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582_1 | The story opens circa 1980 at an abandoned chateau in the Swiss Alps, once a prestigious boarding school, L'Hirondelle. Internationally famous film siren, Lili, travels from there to a private meeting with the elderly Hortense Boutin, whom Lili knows was paying money on behalf of one of the school's students to a family which adopted the student's illegitimate child. Lili is the child, now grown up. |
582_2 | The story flashes back to 1960, introducing schoolgirls Pagan Trelawney, Judy Hale, and Maxine Pascal. Each becomes entangled with a man – Pagan with Prince Abdullah of Sydon, Judy with banker Nick Cliffe, and Maxine with ice hockey player Pierre Boursal. All three romances fail, but one of the women becomes pregnant. Knowing it means ruin for the unwed mother, the three make a pact to protect her identity. All three present themselves to the local doctor, Dr. Geneste, and he agrees to assist in having the child adopted. When the doctor discovers the identity of the mother-to-be, he says, "Of the three of you, you are the one I least suspected." The child, Elizabeth Lace, is born on November 17, 1960. The mother's birth name is recorded as Lucinda Lace. |
582_3 | An attempt by the school's headmaster Monsieur Chardin to expel the girls is thwarted when they unearth photographs of him in a homosexual tryst with the school's chauffeur, Paul. They blackmail Chardin into allowing them to stay and graduating them with honors. The child is placed with a foster family. On their behalf, Maxine's aunt, Hortense Boutin, agrees to pay money to Felix and Angelina Dassin, a French couple who consent to raise the child until her real mother establishes herself and can come back for her someday. |
582_4 | The three girls, on the verge of success in their respective careers, receive a report that the child has been killed in an auto accident. Consumed with guilt and shame, the three friends have a falling out and go their separate ways. In fact, Lili survived. Felix and Angelina were gunned down by Hungarian Soldiers after the accident. She was placed in a detention camp on the Eastern Bloc, where she spent the next ten years before finally escaping and eventually transforms herself into a film sex symbol. |
582_5 | Employing a private investigator, Lili tracks the payments to her adopted parents to Hortense, and through her, finds out about the three school friends and their pact. She knows one of them is her mother. Pagan Trelawney is now Lady Swann, a British aristocrat and the wife of a cancer researcher; Judy Hale has become a journalist, war correspondent, and publisher of Lace magazine; while Maxine Pascal is now the Countess de Chazalle, a French socialite. Hortense insists to Lili that the child is dead. But Lili defiantly proclaims "They'll wish I was. They made their schoolgirl pact and sent me to Hell--I'll teach them what I learned there!" As she leaves, the revelation proves to be too much for Hortense to bear and she suffers a fatal heart attack and dies. |
582_6 | After Hortense's funeral, which Maxine, Pagan and Judy all attend and where she witnesses the extent of their estrangement from one another, Lili inveigles herself in the lives of the three women, promising each of them something of value: for Judy, an exclusive interview for her magazine; to Pagan, a very sizable donation to her cancer society charity and for Maxine, to stop dating her son. But she also intends to ruin them if they do not reveal which of them is her mother. She assembles the three and challenges them with the mini-series' most famous line: "Incidentally...which one of you bitches is my mother?" The second part of the mini-series is driven largely by flashbacks to the three women's young adulthood, charting their career successes and returning occasionally to the present where all three are in the company of the woman who claims to be the abandoned daughter. Lili, at the end of the flashbacks, again tries to force a confession from them, but they still remain silent. |
582_7 | Infuriated, Lili orders them to leave, but says she intends to keep the promises she made them regardless. As she ascends to her bedroom, she shocks the women by revealing the full details of her birth to the trio. |
582_8 | Later in the hotel bar, Judy, Pagan and Maxine all confirm that Lili was telling the truth and they all humorously agree that she is better than all of them put together. Maxine comments that "Well, at least she brought us all back together. I missed you - I really did". That last declaration finally repairs their damaged relationship. They agree Lili must be told the truth with Judy stating that this time, Lili's real mother is on her own in doing so.
Lili receives a phone call from the hotel manager, telling her that her mother wants to see her. A pair of high heels can be seen walking up the stairs. Finally, Judy Hale comes into the room and beckons Lili to come closer. Lili slowly rises and walks toward Judy, and the two embrace.
Crew
Lace was produced by Gary Adelson, Preston Fischer, Lynn Guthrie and David Jacobs. The original music, including the title theme, was composed by Nick Bicât. It was directed by William Hale, from a script by Elliott Baker.
Cast |
582_9 | Judy Hale (Bess Armstrong)
Pagan Trelawney (Brooke Adams)
Maxine Pascal (Arielle Dombasle)
"Lili", born Elizabeth Lace (Phoebe Cates)
Prince Abdullah of Sydon (Anthony Higgins)
Aunt Hortense Boutin (Angela Lansbury)
Nick Cliffe (Simon Chandler)
Pierre Boursal (François Guétary)
Selma (Honor Blackman)
Mrs. Trelawney (June Brown)
Detective (Jacques Maury)
Priest (Jacques Herlin)
Mme Chardin (Ginette Garcin)
M. Chardin (Herbert Lom)
Dr. Geneste (Anthony Quayle)
Nurse (Jenny Clève)
Angelina (Syvie Herbert)
Félix (Féodor Atkine)
Serge (Pierre Olaf)
Paul (Jonathan Hyde)
Count Charles de Chazalle (Leigh Lawson)
Sir Christopher Swann (Nickolas Grace)
French Hotel owner (Rachel Salik)
Woman in Paris (Chantal Neuwirth)
Teresa (Dominique Blanc)
Helga "Piggy" Fassbinder (Annette Badland)
Rahman Qureshi (Prince Mustapha/Son of Prince Abdullah)
Video and DVD |
582_10 | Lace was released on home video in the UK and Germany through Warner Bros. on March 27, 1995. It was PAL format. The German release was a UK import. Both Lace and Lace II were released on DVD through the Warner Archive Collection in 2010, but Lace II was discontinued a few months later.
Sequel |
582_11 | Lace was followed by a two-part sequel, Lace II, which aired on ABC from May 5–6, 1985. The principal cast was identical to Lace, with two exceptions: Deborah Raffin replaces Bess Armstrong in the role of Judy Hale, and Michael Fitzpatrick replaced Simon Chandler as Nick Cliffe. The plot of Lace II involves Lili's search for the identity of her father. It used the marketing line "Which one of you bastards is my father?". The opening theme of the miniseries, "No More Lies" was composed by Nick Bicât and performed by Deniece Williams. We learn in the end that Lili's father is Prince Abdullah of Sydon, who raped Judy on her way back to school after a one-night stand with Nick Cliffe, who was already engaged.
Lace II was considered a flop because it received half the audience of its predecessor.
Book |
582_12 | The novel on which Lace is based, also titled Lace, was written by Shirley Conran. It was first published in the United States by Simon & Schuster on July 1, 1982. The hardcover edition ran to 604 pages.
In the book there is a fourth "mother", a journalist named Kate, but this character does not appear in the adaptation, in which Judy is a journalist.
References
External links
1984 American television series debuts
1984 American television series endings
American Broadcasting Company original programming
1980s American television miniseries
Television shows based on British novels
Works about adoption |
583_0 | Maps to the Stars is a 2014 internationally co-produced satirical drama film directed by David Cronenberg, and starring Julianne Moore, Mia Wasikowska, John Cusack, Robert Pattinson, Olivia Williams, Sarah Gadon, and Evan Bird. The screenplay was written by Bruce Wagner, who had written a novel entitled Dead Stars based on the Maps to the Stars script, after initial plans for making the film with Cronenberg fell through.
This is the second consecutive collaboration between Cronenberg and Pattinson (after Cosmopolis) and marks the third collaboration between Cronenberg and Prospero Pictures, who previously collaborated on A Dangerous Method and Cosmopolis. This is also the third Cronenberg film made with Canadian actress Sarah Gadon. It is the first Cronenberg film shot partially in the United States, although most of it was shot, like his other films, in his native city of Toronto, Ontario, Canada. |
583_1 | The film concerns the plight of a child star and a washed up actress while commenting on the entertainment industry's relationship with Western civilization as a whole. The film premiered in competition for the Palme d'Or at the 2014 Cannes Film Festival on May 19, 2014. Moore won the festival's Best Actress Award. Following its premiere at Cannes, the film had a theatrical release in France on May 21, 2014.
Plot |
583_2 | Agatha Weiss arrives in Los Angeles and employs limousine driver Jerome to take her to the site of the former house of child star Benjie Weiss. Agatha has severe burns to her face and body, requiring her to take a copious amount of medication. Benjie visits a child suffering from non-Hodgkin lymphoma in the hospital; the girl later dies, and Benjie is confronted by her ghost. Benjie's father, Dr. Stafford Weiss, is a TV psychologist who is treating aging actress Havana Segrand for abuse she suffered at the hands of her deceased mother, also an actress. Havana's agent struggles to get Havana a role in a remake of her mother's film Stolen Waters. Havana routinely hallucinates about the deceased younger version of her mother. |
583_3 | Benjie and his mother, Cristina, negotiate a role for Benjie in a film as his comeback after drug rehabilitation. At the suggestion of Carrie Fisher, Havana hires Agatha, whom Carrie had met on Twitter, as a personal assistant. Agatha continues to see Jerome, and a romance forms, though Jerome appears resistant at first. Stafford learns through Havana that Agatha has returned to L.A. Agatha is Benjie's sister – however, she is shunned by her parents (Cristina and Stafford).
Using Havana's role in Stolen Waters to gain access to the production lot, Agatha visits Benjie on set. A schizophrenic, Agatha tells him that she has returned from a sanatorium to make amends for setting the fire that burned her and nearly killed him when he was seven. When Stafford learns Agatha visited Benjie, he finds her in her hotel room, gives her $10,000, and tells her to leave L.A. before she ruins everything. |
583_4 | Benjie breaks his sobriety, getting high on GHB, and carelessly shoots the dog of his only friend. Agatha visits her mother, Cristina, and reveals that before she set the fire she had discovered that her parents were brother and sister, making Agatha and Benjie children of incest. Cristina tells her they were separated as children and didn't know they were related. Stafford comes home, and when Agatha tells him she knows about their familial relations, Stafford violently beats her, until Cristina intervenes. During the altercation, Agatha steals Cristina's wedding ring. On set, Benjie is haunted by the girl from the hospital and, during an hallucination, he strangles his young co-star. The child survives, though Benjie is now to be replaced in the film. |
583_5 | Havana requests Jerome as a driver and seduces him in the backseat of his parked limo in the driveway of her home as Agatha watches from the window. Havana enters the house and berates Agatha for her poor performance at work and then verbally humiliates her when she finds that the girl has stained her expensive couch with menstrual blood. Agatha beats Havana to death with one of her awards.
Benjie escapes the hospital and comes to Havana's house to find Agatha. Agatha tells him it all must end now. She shows him that she has their mother's wedding ring and instructs him to go get their father's ring. |
583_6 | Stafford returns home to see Cristina on fire outside beside the pool. As she screams, engulfed in flames, he uses a piece of pool furniture to push her into the pool where she dies. Benjie arrives and finds his father by the pool in a catatonic state. He takes his father's wedding ring off his finger, then reunites with Agatha at the site of their previous home that Agatha had burned down. On the fireplace hearth, the siblings perform an impromptu wedding ceremony with their parents' wedding rings.
They take an extreme amount of Agatha's pills together so that they may die by suicide, before lying down to watch the stars.
Underlying theme
Throughout the film, liberal quotings from Paul Éluard's poem "Liberté" meander "through each of the characters' lives," creating an underlying mantra for the film.
Cast |
583_7 | Main cast
Julianne Moore as Havana Segrand A famous but aging and fading actress living in the shadow of her legendary movie-star mother and feeling abused by her. Moore based the character on "an amalgam of people I've known and observed. She is someone who lives completely isolated in this make-believe world. She doesn't really have a family and she's still very angry with her mother because she feels she was abused. She's always lived in her mother's shadow, and in her mind, it's all a kind of mixed-up, Freudian mess." |
583_8 | Mia Wasikowska as Agatha Weiss The scarred and estranged pyromaniac daughter of the Weiss family who takes a job as Havana's personal assistant, while waiting for the opportunity to make amends with her family. Wasikowska said, "I love Agatha because she's dark inside but at the same time in a lot of ways she has this very positive outlook. There's something very sweet and sad about this girl who, in the midst of these celebrity-obsessed parents, and this troubled past, really just wants to connect with them. They've totally rejected her, but in a way, she's desperately trying to mimic their lives. She's desperately trying to find her identity." She further added, "She has the gloves she wears over her burns, the facial scar, and all these rituals with the poem and the pills she takes, it's all very distinct to who she is." |
583_9 | John Cusack as Stafford Weiss The head of the Weiss family, a TV psychologist with a number of high-profile celebrity clients, and immensely egoistic about the success of his son Benjie. Stafford exploits people's emotions and takes advantage of them. Stafford Weiss and his wife Cristina are brother and sister; they were separated at birth and discovered their relation after meeting in college and becoming a couple. According to Cusack, "He sees himself as a healer. He's part Tony Robbins, part Reiki Master, part shrink. But his son is the real star—he's a massive teen star of Bieberesque proportions." Describing the script he said, "It was the most savage destruction of Hollywood fame and secrets and that whole toxic brew that I'd ever seen." |
583_10 | Evan Bird as Benjie Weiss A 13-year-old sensation and controversial star who is trying to get his career on track after his stint at rehab while simultaneously battling demons from his past. Cronenberg was not sure that any child actor could play Benjie's character successfully until he saw Bird in the TV series The Killing. Bird said about his character, "[H]e doesn't really have love and yet he doesn't really have limitations, either. So he's searching for both of those things. He's making way too much money, he's being taken advantage of by his parents, and he's really screwed up." |
583_11 | Olivia Williams as Cristina Weiss Ambitious and controlling, she manages the career of her son. Cristina Weiss and her husband Stafford are sister and brother; they were separated at birth and discovered their relation after meeting in college and becoming a couple. According to Williams, "She is a very ambitious woman and we get to see her downfall from the very heights of her power. She operates in a world where someone could be the nastiest person on earth and make your life hell, but you might still want them in your movie because they'll make you money." |
583_12 | Robert Pattinson as Jerome Fontana A limousine driver and struggling actor who wants to be a successful screenwriter. Jerome is inspired by Bruce Wagner, who, at the time when he conceived the idea for this story, was himself a struggling actor and writer working as a limo driver. Pattinson described the character as most sane and ordinary but like every LA dreamer in the story and said, "Jerome would never accept that he is just a limo driver. I think he feels he's just waiting for his break. And yet, he's seemingly the only one in this story who's not going insane—or who isn't a ghost." And about the script he added that "It's really about people who lie to themselves—right up until the end." |
583_13 | Sarah Gadon as Clarice Taggart An iconic Hollywood movie star who died in a fire and appears as a twenty-something-year-old ghost to her daughter Havana. Cronenberg said that "it's such a lovely, unusual role, because she's simply this ghostly memory." Gadon said, "I really want to do the film because I thought it was a critique about contemporary Hollywood. And, specifically, of a woman's place in Hollywood." |
583_14 | Other cast |
583_15 | Kiara Glasco as Cammy A girl who died young and appears as a ghost to Benjie because he visited her in the hospital before her death with the intentions of making a film on her life, and used his visit as a publicity stunt.
Dawn Greenhalgh as Genie Havana's agent who assists her in landing the role in the remake of Clarice's film.
Jonathan Watton as Sterl Carruth A film actor and friend of Havana.
Jennifer Gibson as Starla Gent A country singer and friend of Sterl.
Gord Rand as Damien Javitz A rising talented director of the remake of Stolen Waters, and described as "He's no P. T. Anderson, but he resurrects actors."
Justin Kelly as Rhett A young Hollywood actor and friend of Benjie.
Niamh Wilson as Sam A girl who's in Benjie and Rhett's circle of friends.
Clara Pasieka as Gretchen Voss A young Hollywood actress and friend of Rhett.
Emilia McCarthy as Kayla A young Hollywood actress and friend of Benjie.
Allegra Fulton as Harriet Benjie's therapist. |
583_16 | Domenic Ricci as Micah Azita's young son who died in a tragic accident.
Jayne Heitmeyer as Azita Wachtel An actress and Havana's rival for the coveted role in the remake of Clarice's 1960 movie Stolen Waters.
Sean Robertson as Roy A four-year-old costar of Benjie, whom Benjie perceives as competition and injures him during his hallucination believing him to be Cammy.
Ari Cohen as Jeb Berg A Hollywood producer working on the sequel of Benjie's blockbuster film, a fictitious teen comedy titled "Bad Babysitter".
Carrie Fisher as Herself Fisher has a cameo appearance in the film. Agatha Weiss befriended her on Twitter to write a novel and on her recommendation Havana hired Agatha as her new personal assistant. |
583_17 | Production
Development
Plans for the film hit financial difficulties and it was in development for around six years. During promotion of Cosmopolis in May 2012, at Cannes, David Cronenberg said that "It's not a 'go' picture. We have a script that I love that Bruce wrote; it's a very difficult film to get made as was Cosmopolis actually. Whether I can get this movie to happen, I tried it five years ago, I couldn't get it made, so I still might not be able to get it made." He also added that "Maps to the Stars is very extreme. It's not obviously a very big commercial movie, and even as an independent film it's difficult. Maps to the Stars is completely different [from Cosmopolis], but it's very acerbic and satirical; it's a hard sell." |
583_18 | Talking about the script, Cronenberg revealed that "It's kind of a satire on Hollywood. It's very typical of Bruce Wagner's writing. And it's sort of a condensed essence of Bruce. And while it's satirical, it's also very powerful, emotionally, and insightful and funny. You could say it's a Hollywood film because the characters are agents, actors and managers, but it is not a satire like The Player." Producer Martin Katz described it as an "absurdist comedy about the entertainment business."
Casting
Viggo Mortensen and Rachel Weisz were initially cast but left due to scheduling difficulties, and were later replaced by Cusack and Moore. Moore, who bleached her hair blonde for the part of Havana, said in an interview about the film that, "It's not only about celebrity culture, but the pursuit of fame at any cost." It is the second collaboration between Pattinson and Cronenberg after Cosmopolis.
Pre-production |
583_19 | Production began in July 2013. Cronenberg stated that "it would be the first time I've ever shot a foot of film in the United States. It's strange, just because of the way the co-production deals work, that even though I've had movies that are set in the U.S. like Cosmopolis or The Dead Zone, I've never shot in the United States. This would be the first time. And I'm really excited about it." He further added that "Well, Maps to the Stars is an L.A. story and I really felt that is something I could not create on a set in Toronto, whereas the structure of Cosmopolis allows me to create New York on a soundstage in Toronto.
Filming |
583_20 | Principal photography began on July 8, 2013, in Toronto, Ontario, Canada and continued until August 12, 2013. Most of the shooting took place in Toronto and many of the interior locations in the film were filmed at the Eastern Avenue site of Cinespace Studios. On July 19, some scenes were shot in and around the diner at Queen street in Leslieville, Ontario. |
583_21 | Filming then moved to Los Angeles, California. Most of the shoot was outdoors, at some landmark sites. On August 17, filming took place downtown at Union Station, Los Angeles with Pattinson and Wasikowska and on August 18 and 19, scenes were shot at Rodeo Drive and The Beverly Hilton in Beverly Hills, L.A. Scenes were also filmed at the Hollywood Walk of Fame, Hollywood Boulevard and Runyon Canyon near Mulholland Drive on August 20 and at Park Way Beverly Hills L.A. on August 21. Cronenberg lit the Hollywood Sign for a scene on August 20, by using 4K HMI lights. He has said that "It's no different than shining a light from a helicopter." Filming wrapped up on August 22, 2013, in L.A.
Music
Howard Shore composed the score for the film. He has collaborated with Cronenberg on all but one of his films since 1979. The album was released by Howe Records on September 9, 2014. The first single featuring a track from the soundtrack album was released on May 21, 2014.
Distribution |
583_22 | Marketing and promotion
On April 14, 2014, the first preview trailer was released for sales and distribution. It was followed by the full-length official trailer of the film next day. The same month with the announcement of the film's premieres at the Cannes Film Festival, two images of Julianne Moore, Mia Wasikowska and Robert Pattinson from the film were released. EOne revealed another trailer for the film on September 10, 2014, ahead of film's release in Spain and Canada.
Releases |
583_23 | The film screened at 2014 New Zealand International Film Festival in the Legends section on July 25, 2014. It screened in the Gala Presentations section of the 2014 Toronto International Film Festival on September 9, 2014 and also screened at the 2014 New York Film Festival on September 27, 2014. It was released in UK on September 26, 2014. It served as the closing film at the 2014 Tokyo International Film Festival on October 31, 2014, and was theatrically released in Canada on the same day. On November 8, 2014, it screened at Stockholm International Film Festival. It was released in Australia on November 20, 2014.
In September 2014, Focus World acquired the United States distribution rights of the film and gave the film an award-qualifying limited release in L.A. from December 5 to 11, 2014, before its day-and-date release on February 27, 2015.
Home media |
583_24 | The film was released on DVD and Blu-ray in France on September 24, 2014. It was available on DVD in UK on November 24, 2014 and was released on March 3, 2015, in Germany. Universal Pictures Home Entertainment released the DVD and Blu-ray Disc of the film in United States on April 14, 2015.
Reception
Box office
The film had a limited release in France in May 2014, and then released in different countries and has grossed worldwide total of $4 million.
Critical response |
583_25 | The film generated mostly positive reviews, and performances from the cast were praised. Review aggregator Rotten Tomatoes reports that 61% of 155 critics have given the film a positive review, with a rating average of 6.3/10. The site's summary states: "Narratively unwieldy and tonally jumbled, Maps to the Stars still has enough bite to satisfy David Cronenberg fans in need of a coolly acidic fix." On Metacritic, which assigns a weighted mean rating out of 100 reviews from film critics, the films holds an average score of 67, based on 39 reviews, indicating "generally favorable reviews". |
583_26 | Dave Calhoun of Time Out stated that "This creepy portrait of Beverly Hills screw-ups is deeply silly, but it has just enough venomous bite." The Daily Telegraph Robbie Collin gave the film five stars out of five and wrote that it "takes place in a kind of pharmaceutically heightened hyper-reality of its own: it's not so much a twisted dream of making it in show-business, as a writhing, hissing, Hollywood waking nightmare." He said that "Moore, in particular, is tremendous" and concluded that "Cronenberg has made a film that you want to unsee – and then see and unsee again." Oliver Lyttelton, in his review for The Playlist, graded the film B+ by saying that "The film is a sickly enjoyable wallow in the scandalous, fucked-up side of showbusiness, and a real return to form for the filmmaker." Peter Bradshaw of The Guardian gave the film four out of five stars and called the film "A gripping and exquisitely horrible movie about contemporary Hollywood – positively vivisectional in its |
583_27 | sadism and scorn." Mark Kermode, also of The Guardian, compared the film to "Sunset Boulevard, with sprinklings of Chinatown, Beyond the Valley of the Dolls and Mommie Dearest thrown in for good measure." He called Moore "magnificently horrendous" with Wasikowska "provid[ing] ice-cool counterpoint", Williams "terrific" and Pattinson "nicely underplayed". In his review for Slant Magazine, Budd Wilkins compared the film to David Lynch's Mulholland Drive (2001): "Maps to the Stars is a scabrous, etched-in-acid comedy that digs deeper into the perversions and pathologies undergirding the Dream Factory than anything since Mulholland Drive." |
583_28 | However, Peter Debruge of Variety criticized the film as "part showbiz sendup, part ghost story, part dysfunctional-family drama, [it] instead comes across as so much jaded mumbo-jumbo." Todd McCarthy of The Hollywood Reporter thought that the film "comes off like a prank more than a coherent take on 21st century Hollywood, even if there are crumbs of truth and wit scattered throughout it." Lee Marshall of Screen International said that "The film doesn't quite get away with its attempt to reconcile satire with pathos, but it comes perilously close."
The film was included in the list of "Canada's Top Ten" feature films of 2014, selected by a panel of filmmakers and industry professionals organized by TIFF.
Accolades
References
External links |
583_29 | 2010s comedy-drama films
2014 films
2014 LGBT-related films
2014 thriller drama films
2010s satirical films
American comedy thriller films
American comedy-drama films
American films
American LGBT-related films
American satirical films
American thriller drama films
Bisexuality-related films
Canadian comedy-drama films
Canadian films
Canadian LGBT-related films
Canadian satirical films
Canadian thriller films
English-language films
English-language Canadian films
Films about actors
Films about dysfunctional families
Films about Hollywood
Films directed by David Cronenberg
Films scored by Howard Shore
Films set in Los Angeles
Films shot in Los Angeles
Films shot in Toronto
French comedy-drama films
French films
English-language French films
French LGBT-related films
French satirical films
French thriller films
German comedy-drama films
German films
English-language German films
German LGBT-related films
German satirical films
German thriller films
Incest in film
Lesbian-related films |
583_30 | LGBT-related comedy-drama films
LGBT-related thriller films
2014 comedy films
2014 drama films |
584_0 | Juanita Nielsen's House is the heritage-listed former house of murdered activist and journalist Juanita Nielsen at 202 Victoria Street in the inner city Sydney suburb of Potts Point in the City of Sydney local government area of New South Wales, Australia. It was built from 1855 and designed in the Federation filigree. It was added to the New South Wales State Heritage Register on 27 June 2014.
History
The "Eora people" was the name given to the coastal Aborigines around Sydney. Central Sydney is therefore often referred to as "Eora Country". Within the City of Sydney local government area, the traditional owners are the Cadigal and Wangal bands of the Eora. With the invasion of the Sydney region, the Cadigal and Wangal people were decimated but there are descendants still living in Sydney today.
202 Victoria Street is one of a group of three terraces erected in the 1850s on the former Telford Lodge estate in Darlinghurst. |
584_1 | In 1828 Governor Darling assigned to his senior government officials 15 exclusive villa estates on land he had subdivided from the governor's former reserve which lay immediately east of the town boundary of Sydney. This area was initially named Woolloomooloo Heights and later renamed Darlinghurst.
A condition of the land grants was the building of a villa. In 1829, the deceased Colonial Treasurer's grant was reassigned to Edward Hallen (1803–80), a draughtsman to the Surveyor General. Hallen built his villa, Telford Lodge, in 1832. (The building survives in a much modified form, on Brougham Street, Potts Point).
Darling's plans for the establishment of exclusive villa estates on the eastern boundary of Sydney were short-lived. Subdivision of these estates began in the early 1840s, driven by the onset of the colony's first economic downturn coupled with an increasing demand for land for housing from Sydney's rapidly growing population. |
584_2 | Hallen was among the first of the villa landowners to subdivide his holding and sell his villa. Subdivision of the Telford Lodge estate between 1841 and 1843 created the northern end of Victoria Street which was included within the boundaries of the newly created City of Sydney in 1842. Victoria Street was aligned in 1848 and by 1854 allotments had been set out on both sides of the street. Larger lots were created at the northern end of Victoria Street, for residences with harbour views. The southern end of Victoria Street (towards William Street) was characterised by small narrow lots for workers cottages and terraces. By 1854 the allotments immediately south of No. 202 had been built on. |
584_3 | Victoria Street was renumbered in the 1870s. From the mid 1850s until 1870 the three terraces at 198-202 Victoria Street were numbered as 204-208. The City of Sydney Rate and Valuation records indicate that Nos 204-208 Victoria Street were constructed between 1855 and 1858. They were in common ownership and are described as two storey "brick and shingled" with two rooms. The 1865 Trigonometrical Survey shows the three terraces built flush to the street with no verandah and each with an outhouse (toilet) in the rear yard.
Nos. 198-202 Victoria Street are typical of the development on the small lot subdivisions that characterised the southern end of Victoria Street in the mid nineteenth century. The terraces were mainly occupied by working men and their families in a succession of tenancies until the mid twentieth century. Few tenants stayed for long periods. |
584_4 | Until the 1890s, the majority of larger residential buildings along Victoria Street were occupied as private residences. But by the 1890s, large numbers of "residential" and boarding houses were listed along Victoria Street and surrounding streets. The demographic change was in part due to the steady move of those who could afford to into the newly developing outer suburbs. This move was promoted by improvements in public transport, which made it possible (and affordable) to travel from the suburbs into the city on a daily basis. It was also promoted by the rhetoric of social reformers. The inner city area developed an unfavourable reputation that was only reinforced by the bohemian lifestyles of some of the "fringe-dwellers", artists, writers etc. who were attracted to the area during the interwar period and the presence of American servicemen during World War II. |
584_5 | Among the late nineteenth and early twentieth century owners of the terraces was the winemaker, Isaac Himmelhoch, who owned the terraces between 1893 and 1913. Himmelhoch was a businessman who owned a large amount of inner city property. Thomas Playfair, who owned the terraces between 1916 and 1925, was a member of a Sydney butchery and meat provedore family, who had served with distinction in World War I. In 1927 he became a member of the New South Wales Legislative Council and was influential in the establishment of the United Australia Party. In 1926 Playfair sold the five terraces to Anna Hindmarsh who retained ownership until 1958.
The titles for the jointly held properties at 198-202 Victoria Street and 11-13 Earl Street were separated in 1958. |
584_6 | Rate and Valuation Records indicate that Nos. 198 and 202 Victoria Street were, as were many of their neighbours, occupied as mixed commercial/ residential buildings at various times from the 1950s through to the 1980s. In 1958 Gregory Psaltis purchased 202 Victoria Street. He had been a tenant there since 1939 and been granted a wine and spirit license for this address in 1951 when he converted the front room for use as a storeroom for wine and cigarettes. In 1966 Psaltis sold No. 202 Victoria Street to Swiss Restaurants Pty Ltd which sold the property in 1968 to Juanita Nielsen.
202 Victoria Street and Juanita Nielsen: 1968-75 |
584_7 | In 1968 the City of Sydney Council, then being managed by three State appointed City Commissioners, announced the preparation of a new comprehensive planning scheme. Certain key areas, such as Woolloomooloo, Potts Point and Kings Cross, were highlighted for redevelopment. Under the plans put forward, it was proposed to revitalise Kings Cross and Woolloomooloo through the demolition of old residential buildings and the construction of high density developments. Victoria Street's place in this scheme was hotly contested by residents. |
584_8 | Also in 1968, 202 Victoria Street was sold to Juanita Joan Nielsen, journalist of Brougham Street, Potts Point who was born in 1937 and was a great-granddaughter of businessman Mark Foy. Nielsen's father bought the house for her, together with the local newspaper "NOW" which she published from 202 Victoria Street. "NOW" was originally a local issues and advertising newspaper, promoting local businesses and services and reflecting the bohemian lifestyle of Kings Cross. Initially Nielsen continued this writing style, making limited editorial comment on serious issues. Sometimes she included photographs of herself modelling the latest fashions for local stores. |
584_9 | By mid 1973 the focus of the paper began to shift as Juanita Nielsen became involved in a number of local issues that she saw as threatening the lifestyle and harmony of the local community. One of the issues was the growing pressure by developers on the working class tenants of the terrace houses along Victoria Street to vacate their homes for demolition and redevelopment. Through 1973 and 1974 many low income tenants were forced or intimidated into leaving as the developers bought up properties. Nielsen's tenant neighbours at 204 Victoria Street were evicted to make way for demolition for the multistorey redevelopment of the site under the Parkes Development Company. Nielsen was also approached by the developers for the inclusion of her property in the development. She refused and later claimed to have been intimidated. |
584_10 | In addition to the new focus of her newspaper, Nielsen also formed the Victoria Street Ratepayers Association and became its secretary. This enabled her to lobby the City Council against the Parkes Development and effect the delay that eventually saw the proposal lapse.
Confrontation between developers and residents of Victoria Street intensified over the summer of 1973-74, often becoming violent, over the redevelopment of Victoria Point at the northern end of Victoria Street by developer Frank Theeman. Many of the tenants threatened with eviction lived in low cost rental accommodation. They organised themselves into the Victoria Street Residents Action Group to protest. |
584_11 | In late 1973, the abduction (and later release) of one member of the Action Group, Arthur King, and the attempted eviction of one tenant, Mick Fowler, and his mother, brought matters to a head. Fowler had been away at sea when his mother was forced out. On his return from sea, and finding his mother evicted and his house boarded up, Fowler gathered members of the Seamen's Union of Australia and the Builders Labourers Federation (BLF) to gain re-entry to his house, despite the developer's security guards having been placed around it. Fowler's actions were the beginnings of an ongoing and often violent campaign between residents and unions and the developers, culminating in the BLF, led by Jack Mundey, imposing a green ban on any development on Victoria Street in late 1973, which effectively halted all work on the sites. |
584_12 | Nielsen strongly supported the fight to save Victoria Street and the impositions of Green Bans and used her newspaper to bring attention to the battle and to the violence and menace that accompanied the struggle. The battle over the demolition and redevelopment of Victoria Street in the early 1970s was by now highly politicised and generating wider public debate as one of the main campaigns in urban conservation in Sydney during this period. Victoria Street was one of the ongoing Green Ban sites being organised by the Builders Labourers Federation. Green Bans became synonymous with urban conservation in Sydney at this time, with Kelly's Bush (Hunters Hill), Glebe, The Rocks, Woolloomooloo and Victoria Street being the main sites to be eventually protected through this process. |
584_13 | Nielsen maintained a high media profile, despite her concern with increasing threats to her safety. She joined the Woolloomooloo Residents Action Group who were fighting similar development pressures and campaigned against development in Woolloomooloo in her paper. Her concern was primarily for the tenants of low cost rental accommodation who were being pushed out of their neighbourhoods. Interviewed by the "Sydney Morning Herald" in October 1974 she was quoted as saying 'she has no time for ratbags interested in publicity or pushing some political line, but she has real concern for the little people pushed out by developers.' |
584_14 | In early 1975 the NSW branch of the BLF was taken over by the federal branch and the Green Ban was lifted. There were allegations that the developer Frank Theeman had met with the federal BLF leader Norm Gallagher to effect the lifting of the ban. Nielsen, however, through her activism, had by then been instrumental in organising a ban by the Federated Engine Drivers and Firemens Association of Australasia (FEDA) which effectively continued the stop on development. Her campaign intensified and stalled the development. In April 1975 Theeman claimed that his company was losing up to $3000 a day in costs from the stalled development and was facing financial ruin.
Nielsen disappeared on 4 July 1975, following an appointment at the Carousel Club in Kings Cross to discuss advertising in "NOW". Her disappearance was widely reported in the Sydney media. Her body has never been found. |
584_15 | A 1983 coronial inquest into Nielsen's disappearance returned an open verdict. It found that Nielsen was dead but could not say how, when or where she died.
In 1994 the Commonwealth Parliamentary Joint Committee on the National Crime Authority investigated Nielsen's disappearance. The Committee's report noted: 'Because of her newspaper campaign, her links with a supportive union and her position as a Victoria Street property owner and ratepayer it was possible to see Nielsen in July 1975 as one of the few significant obstacles to the plans of developers.
The case remains unsolved.
Description
Nos 198-202 Victoria Street, built in the late 1850s, are double storey Victorian Georgian bald-faced terraces of brick construction on sandstone footings that are built to the street alignment. The facades feature rendered brick walls in imitation ashlar. |
584_16 | The Victoria Street terraces all have a single window and front door to the ground floor and two windows to the first floor. The windows and door feature simple drip moulds above and decorative moulded sills beneath all windows.
Side gabled corrugated metal roofs with rendered brick chimneys featuring simple projecting stucco mouldings are located between No 198 and 200 and at the southern end of 202.
The interior of the house has been modified over time but the original room layout is largely discernible. Significant internal fabric includes timber joinery and fireplaces. |
584_17 | Heritage listing
The terrace house at 202 Victoria Street, Potts Point has a high level of historical and associational significance and rarity as the residence and business premises of the conservation and community activist Juanita Nielsen from 1968 until her disappearance in 1975. The house is directly associated with Nielsen's campaign for the retention of the historic streetscapes and building stock of inner city Sydney that were threatened with demolition and redevelopment in the years prior to the enactment of NSW heritage legislation. It is also a surviving example of the streetscape she was campaigning to protect. |
584_18 | 202 Victoria Street is the site where Nielsen published her local newspaper "NOW" through which she led her campaign from 1973 to 1975 against the overdevelopment of Victoria Street and Woolloomooloo. The battle for Victoria Street during the early 1970s was one of the main campaigns in urban conservation in Sydney during this period as well as being one of the ongoing Green Ban sites organised by the Builders Labourers Federation. Nielsen gave strong support to the Green Bans through the pages of "NOW" and Green Bans became synonymous with urban conservation in Sydney at this time. Victoria Street was one of the four main sites to be eventually protected through the Green Ban process. |
584_19 | Nielsen was one of the high-profile campaigners of the early to mid 1970s in the often violent fight for tenants' rights and the protection of largely working class Victorian-era housing that characterised much of Kings Cross and Woolloomooloo. Her activism and newspaper editorials in "NOW" were instrumental in raising early public awareness of conservation issues in NSW, particularly the threat to heritage precincts, in the absence of statutory heritage protection.
Nielsen's disappearance in July 1975, at the height of the campaign against tenant eviction and overdevelopment in Kings Cross and Woolloomooloo, and the subsequent allegations of foul play directed towards developers and their associates, further raised her profile and led to the exposure of criminal and underworld connections to development in Sydney's inner city areas. Nielsen's disappearance remains as one of Sydney's most enduring unsolved mysteries. |
584_20 | Juanita Nielsen's House was listed on the New South Wales State Heritage Register on 27 June 2014 having satisfied the following criteria.
The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales. |
584_21 | No 202 Victoria Street has state heritage significance as the residence and business premises of the conservation and community activist, Juanita Nielsen, and the site from which she campaigned against the overdevelopment of Kings Cross and Woolloomooloo, the destruction of the historic buildings and streetscapes and the eviction of low-income tenants of these older neighbourhoods. From this house Nielsen published her local newspaper "NOW" through which she combined, from 1973–75, steadfast championship of the inner city communities of working class tenants who were being evicted for the proposed redevelopments with opposition to the demolition of the historic housing stock, in particular the Victorian-era terraces of Victoria Street. Nielsen's campaign, through the pages of "NOW", contributed to the raising of early public awareness of conservation issues in NSW in the years preceding the enactment of NSW heritage legislation and established her profile as an early heritage |
584_22 | campaigner of the mid 1970s. |
584_23 | Nielsen's campaign is closely aligned with the Green Ban movement of the early 1970s. Nielsen strongly supported the Green Bans imposed by the Builders Labourer's Federation (BLF) in the early 1970s to stall development at Kelly's Bush (Hunter's Hill), The Rocks, Woolloomooloo and (in 1973), Victoria Street. When the BLF lifted its Green Bans in 1975, Nielsen worked with the Federated Engine Driver's & Fireman's Association to impose bans that effectively halted demolition for the Victoria Street redevelopment.
As the site from which 'NOW was published, and the centre of Nielsen's campaign, 202 Victoria Street is a symbol of the early/mid 1970s urban conservation campaign in Sydney in which Nielsen was a key player. Nielsen's activism also ensured that No 202, scheduled for demolition in 1973, has survived as an early inner city terrace. |
584_24 | The terraces at 198-202 Victoria Street (together with the terraces at 11-13 Earl Street) have local historical significance as workers terraces constructed in the mid nineteenth century on the first subdivisions of Edward Hallen's Telford Lodge Estate.
The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history. |
584_25 | The terrace at 202 Victoria Street has state heritage significance for its especially strong association with the life and work of Juanita Nielsen, who owned and lived at the house from 1968 until her disappearance in July 1975. No 202 was also the building from which Nielsen ran and published "NOW", the local community newspaper Nielsen owned and wrote for from 1968 to 1975. Nielsen used "NOW" to spearhead her effective campaign, from 1973-5, against the eviction of low-income tenants and the demolition of the historic housing stock of Kings Cross and Woolloomooloo, in particular the Victorian-era terraces of Victoria Street, |
584_26 | 'NOW' started as a light, local newspaper with advertorial and commercial content, but grew into a powerful tool in Nielsen's campaign against the overdevelopment of Victoria Street and Woolloomooloo; the demolition of many of the historic terraces in the area, and the eviction of the working class tenants living in them. Through her agitation and editorial comment in "NOW", Nielsen raised the profile of the struggles in inner city Sydney against large scale developers, and revealed the often brutal and violent tactics that were being used. Nielsen was a prominent campaigner and at times she worked with unions to halt development in Victoria Street. Nielsen worked with the Builders Labourers Federation (and Jack Mundey) who were simultaneously imposing Green Bans on development in The Rocks and Woolloomooloo, and later with the Federated Engine Drivers and Firemen's Association, who effectively stopped demolition on contested sites. |
584_27 | Nielsen left 202 Victoria Street on the morning of 4 July 1975 to keep an appointment and has never been seen since. Her disappearance and death remains as one of Sydney's most enduring mysteries. Subsequent inquiries linked this to the Kings Cross underworld and their operations in the development companies that were involved in the Victoria Street developments .
The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
No 202 Victoria Street has local significance under this criterion.
The terraces at 198-202 Victoria Street (together with the terraces at 11-13 Earl Street) have local aesthetic significance as a group of mid Victorian workers terraces, demonstrating key characteristics of the Victorian Georgian style, which contribute to the streetscapes of Victoria Street and Earl Street. |
584_28 | The place has a strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.
No 202 Victoria Street has local significance under this criterion.
Through its association with Juanita Nielsen and her campaign to conserve the historic housing stock and working class community of Kings Cross and Woolloomooloo, her residence and business premises at 202 Victoria Street is regarded by local community and heritage groups as a symbol of the heritage conservation of Victoria Street and of the wider inner city area.
No 202 Victoria Street is marked by a National Trust memorial plaque on the footpath commemorating Nielsen, her involvement in the fight to conserve the street and her disappearance.
Nielsen is also remembered with: |
584_29 | a white cross over an empty grave at South Head Cemetery bearing the inscription: "A courageous journalist who vigorously fought for the rights of others and the preservation of heritage homes through her newsletter NOW";
a mural depicting the Victoria Street battles painted on one of the struts supporting the Eastern Suburbs Railway viaduct;
the annual Juanita Nielsen lecture dedicated to women activists;
the Woolloomooloo Recreation Centre opened in 1983 and named after Nielsen;
historical walking tours of the Kings Cross area that feature Juanita Nielsen.
The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales.
202 Victoria Street is not considered to be significant under this criterion.
The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales. |
584_30 | 202 Victoria Street has state heritage significance as the only known building with direct and strong association with the conservation and community activist, Juanita Nielsen. Nielsen was a key figure of the mid 1970s conservation movement in the years preceding the enactment of heritage legislation in NSW for her campaign to retain the working class community and Victorian-era housing stock of the Kings Cross and Woolloomooloo areas in the face of threatened eviction, demolition and redevelopment.
The five terraces at 198-202 Victoria Street and 11-13 Earl Street have local heritage significance as a rare surviving group of workers terraces within the immediate area.
The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales. |
584_31 | 202 Victoria Street has local heritage significance as part of a terrace group that is a representative example of Victorian Georgian style workers terraces found in the inner suburbs of Sydney.
See also
References
Bibliography
Attribution
External links
New South Wales State Heritage Register
Houses in Potts Point, New South Wales
Articles incorporating text from the New South Wales State Heritage Register |
585_0 | Çorlu () is a northwestern Turkish city in inland Eastern Thrace that falls under the administration of the Province of Tekirdağ. It is a rapidly developing industrial centre built on flatland located on the motorway Otoyol 3 and off the highway D.100 between Istanbul and Turkey's border with Greece and Bulgaria.
History
Bronze Age relics have been found in various areas of Thrace including Çorlu and by 1000 BC the area was a Phrygian-Greek colony named Tzirallum, Tzirallun, or Tzirallon (Τζίραλλον) . The area was subsequently controlled by Greeks, Persians, Romans and the Byzantines. |
585_1 | During Roman and Byzantine times, the town was referred to as Tzouroulos, or Syrallo. The spelling "Zorolus" is used for the Latinized form of the name of the episcopal see identified with present-day Çorlu in the Catholic Church's list of titular sees. Some writers have identified the Roman town of Caenophrurium (the stronghold of the Caeni and the place where Emperor Aurelian was murdered in 275) with Çorlu, but this seems unlikely as the Antonine Itinerary lists Cenofrurium as two stages and 36 Roman miles () closer to Byzantium than Tzirallum, and the Tabula Peutingeriana shows the locations separately. There were important Roman and Byzantine fortifications at Caenophrurium, which was a base for controlling large areas of Thrace. |
585_2 | Following a tumultuous early history, Çorlu was brought under Ottoman control by Sultan Murad I, who immediately ordered the destruction of the Roman walls as part of a policy of opening up the town under Pax Ottomana. In the Ottoman period, the town remained an important staging post on the road from Constantinople to Greece.
In the early 16th century, the nearby village of Uğraşdere was the battleground where Sultan Beyazid II defeated his son Selim I (August 1511); a year later Beyazid II was defeated by Selim and was the first Ottoman father to be overthrown by his son. Beyazid II died in Çorlu on his way to exile in Dimetoka. Coincidentally, Selim himself died in Çorlu nine years into his reign. Both father and son are buried in Istanbul. |
585_3 | In the late 18th century, when the Ottoman Empire began to decline in military as well as economic power, the city found itself at the crossroads of numerous conflicts. Turkish refugees were settled in the city when the Ottomans lost control of Crimea to the Russians. The grandchildren of these refugees met the Russians themselves when Çorlu was briefly occupied by Russian troops in The Russo-Turkish War of 1877-1878. During the Balkan Wars of 1912–1913, Çorlu was the command post of the Ottoman army, but was taken by Bulgarian troops in December 1912. The city was recaptured by Turkish forces during the Second Balkan War in July 1913. Çorlu was then occupied by Greek troops from 1920 to 1922 during the Turkish War of Independence, and was ceded by Britain in accordance with the armistice of Mudanya. |
585_4 | The city formally became a part of the Republic of Turkey following the declaration of the Republic in 1923. Çorlu continues to be an important garrison of the Turkish army today as the home of the 189th Infantry Regiment.
Çorlu today |
585_5 | The city today is more populous than the provincial center of Tekirdağ, owing to a population growth initially caused by the exodus of Turks from Bulgaria in 1989 which complemented the traditional left-leaning, industrial working-class of Çorlu, and a second wave of migrants from rural Anatolia in the 1990s who came to work in the factories, who now make up the conservative populace of the city. Another group, albeit smaller in numbers, is the Romani community. The city also had a temporary population of ethnic Albanians and Bosnians flown in during the Kosovo conflict as part of Turkey and North Macedonia's efforts to aid the suffering populaces of former Yugoslavia by offering them temporary asylum. The city also has a small Jewish community. In 1970, the only synagogue of the town was converted to mosque, it has been restored in concordance with the original design, without changing the ceiling decorations and the column capitals, now called "Yeni Camii". |
585_6 | The town center bears the hallmarks of a typical migration-accepting Turkish rural town, with traditional structures coexisting with a collection of concrete apartment blocks providing public housing, as well as amenities such as basic shopping and fast-food restaurants, and essential infrastructure but little in the way of culture except for cinemas and large rooms hired out for wedding parties. The roads passing through the city center is often congested, as it cannot bear the capacity of a quarter million populated city. Çorlu's shopping facilities have recently been enhanced by the completion of the 25 km2 Orion Mall. While there is little to no nightlife, as Çorlu is close to Istanbul, locals can and often do easily go to "the city" for the weekend. |
585_7 | Çorlu today displays the characteristics of typical Turkish boomtowns. The town expanded without proper infrastructure developing alongside. Most important mark of this is the city center, which almost remained the same size since 1993–1994, when the population rise started. There are other landmarks, as well. Such as the city prison, 5th Army Corps, a gas station etc. which were outside of the town before the "boom" whereas today they are inside the city center as odd landmarks. Since around the year 2000, east side of the city has been gradually populated with tower blocks which constituted a satellite area. Alongside Omurtak boulevard of the east side, many facilities emerged (banks, restaurants, malls, police station etc.) here. Thus making it a second center and decreasing the need to travel to the city center. |
585_8 | Economy
With more than 300 factories, Çorlu is largely a textile producing town, with Levi's and Mavi Jeans being among the companies that have factories here as well as large outlet centers intended to attract consumers from all over Thrace and Istanbul looking for discount clothing. Levi's closed its factory in Çorlu in August 2014. In addition to textiles, Çorlu produces foodstuffs and soft drinks like Coca-Cola, and Unilever products like Algida ice-cream and Calvé condiments. As of 2009, Hewlett-Packard and Foxconn Group have come together for a joint venture in the town to build a large factory and production complex that will enable the two companies to use Çorlu, and Turkey in general, as the hub of their production activities for Eastern Europe and the Middle East.
International relations
Twin towns — Sister cities
Notes
References
External links
Towns in Turkey
Populated places in Tekirdağ Province
Jewish communities in Turkey
Districts of Tekirdağ Province |
586_0 | Solar geoengineering, or solar radiation modification (SRM) is a proposed type of climate engineering in which sunlight (solar radiation) would be reflected back to space to limit or reverse human-caused climate change. It is a possible quick emergency measure to limit overheating while greenhouse gases already in the atmosphere decay or are removed, not a substitute for reducing greenhouse gas emissions. Most methods would increase the planetary albedo (reflectivity), for example with stratospheric aerosol injection. Although most techniques would have global effects, localized protective or restorative methods have also been proposed to protect natural heat reflectors including sea ice, snow, and glaciers. |
586_1 | Solar geoengineering appears able to prevent some or much of climate change. Climate models consistently indicate that it is capable of returning global, regional, and local temperatures and precipitation closer to pre-industrial levels. Solar geoengineering's principal advantages are the speed with which it could be deployed and become active and the reversibility of its direct climatic effects. Stratospheric aerosol injection, the most widely studied method, appears technically feasible and inexpensive in terms of direct financial costs. Solar geoengineering could serve as a response if climate change impacts are greater than expected or as a temporary, complementary measure while atmospheric greenhouse gas concentrations are lowered through emissions reductions and carbon dioxide removal. Solar geoengineering would not directly reduce carbon dioxide concentrations in the atmosphere, and thus does not address ocean acidification. Solar geoengineering's excessive and/or poorly |
586_2 | distributed use, or sudden and sustained termination, could pose serious environmental risks. Other negative impacts are possible, but uncertain as little research has been done. Governing solar geoengineering is challenging for multiple reasons, including that few countries would likely be capable of doing it alone. |
586_3 | Overview |
586_4 | Means of operation |
586_5 | Averaged over the year and location, the Earth's atmosphere receives 340 W/m2 of solar irradiance from the sun. Due to elevated atmospheric greenhouse gas concentrations, the net difference between the amount of sunlight absorbed by the Earth and the amount of energy radiated back to space has risen from 1.7 W/m2 in 1980, to 3.1 W/m2 in 2019. This imbalance - called radiative forcing - means that the Earth absorbs more energy than it lets off, causing global temperatures to rise. The goal of solar geoengineering would be to reduce radiative forcing by increasing Earth's albedo (reflectivity). An increase by about 1% of the incident solar radiation would be sufficient to eliminate current radiative forcing and thereby global warming, while a 2% albedo increase would roughly halve the effect of doubling the atmospheric carbon dioxide concentration. However, because warming from greenhouse gases and cooling from solar geoengineering operate differently across latitudes and seasons, this |
586_6 | counter-effect would be imperfect. |
586_7 | Potential roles
Solar geoengineering is almost universally intended to complement, not replace, greenhouse gas emissions reduction, carbon dioxide removal (those two together are called "mitigation"), and adaptation efforts. For example, the Royal Society stated in its landmark 2009 report: "Geoengineering methods are not a substitute for climate change mitigation, and should only be considered as part of a wider package of options for addressing climate change." Such statements are very common in solar geoengineering publications. |
586_8 | Solar geoengineering's speed of effect gives it two potential roles in managing risks from climate change. First, if mitigation and adaptation continue to be insufficient, and/or if climate change impacts are severe due to greater-than-expected climate sensitivity, tipping points, or vulnerability, then solar geoengineering could reduce these unexpectedly severe impacts. In this way, the knowledge to implement solar geoengineering as a backup plan would serve as a sort of risk diversification or insurance. Second, solar geoengineering could be implemented along with aggressive mitigation and adaptation in order "buy time" by slowing the rate of climate change and/or to eliminate the worst climate impacts until net negative emissions reduce atmospheric greenhouse gas concentrations. (See diagram.) |
586_9 | Solar geoengineering has been suggested as a means of stabilizing regional climates - such as limiting heat waves, but control over the geographical boundaries of the effect appears very difficult. |
586_10 | History |
586_11 | The 1965 landmark report "Restoring the Quality of Our Environment" by U.S. President Lyndon B. Johnson's Science Advisory Committee warned of the harmful effects of carbon dioxide emissions from fossil fuel and mentioned "deliberately bringing about countervailing climatic changes," including "raising the albedo, or reflectivity, of the Earth." As early as 1974, Russian climatologist Mikhail Budyko suggested that if global warming ever became a serious threat, it could be countered with airplane flights in the stratosphere, burning sulfur to make aerosols that would reflect sunlight away. Along with carbon dioxide removal, solar geoengineering was discussed jointly as "geoengineering" in a 1992 climate change report from the US National Academies. The topic was essentially taboo in the climate science and policy communities until Nobel Laureate Paul Crutzen published an influential scholarly paper in 2006. Major reports by the Royal Society (2009) and the US National Academies (2015, |
586_12 | 2021) followed. Total research funding worldwide remains modest, less than 10 million US dollars annually. Almost all research into solar geoengineering has to date consisted of computer modeling or laboratory tests, and there are calls for more research funding as the science is poorly understood. Only a few outdoor tests and experiments have proceeded. In recent years, US presidential candidate Andrew Yang included funding for solar geoengineering research in his climate policy and suggested its potential use as an emergency option. Major academic institutions, including Harvard University, have begun research into solar geoengineering. The 2021 US National Academy of Sciences, Engineering, and Medicine report recommended an initial investment into solar geoengineering research of $100–$200 million over five years. |
586_13 | Evidence of effectiveness and impacts
Climate models consistently indicate that a moderate magnitude of solar geoengineering would bring important aspects of the climate - for example, average and extreme temperature, water availability, cyclone intensity - closer to their preindustrial values at a subregional resolution. (See figure.) |
586_14 | The Intergovernmental Panel on Climate Change (IPCC) concluded in its Sixth Assessment Report:.... SRM could offset some of the effects of increasing GHGs on global and regional climate, including the carbon and water cycles. However, there would be substantial residual or overcompensating climate change at the regional scales and seasonal time scales, and large uncertainties associated with aerosol–cloud–radiation interactions persist. The cooling caused by SRM would increase the global land and ocean CO2 sinks, but this would not stop CO2 from increasing in the atmosphere or affect the resulting ocean acidification under continued anthropogenic emissions. It is likely that abrupt water cycle changes will occur if SRM techniques are implemented rapidly. A sudden and sustained termination of SRM in a high CO2 emissions scenario would cause rapid climate change. However, a gradual phase-out of SRM combined with emission reduction and CDR would avoid these termination effects.The 2021 |
586_15 | US National Academy of Sciences, Engineering, and Medicine report states: "The available research indicates that SG could reduce surface temperatures and potentially ameliorate some risks posed by climate change (e.g., to avoid crossing critical climate 'tipping points'; to reduce harmful impacts of weather extremes)." |
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