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Olympics. But the only Head Judge criticized – in either the men's or women's competition – was Simionescu.
The report which included this criticism was accepted unanimously by the 48 Federation delegate present. In 1984, before the LA Olympics, the United States Gymnastics Federation proposed "When the average score of a gymnast is 9.8 or above, the Head judge should not be permitted to have discussion with any of the other judges concerning the final score."
Comaneci had outscored Davydova by 0.45 in compulsories but Davydova outscored her in all other stages of the competition where they met. Davydova outscored her by 0.4 in optionals, 0.1 in AA final, 0.3 in event finals.
Davydova appeared
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on the front cover of the European edition of Newsweek magazine, issue 4 August 1980. She was voted 14th best female athlete in the world that year. In the Soviet Union, a flower was named after the 2 Yelenas – Davydova and Naimushina.
Under the present Olympic AA scoring system — "New Life" — Davydova would have won the 1980 AA title by a larger margin and would have won gold on beam. In addition to the AA gold, Davydova won a gold medal with the team and a silver medal on balance beam. While recognised as the best vaulter in event finals Davydova failed to stand her second vault and thus failed to medal. This vault is described below in the paragraph on the 1981 World Championships. In 1980
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the gymnasts performed 2 different vaults and the scores were averaged instead of taking the best of the 2 scores as in Montreal Olympics ef. Davydova would have won gold with her 1st vault – scoring 9.95 – if the Montreal rules had still applied. Donnerstag 215,11 September 1980,"This gymnast led the way into the future in the vault finals, where she performed a flip flop salto with a pirouette off the board".
Davydova won AA gold exactly 2 weeks before her 19th birthday-older than nearly all recent Olympic gymnastic AA champions.
C. Robert Paul, Jr, first sports information Director and Director communications for the United States Olympic Committee, United States Olympic book 1980, p. 140–141,(On
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Davydova), "There was never a doubt about her all-around abilities. Simply stated, however, it was expected that judges, by their very nature, might favour the better known and more established international stars ... But the order of finish Davydova, Gnauck and Comaneci (tie), Shaposhnikova and Kim certainly accurately reflects the relative abilities of the worlds top gymnasts".
While there was some criticism of Davydova's victory in the general press this was mainly by reporters who did not know how gymnastics was scored < International Gymnast Magazine, IG, September 1980, p. 29>. Within the gymnastics community itself there was little doubt about the validity of Davydova's win: Nadia Comăneci
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herself acknowledges "That day, Yelena just performed better"; John Goodbody wrote that Davydova was successful because of her "consistency and her willingness to take risks"- over 3 days of competition her lowest score was a 9.8; Glenn Sundby, then editor of the International Gymnast (IG) magazine, and founder member of the "United States Gymnastics Federation" and the "International Gymnastics Hall OF Fame" and the first "Gymnastics World Cup"; Zacharias Nikolaidis, editor of the Greek Gymnastics magazine "Dynamiko"; Ursel Baer, a British judge at the 80 Olympics,"Davydova richly deserved to be Olympic champion"; Elisa Estape, a Spanish coach who had all the routines filmed and evaluated praised
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Davydova's routines in the highest terms and said she should have won by more; Paul Williams, another British judge there,"Davydova fully deserved her gold medal, with a brilliant display of high quality work"; Maxi Gnauck's coach Juergen Heritz; Lyn Moran, assistant editor of IG and author of the book "The young Gymnasts"; Jeff Cheales, an Australian judge; Tom Ecker, author of "Olympic Facts and Fables"; Peter Shilston, columnist, British Gymnast magazine; John Rodda in his book "The Olympic Games";The Sony guide to Who's Who in The 1984 Olympics,1984, p. 125, Edited by Dick Emery; Frank Taylor, 16 years President of the World Association of Sports Writers and author of "The Comaneci Story";
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Karen Inskip-Hayward, "The Golden Decade : women's gymnastics in the 1980s; Tony Duffy and Paul Wade Winning Women : The Changing Face of Women in Sport, p. 96,1982; C. Robert Paul, Jr, first sports information Director and Director communications for the United States Olympic Committee, United States Olympic book 1980, p. 140–141 ; The Book of Olympic Lists 2012 p. 96 David Wallechinsky and Jaime Loucky ; The Complete Book of the Olympics 2012 Edition p. 784–5 David Wallechinsky and Jaime Loucky ; The Official History of the Olympic Games and the IOC Athens to London 1894–2012 p. 235 David Miller .
# Post-Olympic sports achievements.
On 3 July 1981 in Montreux, the 100th anniversary celebration
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of the International Gymnastics Federation took place. Davydova was invited to perform her famous floor exercise which she did twice and won a standing ovation from the people present.
In August Elena won the tournament in Giresum, Turkey. She won the AA title and was top scorer on vault, bars, floor and joint top scorer on beam. She scored 10's on bars and floor. She won the AA title 0.35 ahead of Shaposhnikova,0.8 ahead of Natalia Yurchenko and 1.0 ahead of the 1980 World Cup winner Zakharova.
At the 1981 USSR Championships – the number one national championships in the world at that time – Davydova won the All-Around title plus golds on floor and vault and bronze on bars. No other national
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championship attracted as much interest in the gymnastics community as the USSR Championship. It was notoriously difficult to win – Latynina was twice Olympic AA champion, twice European AA champion and once World champion before winning the Soviet AA title; Shushunova won 1 World championship, 1 European and 1 World Cup before winning the Soviet AA title; Turischeva had won 1 World and 1 European AA title. Others never won it despite success elsewhere e.g. Galina Rudiko World AA champion; Boginskaya, winner of 2 European and 1 World AA titles; Zakharova, winner of 2 World Cup AA titles;Olga Mostepanova, AA winner at the Alternate Olympics 1984.
Davydova also participated in the 1981 World
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Championships, her last major international event. The USSR won team gold. Davydova contributed more points towards the Soviet team score than anyone else. She finished third in the all-around final after an improper landing in the balance beam event. Had she not sat down on her beam dismount she would have won gold. Davydova suffered a serious neck injury in pre-competition warm up but still finished 3rd AA and was the only gymnast from any nation to make all 4 event finals. Davydova was the total points top scoring gymnast at the 1981 World Championships. She won silver on floor and bronze on bars. She would have won gold on vault but was unable to stand the incredibly difficult vault of her
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own invention, full twist on front tuck off. Jackie Fie, the US Head Judge on vault at the 81 World championships wrote that if the other vaults were to be marked out of 10 then Davydova's one should be scored out of 10.5. Davydova's vault was the pinnacle of the event. It was the most difficult vault of the competition – in either women's or men's gymnastics. Davydova is the only one who has done a vault that a male gymnast has not. Until Gabrielle Douglas 2015, she was the only IOC Olympic champion, since 1980, to have medalled in a World Championships after she had won the Olympic AA title.
British Gymnast magazine, January, 84, p. 33, "In Olympic Panorama 1982 quoting Olga Korbut : "We
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perfected our saltos, pirouettes and flic-flacs. In this instance they seemed light and natural, and did not look like a bag of tricks. This is what made the audience gasp. Today this is happening more rarely, perhaps with Elena Davidova alone".
In October 1981 International Gymnast magazine (IG) chose Davydova as the model for their new IG pin, T-shirt and circulation add. The British Gymnast magazine's readers voted Davydova gymnast of the year in 80 and 81. At the British national championships for girls in 1982 Davydova was voted the favourite gymnast amongst the gymnasts taking part and was voted second favourite in 1983.
Davydova remained on the Soviet display team until 1984 but retired
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from competitive gymnastics in late 1982. She was competing on vault at the Rome gymnastics Grand Prix in 82 when she damaged her ankle. Later that year the West German newspaper Die Weltnoted that Elena had had a dangerous fall in training and asked "Will the case of Elena Davidova become a second case Mukhina?" Thankfully her injury wasn't as serious. She didn't want to finish Elite competition gymnastics and talked of defending her Olympic title in L.A. but it became obvious as time went on that her body could no longer stand the pounding of intense workouts.
# Life after retirement from competition.
Yelena Davydova attended the "Leningrad University of Physical education" and later received
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her doctorate in Pedagogical science at the "P.F. Lesgraft State Institute of Athletic Education". The title of her thesis was "Nontraditional preparation of top gymnasts for competitions" and with it she was assisted by world-famous professors of medicine Kima Ivanova and Leonid Korolev. Upon graduation, in 1987, Davydova began coaching and served as an international Brevet judge. She began her coaching career with the Leningrad Olympic reserve college and was a coach with the Soviet national gymnastics team.
Davydova married boxing coach Pavel Filatov on 1 June 1983. They have two sons, Dmitrii (born 21 February 1985) and Anton (28 June 1995. The family moved to Canada in 1991. Davydova now
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owns Gemini Gymnastics, a high performance gymnastics club in Oshawa, Ontario where she has been a coach since immigrating to Canada, and Head Coach since 1999. Some of her better known gymnasts include Stephanie Capucitti, Sarah Deegan, Danielle Hicks, Katherine Fairhurst, Kristina Vaculik, Brittnee Habbib, Kelsey Hope. She was beam coach for the Canadian women's team at the 1995 World Championships and one of the Canadian women's team coaches at the 2002 Commonwealth Games. Davydova was twice named Gymnastics Canada Gymnastique coach of the year.
In October 2005 Elena was chosen for the Coaching Association of Canada's Women in Coaching National Team Coaching Apprenticeship Program.
In 2005,
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2006 and 2010 Gymnastics Canada Gymnastique awarded Elena and long-time associate coach, Valery Yahchybekov, as the "Junior High Performance Coaches of the Year". Gemini Gymnastics has been recognised by GCG as Club of Excellence for 10 consecutive years since the inception of the awards in 2001. It is 1 of only 2 clubs to do so. In 2006 Gemini received the prestigious Gymnastics Canada Ed Broughan award for "Club of the Year". As of 2012 Gemini have produced 15 Canadian AA champions,8 Elite Canada AA champions,21 Eastern Canada AA champions,98 Ontario provincial AA champions plus gymnasts who have won a host of other medals and awards. In September 2007 Kristina Vaculik and Rebecca Simbudhas
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of Gemini represented Canada at the World Championships. In April 2008 Vaculik won gold and silver World Cup trophies. She was the Canadian team reserve at the Beijing Olympics. In March 2010, Vaculik earned 2 gold and 2 silver medals at the Cottbus World Cup, an unprecedented result for Canadian Artistic women's gymnastics. After attending Stanford for one year, Vaculik has taken a year off and returned to Gemini in 2011 to train with Davydova in hopes of winning a spot on the 2012 Canadian Artistic Gymnastics team. In October 2011, Vaculik was named to the Canadian team and, coached by Davydova, represented Canada at the World Cup in Tokyo, Japan, helping Team Canada finish in 11th place.
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At the end of October, 2011, Davydova and Vaculik travelled to Guadalajara, Mexico to compete for Team Canada in the Pan Am Games, coming home with team silver, and an individual bronze all-around and silver beam event final medals. In December 2011 Elena fulfilled a dream by purchasing Gemini Gymnastics and becoming a club owner. In December, 2011, Davydova and Kristina Vaculik, as well as younger sister Natalie Vaculik, headed to training camp where the Canadian team was chosen to attend the final Olympic qualifying event. Kristina was chosen to represent Canada, along with Madeline Gardiner, Victoria Moors (Cambridge, Ontario), Brittany Rogers (Vancouver, British Columbia), Christine Peng-Peng
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Lee (Toronto Ontario), Talia Chiarelli(former Ottawa resident living in Boston) and reserve Mikaela Gerber (Cambridge, Ontario). Davydova was chosen as one of two coaches to the women's team. On 11 January 2012, the Women's team secured a spot at the 2012 London Olympics by coming in second overall in the team event. Vaculik and Lee went on to 4th and 5th place respectively in event finals (uneven bars), Gardiner 4th (beam) and Moors garnered a silver on floor.
In 2012 Gemini was awarded a Club of Excellence award, 1 of only 4 recognised across Canada, and 1 0f 2 to earn the highest gold level honour. In April 2012 Elena was named Ontario's Coach of the Year.
In 2005 Elena achieved the highest
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score on the Canadian Brevet judging course.
In June 2006 she received the FIG Coaching Brevet. As of 2007 She is 1 of only 31 female coaches worldwide to hold this Brevet and the only Olympic AA champion.
She was a judge at the 2009 World Championships. At the F.I.G. Academy coach education programme in Trinidad 2010 Davydova was the course director on apparatus preparation, choreography and balance beam.
Her parents are now retired. Her father Victor was a mechanic and her mother Tamara was employed at the "Leningrad Optical and Mechanical Works". Her brother Yuri, who is 12 years younger than Davydova, still lives in Russia as well. Elena was part of the Saint Petersburg delegation which
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unsuccessfully tried to win the 2004 Olympic Games for that city.
# Olympics once again.
On 28 June 2012, Elena was named as one of coaches to the Canadian Women's Artistics Gymnastics team for the 2012 Olympics in London, England. Kristina Vaculik, who trained under Elena and Valery Yahchybekov at Gemini Gymnastics, was named to the team as well, the first Gemini gymnast and first of Elena's gymnasts, to reach this goal, following her mentor, Elena, to the Olympics.
Team Canada made history when, on 29 July 2012, Team Canada coached by Elena and David Brubaker of Bluewater Gynnastics in Sarnia, earned a berth in the team final event. This was the first time that a Canadian gymnastics team,
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either male or female, had qualified for the team event in a non-boycotted Olympics. As well, Dominique Pegg earned a spot in the all-around event, and Brittany Rogers and Ellie Black both qualified for the vault finals.
The Team finals were seen as a battle between the Americans, Russians and the Chinese, although the Romanians couldn't be counted out either. The other countries competing were Japan, Italy and Great Britain. The Canadians came out and gave it all they had. Each member of the team, Kristina Vaculik, Dominique Pegg, Ellie Black, Brittany Rogers and Victoria Moors, competed in at least two events. When the scores were tallied, Canada astonished the crowd by coming in fifth, just
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behind the Chinese, who had won the team event at the 2008 Olympics – a spectacular score for a team which had not been expected to be a contender.
In commenting about the teams, accomplishment, Davydova compared it to winning the all-around gold medal at the 1980 Olympics.
"It was like I just won the Olympics one more time," she said. "For Canada, it was equal to being an Olympic champion. You've seen history two times at the same Olympics. We've never made finals as a team at Olympics, that was one, and then another one, fifth, the best result ever. That's amazing."
# The Olympic Trifecta.
In August, 2016, Elena represented Canada as a judge at the 2016 Rio Olympics in Women's Artistic
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Gymnastics. Elena was named as head judge for the women's floor events at the Olympics. This meant that Elena had now attended the Olympics in all capacities – as an athlete, a coach and a judge – something that is rare in the world of athletics, and almost unheard of in gymnastics.
# Acknowledgements in the recent times.
In its 1991 publication, Objectif an 2000, the FIG have a section entitled "Some of the Gymnasts who contributed to the Major Developments". 18 female Artistic gymnasts are named of whom Davydova is one. On the IG website they feature "Legends of Gymnastics". 15 female Artistic gymnasts are profiled, one of whom is Davydova. In 1994 to commemorate the World Championships
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in Brisbane Australia the Australian government produced first day covers of several famous gymnasts including Davydova
In 1996 she was invited by the Atlanta organising committee to the Olympic Games where she met US President Bill Clinton.
In 2000 Elena was one of the gymnasts pictured in the International Gymnast's (IG) Millennium calendar.
On 11 May 2007 Elena was inducted into the International Gymnastics Hall of Fame ( IGHOF) – regarded as the Nobel Prize for gymnastics – where special mention was made of her as a gymnastics innovator.
IGHOF website "Yelena Davydova cast a charm on audiences by weaving her flowing routines with cutting-edge difficulty. Davydova's capacity to dare some
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of the riskiest elements was matched by her exquisite presentation".
IGHOF video "One of the most original precise and elegant of all the legendary Soviet stars was Yelena Davydova. When she first entered the international scene it was clear she would make an impact with her clean execution and exquisite form ... In the 1978 Chunichi Cup in Japan her fluid style on balance beam was becoming a trademark ... In the 1980 Olympics Davydova scored no less than 9.8 on every event over the 3 days of competition to win the allaround gold medal".
# Special skills.
In terms of difficulty Elena advanced the sport of gymnastics extended its limits.
Brian Bakalar, owner and head coach at Gymnastics Revolution
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in Bethel, Connecticut, U.S. wrote on his website in 2004 that "In the late 1970s Elena Davydova first performed a skill that has become the basis for today's optional uneven bar routines – the Giant". Indeed, Davydova advanced the difficulty of gymnastics through the introduction of her moves, and is one of a select few to have introduced a new move and/or trend on each piece of apparatus. Davydova was the first female gymnast to perform an Arabian 1¾ somersault, and a piked Arabian 1¾ somersault on floor (both Arabian 1¾ moves removed from the code of points for female gymnasts by the FIG in 1993 for safety reasons, effectively banned because of their danger and difficulty.
## Eponymous skills.
Vault:
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Handspring forward onto table – tucked salto forward (5.2)
Uneven Bars: Swing forward counter-straddle reverse hecht over high bar to regrasp (D); almost universally referred to as a Tkatchev which is the name of the skill in Men's Artistic Gymnastics
# References.
## On-line sources.
- http://www.geminigymnastics.com
- http://www.ighof.com
- http://www.geocities.com/tatiana_lysenko/list.html http://www.geocities.com/tatiana_lysenko/list.html
## Off-line sources.
- International Gymnast magazine
- February 1077 p. 28–30
- July 1980 p. 30
- August 1980 p. 26
- September 1980 p. 6,15,29.
- October 1980 p. 11,21
- November 1980 p. 30–31
- December 1980 p. 48–50,62,70.
- March 1981
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p. 6
- August 1981 p. 42–43
- January 1982 p. 28
- March 1982 p. 75
- January 1998 p. 49
- July/August 2007 p. 36
- July/August 2010 p 19,29.
- British Gymnast magazine
- September 1980 p. 7,11,13–15,21–24,26,31
- April 1981 p. 11,21–24
- September 1981 p. 29
- November 1981 p. 25
- FIG World Gymnastics magazine
- Vol 2, num 3
- Vol 3, num 1
- Vol 4, num 1.
- March 2008, p. 8–9.
- FIG Bulletin May 1983.
- Daily Mirror Official Programme USSR Display Team 1977 and 1980.
- Soviet Gymnastic Stars, Vladimir Golubev,1979, pp. 163, 207.
- 638 Olympic Champions, Valeri Steinbach,1984, pp. 217, 218.
- Wonderful moment of victory, 1983, pp. 8–14.
- Artistic Gymnastics: A history
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p. 217, 218.
- Wonderful moment of victory, 1983, pp. 8–14.
- Artistic Gymnastics: A history of development, Anton Gadjos,1997, pp. 264, 265.
- Winning Women : The Changing Face Of Women in Sport, p. 96, Tony Duffy and Paul Wade, .
- The Golden Decade : women's gymnastics in the 1980s – volume 1 – 1980–1984, Karen Inskip-Hayward.
- The United States Olympic Book 1980, published by United States Olympic Committee.
- The Book Of Olympic Lists 2012 p. 96 David Wallechinsky and Jaime Loucky .
- The Complete Book Of The Olympics 2012 Edition p. 784–5 David Wallechinsky and Jaime Loucky .
- The Official History Of The Olympic Games And The IOC Athens To London 1894–2012 p. 235 David Miller
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Hardware description language
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Hardware description language
Hardware description language
In computer engineering, a hardware description language (HDL) is a specialized computer language used to describe the structure and behavior of electronic circuits, and most commonly, digital logic circuits.
A hardware description language enables a precise, formal description of an electronic circuit that allows for the automated analysis and simulation of an electronic circuit. It also allows for the synthesis of a HDL description into a netlist (a specification of physical electronic components and how they are connected together), which can then be placed and routed to produce the set of masks used to create an integrated circuit.
A hardware description language
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Hardware description language
looks much like a programming language such as C; it is a textual description consisting of expressions, statements and control structures. One important difference between most programming languages and HDLs is that HDLs explicitly include the notion of time.
HDLs form an integral part of electronic design automation (EDA) systems, especially for complex circuits, such as application-specific integrated circuits, microprocessors, and programmable logic devices.
# Motivation.
Due to the exploding complexity of digital electronic circuits since the 1970s (see Moore's law), circuit designers needed digital logic descriptions to be performed at a high level without being tied to a specific electronic
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Hardware description language
technology, such as CMOS or BJT. HDLs were created to implement register-transfer level abstraction, a model of the data flow and timing of a circuit.
There are two major hardware description languages: VHDL and Verilog. There are different types of description in them
"dataflow, behavioral and structural".
Example of dataflow of VHDL:
# Structure of HDL.
HDLs are standard text-based expressions of the structure of electronic systems and their behaviour over time. Like concurrent programming languages, HDL syntax and semantics include explicit notations for expressing concurrency. However, in contrast to most software programming languages, HDLs also include an explicit notion of time,
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Hardware description language
which is a primary attribute of hardware. Languages whose only characteristic is to express circuit connectivity between a hierarchy of blocks are properly classified as netlist languages used in electric computer-aided design (CAD). HDL can be used to express designs in structural, behavioral or register-transfer-level architectures for the same circuit functionality; in the latter two cases the synthesizer decides the architecture and logic gate layout.
HDLs are used to write executable specifications for hardware. A program designed to implement the underlying semantics of the language statements and simulate the progress of time provides the hardware designer with the ability to model a
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piece of hardware before it is created physically. It is this executability that gives HDLs the illusion of being programming languages, when they are more precisely classified as specification languages or modeling languages. Simulators capable of supporting discrete-event (digital) and continuous-time (analog) modeling exist, and HDLs targeted for each are available.
## Comparison with control-flow languages.
It is certainly possible to represent hardware semantics using traditional programming languages such as C++, which operate on control flow semantics as opposed to data flow, although to function as such, programs must be augmented with extensive and unwieldy class libraries. Generally,
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Hardware description language
however, software programming languages do not include any capability for explicitly expressing time, and thus cannot function as hardware description languages. Before the introduction of System Verilog in 2002, C++ integration with a logic simulator was one of the few ways to use object-oriented programming in hardware verification. System Verilog is the first major HDL to offer object orientation and garbage collection.
Using the proper subset of hardware description language, a program called a synthesizer, or logic synthesis tool, can infer hardware logic operations from the language statements and produce an equivalent netlist of generic hardware primitives to implement the specified
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behaviour. Synthesizers generally ignore the expression of any timing constructs in the text. Digital logic synthesizers, for example, generally use clock edges as the way to time the circuit, ignoring any timing constructs. The ability to have a synthesizable subset of the language does not itself make a hardware description language.
# History.
The first hardware description languages appeared in the late 1960s, looking like more traditional languages. The first that had a lasting effect was described in 1971 in C. Gordon Bell and Allen Newell's text "Computer Structures". This text introduced the concept of register transfer level, first used in the ISP language to describe the behavior
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of the Digital Equipment Corporation (DEC) PDP-8.
The language became more widespread with the introduction of DEC's PDP-16 RT-Level Modules (RTMs) and a book describing their use.
At least two implementations of the basic ISP language (ISPL and ISPS) followed.
ISPS was well suited to describe relations between the inputs and the outputs of the design and was quickly adopted by commercial teams at DEC, as well as by a number of research teams both in the USA and among its NATO allies.
The RTM products never took off commercially and DEC stopped marketing them in the mid-1980s, as new techniques and in particular very-large-scale integration (VLSI) became more popular.
Separate work done
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about 1979 at the University of Kaiserslautern produced a language called KARL ("KAiserslautern Register Transfer Language"), which included design calculus language features supporting VLSI chip floorplanning and structured hardware design. This work was also the basis of KARL's interactive graphic sister language ABL, whose name was an initialism for "A Block diagram Language". ABL was implemented in the early 1980s by the Centro Studi e Laboratori Telecomunicazioni (CSELT) in Torino, Italy, producing the ABLED graphic VLSI design editor. In the mid-1980s, a VLSI design framework was implemented around KARL and ABL by an international consortium funded by the Commission of the European Union.
By
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the late 1970s, design using programmable logic devices (PLDs) became popular, although these designs were primarily limited to designing finite state machines. The work at Data General in 1980 used these same devices to design the Data General Eclipse MV/8000, and commercial need began to grow for a language that could map well to them. By 1983 Data I/O introduced ABEL to fill that need.
As design shifted to VLSI, the first modern HDL, Verilog, was introduced by Gateway Design Automation in 1985. Cadence Design Systems later acquired the rights to Verilog-XL, the HDL simulator that would become the de facto standard of Verilog simulators for the next decade. In 1987, a request from the U.S.
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Department of Defense led to the development of VHDL (VHSIC Hardware Description Language). VHDL was based on the Ada programming language, as well as on the experience gained with the earlier development of ISPS. Initially, Verilog and VHDL were used to document and simulate circuit designs already captured and described in another form (such as schematic files). HDL simulation enabled engineers to work at a higher level of abstraction than simulation at the schematic level, and thus increased design capacity from hundreds of transistors to thousands.
The introduction of logic synthesis for HDLs pushed HDLs from the background into the foreground of digital design. Synthesis tools compiled
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HDL source files (written in a constrained format called RTL) into a manufacturable netlist description in terms of gates and transistors. Writing synthesizable RTL files required practice and discipline on the part of the designer; compared to a traditional schematic layout, synthesized RTL netlists were almost always larger in area and slower in performance. A circuit design from a skilled engineer, using labor-intensive schematic-capture/hand-layout, would almost always outperform its logically-synthesized equivalent, but the productivity advantage held by synthesis soon displaced digital schematic capture to exactly those areas that were problematic for RTL synthesis: extremely high-speed,
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low-power, or asynchronous circuitry.
Within a few years, VHDL and Verilog emerged as the dominant HDLs in the electronics industry, while older and less capable HDLs gradually disappeared from use. However, VHDL and Verilog share many of the same limitations: neither is suitable for analog or mixed-signal circuit simulation; neither possesses language constructs to describe recursively-generated logic structures. Specialized HDLs (such as Confluence) were introduced with the explicit goal of fixing specific limitations of Verilog and VHDL, though none were ever intended to replace them.
Over the years, much effort has been invested in improving HDLs. The latest iteration of Verilog, formally
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known as IEEE 1800-2005 SystemVerilog, introduces many new features (classes, random variables, and properties/assertions) to address the growing need for better test bench randomization, design hierarchy, and reuse. A future revision of VHDL is also in development, and is expected to match SystemVerilog's improvements.
# Design using HDL.
As a result of the efficiency gains realized using HDL, a majority of modern digital circuit design revolves around it. Most designs begin as a set of requirements or a high-level architectural diagram. Control and decision structures are often prototyped in flowchart applications, or entered in a state diagram editor. The process of writing the HDL description
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is highly dependent on the nature of the circuit and the designer's preference for coding style. The HDL is merely the 'capture language', often beginning with a high-level algorithmic description such as a C++ mathematical model. Designers often use scripting languages such as Perl to automatically generate repetitive circuit structures in the HDL language. Special text editors offer features for automatic indentation, syntax-dependent coloration, and macro-based expansion of the entity/architecture/signal declaration.
The HDL code then undergoes a code review, or auditing. In preparation for synthesis, the HDL description is subject to an array of automated checkers. The checkers report deviations
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from standardized code guidelines, identify potential ambiguous code constructs before they can cause misinterpretation, and check for common logical coding errors, such as floating ports or shorted outputs. This process aids in resolving errors before the code is synthesized.
In industry parlance, HDL design generally ends at the synthesis stage. Once the synthesis tool has mapped the HDL description into a gate netlist, the netlist is passed off to the back-end stage. Depending on the physical technology (FPGA, ASIC gate array, ASIC standard cell), HDLs may or may not play a significant role in the back-end flow. In general, as the design flow progresses toward a physically realizable form,
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the design database becomes progressively more laden with technology-specific information, which cannot be stored in a generic HDL description. Finally, an integrated circuit is manufactured or programmed for use.
# Simulating and debugging HDL code.
Essential to HDL design is the ability to simulate HDL programs. Simulation allows an HDL description of a design (called a model) to pass design verification, an important milestone that validates the design's intended function (specification) against the code implementation in the HDL description. It also permits architectural exploration. The engineer can experiment with design choices by writing multiple variations of a base design, then comparing
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their behavior in simulation. Thus, simulation is critical for successful HDL design.
To simulate an HDL model, an engineer writes a top-level simulation environment (called a test bench). At minimum, a testbench contains an instantiation of the model (called the device under test or DUT), pin/signal declarations for the model's I/O, and a clock waveform. The testbench code is event driven: the engineer writes HDL statements to implement the (testbench-generated) reset-signal, to model interface transactions (such as a host–bus read/write), and to monitor the DUT's output. An HDL simulator — the program that executes the testbench — maintains the simulator clock, which is the master reference
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for all events in the testbench simulation. Events occur only at the instants dictated by the testbench HDL (such as a reset-toggle coded into the testbench), or in reaction (by the model) to stimulus and triggering events. Modern HDL simulators have full-featured graphical user interfaces, complete with a suite of debug tools. These allow the user to stop and restart the simulation at any time, insert simulator breakpoints (independent of the HDL code), and monitor or modify any element in the HDL model hierarchy. Modern simulators can also link the HDL environment to user-compiled libraries, through a defined PLI/VHPI interface. Linking is system-dependent (Win32/Linux/SPARC), as the HDL simulator
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and user libraries are compiled and linked outside the HDL environment.
Design verification is often the most time-consuming portion of the design process, due to the disconnect between a device's functional specification, the designer's interpretation of the specification, and the imprecision of the HDL language. The majority of the initial test/debug cycle is conducted in the HDL "simulator" environment, as the early stage of the design is subject to frequent and major circuit changes. An HDL description can also be prototyped and tested in hardware — programmable logic devices are often used for this purpose. Hardware prototyping is comparatively more expensive than HDL simulation, but offers
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a real-world view of the design. Prototyping is the best way to check interfacing against other hardware devices and hardware prototypes. Even those running on slow FPGAs offer much shorter simulation times than pure HDL simulation.
# Design verification with HDLs.
Historically, design verification was a laborious, repetitive loop of writing and running simulation test cases against the design under test. As chip designs have grown larger and more complex, the task of design verification has grown to the point where it now dominates the schedule of a design team. Looking for ways to improve design productivity, the electronic design automation industry developed the Property Specification
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Language.
In formal verification terms, a property is a factual statement about the expected or assumed behavior of another object. Ideally, for a given HDL description, a property or properties can be proven true or false using formal mathematical methods. In practical terms, many properties cannot be proven because they occupy an unbounded solution space. However, if provided a set of operating assumptions or constraints, a property checker can prove (or disprove) certain properties by narrowing the solution space.
The assertions do not model circuit activity, but capture and document the designer's intent in the HDL code. In a simulation environment, the simulator evaluates all specified
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assertions, reporting the location and severity of any violations. In a synthesis environment, the synthesis tool usually operates with the policy of halting synthesis upon any violation. Assertion based verification is still in its infancy, but is expected to become an integral part of the HDL design toolset.
# HDL and programming languages.
A HDL is grossly similar to a software programming language, but there are major differences. Most programming languages are inherently procedural (single-threaded), with limited syntactical and semantic support to handle concurrency. HDLs, on the other hand, resemble concurrent programming languages in their ability to model multiple parallel processes
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(such as flip-flops and adders) that automatically execute independently of one another. Any change to the process's input automatically triggers an update in the simulator's process stack.
Both programming languages and HDLs are processed by a compiler (often called a synthesizer in the HDL case), but with different goals. For HDLs, "compiling" refers to logic synthesis; the process of transforming the HDL code listing into a physically realizable gate netlist. The netlist output can take any of many forms: a "simulation" netlist with gate-delay information, a "handoff" netlist for post-synthesis placement and routing on a semiconductor die, or a generic industry-standard Electronic Design
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Interchange Format (EDIF) (for subsequent conversion to a JEDEC-format file).
On the other hand, a software compiler converts the source-code listing into a microprocessor-specific object code for execution on the target microprocessor. As HDLs and programming languages borrow concepts and features from each other, the boundary between them is becoming less distinct. However, pure HDLs are unsuitable for general purpose application software development, just as general-purpose programming languages are undesirable for modeling hardware.
Yet as electronic systems grow increasingly complex, and reconfigurable systems become increasingly common, there is growing desire in the industry for a single
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language that can perform some tasks of both hardware design and software programming. SystemC is an example of such—embedded system hardware can be modeled as non-detailed architectural blocks (black boxes with modeled signal inputs and output drivers). The target application is written in C or C++ and natively compiled for the host-development system; as opposed to targeting the embedded CPU, which requires host-simulation of the embedded CPU or an emulated CPU.
The high level of abstraction of SystemC models is well suited to early architecture exploration, as architectural modifications can be easily evaluated with little concern for signal-level implementation issues. However, the threading
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model used in SystemC relies on shared memory, causing the language not to handle parallel execution or low-level models well.
# High-level synthesis.
In their level of abstraction, HDLs have been compared to assembly languages. There are attempts to raise the abstraction level of hardware design in order to reduce the complexity of programming in HDLs, creating a sub-field called "high-level synthesis".
Companies such as Cadence, Synopsys and Agility Design Solutions are promoting SystemC as a way to combine high-level languages with concurrency models to allow faster design cycles for FPGAs than is possible using traditional HDLs. Approaches based on standard C or C++ (with libraries or
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other extensions allowing parallel programming) are found in the Catapult C tools from Mentor Graphics, and the Impulse C tools from Impulse Accelerated Technologies.
Annapolis Micro Systems, Inc.'s CoreFire Design Suite and National Instruments LabVIEW FPGA provide a graphical dataflow approach to high-level design entry and languages such as SystemVerilog, SystemVHDL, and Handel-C seek to accomplish the same goal, but are aimed at making existing hardware engineers more productive, rather than making FPGAs more accessible to existing software engineers.
It is also possible to design hardware modules using MATLAB and Simulink using the MathWorks HDL Coder tool or Xilinx System Generator (XSG)
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formerly Accel DSP) from Xilinx.
# Examples of HDLs.
## HDLs for digital circuit design.
The two most widely used and well-supported HDL varieties used in industry are Verilog and VHDL.
## HDLs for printed circuit board design.
Several projects exist for defining printed circuit board connectivity using language based, textual-entry methods.
# See also.
- Specification language
- Modeling language
- Hardware verification language
- SystemC
- SystemVerilog
- Property Specification Language
- OpenVera
- Bluespec
- C to HDL
- Flow to HDL
- Rosetta-lang
# External links.
- Verilog-AMS Technical Subcommittee
- HCT - The HDL Complexity tool, used to determine design complexity.
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Rear Window is a 1954 American Technicolor mystery thriller film directed by Alfred Hitchcock and written by John Michael Hayes based on Cornell Woolrich's 1942 short story "It Had to Be Murder". Originally released by Paramount Pictures, the film stars James Stewart, Grace Kelly, Wendell Corey, Thelma Ritter, and Raymond Burr. It was screened at the 1954 Venice Film Festival.
The film is considered by many filmgoers, critics, and scholars to be one of Hitchcock's best and one of the greatest films ever made. It received four Academy Award nominations and was ranked number 42 on AFI's 100 Years...100 Movies list and number 48 on the 10th-anniversary edition, and in 1997 was added
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to the United States National Film Registry in the Library of Congress as being "culturally, historically, or aesthetically significant".
# Plot.
Recuperating from a broken leg, adventuresome professional photographer L. B. "Jeff" Jefferies (Stewart) is confined to a wheelchair in his Greenwich Village apartment. His rear window looks out onto a courtyard and several other apartments. During a powerful heat wave, he watches his neighbors, who keep their windows open to stay cool.
He observes a flamboyant dancer he nicknames "Miss Torso"; a single middle-aged woman he calls "Miss Lonelyhearts"; a talented, single, middle-aged composer-pianist; several married couples, one of them newlyweds;
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a female sculptor; and Lars Thorwald (Burr), a traveling jewelry salesman with a bedridden wife.
Jeff's sophisticated, beautiful socialite girlfriend, Lisa Fremont (Grace Kelly), visits him regularly, as does his insurance company's nurse, Stella (Thelma Ritter). Stella wants Jeff to settle down and marry Lisa, but Jeff is reluctant.
One night during a thunderstorm, Jeff hears a woman scream "Don't!" and then the sound of breaking glass. Later, he is awakened by thunder and observes Thorwald leaving his apartment. Thorwald makes repeated late-night trips carrying his sample case. The next morning, Jeff notices that Thorwald's wife is gone, and then sees Thorwald cleaning a large knife and
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handsaw. Later, Thorwald ties a large trunk with heavy rope and has moving men haul it away. Jeff discusses all this with Lisa and with Stella.
Jeff becomes convinced that Thorwald has murdered his wife. Jeff explains this to his friend Tom Doyle (Wendell Corey), a New York City Police detective, and asks him to do some research. Doyle finds nothing suspicious; apparently, Mrs. Thorwald is upstate, and picked up the trunk herself.
Soon after, a neighbor's dog is found dead with its neck broken. The dog's owner yells across the courtyard, complaining of her neighbors' callous disregard of others. All the neighbors run to their windows to see what is happening, except for Thorwald, whose cigar
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can be seen glowing as he sits quietly in his dark apartment.
Certain that Thorwald is also guilty of killing the dog, Jeff asks Lisa to slip an accusatory note under his door, so Jeff can watch his reaction when he reads it. Then, as a pretext to get Thorwald out of his apartment, Jeff telephones him and arranges a meeting at a bar. He believes Thorwald buried something incriminating in the courtyard flower bed, and killed the dog to stop it digging there, so when Thorwald leaves, Lisa and Stella dig up the flowers; they find nothing.
Much to Jeff's amazement and admiration, Lisa then climbs the fire escape to Thorwald's apartment and clambers in through an open window. When Thorwald returns
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and grabs Lisa, Jeff calls the police, who arrive in time to save her by arresting her. Jeff sees Lisa has her hands behind her back, wiggling her finger with Mrs. Thorwald's wedding ring on it. Thorwald notices this, and, realizing that she is signaling to someone, he sees Jeff across the courtyard.
Jeff phones Doyle and leaves an urgent message. Stella heads for the police station to post bail for Lisa. When his phone rings, Jeff assumes it is Doyle, and says that the suspect has left the apartment. When no one answers, Jeff realizes that Thorwald himself had called, and is heading over to confront him. When Thorwald enters, Jeff repeatedly sets off his camera flashbulbs, temporarily blinding
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him. However, Thorwald grabs Jeff and manages to push him out of the open window, as Jeff is yelling for help. Police officers enter the apartment as he falls to the ground; other officers have run over to break his fall. Thorwald confesses to the police soon afterward.
A few days later, the heat has lifted, and Jeff rests peacefully in his wheelchair, now with casts on both legs. The lonely neighbor is chatting with the pianist in his apartment, the dancer's lover returns home from the army, the couple whose dog was killed have a new dog, and the newly married couple are bickering.
Lisa reclines on the daybed in Jeff's apartment, wearing jeans and apparently reading a book titled "Beyond
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the High Himalayas". As soon as Jeff falls asleep, Lisa puts the book down and happily opens a fashion magazine.
# Cast.
- James Stewart as L. B. "Jeff" Jefferies
- Grace Kelly as Lisa Carol Fremont
- Wendell Corey as NYPD Det. Lt. Thomas "Tom" J. Doyle
- Thelma Ritter as Stella
- Raymond Burr as Lars Thorwald
- Judith Evelyn as Miss Lonelyhearts
- Ross Bagdasarian as the songwriter
- Georgine Darcy as Miss Torso
- Frank Cady and Sara Berner as the husband and wife, living above the Thorwalds, with their dog
- Jesslyn Fax as "Miss Hearing Aid"
- Rand Harper and Havis Davenport as Newlyweds
- Irene Winston as Mrs. Anna Thorwald
Uncredited
- Harry Landers as young man guest of Miss
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Lonelyhearts
- Ralph Smiles as Carl, the waiter
- Fred Graham as detective
Cast notes
- Director Alfred Hitchcock makes his traditional cameo appearance in the songwriter's apartment, where he is seen winding a clock.
# Production.
The film was shot entirely at Paramount studios, which included an enormous indoor set to replicate a Greenwich Village courtyard. Set designers Hal Pereira and Joseph MacMillan Johnson spent six weeks building the extremely detailed and complex set, which ended up being the largest of its kind at Paramount. One of the unique features of the set was its massive drainage system, constructed to accommodate the rain sequence in the film. They also built the set
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around a highly nuanced lighting system which was able to create natural-looking lighting effects for both the day and night scenes. Though the address given in the film is 125 W. Ninth Street in New York's Greenwich Village, the set was actually based on a real courtyard located at 125 Christopher Street.
In addition to the meticulous care and detail put into the set, careful attention was also given to sound, including the use of natural sounds and music that would drift across the courtyard and into Jefferies' apartment. At one point, the voice of Bing Crosby can be heard singing "To See You Is to Love You", originally from the 1952 Paramount film "Road to Bali". Also heard on the soundtrack
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are versions of songs popularized earlier in the decade by Nat King Cole ("Mona Lisa", 1950) and Dean Martin ("That's Amore", 1952), along with segments from Leonard Bernstein's score for Jerome Robbins' ballet "Fancy Free" (1944), Richard Rodgers' song "Lover" (1932), and ""M'appari tutt'amor"" from Friedrich von Flotow's opera "Martha" (1844), most borrowed from Paramount's music publisher, Famous Music.
Hitchcock used costume designer Edith Head on all of his Paramount films.
Although veteran Hollywood composer Franz Waxman is credited with the score for the film, his contributions were limited to the opening and closing titles and the piano tune ("Lisa") written by one of the neighbors,
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a composer (Ross Bagdasarian), during the film. This was Waxman's final score for Hitchcock. The director used primarily "diegetic" sounds—sounds arising from the normal life of the characters—throughout the film.
# Reception.
A "benefit world premiere" for the film, with United Nations officials and "prominent members of the social and entertainment worlds" in attendance, was held on August 4, 1954, at the Rivoli Theatre in New York City, with proceeds going to the American–Korean Foundation (an aid organization founded soon after the end of the Korean War and headed by Milton S. Eisenhower, brother of President Eisenhower).
The movie was released wide on September 1, 1954.
The movie went
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on to earn an estimated $5.3 million at the North American box office in 1954.
The film received overwhelmingly positive reviews from critics and is considered one of Hitchcock's finest films. The review aggregator website Rotten Tomatoes reported that 100% of critics have given the film a positive review based on 65 reviews, with an average rating of 8.9/10. The critics consensus states that "Hitchcock exerted full potential of suspense in this masterpiece." At Metacritic, the film has a weighted average score of 100 out of 100 based on 18 critics, indicating "universal acclaim".
Critic Bosley Crowther of "The New York Times" attended the benefit premiere, and in his review called the film
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a "tense and exciting exercise" and Hitchcock a director whose work has a "maximum of build-up to the punch, a maximum of carefully tricked deception and incidents to divert and amuse." Crowther also notes: "Mr. Hitchcock's film is not 'significant.' What it has to say about people and human nature is superficial and glib, but it does expose many facets of the loneliness of city life, and it tacitly demonstrates the impulse of morbid curiosity. The purpose of it is sensation, and that it generally provides in the colorfulness of its detail and in the flood of menace toward the end."
"Time" called it "just possibly the second-most entertaining picture (after "The 39 Steps") ever made by Alfred
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Hitchcock" and a film in which there is "never an instant ... when Director Hitchcock is not in minute and masterly control of his material." The same review did note "occasional studied lapses of taste and, more important, the eerie sense a Hitchcock audience has of reacting in a manner so carefully foreseen as to seem practically foreordained." "Variety" called the film "one of Alfred Hitchcock's better thrillers" which "combines technical and artistic skills in a manner that makes this an unusually good piece of murder mystery entertainment."
Nearly 30 years after the film's initial release, Roger Ebert reviewed the Universal re-release in October 1983, after Hitchcock's estate was settled.
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He said the film "develops such a clean, uncluttered line from beginning to end that we're drawn through it (and into it) effortlessly. The experience is not so much like watching a movie, as like ... well, like spying on your neighbors. Hitchcock traps us right from the first ... And because Hitchcock makes us accomplices in Stewart's voyeurism, we're along for the ride. When an enraged man comes bursting through the door to kill Stewart, we can't detach ourselves, because we looked too, and so we share the guilt and in a way we deserve what's coming to him."
# Analysis.
In his book, "Alfred Hitchcock's "Rear Window"", John Belton addresses the underlying issues of voyeurism, that are evident
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in the film. He asserts ""Rear Window's" story is "about" spectacle; it explores the fascination with looking and the attraction of that which is being looked at."
## Voyeurism.
John Fawell notes in Dennis Perry's book, "Hitchcock and Poe: The Legacy of Delight and Terror", that Hitchcock "recognized that the darkest aspect of voyeurism…is our desire for awful things to happen to people...to make ourselves feel better, and to relieve ourselves of the burden of examining our own lives." The Master of Terror challenges the audience, forcing them to peer through his rear window and become exposed to, as Donald Spoto calls it in his 1976 book "The Art of Alfred Hitchcock: Fifty Years of His Motion
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Pictures", the "social contagion" of acting as voyeur.
In an explicit example of a condemnation of voyeurism, Stella expresses her outrage at Jeffries' voyeuristic habits, saying, "In the old days, they'd put your eyes out with a red hot poker" and "What people ought to do is get outside and look in for a change."
One climactic scene in the film portrays both the positive and negative effects of voyeurism. Driven by curiosity and incessant watching, with Jeffries watching from his window, Lisa sneaks into Thorwald's second-floor apartment, looking for clues, and is apprehended by him. Jeffries is in obvious anxiety and is overcome with panic as he sees Thorwald walk into the apartment and
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notice the irregular placement of the purse on the bed. Jeffries anxiously jitters in his wheelchair, and grabs his telephoto camera to watch the situation unfold, eventually calling the police because Miss Lonelyhearts is contemplating suicide in the neighboring apartment. Chillingly, Jeffries watches Lisa in Thorwald's apartment rather than keeping an eye on the woman about to commit suicide. Thorwald turns off the lights, shutting off Jeffries' sole means of communication with and protection of Lisa; Jeffries still pays attention to the pitch-black apartment instead of Miss Lonelyhearts. The tension Jeffries feels is unbearable and acutely distressing as he realizes that he is responsible
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for Lisa now that he cannot see her. The police go to the Thorwald apartment, the lights flicker on, and any danger coming toward Lisa is temporarily dismissed. Although Lisa is taken to jail, Jeffries is utterly mesmerized by her dauntless actions.
With further analysis, Jeffries' positive evolution understandably would be impossible without voyeurism—or as Robin Wood puts it in his 1989 book "Hitchcock's Films Revisited", "the indulging of morbid curiosity and the consequences of that indulgence."
# Legacy.
Ownership of the copyright in Woolrich's original story was eventually litigated before the Supreme Court of the United States in "Stewart v. Abend". The film was copyrighted in 1954
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by Patron Inc., a production company set up by Hitchcock and Stewart. As a result, Stewart and Hitchcock's estate became involved in the Supreme Court case, and Sheldon Abend became a producer of the 1998 remake of "Rear Window".
"Rear Window" is one of several of Hitchcock's films originally released by Paramount Pictures, for which Hitchcock retained the copyright, and which was later acquired by Universal Studios in 1983 from Hitchcock's estate.
In 1997, "Rear Window" was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". By this time, the film interested other directors with
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its theme of voyeurism, and other reworkings of the film soon followed, which included Brian De Palma's 1984 film "Body Double" and Phillip Noyce's 1993 film "Sliver".
"Rear Window" was restored by the team of Robert A. Harris and James C. Katz for its 1999 limited theatrical re-release (using Technicolor dye-transfer prints for the first time in this title's history) and the Collector's Edition DVD release in 2000.
American Film Institute included the film as number 42 in AFI's 100 Years...100 Movies, number 14 in AFI's 100 Years...100 Thrills, number 48 in AFI's 100 Years...100 Movies (10th Anniversary Edition) and number three in AFI's 10 Top 10 (Mysteries).
"Rear Window" was remade as
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a television movie of the same name in 1998, with an updated storyline in which the lead character is paralyzed and lives in a high-tech home filled with assistive technology. Actor Christopher Reeve, himself paralyzed as a result of a 1995 horse-riding accident, was cast in the lead role. The telefilm also starred Daryl Hannah, Robert Forster, Ruben Santiago-Hudson, and Anne Twomey. It aired November 22, 1998, on the ABC television network.
"Disturbia" (2007) is a modern-day retelling, with the protagonist (Shia LaBeouf) under house arrest instead of laid up with a broken leg, and who believes that his neighbor is a serial killer rather than having committed a single murder. On September 5,
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2008, the Sheldon Abend Trust sued Steven Spielberg, DreamWorks, Viacom, and Universal Studios, alleging that the producers of "Disturbia" violated the copyright to the original Woolrich story owned by Abend. On September 21, 2010, the U.S. District Court in "Abend v. Spielberg", 748 F.Supp.2d 200 (S.D.N.Y. 2010), ruled that "Disturbia" did not infringe the original Woolrich story.
# Home media.
On September 4, 2012, Universal Studios Home Entertainment re-released "Rear Window" to DVD, as a Region 1 widescreen DVD. This release includes the items available in the 2001 release.
On May 6, 2014, Universal Studios Home Entertainment released "Rear Window" to Blu-ray format, with slightly expanded
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he original Woolrich story.
# Home media.
On September 4, 2012, Universal Studios Home Entertainment re-released "Rear Window" to DVD, as a Region 1 widescreen DVD. This release includes the items available in the 2001 release.
On May 6, 2014, Universal Studios Home Entertainment released "Rear Window" to Blu-ray format, with slightly expanded extras.
# See also.
- List of films featuring surveillance
- List of films with a 100% rating on Rotten Tomatoes, a film review aggregator website
# References.
Notes
Further reading
- Orpen treats Hitchcock's and Tomasini's editing of "Rear Window" at length in a chapter of her monograph.
# External links.
- Detailed review at Filmsite.org
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Freedb
freedb is a database of compact disc track listings, where all the content is under the GNU General Public License. To look up CD information over the Internet, a client program calculates a hash function from the CD table of contents and uses it as a disc ID to query the database. If the disc is in the database, the client is able to retrieve and display the artist, album title, track list and some additional information.
It was originally based on the now-proprietary CDDB (Compact Disc DataBase). Because it inherited the CDDB limitations, there is no data field in the freedb database for composer. This limits its usefulness for classical music CDs. Furthermore, CDs in a series are
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often introduced in the database by different people, resulting in inconsistent spelling and naming conventions across discs. the database held just under 2,000,000 CDs. As of 2007, MusicBrainz – a project with similar goals – had a freedb gateway that allows access to their own database.
# History.
The original software behind CDDB was released under the GNU General Public License, and many people submitted CD information thinking the service would also remain free. The license was later changed, however, and some programmers complained that the new license included certain terms that they couldn't accept: if one wanted to access CDDB, one was not allowed to access any other CDDB-like database
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(such as freedb), and any programs using a CDDB lookup had to display a CDDB logo while performing the lookup.
In March 2001, CDDB, now owned by Gracenote, banned all unlicensed applications from accessing their database. New licenses for CDDB1 (the original version of CDDB) were no longer available, since Gracenote wanted to force programmers to switch to CDDB2 (a new version incompatible with CDDB1 and hence with freedb). The license change motivated the freedb project, which is intended to remain free.
freedb is used primarily by media players, cataloguers, audio taggers and CD ripper software. As of version 6 of the freedb protocol, freedb accepts and returns UTF-8 data.
Magix acquired
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vated the freedb project, which is intended to remain free.
freedb is used primarily by media players, cataloguers, audio taggers and CD ripper software. As of version 6 of the freedb protocol, freedb accepts and returns UTF-8 data.
Magix acquired freedb in 2006. MusicBrainz – a project with similar goals – released a freedb gateway in 2007, allowing users to harvest information from the MusicBrainz database rather than freedb.
# Client software.
Further freedb aware applications include:
- Asunder
- Audiograbber
- CDex
- Exact Audio Copy
- foobar2000
- Grip
- JetAudio
- Mp3tag
- MediaMonkey
- puddletag
- Quod Libet
# See also.
- List of online music databases
- MusicBrainz
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National Socialist black metal
National Socialist black metal (also known as NSBM, Aryan black metal or Neo-Nazi black metal) is a political philosophy within black metal music that promotes Nazism or similar ideologies. NSBM artists typically combine neo-Nazi ideology with ethnic European paganism and opposition to "foreign" religions such as Christianity, Islam and Judaism. However, some artists are Satanists or occultists, rather than pagans. NSBM is not seen as a distinct genre, but as a neo-völkisch movement within black metal. According to Mattias Gardell, NSBM musicians see this ideology as "a logical extension of the political and spiritual dissidence inherent in black metal".
Although
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there is an undercurrent of ethnic nationalism in black metal, NSBM artists are a small minority within the genre. Many NSBM artists are not very explicit with their political beliefs in the music, instead expressing their beliefs offstage. Artists who hold far-right or white nationalist beliefs but do not express these in their music are not often deemed "NSBM" by the greater black metal scene, but may be labelled as such in the media.
Some black metal bands have also made references to Nazi Germany purely for shock value, much like some punk rock and heavy metal bands. While some black-metallers boycott NSBM artists, many are indifferent or appreciate the music without supporting the musicians.
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However, according to Christian Dornbusch and Hans-Peter Killguss, the writers of "Unheilige Allianzen", völkisch pagan metal and neo-Nazism are the current trends in black metal, and in turn are affecting the broader metal scene.
# Black metal.
Black metal is a style of extreme metal music. Common traits include fast tempos, a shrieking vocal style, heavily distorted guitars played with tremolo picking, raw (lo-fi) recording, unconventional song structures, and an emphasis on atmosphere. Artists often appear in corpse paint and adopt pseudonyms. During the 1980s, several thrash and death metal bands formed a prototype for black metal. Initially a synonym for "Satanic metal," black metal is
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often met with hostility from mainstream culture, due to the actions and ideologies associated with it. Many artists express extreme anti-Christian and misanthropic views, advocating various forms of Satanism or ethnic paganism. In the 1990s, members of the scene were responsible for a spate of church burnings and murders. There is also a small neo-Nazi National Socialist black metal movement within black metal, although it has been shunned by many prominent artists. Generally, black metal strives to remain underground, inaccessible to the mainstream.
# History.
In the 1980s, 'black metal' referred to heavy metal bands with Satanic lyrics and imagery. Black Metal originated with the band Venom
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out of Newcastle,England. Their debut album Welcome To Hell released in 1981 was followed by 1982's Black Metal. Venom's image lyrics and musical style were copied and inspired by bands such as Metallica, Slayer, Hellhammer, Bathory, Exodus and Possessed to name a few. In the early 1990s, the early Norwegian black metal scene developed the style into a distinct genre. The scene members were fiercely anti-Christian and generally presented themselves as misanthropic Devil-worshipers who wanted to spread hatred, sorrow and evil. However, some bands (who did not call themselves black metal because they were not Satanic) wrote about pre-Christian Scandinavia and its folklore. In 1992, members of
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the scene burnt down a number of churches. In August of the same year, Faust of Emperor killed a gay man who had propositioned him in Lillehammer. In August 1993, Varg Vikernes of Burzum killed fellow musician Euronymous – a well-known figure in the scene – and was arrested shortly after. Euronymous was said to be a communist, but Vikernes denies killing him over ideology. Although Vikernes's music has always been non-political, he began to express neo-Nazi views in writings and interviews after his arrest.
Vikernes is generally seen as being responsible for popularizing such views in the black metal scene. According to an interview in "Blood & Honour" magazine, he contacted neo-Nazi organization
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Zorn 88 (later called the National Socialist Movement of Norway) in 1992 and joined White Aryan Resistance before he killed Euronymous. While in prison, "Vikernes began to formulate his nationalist heathen ideology" and wrote a manifesto called "Vargsmål". It became available on the internet for a while in 1996, and in 1997 it was printed by a Norwegian publisher. Vikernes has long-since distanced himself from the NSBM scene and refers to himself as an "Odalist" rather than a National Socialist or fascist.
Some other members of the early Norwegian scene explored with Nazi themes and imagery, but this was partly an attempt to provoke listeners. Vikernes later claimed that the scene had begun
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"as a nationalistic (Norwegian-centric), racist and anti-Christian revolt" but was "hijacked" by the "Jew-dominated music industry". He claims the industry made it into another tool with which to destroy Europe, by promoting bands who embraced "everything sick and anti-European on this planet, from porn and promiscuity to drugs and homosexuality". Hendrik Möbus of Absurd called NSBM the "logical conclusion" of the Norwegian black metal movement and interpreted the church burnings as a "cultural atavism".
Vikernes wrote some lyrics for the album "Transilvanian Hunger" by Darkthrone, another key band in the Norwegian scene. It was released in 1994 with "Norsk Arisk Black Metal" ('Norwegian Aryan
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Black Metal') printed on the back cover. This caused much controversy, but Darkthrone offered an explanation and stated that they were "not a Nazi band nor a political band". At around this time, some other Norwegian black-metallers made seemingly racist statements. In 1994, Mayhem drummer Hellhammer said of the genre's links with racism: "I'll put it this way, we don't like black people here. Black Metal is for white people". When Mayhem re-formed after Euronymous's death, they began releasing merchandise bearing World War II-era Nazi symbols. However, in a later interview, Hellhammer said "I don't give a crap if the fans are white, black, green, yellow, or blue. For me music and politics don't
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go hand in hand".
In 1995, prominent Norwegian black metal vocalist Gaahl described "niggers" and "mulattoes" as "subhuman" and stated his admiration for Vikernes and Adolf Hitler. However, he too has since distanced himself from these statements. Gaahl was voted Gay Person of the Year in 2010 in Bergen. According to the authors of "Lords of Chaos", in 1995, three Swedish black-metallers (including Mika "Belfagor" Hakola of the band Nefandus) went on a "niggerhunt" in Linköping. Wielding an axe and two machetes, they "terrorized" a black man. Nefandus were later "considered to be Nazi sympathizers", though Belfagor explained: "This could not be further from the truth, but I guess this has to
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do with some of the controversial comments I made in various magazines in my youth, when I still aspired to play in the most hated band in the world. I used a lot of provocative language back then. But to sort things out: I associate with people of all creeds and colours. ... So to be labeled a Nazi or a racist is very offensive to me".
One of the first NSBM releases was the 1995 demo "Thuringian Pagan Madness" by German band Absurd. It was recorded while the members were imprisoned for murdering a boy from their school. On the demo cover is a photograph of his gravestone and pro-Nazi statements. After this, Absurd became one of the pioneers of NSBM. Other bands deemed to be part of the early
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NSBM scene include Graveland, Infernum, and Veles (from Poland), Branikald (from Russia), and Spear of Longinus and Waffenbrüder (from Australia). In the 1990s, some of the earliest American black metal bands—like Judas Iscariot—joined an international NSBM organization called the Pagan Front, although Judas Iscariot's sole member Akhenaten left the organization. Thelemnar, the drummer of German band Secrets of the Moon, said he got to know him "only as an intelligent person and never as a Nazi".
# Ideology.
NSBM typically melds Neo-Nazi beliefs (such as fascism, white supremacy, white separatism, White nationalism, right-wing extremism, antisemitism, xenophobia, ethnic separatism, with some
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