Clockwise from top left: Modern Times (screenshot), Newsies (screenshot), Norma Rae (20th Century Fox), Sorry To Bother You (Annapurna Pictures)Graphic: The A.V. Club
Just in time for Labor Day 2023, The A.V. Club has pulled together a rundown of the best films that celebrate the proletariat. Presented with all working class heroes in mind,...
Just in time for Labor Day 2023, The A.V. Club has pulled together a rundown of the best films that celebrate the proletariat. Presented with all working class heroes in mind,...
- 9/1/2023
- by The A.V. Club
- avclub.com
Payal Kapadia’s debut feature A Night of Knowing Nothing opens with the discovery of a box of unset letters in a hostel at Pune’s Film and Television Institute of India. Written in the wake of a lover’s sudden departure by a woman from a lower caste identified only by the initial “L,” stories of solidarity and cinema transport the viewer to university life from 2015 and onwards. In Kapadia’s previous short films like The Last Mango Before the Monsoon (2015) and Afternoon Clouds (2017), women yearned for lost lovers within the secrecy of dreams, where for the duration of a night or a brief nap they could feel freedom from political and cultural strictures. But the epistolary structure and second-person narration of A Night of Knowing Nothing (which played in the Wavelengths program at the Toronto International Film Festival and will play at the New York Film Festival) allows...
- 10/2/2021
- MUBI
The Notebook Primer introduces readers to some of the most important figures, films, genres, and movements in film history. The series Independent Women: The Pioneering Cinema of Márta Mészáros starts on Mubi on March 22, 2021 in many countries.In an interview with Philip Roth, Czech writer Milan Kundera said about the concept of forgetting: “This is the great private problem of man: death as the loss of self. But what is this self? It is the sum of everything we remember. Thus, what terrifies us about death is not the loss of the past. Forgetting is a form of death ever present within life…. But forgetting is also the great problem of politics. When a big power wants to deprive a small country of its national consciousness, it uses the method of organized forgetting.”The films of Márta Mészáros epitomize these sentiments. Internationally renowned for her four Diary films—Diary for...
- 3/31/2021
- MUBI
Above: 1962 poster for The Human Condition III: A Soldier’s Prayer.The extraordinary German graphic designer Hans Hillmann (1925–2014) should need no introduction to readers of this column: I’ve written about him on a number of occasions and anyone who loves movie poster design should know his name. For a long time, however, it has been hard to find a lot of his work online, certainly not all in one place. For a while I had entertained the idea of trying to collect images of every single movie poster he ever designed and ranking them from best to least-best. But I knew that even if I could gather together his more than 160 posters that I would tie myself in knots trying to put them in any kind of order.Thankfully author and publisher Jens Müller has done half of the work for me. Müller had first met Hillmann when he curated...
- 3/19/2021
- MUBI
The Notebook Primer introduces readers to some of the most important figures, films, genres, and movements in film history. Sergei Mikhailovich Eisenstein, born January 23, 1898, in Latvia, was, for better and worse, a distinct product of his time. At the turn of the century, the Russian Empire was a vast, volatile region of intense sociopolitical upheaval, technological innovation, and artistic inspiration, cultural facets that would define and dramatically impact Eisenstein’s subsequently tremulous life and career. Intending to follow in the footsteps of his father, Eisenstein was admitted to the Petrograd Institute of Civil Engineering in 1915. But with the outbreak of the Russian Revolution in 1917, he enlisted in the Red Army and became a designer for its theatrical unit. Enamored by the heady influence of the Bolshevik uprising, Eisenstein was also inspired by assorted manner of creative expression, including Kabuki theater, opera, and comic strips. After joining the Proletkult Theatre in Moscow,...
- 8/12/2020
- MUBI
Ready for some good old-fashioned artistic propaganda, Soviet-style Russian filmmakers tried to make film grammar into an emotional-intellectual science, and these pro-Revolution masterpieces by Vsevolod Pudovkin are terrific lessons in cinematic persuasion. The first two commemorate big moments in proletarian revolt. The third heads east to Soviet Mongolia for an even more powerful demonstration of Pure Kino-Power harnessed to political ends. With plenty of extras including informed, insightful (and needed) audio commentaries.
The Bolshevik Trilogy
Three Films by Vsevolod Pudovkin
Blu-ray
Flicker Alley
1926-1928 / B&w / 1:33 flat / 87, 73, 131 (291) min.
Street Date March 23, 2020
Available through Flicker Alley / 34.95
Mother
The End of St. Petersburg
Storm Over Asia
Directed by Vsevolod Pudovkin
The more abstract Soviet agit-prop film classics were a tough row to hoe in film school. We’d study the writings of Sergei Eisenstein, etc., but the theories on paper didn’t always apply to the films we could see. In...
The Bolshevik Trilogy
Three Films by Vsevolod Pudovkin
Blu-ray
Flicker Alley
1926-1928 / B&w / 1:33 flat / 87, 73, 131 (291) min.
Street Date March 23, 2020
Available through Flicker Alley / 34.95
Mother
The End of St. Petersburg
Storm Over Asia
Directed by Vsevolod Pudovkin
The more abstract Soviet agit-prop film classics were a tough row to hoe in film school. We’d study the writings of Sergei Eisenstein, etc., but the theories on paper didn’t always apply to the films we could see. In...
- 3/21/2020
- by Glenn Erickson
- Trailers from Hell
Ready for some good old-fashioned artistic propaganda, Soviet-style? Russian filmmakers tried to make emotional-intellectual film grammar into a science, and these pro-Revolution masterpieces by Vsevolod Pudovkin are terrific lessons in cinematic persuasion. The first two commemorate big moments in proletarian revolt. The third heads east to Soviet Mongolia for an even more powerful demonstration of Pure Kino-Power harnessed to political ends. With plenty of extras including informed, insightful (and needed) audio commentaries.
The Bolshevik Trilogy
Three Films by Vsevolod Pudovkin
Blu-ray
Flicker Alley
1926-1928 / B&w / 1:33 flat / 87, 73, 131 (291) min.
Street Date March 23, 2020
Available through Flicker Alley / 34.95
Mother
The End of St. Petersburg
Storm Over Asia
Directed by Vsevolod Pudovkin
The more abstract Soviet agit-prop film classics were a tough row to hoe in film school. We’d study the writings of Sergei Eisenstein, etc., but the theories on paper didn’t always apply to the films we could see. In...
The Bolshevik Trilogy
Three Films by Vsevolod Pudovkin
Blu-ray
Flicker Alley
1926-1928 / B&w / 1:33 flat / 87, 73, 131 (291) min.
Street Date March 23, 2020
Available through Flicker Alley / 34.95
Mother
The End of St. Petersburg
Storm Over Asia
Directed by Vsevolod Pudovkin
The more abstract Soviet agit-prop film classics were a tough row to hoe in film school. We’d study the writings of Sergei Eisenstein, etc., but the theories on paper didn’t always apply to the films we could see. In...
- 3/21/2020
- by Glenn Erickson
- Trailers from Hell
Russian editing whizzes Sergei Eisenstein, Vsevolod Pudovkin, and Lev Kuleshov proved it in the earliest days of silent film: Truth rests in the eye of the beholder. In Fred Schepisi’s 1988 true drama, “A Cry in the Dark,” Meryl Streep starred as the woman who famously cried “a dingo took my baby!” to resounding disbelief in Australia. Police and others looked at her inexpressive face, surrounded by a cowl of dark hair, and decided she was guilty of murdering her child.
Similarly, the court of public opinion — as well as the courts of Italy — declared that 20-year-old party girl Amanda Knox, studying abroad in Perugia, murdered her roommate, Meredith Kercher. It took eight years, but in 2015 the Italian Supreme Court finally declared her innocent, and that she had no motive.
Who supplied her motives? According to Brian McGinn and Rod Blackhurst’s documentary “Amanda Knox” (Netflix, September 30), which took five...
Similarly, the court of public opinion — as well as the courts of Italy — declared that 20-year-old party girl Amanda Knox, studying abroad in Perugia, murdered her roommate, Meredith Kercher. It took eight years, but in 2015 the Italian Supreme Court finally declared her innocent, and that she had no motive.
Who supplied her motives? According to Brian McGinn and Rod Blackhurst’s documentary “Amanda Knox” (Netflix, September 30), which took five...
- 10/6/2016
- by Anne Thompson
- Thompson on Hollywood
Russian editing whizzes Sergei Eisenstein, Vsevolod Pudovkin, and Lev Kuleshov proved it in the earliest days of silent film: Truth rests in the eye of the beholder. In Fred Schepisi’s 1988 true drama, “A Cry in the Dark,” Meryl Streep starred as the woman who famously cried “a dingo took my baby!” to resounding disbelief in Australia. Police and others looked at her inexpressive face, surrounded by a cowl of dark hair, and decided she was guilty of murdering her child.
Similarly, the court of public opinion — as well as the courts of Italy — declared that 20-year-old party girl Amanda Knox, studying abroad in Perugia, murdered her roommate, Meredith Kercher. It took eight years, but in 2015 the Italian Supreme Court finally declared her innocent, and that she had no motive.
Who supplied her motives? According to Brian McGinn and Rod Blackhurst’s documentary “Amanda Knox” (Netflix, September 30), which took five...
Similarly, the court of public opinion — as well as the courts of Italy — declared that 20-year-old party girl Amanda Knox, studying abroad in Perugia, murdered her roommate, Meredith Kercher. It took eight years, but in 2015 the Italian Supreme Court finally declared her innocent, and that she had no motive.
Who supplied her motives? According to Brian McGinn and Rod Blackhurst’s documentary “Amanda Knox” (Netflix, September 30), which took five...
- 10/6/2016
- by Anne Thompson
- Indiewire
How would you program this year's newest, most interesting films into double features with movies of the past you saw in 2015?Looking back over the year at what films moved and impressed us, it is clear that watching old films is a crucial part of making new films meaningful. Thus, the annual tradition of our end of year poll, which calls upon our writers to pick both a new and an old film: they were challenged to choose a new film they saw in 2015—in theatres or at a festival—and creatively pair it with an old film they also saw in 2015 to create a unique double feature.All the contributors were given the option to write some text explaining their 2015 fantasy double feature. What's more, each writer was given the option to list more pairings, with or without explanation, as further imaginative film programming we'd be lucky to catch...
- 1/4/2016
- by Notebook
- MUBI
Russian filmmaker Vsevolod Pudovkin is a name most people only hear in film school, but the director's influence can be seen in nearly every movie shown in theaters today. His innovative editing theories were summed up in something he described as "relational editing" — and he defined this with five different examples: contrast, parallelism, symbolism, simultaneit, and leitmotif. By focusing on these techniques, Pudovkin proved that editing wasn't merely compiling a series of shots, but building many small relationships between the artistic, conceptual and technical. Our narrator in this 12-minute video offers modern examples of each. The Godfather's climactic baptism scene, in which Connie and Carlo's newborn son is being christened while...
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- 10/23/2013
- by Alison Nastasi
- Movies.com
Many casual cinema-goers can name their favorite actors, actresses or directors, but not many outside of the industry have a favorite editor. I've often wondered why editors don't seem to get as much credit for the success of a film the same way that directors do. They are, after all responsible for putting a film together, perfecting its flow and artfully connecting the different components of the story, even if they are under the director's instruction. Vsevolod Pudovkin was a director and actor during the birth of the moving pictures. But according to actor-writer-director Evan Richards, Podovkin's biggest contributions to the world of cinema are his editing techniques. Pudovkin wrote,"Editing is not merely a method of the junction of separate scenes or pieces, but is a method that controls the 'psychological guidance' of the spectator." Take a look at Richards' video that lays out Pudovkin's five editing techniques which...
- 10/9/2013
- by Casey Cipriani
- Indiewire
Apart from the three sneak screening titles that will stir up the buzz in the coming days, Julie Huntsinger and Tom Luddy’s 40th edition of the Telluride Film Festival excels in bringing a concentration of solid docus from the likes of Errol Morris and Werner Herzog who this year cuts the ribbon on a theatre going by his name and introduces Death Row, a pinch of Berlin Film Fest items (Gloria, Slow Food Story, Fifi Howls from Happiness) Palme d’Or winner (this year Abdellatif Kechiche will be celebrated), upcoming Sony Pictures Classics items (Tim’s Vermeer, The Lunchbox), Venice to Telluride to Tiff titles (Bethlehem, Tracks and Under the Skin), the latest Jason Reitman film (Labor Day) and the barely known docu-home-movie whodunit (by helmers Dan Geller and Dayna Goldfine) The Galapagos Affair: Satan Came to Eden which features narration from the likes of Cate Blanchett, Diane Kruger and Connie Nielsen.
- 8/28/2013
- by Eric Lavallee
- IONCINEMA.com
It has been quiet for a couple of days at the Hong Kong International Film Festival, or for me at least, as real world commitments came between me and spending the day in a darkened room (not least having to entertain Twitch overlord Todd Brown as he whistled through town), but now we are back up and running. Here's what I have been checking out!Days 6 & 7 (27-28 March)The Living Corpse (dir. Fedor Ocep, Germany/Soviet Union)The first film screening in the festival's restored classics section was this incredibly engaging 1929 silent film from Fedor Ocep, with live musical accompaniment from German pianist Eunice Martins. The film, based on a novel by Leo Tolstoy, centres on Fyodor (Vsevolod Pudovkin), a cuckolded man who attempts to...
- 3/31/2012
- Screen Anarchy
The word montage comes from the French word “monter” which means to assemble. In editing, a montage means to effectively communicate the emotions and ideas with which the artist is concerned. Russian filmmaker Vsevolod Pudovkin came up with constructive editing in the 1920s, which revolutionized the modern montage. Constructive editing was a method whereby Soviet filmmakers would take apart old films and put them together in different ways. Pudovkin felt that the use of new shots should make their own point and create new meanings through their juxtapositions. Using the psychology of Ivan Pavlov's conditioning (an experiment he used with a bell and his hungry dog), Soviet filmmakers theorized that the associations of ideas could work the same way. They believed that filmmakers should be concerned with creating new techniques that could create meaning, not just using the same old conditioned ones. Editing consisted of the thesis (shot 1) and the...
- 2/5/2012
- by Rob Lazar
- Cineplex
From Aleksandr Andriyevsky's Gibel Sensatsii (Lost Sensation, 1935)
The Deutsche Kinemathek - Museum für Film und Fernsehen, which has organized the Berlinale's Retrospective program since 1977, and New York's Museum of Modern Art have worked together on this or that series in the past, but today the festival has announced that the cooperation is going long-term. Starting with this year's Retrospective program, The Red Dream Factory. Mezhrabpom-Film and Prometheus 1921-1936, the Berlinale, Kinemathek and MoMA will be working closely to select and curate future Retrospectives. The Red Dream Factory, screening in Berlin from February 9 through 19, will be presented at MoMA from April 11 through 30, and here's the gist from the Berlinale's announcement in October:
Moisei Aleinikov, a Russian film expert and producer from tsarist times who had a great instinct for the right topics, and Willi Münzenberg, a German communist and "red media entrepreneur," joined forces in 1922 to combine clever business ideas,...
The Deutsche Kinemathek - Museum für Film und Fernsehen, which has organized the Berlinale's Retrospective program since 1977, and New York's Museum of Modern Art have worked together on this or that series in the past, but today the festival has announced that the cooperation is going long-term. Starting with this year's Retrospective program, The Red Dream Factory. Mezhrabpom-Film and Prometheus 1921-1936, the Berlinale, Kinemathek and MoMA will be working closely to select and curate future Retrospectives. The Red Dream Factory, screening in Berlin from February 9 through 19, will be presented at MoMA from April 11 through 30, and here's the gist from the Berlinale's announcement in October:
Moisei Aleinikov, a Russian film expert and producer from tsarist times who had a great instinct for the right topics, and Willi Münzenberg, a German communist and "red media entrepreneur," joined forces in 1922 to combine clever business ideas,...
- 1/10/2012
- MUBI
Soviet state-run cinema was fast, furious and fun before the dead hand of Stalin called time on experimentation and entertainment
A fast and furious chase, full of physical gags and gangsters, with jokes at the expense of American imperialism. A hallucinatory horror, where ordinary objects take on a life of their own, scripted by a literary theorist. A bed-hopping love triangle, simmering in a cramped flat. A big-budget science fiction spectacular, full of futuristic sets and bizarre, revealing costumes. A workers' strike, depicted via special effects and pratfalls. A film about film-making itself, with no plot, no words, no narrative, which is somehow the most thrilling film you'll ever see. A film about collective farming with full-frontal nudity and inscrutable, poetic metaphors. A film about mutinous sailors that manages to accidentally invent the action film as we know it.
This is Soviet cinema in the 1920s. An almost entirely state-run cinema,...
A fast and furious chase, full of physical gags and gangsters, with jokes at the expense of American imperialism. A hallucinatory horror, where ordinary objects take on a life of their own, scripted by a literary theorist. A bed-hopping love triangle, simmering in a cramped flat. A big-budget science fiction spectacular, full of futuristic sets and bizarre, revealing costumes. A workers' strike, depicted via special effects and pratfalls. A film about film-making itself, with no plot, no words, no narrative, which is somehow the most thrilling film you'll ever see. A film about collective farming with full-frontal nudity and inscrutable, poetic metaphors. A film about mutinous sailors that manages to accidentally invent the action film as we know it.
This is Soviet cinema in the 1920s. An almost entirely state-run cinema,...
- 5/27/2011
- by Owen Hatherley
- The Guardian - Film News
In the 1920s and 30s it was a struggle against the censors to get the likes of Battleship Potemkin shown in the UK. Now the BFI is celebrating these pioneering Russian films
Some Russian films of the early 20th century that sent shockwaves through Europe, making an impact outside the realm of cinema, are celebrated in a two-month BFI Southbank season. John Lehmann, poet, Hogarth Press editor, and brother of novelist Rosamond, wrote in 1940 that their appearance in London "was an event that had a decisive formative influence on the minds of the most alert of the new generation". Yet the films' arrival was staggered to say the least.
Bedecked with endorsements from Douglas Fairbanks and Mary Pickford, the world's most famous couple, Sergei Eisenstein's Battleship Potemkin had done sensational business in Germany in 1926, but distributors' hopes of repeat success in Britain ran aground. "Officialdom," complained an out-of-character Daily Express,...
Some Russian films of the early 20th century that sent shockwaves through Europe, making an impact outside the realm of cinema, are celebrated in a two-month BFI Southbank season. John Lehmann, poet, Hogarth Press editor, and brother of novelist Rosamond, wrote in 1940 that their appearance in London "was an event that had a decisive formative influence on the minds of the most alert of the new generation". Yet the films' arrival was staggered to say the least.
Bedecked with endorsements from Douglas Fairbanks and Mary Pickford, the world's most famous couple, Sergei Eisenstein's Battleship Potemkin had done sensational business in Germany in 1926, but distributors' hopes of repeat success in Britain ran aground. "Officialdom," complained an out-of-character Daily Express,...
- 5/26/2011
- The Guardian - Film News
This Sunday, David Phelps and John MacKay, Professor of Slavic Languages and Literatures and Chair of Film Studies at Yale, will be presenting a double feature followed by a discussion at UnionDocs in Brooklyn. I cede the floor to David:
Two unsung masterworks: Jean-Luc Godard's Kids Play Russia (1993) is a personal history of Soviet montage, and Vsevolod Pudovkin's Storm Over Asia (1927) is one of its great exemplars. In both, against the voice of a lone renegade, the West invades the East to capture it — that is, in images of its stereotypes. Sight makes might? In these spectacular assaults on spectacle, Pudovkin stresses the imperialists' lives led "for appearance sake," and Godard argues that Western cinema will only see things by its code. And yet both, shooting documentaries in "the land of fiction" and editing them as dramas, redeem fiction as a possible, documentary reality; Godard starts seeing echoes...
Two unsung masterworks: Jean-Luc Godard's Kids Play Russia (1993) is a personal history of Soviet montage, and Vsevolod Pudovkin's Storm Over Asia (1927) is one of its great exemplars. In both, against the voice of a lone renegade, the West invades the East to capture it — that is, in images of its stereotypes. Sight makes might? In these spectacular assaults on spectacle, Pudovkin stresses the imperialists' lives led "for appearance sake," and Godard argues that Western cinema will only see things by its code. And yet both, shooting documentaries in "the land of fiction" and editing them as dramas, redeem fiction as a possible, documentary reality; Godard starts seeing echoes...
- 5/10/2011
- MUBI
Unlike his famous contemporary, Asquith struggled with the transition to sound – but his partnership with Terence Rattigan produced classic cinema and theatre
When Alfred Hitchcock, interviewed by François Truffaut, lamented the "photographs of people talking" that passed for movies, he was voicing an old commonplace. Even before the coming of sound Anthony Asquith, the director with whom Hitchcock was then routinely compared (both were young, promising, stylistically similar, socially distinct) complained of films comprising "alternate close-ups of two men talking across a table with subtitles giving their conversation sandwiched in between. That is not a real film, but a photographed play."
For the cognoscenti cinema meant movement, rhythm, Battleship Potemkin. In a word, montage. Asquith was there in February 1929 when Vsevolod Pudovkin, in front of an English audience after the London debut of The End of St Petersburg, described the "Kuleshov experiment". Its inspirational conclusion, in Asquith's paraphrase, was that...
When Alfred Hitchcock, interviewed by François Truffaut, lamented the "photographs of people talking" that passed for movies, he was voicing an old commonplace. Even before the coming of sound Anthony Asquith, the director with whom Hitchcock was then routinely compared (both were young, promising, stylistically similar, socially distinct) complained of films comprising "alternate close-ups of two men talking across a table with subtitles giving their conversation sandwiched in between. That is not a real film, but a photographed play."
For the cognoscenti cinema meant movement, rhythm, Battleship Potemkin. In a word, montage. Asquith was there in February 1929 when Vsevolod Pudovkin, in front of an English audience after the London debut of The End of St Petersburg, described the "Kuleshov experiment". Its inspirational conclusion, in Asquith's paraphrase, was that...
- 4/7/2011
- The Guardian - Film News
First the history, then the list:
In 1969, Jerome Hill, P. Adams Sitney, Peter Kubelka, Stan Brakhage, and Jonas Mekas decided to open the world’s first museum devoted to film. Of course, a typical museum hangs its collections of artwork on the wall for visitors to walk up to and study. However, a film museum needs special considerations on how — and what, of course — to present its collection to the public.
Thus, for this film museum, first a film selection committee was formed that included James Broughton, Ken Kelman, Peter Kubelka, Jonas Mekas and P. Adams Sitney, plus, for a time, Stan Brakhage. This committee met over the course of several months to decide exactly what films would be collected and how they would be shown. The final selection of films would come to be called the The Essential Cinema Repertory.
The Essential Cinema Collection that the committee came up with consisted of about 330 films.
In 1969, Jerome Hill, P. Adams Sitney, Peter Kubelka, Stan Brakhage, and Jonas Mekas decided to open the world’s first museum devoted to film. Of course, a typical museum hangs its collections of artwork on the wall for visitors to walk up to and study. However, a film museum needs special considerations on how — and what, of course — to present its collection to the public.
Thus, for this film museum, first a film selection committee was formed that included James Broughton, Ken Kelman, Peter Kubelka, Jonas Mekas and P. Adams Sitney, plus, for a time, Stan Brakhage. This committee met over the course of several months to decide exactly what films would be collected and how they would be shown. The final selection of films would come to be called the The Essential Cinema Repertory.
The Essential Cinema Collection that the committee came up with consisted of about 330 films.
- 5/3/2010
- by Mike Everleth
- Underground Film Journal
James Cameron in Los Angeles with 70Mm prints of "Aliens" and "The Abyss"?!?! The Dardenne brothers in New York for a career retrospective?!?! The instant cult classic "The Room" with Tommy Wiseau live in Austin?!?! Be still my heart. There's something for all tastes this summer on the West Coast, the East Coast and as you'll notice, the Third Coast on our calendar of the must-see events on the repertory theater circuit in May, June and July. And don't miss our look at the indie films that are hitting theaters or headed to online, VOD or DVD premiere this summer.
Anthology Film Archives
With the New York Polish Film Festival (May 6-10) and first-runs of the docs "Ice People" (May 1-7) and "Audience of One" (May 8-14) and Ken Jacobs' reinvention of his 1969 work "Tom, Tom, The Piper's Son" with the 3D "Anaglyph Tom" (May 15-21) taking up the Anthology's screens,...
Anthology Film Archives
With the New York Polish Film Festival (May 6-10) and first-runs of the docs "Ice People" (May 1-7) and "Audience of One" (May 8-14) and Ken Jacobs' reinvention of his 1969 work "Tom, Tom, The Piper's Son" with the 3D "Anaglyph Tom" (May 15-21) taking up the Anthology's screens,...
- 5/5/2009
- by Stephen Saito
- ifc.com
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