central",
"theme",
"in",
"western",
"culture",
".",
"\"",
"welles",
"told",
"peter",
"bog",
"##dan",
"##ovich",
"that",
"\"",
"even",
"if",
"the",
"good",
"old"
] | 879,018 |
very real to the english @ - @ speaking world, and is to some extent expressed in other countries of the medieval epoch : the age of chivalry, of simplicity, of maytime and all that. it is more than falstaff who is dying. it's the old england dying and betrayed. " many film theorists and welles biographers have written about the recurrent theme of the " lost eden " in welles's work and of characters who are nostalgic for an idealized past, which welles called " the central theme in western culture. " welles told peter bogdanovich that " even if the good old
| 2,206 |
[
"days",
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"the",
"less",
"funny",
"he",
"seemed"
] | 879,019 |
days never existed, the fact that we can conceive of such a world is, in fact, an affirmation of the human spirit. " film scholar beverle houston argued that this nostalgia made welles's depiction of falstaff infantile and called his performance a " [ p ] ower baby... an eating, sucking, foetus @ - @ like creature. " welles also called falstaff " the greatest conception of a good man, the most completely good man, in all of drama ", and said that " the closer i thought i was getting to falstaff the less funny he seemed
| 2,169 |
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"three",
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] | 879,020 |
to me. when i played him before in the theater, he seemed more witty than comical. and in bringing him to the screen, i found him only occasionally, and only deliberately, a clown. " = = = welles's personal connections to sir john falstaff = = = keith baxter compared welles to falstaff, since they were both perpetually short of money, often lied and cheated people to get what they needed and were always merry and fun loving. film scholar jack jorgens also compared welles to falstaff, stating that " to a man who directed and starred in a masterpiece and has since staggered through three decades
| 2,165 |
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",",
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] | 879,021 |
of underfinanced, hurried, flawed films, scores of bit parts, narrations, and interviews which debased his talent, dozens of projects which died for want of persistence and financing, the story of a fat, aging jester exiled from his audience and no longer able to triumph over impossible obstacles with wit and torrential imagination might well seem tragic. " when joss ackland played falstaff on the stage in 1982, he said that he was more inspired by welles than by welles's performance as falstaff, stating that " like falstaff, i believe he could have achieved so much, but
| 2,150 |
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"the",
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".",
"\"",
"welles",
"'"
] | 879,022 |
it was frittered away. " kenneth s. rothwell has called hal's rejection of falstaff allegorical to hollywood's rejection of welles. welles had become deeply depressed in the late 1950s after the disappointment of making touch of evil, his intended hollywood comeback. welles's biographer simon callow has compared falstaff to welles's father richard head welles, stating that like falstaff, welles's father was " a drunkard, a trickster, a braggart, a womanizer, a gentleman and a charmer — and he is rejected by the person he loves the most. " welles '
| 2,165 |
[
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"##pp",
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"richard",
"welles",
"'"
] | 879,023 |
s father was an alcoholic and womanizer who would often take a teenage welles along with him when he was indulging in his vices. welles observed his father much like falstaff is observed by hal and depends on his young protege to bail him out of trouble. the love triangle between prince hal and his two father figures, henry iv and falstaff, is also similar to welles's relationships with his father and the two men who became surrogate fathers to him : family friend dr. maurice bernstein and todd school for boys headmaster roger hill. both of welles's surrogate fathers disapproved of richard welles '
| 2,209 |
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] | 879,024 |
s lifestyle and negative influence on welles. when he was fifteen welles took the advice of roger hill and told his father that he would not see him again until he cleaned up his act and stopped drinking. welles's father died shortly afterwards, alone and lonely, and welles always blamed himself for his father's death, stating " i always thought i killed him. " welles's alleged biological son michael lindsay @ - @ hogg, who was born out of wedlock to welles and actress geraldine fitzgerald, first met welles when he was 15 and later worked on the 1960 stage play chimes at midnight. this was the only significant amount
| 2,204 |
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".",
"="
] | 879,025 |
of time that the two spent together and afterwards lindsay @ - @ hogg only saw welles sporadically. like welles, lindsay @ - @ hogg had two surrogate fathers in addition to his biological father. in the late 1950s when she was 16, welles's eldest daughter christopher welles feder cut off all ties with welles under pressure from her mother, who disapproved of welles's influence on her. welles and feder later reconnected but their relationship never fully recovered. welles's youngest daughter beatrice, who resembles her father as a young boy, appears in the film version of chimes at midnight. =
| 170 |
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] | 879,026 |
python ( programming language ) = python is a widely used high @ - @ level, general @ - @ purpose, interpreted, dynamic programming language. its design philosophy emphasizes code readability, and its syntax allows programmers to express concepts in fewer lines of code than possible in languages such as c + + or java. the language provides constructs intended to enable clear programs on both a small and large scale. python supports multiple programming paradigms, including object @ - @ oriented, imperative and functional programming or procedural styles. it features a dynamic type system and automatic memory management and has a large and comprehensive standard library. python interpreters are available for many
| 2,686 |
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] | 879,027 |
operating systems, allowing python code to run on a wide variety of systems. using third @ - @ party tools, such as py2exe or pyinstaller, python code can be packaged into stand @ - @ alone executable programs for some of the most popular operating systems, so python @ - @ based software can be distributed to, and used on, those environments with no need to install a python interpreter. cpython, the reference implementation of python, is free and open @ - @ source software and has a community @ - @ based development model, as do nearly all of its variant implementations. cpyt
| 1,595 |
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##hon is managed by the non @ - @ profit python software foundation. python was conceived in the late 1980s, and its implementation began in december 1989 by guido van rossum at centrum wiskunde & informatica ( cwi ) in the netherlands as a successor to the abc language ( itself inspired by setl ) capable of exception handling and interfacing with the operating system amoeba. van rossum is python's principal author, and his continuing central role in deciding the direction of python is reflected in the title given to him by the python community, benevolent dictator for life ( bdfl ). about the
| 473 |
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origin of python, van rossum wrote in 1996 : over six years ago, in december 1989, i was looking for a " hobby " programming project that would keep me occupied during the week around christmas. my office... would be closed, but i had a home computer, and not much else on my hands. i decided to write an interpreter for the new scripting language i had been thinking about lately : a descendant of abc that would appeal to unix / c hackers. i chose python as a working title for the project, being in a slightly irreverent mood ( and a big fan of monty python's
| 2,298 |
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flying circus ). python 2 @. @ 0 was released on 16 october 2000 and had many major new features, including a cycle @ - @ detecting garbage collector and support for unicode. with this release the development process was changed and became more transparent and community @ - @ backed. python 3 @. @ 0 ( which early in its development was commonly referred to as python 3000 or py3k ), a major, backwards @ - @ incompatible release, was released on 3 december 2008 after a long period of testing. many of its major features have been backported to the backwards @ - @ compatible python 2. 6. x
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and 2. 7. x version series. = = features and philosophy = = python is a multi @ - @ paradigm programming language : object @ - @ oriented programming and structured programming are fully supported, and many language features support functional programming and aspect @ - @ oriented programming ( including by metaprogramming and metaobjects ( magic methods ) ). many other paradigms are supported via extensions, including design by contract and logic programming. python uses dynamic typing and a mix of reference counting and a cycle @ - @ detecting garbage collector for memory management. an important feature of python is dynamic name resolution ( late binding ), which binds
| 2,173 |
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method and variable names during program execution. the design of python offers some support for functional programming in the lisp tradition. the language has map ( ), reduce ( ) and filter ( ) functions ; list comprehensions, dictionaries, and sets ; and generator expressions. the standard library has two modules ( itertools and functools ) that implement functional tools borrowed from haskell and standard ml. the core philosophy of the language is summarized by the document the zen of python ( pep 20 ), which includes aphorisms such as : beautiful is better than ugly explicit is better than implicit simple is better than complex complex
| 1,586 |
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is better than complicated readability counts rather than requiring all desired functionality to be built into the language's core, python was designed to be highly extensible. python can also be embedded in existing applications that need a programmable interface. this design of a small core language with a large standard library and an easily extensible interpreter was intended by van rossum from the start because of his frustrations with abc, which espoused the opposite mindset. while offering choice in coding methodology, the python philosophy rejects exuberant syntax, such as in perl, in favor of a sparser, less @ - @ cluttered
| 2,690 |
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grammar. as alex martelli put it : " to describe something as clever is not considered a compliment in the python culture. " python's philosophy rejects the perl " there is more than one way to do it " approach to language design in favor of " there should be one — and preferably only one — obvious way to do it ". python's developers strive to avoid premature optimization, and moreover, reject patches to non @ - @ critical parts of cpython that would offer a marginal increase in speed at the cost of clarity. when speed is important, a python programmer can move time @ - @ critical functions to
| 263 |
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extension modules written in languages such as c, or try using pypy, a just @ - @ in @ - @ time compiler. cython is also available, which translates a python script into c and makes direct c @ - @ level api calls into the python interpreter. an important goal of python's developers is making it fun to use. this is reflected in the origin of the name, which comes from monty python, and in an occasionally playful approach to tutorials and reference materials, such as using examples that refer to spam and eggs instead of the standard foo and bar. a common neologism in the python
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community is pythonic, which can have a wide range of meanings related to program style. to say that code is pythonic is to say that it uses python idioms well, that it is natural or shows fluency in the language, that it conforms with python's minimalist philosophy and emphasis on readability. in contrast, code that is difficult to understand or reads like a rough transcription from another programming language is called unpythonic. users and admirers of python, especially those considered knowledgeable or experienced, are often referred to as pythonists, pythonistas, and pythoneers. = = syntax and semantics =
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= python is intended to be a highly readable language. it is designed to have an uncluttered visual layout, often using english keywords where other languages use punctuation. further, python has fewer syntactic exceptions and special cases than c or pascal. python uses whitespace indentation, rather than curly braces or keywords, to delimit blocks ; this feature is also termed the off @ - @ side rule. an increase in indentation comes after certain statements ; a decrease in indentation signifies the end of the current block. = = = statements and control flow = = = python's statements include (
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among others ) : the assignment statement ( token'= ', the equals sign ). this operates differently than in traditional imperative programming languages, and this fundamental mechanism ( including the nature of python's version of variables ) illuminates many other features of the language. assignment in c, e. g., x = 2, translates to " typed variable name x receives a copy of numeric value 2 ". the ( right @ - @ hand ) value is copied into an allocated storage location for which the ( left @ - @ hand ) variable name is the symbolic address. the memory allocated to the variable is large enough (
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potentially quite large ) for the declared type. in the simplest case of python assignment, using the same example, x = 2, translates to " ( generic ) name x receives a reference to a separate, dynamically allocated object of numeric ( int ) type of value 2. " this is termed binding the name to the object. since the name's storage location doesn't contain the indicated value, it is improper to call it a variable. names may be subsequently rebound at any time to objects of greatly varying types, including strings, procedures, complex objects with data and methods, etc. successive assignments of a common value to multiple
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names, e. g., x 2 ; z = 2 result in allocating storage to ( at most ) three names and one numeric object, to which all three names are bound. since a name is a generic reference holder it is unreasonable to associate a fixed data type with it. however at a given time a name will be bound to some object, which will have a type ; thus there is dynamic typing. the if statement, which conditionally executes a block of code, along with else and elif ( a contraction of else @ - @ if ). the for statement, which iterates over an itera
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5, yield is also an operator. this form is used to implement coroutines. the import statement, which is used to import modules whose functions or variables can be used in the current program. the print statement was changed to the print ( ) function in python 3. python does not support tail call optimization or first @ - @ class continuations, and, according to guido van rossum, it never will. however, better support for coroutine @ - @ like functionality is provided in 2 @. @ 5, by extending python's generators. before 2 @. @ 5, generators were lazy iterators ;
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information was passed unidirectionally out of the generator. as of python 2 @. @ 5, it is possible to pass information back into a generator function, and as of python 3 @. @ 3, the information can be passed through multiple stack levels. some python expressions are similar to languages such as c and java, while some are not : addition, subtraction, and multiplication are the same, but the behavior of division differs ( see mathematics for details ). python also added the * * operator for exponentiation. as of python 3 @. @ 5, it supports matrix multiplication directly with the @ operator,
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versus c and java, which implement these as library functions. earlier versions of python also used methods instead of an infix operator. in python, = = compares by value, versus java, which compares numerics by value and objects by reference. ( value comparisons in java on objects can be performed with the equals ( ) method. ) python's is operator may be used to compare object identities ( comparison by reference ). in python, comparisons may be chained, for example a < = b < python uses the words and, or, not for its boolean operators rather than the symbolic & &, | |,! used
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in java and c. python has a type of expression termed a list comprehension. python 2 @. @ 4 extended list comprehensions into a more general expression termed a generator expression. anonymous functions are implemented using lambda expressions ; however, these are limited in that the body can only be one expression. conditional expressions in python are written as x if c else y ( different in order of operands from the c? x : y operator common to many other languages ). python makes a distinction between lists and tuples. lists are written as [ 1, 2, 3 ], are mutable, and cannot be used as the keys of di
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##ctionaries ( dictionary keys must be immutable in python ). tuples are written as ( 1, 2, 3 ), are immutable and thus can be used as the keys of dictionaries, provided all elements of the tuple are immutable. the parentheses around the tuple are optional in some contexts. tuples can appear on the left side of an equal sign ; hence a statement like x, y = y, x can be used to swap two variables. python has a " string format " operator %. this functions analogous to printf format strings in c, e. g. " spam
| 286 |
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= % s eggs = % d " % ( " blah ", 2 ) evaluates to " spam = blah eggs = 2 ". in python 3 and 2 @. @ 6 +, this was supplemented by the format ( ) method of the str class, e. g. " spam = { 0 } eggs = { 1 } ". format ( " blah ", 2 ). python has various kinds of string literals : strings delimited by single or double quote marks. unlike in unix shells, perl and perl @ - @ influenced languages, single quote marks and double quote marks function identically
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. both kinds of string use the backslash ( \ ) as an escape character and there is no implicit string interpolation such as " $ spam ". triple @ - @ quoted strings, which begin and end with a series of three single or double quote marks. they may span multiple lines and function like here documents in shells, perl and ruby. raw string varieties, denoted by prefixing the string literal with an r. no escape sequences are interpreted ; hence raw strings are useful where literal backslashes are common, such as regular expressions and windows @ - @ style paths. compare " @ - quoting " in c #
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and statements is rigidly enforced, in contrast to languages such as common lisp, scheme, or ruby. this leads to duplicating some functionality. for example : list comprehensions vs. for @ - @ loops conditional expressions vs. if blocks the eval ( ) vs. exec ( ) built @ - @ in functions ( in python 2, exec is a statement ) ; the former is for expressions, the latter is for statements. statements cannot be a part of an expression, so list and other comprehensions or lambda expressions, all being expressions, cannot contain statements. a particular case of this is that an assignment
| 185 |
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- @ c, or ruby ). python uses duck typing and has typed objects but untyped variable names. type constraints are not checked at compile time ; rather, operations on an object may fail, signifying that the given object is not of a suitable type. despite being dynamically typed, python is strongly typed, forbidding operations that are not well @ - @ defined ( for example, adding a number to a string ) rather than silently attempting to make sense of them. python allows programmers to define their own types using classes, which are most often used for object @ - @ oriented programming. new instances of classes are constructed
| 1,588 |
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| 105 |
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same, the difference being whether the class object is inherited from, directly or indirectly ( all new @ - @ style classes inherit from object and are instances of type ). python has the usual c arithmetic operators ( +, -, *, /, % ). it also has * * for exponentiation, e. g. 5 * * 3 3 @. @ 0, and a new matrix multiply @ operator is included in version 3 @. @ 5. the behavior of division has changed significantly over time : python 2 @. @ 1 and earlier use the c division behavior. the / operator is integer division if both opera
| 1,588 |
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##nds are integers, and floating @ - @ point division otherwise. integer division rounds towards 0, e. g. 7 / 3 python 2 @. @ 2 changes integer division to round towards negative infinity, e. g. 7 / 3 - 3. the floor division / / operator is introduced. so 7 / / 3 - 3. 0. adding from _ _ future _ _ import division causes a module to use python 3 @. @ 0 rules for division ( see next ). python 3 @. @ 0 changes / to be always floating @ - @ point division. in python terms, the pre @ - @ 3 @.
| 309 |
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@ 0 / is classic division, the version @ - @ 3 @. @ 0 / is real division, and / / is floor division. rounding towards negative infinity, though different from most languages, adds consistency. for instance, it means that the equation ( a + b ) / / b a is valid for both positive and negative values of a. however, maintaining the validity of this equation means that while the result of a % b is, as expected, in the half @ - @ open interval [ 0, b ), where b is a positive integer, it has to lie in the interval ( b, 0 ] when b
| 1,516 |
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is negative. python allows boolean expressions with multiple equality relations in a manner that is consistent with general use in mathematics. for example, the expression a < b < c tests whether a is less than b and b is less than c. c @ - @ derived languages interpret this expression differently : in c, the expression would first evaluate a < b, resulting in 0 or 1, and that result would then be compared with c. python has extensive built @ - @ in support for arbitrary precision arithmetic. integers are transparently switched from the machine @ - @ supported maximum fixed @ - @ precision ( usually 32 or 64 bits ), belonging
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to the python type int, to arbitrary precision, belonging to the python type long, where needed. the latter have an " l " suffix in their textual representation. the decimal type / class in module decimal ( since version 2 @. @ 4 ) provides decimal floating point numbers to arbitrary precision and several rounding modes. the fraction type in module fractions ( since version 2 @. @ 6 ) provides arbitrary precision for rational numbers. due to python's extensive mathematics library, it is frequently used as a scientific scripting language to aid in problems such as numerical data processing and manipulation. = = libraries = = python has a large standard library
| 1,586 |
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| 360 |
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| 270 |
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monty python references in example code. for example, the metasyntactic variables often used in python literature are spam and eggs, instead of the traditional foo and bar. also, the official python documentation often contains various obscure monty python references. the prefix py - is used to show that something is related to python. examples of the use of this prefix in names of python applications or libraries include pygame, a binding of sdl to python ( commonly used to create games ) ; pys60, an implementation for the symbian s60 operating system ; pyqt and pygtk, which bind q
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of curly braces, and are closer in similarity to each other than c ). an empirical study found scripting languages ( such as python ) more productive than conventional languages ( such as c and java ) for a programming problem involving string manipulation and search in a dictionary. memory consumption was often " better than java and not much worse than c or c + + ". large organizations that make use of python include google, yahoo!, cern, nasa, and some smaller ones like ilm, and ita. the social news networking site, reddit, is written entirely in python. python can serve as a scripting language for
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| 1,598 |
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= = languages influenced by python = = python's design and philosophy have influenced several programming languages, including : boo uses indentation, a similar syntax, and a similar object model. however, boo uses static typing ( and optional duck typing ) and is closely integrated with the. net framework. cobra uses indentation and a similar syntax. cobra's " acknowledgements " document lists python first among languages that influenced it. however, cobra directly supports design @ - @ by @ - @ contract, unit tests, and optional static typing. ecmascript borrowed iterators, generators, and list comprehensions from python. go is described
| 501 |
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as incorporating the " development speed of working in a dynamic language like python ". groovy was motivated by the desire to bring the python design philosophy to java. julia was designed " with true macros [.. and to be ] as usable for general programming as python [ and ] should be as fast as c ". calling to or from julia is possible ; to with pycall. jl and a python package pyjulia allows calling, in the other direction, from python. ocaml has an optional syntax, named twt ( the whitespace thing ), inspired by python and haskell. ruby
| 2,400 |
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' s creator, yukihiro matsumoto, has said : " i wanted a scripting language that was more powerful than perl, and more object @ - @ oriented than python. that's why i decided to design my own language. " coffeescript is a programming language that cross @ - @ compiles to javascript ; it has python @ - @ inspired syntax. swift is a programming language invented by apple ; it has some python @ - @ inspired syntax. python's development practices have also been emulated by other languages. the practice of requiring a document describing the rationale for, and issues surrounding, a
| 2,686 |
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] | 879,084 |
change to the language ( in python's case, a pep ) is also used in tcl and erlang because of python's influence. python has been awarded a tiobe programming language of the year award twice ( in 2007 and 2010 ), which is given to the language with the greatest growth in popularity over the course of a year, as measured by the tiobe index. = lisa the vegetarian = " lisa the vegetarian " is the fifth episode of the seventh season of the american television series the simpsons. it originally aired on the fox network in the united states on october 15, 1995. in the episode, lisa decides to
| 2,938 |
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] | 879,085 |
stop eating meat after bonding with a lamb at a petting zoo. her schoolmates and family members ridicule her for her beliefs, but with the help of apu, paul, and linda mccartney, she commits to vegetarianism. directed by mark kirkland, " lisa the vegetarian " is the first full @ - @ length episode david s. cohen wrote for the simpsons. david mirkin, the show runner at the time, supported the episode in part because he had just become a vegetarian himself. former beatle paul mccartney and his then wife linda mccartney guest star in the episode. paul mccartney's condition for appearing was that
| 2,079 |
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",",
"an",
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"media",
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"a",
"genesis",
"award",
","
] | 879,086 |
lisa would remain a vegetarian for the rest of the series. the episode makes several references to mccartney's musical career, and his song " maybe i'm amazed " plays during the closing credits. the inaugural airing of " lisa the vegetarian " was watched by 14 @. @ 6 million viewers and finished 47th in the ratings for the week of october 9 – 15, 1995, with a 9 @. @ 0 nielsen rating. it was the fourth highest @ - @ rated show on the fox network that week. the episode received generally positive reviews from television critics. it has won two awards, an environmental media award and a genesis award,
| 2,972 |
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"students"
] | 879,087 |
for highlighting environmental and animal issues. the simpson family visit story town village, an amusement park for babies, as a special treat for maggie. in the village, there is a petting zoo, where lisa is enamored by a cute lamb. that night, marge serves lamb chops for dinner, but lisa is troubled by the connection between the dish and its living counterpart, and announces that she will no longer eat meat. in response, bart and homer mock her relentlessly. reaction at school is no better ; when lisa requests a vegetarian alternative to the cafeteria food, principal skinner labels her an " agitator ". the students
| 2,507 |
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",",
"lisa",
"makes",
"ga",
"##z",
"##pac",
"##ho",
"for",
"all"
] | 879,088 |
are then forced to watch a meat council propaganda film, " the meat council presents meat and you : partners in patriotism ", starring troy mcclure, which portrays eating meat as a patriotic duty, and criticizes vegetarianism. lisa is unimpressed by the film, but her classmates tease her. homer and bart continue to give lisa a hard time at home, particularly since homer is preparing to host a barbecue, complete with roast pig. bart and homer even form a conga line and sing, " you don't win friends with salad! " on the day of the barbecue, lisa makes gazpacho for all
| 2,507 |
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] | 879,089 |
the guests as an alternative to meat, but the partygoers laugh in her face. enraged and deeply hurt, she climbs aboard a riding mower and drives away with the roast pig in tow. homer and bart chase her, but she pushes the pig off a slope and they are too late. the pig rolls through bushes, into a river, and is shot into the air by a dam spillway's suction. at home, homer reprimands lisa for ruining his party and demands an apology, but lisa refuses to apologize and chews him out for serving a meat @ - @ based dish. they fight and she leaves
| 2,507 |
[
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"-",
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"beer",
"leading",
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"the",
"kw",
"##ik"
] | 879,090 |
the house, not wanting to live in a house with a " prehistoric carnivore. " as lisa walks along, she decides that she can no longer fight the pressure to eat meat, prompting her to grab a hot dog from the grill at the kwik @ - @ e @ - @ mart and take a bite. however, apu, himself a vegan, reveals that she has eaten a tofu dog, which he subtly switched out and none of his loyal customers had noticed the change. apu takes lisa through a secret passageway hidden behind the cooler section assigned to non @ - @ alcoholic beer leading to the kwik
| 2,460 |
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"return",
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"and",
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"homer",
"frantically",
"searching",
"for",
"her",
"."
] | 879,091 |
@ - @ e @ - @ mart roof where they meet paul and linda mccartney. the mccartneys explain that they are old friends of apu from paul's days in india, and discuss their interest in animal rights. after a brief discussion, apu asks lisa what happened at home that made her upset. she reveals everything and while he understands, apu warns lisa that forcing others to accept her views can do a lot more harm than good. she is committed once more to vegetarianism, but realizes that she should tolerate those who disagree with her views. inspired, lisa begins to return home and finds homer frantically searching for her.
| 2,507 |
[
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"\"",
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] | 879,092 |
homer apologizes for his behavior, but lisa admits she was wrong as well. she apologizes to homer, admitting she had no right to ruin his barbecue ; he forgives her and offers her a " veggie back " ride home. the final credits play over the still airborne roast pig. = = production = = " lisa the vegetarian " was the first full @ - @ length episode david x. cohen wrote for the simpsons. his most prominent work for the show to that point had been the " nightmare cafeteria " segment in the season six episode " treehouse of horror v ". the idea for " lisa the vegetarian " came
| 2,504 |
[
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"argument",
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"lisa",
"and"
] | 879,093 |
to him while he was working on another simpsons script. cohen could not concentrate on his task because he was waiting for lunch, and on the back of the script he scribbled, " lisa becomes a vegetarian? " cohen showed the note to simpsons writer brent forrester, who liked the idea. show runner david mirkin then approved the story when cohen pitched it to him. mirkin had just become a vegetarian himself, and later noted that many of lisa's experiences in the episode were based on his own. writer bill oakley suggested the episode's barbecue scenes. cohen's first draft contained a more philosophical argument between lisa and
| 2,058 |
[
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",",
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"going",
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"and",
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] | 879,094 |
homer about eating meat, but oakley told cohen that the story needed something more specific to serve as the basis of homer and lisa's dispute. george meyer, a writer known among the simpsons staff for his " bizarre physical jokes ", contributed the idea of the barbecue pig getting caught in the spillway and flying into the air. cohen credits simpsons writer john swartzwelder for inspiring the scene in which homer finds it impossible to believe that bacon, ham and pork chops could possibly come from the same animal. according to cohen it was based on a real statement made by swartzwelder, who was going on and on
| 2,504 |
[
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",",
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"the",
"only",
"living",
"member",
"of"
] | 879,095 |
about how amazing the pig is for the variety of cuts of meat that come from it. in the episode, ralph wiggum coins the phrase, " oh boy, sleep! that's where i'm a viking! " the term caused a point of contention with some fans curious whether or not he meant he was literally a viking in his dreams or if he meant sleeping was just something he excelled at. mirkin confirmed on twitter that the line was meant to be taken literally, stating " we weren't writing ralph as capable of metaphor. " at the time the episode was being written, paul mccartney was the only living member of
| 2,221 |
[
"the",
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".",
"the",
"simpsons",
"staff",
"promised",
"that",
"she"
] | 879,096 |
the beatles who had never appeared on the simpsons. john lennon died before the show was created, but ringo starr and george harrison had guest starred in 1991 ( " brush with greatness " ) and 1993 ( " homer's barbershop quartet " ), respectively. the simpsons staff wanted to bring mccartney onto the show, and david mirkin thought " lisa the vegetarian " would be an attractive story, since mccartney is a vegetarian himself. mccartney agreed to appear, but requested that lisa remain a vegetarian for the rest of the series, rather than revert to meat @ - @ eating in the next episode. the simpsons staff promised that she
| 2,937 |
[
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"an",
"hour",
"recording",
"their",
"parts",
".",
"simpsons",
"creator",
"matt"
] | 879,097 |
would remain a vegetarian, resulting in one of the few permanent character changes made in the show. mccartney's wife linda was also recruited to appear in the episode. she told entertainment weekly that the episode was a chance for her and her husband " to spread the vegetarian word to a wider audience. " paul and linda were both long @ - @ time fans of the simpsons. mirkin later said that recording with the mccartneys was one of the most " amazing " experiences of his life. he flew to london and met the couple at paul mccartney's recording studio, where the mccartneys spent an hour recording their parts. simpsons creator matt
| 2,392 |
[
"gr",
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"an",
"##imating",
"=",
"=",
"=",
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] | 879,098 |
groening was supposed to go with mirkin to london, but missed his plane. groening commented that having mccartney and the rest of the beatles on the simpsons " was a dream come true for all of us. " linda mccartney died of cancer at age 56 on april 17, 1998. the simpsons'season nine episode " trash of the titans ", which aired on april 26, 1998, was dedicated to her memory. simpsons executive producer mike scully said, " it just seemed like the right thing to do. everyone here was surprised and saddened by her death. " = = = directing and animating = = = the
| 2,937 |
[
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"simpsons",
",",
"\""
] | 879,099 |
episode was directed by mark kirkland, who was intrigued by the story because he had not seen many television episodes about vegetarianism. the designs for paul and linda mccartney are unusual for the simpsons in that the characters have brown and blue irises, respectively. most simpsons characters simply have black spots in the centers of their eyes. in one scene of the episode, homer sprays two bottles of lighter fluid onto his grill, causing viewers to anticipate an explosion when homer throws a match on it. when he does release the match, however, the grill barely ignites. a similar scene appears in an older episode of the simpsons, "
| 2,937 |
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