| Top |
| GtkWidget * | gtk_header_bar_new () |
| void | gtk_header_bar_set_title () |
| const gchar * | gtk_header_bar_get_title () |
| void | gtk_header_bar_set_subtitle () |
| const gchar * | gtk_header_bar_get_subtitle () |
| void | gtk_header_bar_set_has_subtitle () |
| gboolean | gtk_header_bar_get_has_subtitle () |
| void | gtk_header_bar_set_custom_title () |
| GtkWidget * | gtk_header_bar_get_custom_title () |
| void | gtk_header_bar_pack_start () |
| void | gtk_header_bar_pack_end () |
| void | gtk_header_bar_set_show_close_button () |
| gboolean | gtk_header_bar_get_show_close_button () |
| void | gtk_header_bar_set_decoration_layout () |
| const gchar * | gtk_header_bar_get_decoration_layout () |
| GtkWidget * | custom-title | Read / Write |
| gchar * | decoration-layout | Read / Write |
| gboolean | decoration-layout-set | Read / Write |
| gboolean | has-subtitle | Read / Write |
| gboolean | show-close-button | Read / Write |
| gint | spacing | Read / Write |
| gchar * | subtitle | Read / Write |
| gchar * | title | Read / Write |
GtkHeaderBar is similar to a horizontal GtkBox. It allows children to
be placed at the start or the end. In addition, it allows a title and
subtitle to be displayed. The title will be centered with respect to
the width of the box, even if the children at either side take up
different amounts of space. The height of the titlebar will be
set to provide sufficient space for the subtitle, even if none is
currently set. If a subtitle is not needed, the space reservation
can be turned off with gtk_header_bar_set_has_subtitle()
.
GtkHeaderBar can add typical window frame controls, such as minimize, maximize and close buttons, or the window icon.
GtkWidget *
gtk_header_bar_new (void
);
Creates a new GtkHeaderBar widget.
Since: 3.10
void gtk_header_bar_set_title (GtkHeaderBar *bar
,const gchar *title
);
Sets the title of the GtkHeaderBar. The title should help a user identify the current view. A good title should not include the application name.
Since: 3.10
const gchar *
gtk_header_bar_get_title (GtkHeaderBar *bar
);
Retrieves the title of the header. See gtk_header_bar_set_title()
.
the title of the header, or NULL
if none has
been set explicitly. The returned string is owned by the widget
and must not be modified or freed.
[nullable]
Since: 3.10
void gtk_header_bar_set_subtitle (GtkHeaderBar *bar
,const gchar *subtitle
);
Sets the subtitle of the GtkHeaderBar. The title should give a user an additional detail to help him identify the current view.
Note that GtkHeaderBar by default reserves room for the subtitle,
even if none is currently set. If this is not desired, set the
“has-subtitle” property to FALSE
.
Since: 3.10
const gchar *
gtk_header_bar_get_subtitle (GtkHeaderBar *bar
);
Retrieves the subtitle of the header. See gtk_header_bar_set_subtitle()
.
the subtitle of the header, or NULL
if none has
been set explicitly. The returned string is owned by the widget
and must not be modified or freed.
[nullable]
Since: 3.10
void gtk_header_bar_set_has_subtitle (GtkHeaderBar *bar
,gboolean setting
);
Sets whether the header bar should reserve space for a subtitle, even if none is currently set.
Since: 3.12
gboolean
gtk_header_bar_get_has_subtitle (GtkHeaderBar *bar
);
Retrieves whether the header bar reserves space for a subtitle, regardless if one is currently set or not.
Since: 3.12
void gtk_header_bar_set_custom_title (GtkHeaderBar *bar
,GtkWidget *title_widget
);
Sets a custom title for the GtkHeaderBar.
The title should help a user identify the current view. This
supersedes any title set by gtk_header_bar_set_title()
or
gtk_header_bar_set_subtitle()
. To achieve the same style as
the builtin title and subtitle, use the “title” and “subtitle”
style classes.
You should set the custom title to NULL
, for the header title
label to be visible again.
Since: 3.10
GtkWidget *
gtk_header_bar_get_custom_title (GtkHeaderBar *bar
);
Retrieves the custom title widget of the header. See
gtk_header_bar_set_custom_title()
.
the custom title widget
of the header, or NULL
if none has been set explicitly.
[nullable][transfer none]
Since: 3.10
void gtk_header_bar_pack_start (GtkHeaderBar *bar
,GtkWidget *child
);
Adds child
to bar
, packed with reference to the
start of the bar
.
Since: 3.10
void gtk_header_bar_pack_end (GtkHeaderBar *bar
,GtkWidget *child
);
Adds child
to bar
, packed with reference to the
end of the bar
.
Since: 3.10
void gtk_header_bar_set_show_close_button (GtkHeaderBar *bar
,gboolean setting
);
Sets whether this header bar shows the standard window decorations, including close, maximize, and minimize.
Since: 3.10
gboolean
gtk_header_bar_get_show_close_button (GtkHeaderBar *bar
);
Returns whether this header bar shows the standard window decorations.
Since: 3.10
void gtk_header_bar_set_decoration_layout (GtkHeaderBar *bar
,const gchar *layout
);
Sets the decoration layout for this header bar, overriding the “gtk-decoration-layout” setting.
There can be valid reasons for overriding the setting, such as a header bar design that does not allow for buttons to take room on the right, or only offers room for a single close button. Split header bars are another example for overriding the setting.
The format of the string is button names, separated by commas. A colon separates the buttons that should appear on the left from those on the right. Recognized button names are minimize, maximize, close, icon (the window icon) and menu (a menu button for the fallback app menu).
For example, “menu:minimize,maximize,close” specifies a menu on the left, and minimize, maximize and close buttons on the right.
Since: 3.12
const gchar *
gtk_header_bar_get_decoration_layout (GtkHeaderBar *bar
);
Gets the decoration layout set with
gtk_header_bar_set_decoration_layout()
.
Since: 3.12
“custom-title”
property“custom-title” GtkWidget *
Custom title widget to display.
Flags: Read / Write
“decoration-layout”
property“decoration-layout” gchar *
The decoration layout for buttons. If this property is not set, the “gtk-decoration-layout” setting is used.
See gtk_header_bar_set_decoration_layout()
for information
about the format of this string.
Flags: Read / Write
Default value: NULL
Since: 3.12
“decoration-layout-set”
property“decoration-layout-set” gboolean
Set to TRUE
if “decoration-layout” is set.
Flags: Read / Write
Default value: FALSE
Since: 3.12
“has-subtitle”
property“has-subtitle” gboolean
If TRUE
, reserve space for a subtitle, even if none
is currently set.
Flags: Read / Write
Default value: TRUE
Since: 3.12
“show-close-button”
property“show-close-button” gboolean
Whether to show window decorations.
Which buttons are actually shown and where is determined by the “decoration-layout” property, and by the state of the window (e.g. a close button will not be shown if the window can't be closed).
Flags: Read / Write
Default value: FALSE
“spacing”
property“spacing” gint
The amount of space between children.
Flags: Read / Write
Allowed values: >= 0
Default value: 6
“subtitle”
property“subtitle” gchar *
The subtitle to display.
Flags: Read / Write
Default value: NULL
“pack-type”
child property“pack-type” GtkPackType
A GtkPackType indicating whether the child is packed with reference to the start or end of the parent.
Flags: Read / Write
Default value: GTK_PACK_START
“position”
child property“position” gint
The index of the child in the parent.
Flags: Read / Write
Allowed values: >= -1
Default value: 0


FlxBasic
s.
NOTE: Although FlxGroup
extends FlxBasic
, it will not automatically
add itself to the global collisions quad tree, it will only add its members.
FlxEmitter
.update()
is automatically called by FlxState/FlxGroup.kill()
and revive()
both flip this switch (along with exists, but you can override that).draw()
.
This value will initialize itself during the first draw to automatically
point at the main camera list out in FlxG
unless you already set it.
You can also change it afterward too, very flexible!update()
and draw()
are automatically called by FlxState/FlxGroup.draw()
is automatically called by FlxState/FlxGroup.FlxBasic
subclass (FlxBasic, FlxSprite, Enemy, etc) to the group.
FlxGroup will try to replace a null member of the array first.
Failing that, FlxGroup will add it to the end of the member array,
assuming there is room for it, and doubling the size of the array if necessary.
WARNING: If the group has a maxSize that has already been met, the object will NOT be added to the group!
Object
- The object you want to add to the group.FlxBasic
object that was passed in.FunctionName
- The string representation of the function you want to call on each object, for example "kill()" or "init()".Recurse
- Default value is true, meaning if callAll()
encounters a member that is a group, it will call callAll()
on that group rather than calling the group's function.FlxBasic
subclass (FlxSprite, FlxBlock, etc) from the list.
WARNING: does not destroy() or kill() any of these objects!FlxBasic
s flagged as dead. Returns -1 if group is empty.FlxBasic
s flagged as not dead. Returns -1 if group is empty.Camera
- Which camera to draw the debug visuals to.FlxBasic
currently flagged as not dead.ObjectClass
- An optional parameter that lets you narrow the results to instances of this particular class.FlxBasic
currently flagged as not existing.FlxBasic
currently flagged as dead.FlxBasic
currently flagged as existing.int
indicating the first null slot in the group.StartIndex
- Optional offset off the front of the array. Default value is 0, or the beginning of the array.Length
- Optional restriction on the number of values you want to randomly select from.FlxBasic
from the members list.update()
on each object in the game loop.If you specified a maximum size for this group (like in FlxEmitter), then recycle will employ what we're calling "rotating" recycling. Recycle() will first check to see if the group is at capacity yet. If group is not yet at capacity, recycle() returns a new object. If the group IS at capacity, then recycle() just returns the next object in line.
If you did NOT specify a maximum size for this group, then recycle() will employ what we're calling "grow-style" recycling. Recycle() will return either the first object with exists == false, or, finding none, add a new object to the array, doubling the size of the array if necessary.
WARNING: If this function needs to create a new object, and no object class was provided, it will return null instead of a valid object!
ObjectClass
- The class type you want to recycle (e.g. FlxSprite, EvilRobot, etc). Do NOT "new" the class in the parameter!FlxObject.reset()
.VariableName
- The string representation of the variable name you want to modify, for example "visible" or "scrollFactor".Value
- The value you want to assign to that variable.Recurse
- Default value is true, meaning if setAll()
encounters a member that is a group, it will call setAll()
on that group rather than modifying its variable.myGroup.sort("y",ASCENDING)
at the bottom of your
FlxState.update()
override. To sort all existing objects after
a big explosion or bomb attack, you might call myGroup.sort("exists",DESCENDING)
.Index
- The String
name of the member variable you want to sort on. Default value is "y".Order
- A FlxGroup
constant that defines the sort order. Possible values are ASCENDING
and DESCENDING
. Default value is ASCENDING
.
sort()
to sort in ascending order.


Across: 5. What’s the matter?  (3) 8. A trial involving mime would be irrelevant (10) 9. What’s wrong with a bit of warmth? (4) 10. One South African ancient king (3) 11. Old actress found in Mr Bean’s house? (6 4) 14. Short-change bishop with fifty-one pence! (4) 15. Boy has the backing of law (3) 16. Rank dishevelled bride embraces Rambo (10) 20. Old country’s retro fashion (4) 21. I caught 5 out as being untrue (7) 22. Stuck in Lord’s, maybe? (7) 24. Mr Brooks takes one in to dinner (4) 25. I am by a lake behind volcanic hill base (10) 29. Leave one in a state! (3) 30. Conversely providing old language (4) 31. Promised to attend here (10) 35. Weapon for leaders of Upper Zaire insurrection (3) 36. Writers make points in additional remarks (4) 37. Happening as soon as cold dog gets about inside (10) 38. Egghead working for a long time in US (3) Down: 1. Get around Minehead with pirate (4) 2. Flyers go back (4) 3. Refuse to admit dirty man? Yes! (4) 4. British family captivated by one’s skimpy-top costumes (7) 5. Potter tells us to keep to the match rules (10) 6. If this had been bolted the horse wouldn’t have! (6 4) 7. African oil state? (10) 11. Position of a patient man (3) 12. Successors of Webb Ellis have grand spirit (3) 13. The Times They Are A-Changin’ (3) 17. Actor who came to erode liver (6 4) 18. Star needs narcotic to force Sue off Ecstasy! (10) 19. Vicar’s joy and surprise! (10) 23. Greed for caviare (7) 26. Go top? (3) 27. Fashionable northern pub (3) 28. Pallid friend lost cap (3) 32. Going for a haircut? (4) 33. Smooth event appears timeless (4) 34. Chet is upset by score (4)


Hello g8 classmates! As I'm sure you have already guessed, my name is Eugene. My hometown is in Woodbridge,VA... Yep, all the way from the East Coast of the United States. Anyway, I've created this webpage as a way for you to get to know me a little better.
I have an older sister, Kourtney who lives back in Virginia. She is the mother to my niece and nephew who are 8 and 10 years old.
I have a little dog named Shinobi. He got the name for the fact that he steals food like a ninja.
Also I'm taking the course with one of my best friends, Paul.
Parkour
Disc Jockey DJ Skinner
Adventure Recreation


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Apart from lectures on pulsar science, a major part of the school was to analyze radio data from a pulsar. As part of the program, I observed the pular PSR B1749-28 (and it's calibrator) using the Ooty Radio Telescope at it's observing frequency 326.5 MHz with a bandwidth of 16 MHz (for a total of 30 mins). I then analyzed the data using sigproc to infer the period of the pulsar, it's strength at the ORT observing frequency and dispersion of the pulsar's signal.


This is my component!
This will only be displayed if there is no content to be distributed.
This is some original content
This is some more original content


The base directory to scan. If empty, the workspace will be used by default.
Dependency-Check will scan this directory and all subdirectories thereof. Paths may
contains Jenkins environment variables such as ${WORKSPACE} and ${BUILD_NUMBER}.
Multiple scan paths may be defined by separating the paths with a comma (i.e. dir1, dir2, dir3)
Paths may also be defined using Ant-style pattern sets. For example:
- **/commons*.jar
- **/*com*.jar
- **/*dir*/*.jar


Musician Barbado:
Thank you for offering, but I am afraid that you lack the necessary skills to undertake this task. It will be too much for you.
(This quest can be undertaken only by a character of level 15 or above.)


Please click
here
if you are not redirected within a few seconds.
Savio.no
Three column CSS layout: 100% height with footer
Second in source
Left menu 1
Left menu 2
Left menu 3
Third in source
Right menu 1
Right menu 2
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"Killer: A Journal of Murder" is a laborious, clear-studied case in excess: it is relentlessly overdone with bad acting, bad direction, and laughably pretentious dialogue to boot. All I could keep asking myself was: why did Oliver Stone serve as one of the executive producers of this junk?
The "killer" of the title is Leavenworth convict Carl Panzram (James Woods), a real-life murderer who killed every person or thing that crossed his path without hesitation.  Oh, really? Apparently, a Jewish prison guard (Robert Sean Leonard) takes an interest in this killer, and brings him writing supplies and a notepad so that Carl can write his life, er death, stories. Harold Gould plays the prison guard as an old man as he narrates the story of Carl, who in turn tells us his side of the story, the basis for the "journal," in amateurish flashbacks complete with badly edited newsreel footage.
Director Tim Metcalfe has no idea how to steer such unpleasant material so he takes the Peckinpah approach: he throws everything up in the air without sorting any of the details or characters (Metcalfe dedicates the film to Sam Peckinpah). For instance, why would a Jewish prison guard be interested in a character like Carl? What about the other inmates? And why is Carl depicted as devoid of human feeling only to turn into a compassionate, saintly figure by the end of the film? And why is Lili Taylor's cameo so much more effective than anything else in the movie?
"Killer" is ambiguous, dull, and uninteresting; the narrative structure is so sloppily fragmented that it will give you a migraine. The actors give forced, listless performances, especially the unconvincing Robert Sean Leonard ("Dead Poets Society"). For a look at Woods's more subtle, less maniacal roles, check out "True Believer," "Cop" and "The Boost." Anything's better than this tripe.
For more reviews, check out JERRY AT THE MOVIES at http://buffs.moviething.com/buffs/faust/
E-mail me with questions, concerns, or complaints at<EMAIL_ADDRESS>or at<EMAIL_ADDRESS>The review above was posted to the
rec.arts.movies.reviews newsgroup (de.rec.film.kritiken for German reviews).
The Internet Movie Database accepts no responsibility for the contents of the
review and has no editorial control. Unless stated otherwise, the copyright
belongs to the author.
Please direct comments/criticisms of the review to relevant newsgroups.
Broken URLs inthe reviews are the responsibility of the author.
The formatting of the review is likely to differ from the original due
to ASCII to HTML conversion.
Related links: index of all rec.arts.movies.reviews reviews


Be respectful
We do not all have the same opinions. However, disagreement in no way excuses bad
behavior or execrable manners. We all experience frustration from time to time. However,
it must not turn into a personal attack. Remember, if community members do not feel
comfortable or confident, it will not be productive.
Be benevolent:
Your work will be used by other people and you will also have to use the work of others.
So you will have to make a mindset of open sharing.
Be kind
All members of the Ibn Khaldoun community must feel accepted, regardless of their
situation. Be courteous, respectful and polite to other members.
Communicate effectively
We do not all have the same level of knowledge. To avoid misunderstandings, communicate
clearly. We do not all come from the same background and, therefore, we can interpret
the words differently.
Post New Ideas
Always post new ideas for project, event, and talks, this will have a great impact on
other members to think differently.
Be excellent to each other
The Organizers want the events to be an excellent experience for everyone regardless of
gender identity and expression, sexual orientation, disabilities, neurodiversity,
physical appearance, body size, ethnicity, nationality, race, age, religion, or other
protected category. Treat everyone with respect. Participate while acknowledging that
everyone deserves to be at the event -- and each of us has the right to enjoy the
experience without fear of harassment, discrimination, or condescension, whether blatant
or via micro-aggressions. Jokes shouldn’t demean others. Consider what you are saying
and how it would feel if it were said to or about you.
Speak up if you see or hear something
Harassment is not tolerated, and you are empowered to politely engage when you or others
are disrespected. The person making you feel uncomfortable may not be aware of what they
are doing, and politely bringing their behavior to their attention is encouraged. If a
participant engages in harassing or uncomfortable behavior, the Organizers may take any
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with no refund. If you are being harassed or feel uncomfortable, notice that someone
else is being harassed, or have any other concerns, please contact a member of the event
staff immediately.
 Participants asked to stop any
harassing behavior are expected to comply immediately.
And finaly
Participants asked to stop any harassing behavior are expected to comply immediately. If
participants fail to comply they will be asked to leave the event.
Be careful and mindful of the words that you choose. Remember that sexist, racist, and other exclusionary comments and hacks can be offensive to those around you.
If a participant engages in behavior that violates this code of conduct, the event organizers will take any action they deem appropriate, including warning the offender or expulsion from the events.


Body stuff 1
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Join an existing Room
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Eve
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lets play
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Live Music Venue Finder
Live Music Venue Finder
The only application dedicated to provide
Location of Live Music venues,
Contact details and
A chance to view raw data
Want to create your own masterpiece?
Find formatted data set used for this application by clicking 'JSON Data' in Menu.


# -*- coding: utf-8 -*-
# Copyright 2019, IBM.
#
# This source code is licensed under the Apache License, Version 2.0 found in
# the LICENSE.txt file in the root directory of this source tree.
"""
Abstract BaseOperator class.
"""
from abc import ABC, abstractmethod
import numpy as np
from qiskit.qiskiterror import QiskitError
from qiskit.quantum_info.operators.predicates import ATOL_DEFAULT, RTOL_DEFAULT
[docs]class BaseOperator(ABC):
"""Abstract linear operator base class"""
ATOL = ATOL_DEFAULT
RTOL = RTOL_DEFAULT
MAX_TOL = 1e-4
def __init__(self, rep, data, input_dims, output_dims):
"""Initialize an operator object."""
if not isinstance(rep, str):
raise QiskitError("rep must be a string not a {}".format(
rep.__class__))
self._rep = rep
self._data = data
# Shape lists the dimension of each subsystem starting from
# least significant through to most significant.
self._input_dims = tuple(input_dims)
self._output_dims = tuple(output_dims)
# The total input and output dimensions are given by the product
# of all subsystem dimension in the input_dims/output_dims.
self._input_dim = np.product(input_dims)
self._output_dim = np.product(output_dims)
def __eq__(self, other):
if (isinstance(other, self.__class__)
and self.input_dims() == other.input_dims()
and self.output_dims() == other.output_dims()):
return np.allclose(
self.data, other.data, rtol=self._rtol, atol=self._atol)
return False
def __repr__(self):
return '{}({}, input_dims={}, output_dims={})'.format(
self.rep, self.data, self._input_dims, self._output_dims)
@property
def rep(self):
"""Return operator representation string."""
return self._rep
@property
def dim(self):
"""Return tuple (input_shape, output_shape)."""
return self._input_dim, self._output_dim
@property
def data(self):
"""Return data."""
return self._data
@property
def _atol(self):
"""The absolute tolerence parameter for float comparisons."""
return self.__class__.ATOL
@_atol.setter
def _atol(self, atol):
"""Set the absolute tolerence parameter for float comparisons."""
# NOTE: that this overrides the class value so applies to all
# instances of the class.
max_tol = self.__class__.MAX_TOL
if atol < 0:
raise QiskitError("Invalid atol: must be non-negative.")
if atol > max_tol:
raise QiskitError(
"Invalid atol: must be less than {}.".format(max_tol))
self.__class__.ATOL = atol
@property
def _rtol(self):
"""The relative tolerence parameter for float comparisons."""
return self.__class__.RTOL
@_rtol.setter
def _rtol(self, rtol):
"""Set the relative tolerence parameter for float comparisons."""
# NOTE: that this overrides the class value so applies to all
# instances of the class.
max_tol = self.__class__.MAX_TOL
if rtol < 0:
raise QiskitError("Invalid rtol: must be non-negative.")
if rtol > max_tol:
raise QiskitError(
"Invalid rtol: must be less than {}.".format(max_tol))
self.__class__.RTOL = rtol
def _reshape(self, input_dims=None, output_dims=None):
"""Reshape input and output dimensions of operator.
Arg:
input_dims (tuple): new subsystem input dimensions.
output_dims (tuple): new subsystem output dimensions.
Returns:
Operator: returns self with reshaped input and output dimensions.
Raises:
QiskitError: if combined size of all subsystem input dimension or
subsystem output dimensions is not constant.
"""
if input_dims is not None:
if np.product(input_dims) != self._input_dim:
raise QiskitError(
"Reshaped input_dims are incompatible with combined input dimension."
)
self._input_dims = tuple(input_dims)
if output_dims is not None:
if np.product(output_dims) != self._output_dim:
raise QiskitError(
"Reshaped input_dims are incompatible with combined input dimension."
)
self._output_dims = tuple(output_dims)
return self
[docs] def output_dims(self, qargs=None):
"""Return tuple of output dimension for specified subsystems."""
if qargs is None:
return self._output_dims
return tuple(self._output_dims[i] for i in qargs)
[docs] def copy(self):
"""Make a copy of current operator."""
# pylint: disable=no-value-for-parameter
# The constructor of subclasses from raw data should be a copy
return self.__class__(self.data, self.input_dims(), self.output_dims())
[docs] def adjoint(self):
"""Return the adjoint of the operator."""
return self.conjugate().transpose()
[docs] @abstractmethod
def is_unitary(self, atol=None, rtol=None):
"""Return True if operator is a unitary matrix."""
pass
[docs] @abstractmethod
def to_operator(self):
"""Convert operator to matrix operator class"""
pass
[docs] @abstractmethod
def conjugate(self):
"""Return the conjugate of the operator."""
pass
[docs] @abstractmethod
def transpose(self):
"""Return the transpose of the operator."""
pass
[docs] @abstractmethod
def compose(self, other, qargs=None, front=False):
"""Return the composition channel self∘other.
Args:
other (BaseOperator): an operator object.
qargs (list): a list of subsystem positions to compose other on.
front (bool): If False compose in standard order other(self(input))
otherwise compose in reverse order self(other(input))
[default: False]
Returns:
BaseOperator: The composed operator.
Raises:
QiskitError: if other cannot be converted to an operator, or has
incompatible dimensions for specified subsystems.
"""
pass
[docs] def power(self, n):
"""Return the compose of a operator with itself n times.
Args:
n (int): the number of times to compose with self (n>0).
Returns:
BaseOperator: the n-times composed operator.
Raises:
QiskitError: if the input and output dimensions of the operator
are not equal, or the power is not a positive integer.
"""
# NOTE: if a subclass can have negative or non-integer powers
# this method should be overriden in that class.
if not isinstance(n, (int, np.integer)) or n < 1:
raise QiskitError("Can only power with positive integer powers.")
if self._input_dim != self._output_dim:
raise QiskitError("Can only power with input_dim = output_dim.")
ret = self.copy()
for _ in range(1, n):
ret = ret.compose(self)
return ret
[docs] @abstractmethod
def tensor(self, other):
"""Return the tensor product operator self ⊗ other.
Args:
other (BaseOperator): a operator subclass object.
Returns:
BaseOperator: the tensor product operator self ⊗ other.
Raises:
QiskitError: if other is not an operator.
"""
pass
[docs] @abstractmethod
def expand(self, other):
"""Return the tensor product operator other ⊗ self.
Args:
other (BaseOperator): an operator object.
Returns:
BaseOperator: the tensor product operator other ⊗ self.
Raises:
QiskitError: if other is not an operator.
"""
pass
[docs] @abstractmethod
def add(self, other):
"""Return the linear operator self + other.
Args:
other (BaseOperator): an operator object.
Returns:
LinearOperator: the linear operator self + other.
Raises:
QiskitError: if other is not an operator, or has incompatible
dimensions.
"""
pass
[docs] @abstractmethod
def subtract(self, other):
"""Return the linear operator self - other.
Args:
other (BaseOperator): an operator object.
Returns:
LinearOperator: the linear operator self - other.
Raises:
QiskitError: if other is not an operator, or has incompatible
dimensions.
"""
pass
[docs] @abstractmethod
def multiply(self, other):
"""Return the linear operator self + other.
Args:
other (complex): a complex number.
Returns:
Operator: the linear operator other * self.
Raises:
QiskitError: if other is not a valid complex number.
"""
pass
@abstractmethod
def _evolve(self, state, qargs=None):
"""Evolve a quantum state by the operator.
Args:
state (QuantumState): The input statevector or density matrix.
qargs (list): a list of QuantumState subsystem positions to apply
the operator on.
Returns:
QuantumState: the output quantum state.
Raises:
QiskitError: if the operator dimension does not match the
specified QuantumState subsystem dimensions.
"""
pass
@classmethod
def _automatic_dims(cls, dims, size):
"""Check if input dimension corresponds to qubit subsystems."""
if dims is None:
dims = size
elif np.product(dims) != size:
raise QiskitError("dimensions do not match size.")
if isinstance(dims, (int, np.integer)):
num_qubits = int(np.log2(dims))
if 2 ** num_qubits == size:
return num_qubits * (2,)
return (dims,)
return tuple(dims)
@classmethod
def _einsum_matmul(cls, tensor, mat, indices, shift=0, right_mul=False):
"""Perform a contraction using Numpy.einsum
Args:
tensor (np.array): a vector or matrix reshaped to a rank-N tensor.
mat (np.array): a matrix reshaped to a rank-2M tensor.
indices (list): tensor indices to contract with mat.
shift (int): shift for indicies of tensor to contract [Default: 0].
right_mul (bool): if True right multiply tensor by mat
(else left multiply) [Default: False].
Returns:
Numpy.ndarray: the matrix multiplied rank-N tensor.
Raises:
QiskitError: if mat is not an even rank tensor.
"""
rank = tensor.ndim
rank_mat = mat.ndim
if rank_mat % 2 != 0:
raise QiskitError(
"Contracted matrix must have an even number of indices.")
# Get einsum indices for tensor
indices_tensor = list(range(rank))
for j, index in enumerate(indices):
indices_tensor[index + shift] = rank + j
# Get einsum indces for mat
mat_contract = list(reversed(range(rank, rank + len(indices))))
mat_free = [index + shift for index in reversed(indices)]
if right_mul:
indices_mat = mat_contract + mat_free
else:
indices_mat = mat_free + mat_contract
return np.einsum(tensor, indices_tensor, mat, indices_mat)
# Overloads
def __matmul__(self, other):
return self.compose(other)
def __pow__(self, n):
return self.power(n)
def __xor__(self, other):
return self.tensor(other)
def __mul__(self, other):
return self.multiply(other)
def __truediv__(self, other):
return self.multiply(1 / other)
def __rmul__(self, other):
return self.__mul__(other)
def __add__(self, other):
return self.add(other)
def __sub__(self, other):
return self.subtract(other)
def __neg__(self):
return self.multiply(-1)


|
CommandLib
Classes that simplify coordination of asynchronous and synchronous activities
|
Dispatches Command objects for asynchronous execution. More...
#include <CommandDispatcher.h>
Public Member Functions | |
| CommandDispatcher (size_t maxConcurrent) | |
| Constructs a CommandDispatcher object More... | |
| void | AddMonitor (CommandMonitor *monitor) |
| Adds a listener that will receive callbacks about the status of commands executed by this dispatcher More... | |
| void | Dispatch (Command::Ptr command) |
| If there is room in the pool, asynchronously executes the command immediately. Otherwise, places the command in a queue for processing when room in the pool becomes available. More... | |
| void | Abort () |
| Aborts all dispatched commands, and empties the queue of not yet executed commands. More... | |
| void | Wait () |
| Waits for all dispatched commands to finish execution More... | |
| void | AbortAndWait () |
| Exact same effect as calling Abort followed immediately by a call to Wait. More... | |
Dispatches Command objects for asynchronous execution.
This class can be useful when commands are dynamically generated at runtime, and must be dynamically executed upon generation. (for example, asynchronous handling of requests sent over a data stream).
Upon destruction, this object will wait until all dispatched commands finish execution. For a faster shutdown, you may wish to call CommandDispatcher::Abort() before destructing the dispatcher.
|
explicit |
Constructs a CommandDispatcher object
| maxConcurrent | The maximum number of commands that can be executed concurrently by this dispatcher. If this limit is reached, commands will be queued and only executed when enough prior dispatched commands finish execution. |
| void CommandLib::CommandDispatcher::Abort | ( | ) |
Aborts all dispatched commands, and empties the queue of not yet executed commands.
| void CommandLib::CommandDispatcher::AbortAndWait | ( | ) |
| void CommandLib::CommandDispatcher::AddMonitor | ( | CommandMonitor * | monitor | ) |
Adds a listener that will receive callbacks about the status of commands executed by this dispatcher
| void CommandLib::CommandDispatcher::Dispatch | ( | Command::Ptr | command | ) |
If there is room in the pool, asynchronously executes the command immediately. Otherwise, places the command in a queue for processing when room in the pool becomes available.
| command | The command to execute as soon as there is room in the pool. The command must be top-level (that is, it must have no parent). |
Note that it will cause undefined behavior to dispatch a Command object that is currently executing, or that has already been dispatched but has not yet executed.
When the command evenutally finishes execution, the CommandMonitor subscribers will be notified on a different thread.
| void CommandLib::CommandDispatcher::Wait | ( | ) |
Waits for all dispatched commands to finish execution


#include <SDBus.hpp>
◆ SDBusImp() [1/2]
| geopm::SDBusImp::SDBusImp |
( |
| ) |
|
◆ SDBusImp() [2/2]
| geopm::SDBusImp::SDBusImp |
( |
const SDBusImp & |
other | ) |
|
|
delete |
◆ ~SDBusImp()
| geopm::SDBusImp::~SDBusImp |
( |
| ) |
|
|
virtual |
◆ call_method() [1/6]
| std::shared_ptr< SDBusMessage > geopm::SDBusImp::call_method |
( |
const std::string & |
member | ) |
|
|
overridevirtual |
Wrapper for the sd_bus_call_method(3) function.
Used to execute a GEOPM D-Bus API that takes no arguments.
- Parameters
-
| member | [in] Name of the API from the io.github.geopm interface. |
- Returns
- Reply message that resulted from the call.
Implements geopm::SDBus.
◆ call_method() [2/6]
| std::shared_ptr< SDBusMessage > geopm::SDBusImp::call_method |
( |
const std::string & |
member, |
|
|
const std::string & |
arg0 |
|
) |
| |
|
overridevirtual |
◆ call_method() [3/6]
| std::shared_ptr< SDBusMessage > geopm::SDBusImp::call_method |
( |
const std::string & |
member, |
|
|
const std::string & |
arg0, |
|
|
int |
arg1, |
|
|
int |
arg2 |
|
) |
| |
|
overridevirtual |
Wrapper for the sd_bus_call_method(3) function.
Used to execute a GEOPM D-Bus API that takes three arguments with types (string, integer, integer).
- Parameters
-
| member | [in] Name of the API from the io.github.geopm interface. |
| arg0 | [in] First parameter to pass to the D-Bus API. |
| arg1 | [in] Second parameter to pass to the D-Bus API. |
| arg2 | [in] Third parameter to pass to the D-Bus API. |
- Returns
- Reply message that resulted from the call.
Implements geopm::SDBus.
◆ call_method() [4/6]
| std::shared_ptr< SDBusMessage > geopm::SDBusImp::call_method |
( |
const std::string & |
member, |
|
|
const std::string & |
arg0, |
|
|
int |
arg1, |
|
|
int |
arg2, |
|
|
double |
arg3 |
|
) |
| |
|
overridevirtual |
Wrapper for the sd_bus_call_method(3) function.
Used to execute a GEOPM D-Bus API that takes four arguments with types (string, integer, integer, double).
- Parameters
-
| member | [in] Name of the API from the io.github.geopm interface. |
| arg0 | [in] First parameter to pass to the D-Bus API. |
| arg1 | [in] Second parameter to pass to the D-Bus API. |
| arg2 | [in] Third parameter to pass to the D-Bus API. |
| arg2 | [in] Fourth parameter to pass to the D-Bus API. |
- Returns
- Reply message that resulted from the call.
Implements geopm::SDBus.
◆ call_method() [5/6]
| std::shared_ptr< SDBusMessage > geopm::SDBusImp::call_method |
( |
const std::string & |
member, |
|
|
int |
arg0 |
|
) |
| |
|
overridevirtual |
Wrapper for the sd_bus_call_method(3) function.
Used to execute a GEOPM D-Bus API that takes one integer argument.
- Parameters
-
| member | [in] Name of the API from the io.github.geopm interface. |
| arg0 | [in] First parameter to pass to the D-Bus API. |
- Returns
- Reply message that resulted from the call.
Implements geopm::SDBus.
◆ call_method() [6/6]
◆ make_call_message()
| std::shared_ptr< SDBusMessage > geopm::SDBusImp::make_call_message |
( |
const std::string & |
member | ) |
|
|
overridevirtual |
Wrapper for the sd_bus_message_new_method_call(3) function.
This is used to create a SDBusMessage that can be passed to the call() method. The user can append data to the message prior to passing the result to the call() method in order to send complex data types like arrays and structures. The D-Bus API that will be called later is a parameter to this function.
- Parameters
-
| member | [in] Name of the API from the io.github.geopm interface. |
- Returns
- Complete message that can be passed to the call() method.
Implements geopm::SDBus.
◆ operator=()
The documentation for this class was generated from the following files:


( a) Caloric Northern Hemisphere half-year summer insolation for MIS 1, 5, 7, 9, 11, 17, and 19, relative to each stage’s insolation minimum at year 0 [Updated from a previous version 61, 62]. Trends in (b) CO 2 and ( c) CH 4 concentrations 7 during MIS19 (black) and MIS1 (red). CO 2 data for MIS19 is from Dome C 6 and from Law Dome 9, 10 and Dome C 11, 12 for MIS1.


Move Text Dialog
The Move Text Dialog lets you move text to another object in the file. Select the location where you want to move the text and hit OK. It will be added to the end of the new object's Text View.
You can use the right and left arrows to expand and collapse items.


--- date: 2011-03-10T00:00:00Z published: true title: Cross browser testing with Selenium - Sauce Labs | Interesting service url: /2011/03/10/cross-browser-testing-with-selenium-sauce-labs-interesting-service-nf/ ---
We run your Selenium tests 10x faster in parallel, cut your infrastructure overhead, increase the velocity of your agile development process, run browsers in the cloud, deliver live test video, provide secure tunnels and live/breath Selenium testing.


Networked Information Container for Hypermedia Exploration
Proof of concept implementation of a NICHE for multi-agent autonomous systems. In it’s most simple form, a NICHE is a network resource (a document reachable via a URL) that contains a list of all the STIGs and PHERROs associated with the NICHE contains. NICHEs can be of any size and may be linked together to form what might be thought of as an eco-system.


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@@include('../partials/head/head.html')
@@include('../partials/components/leftCol.html')
@@include('../partials/components/topLine.html', { "title": "Profile" })
@@include('../partials/components/headerMenu.html') @@include('../partials/components/profileInfo.html')
@@include('../partials/components/footer.html')


<sbb-lightbox-header>

<svg
class="sbbsc-lightbox-example-icon-1"
style="width: 20px; height: 20px;"
>
<use xlink:href="#SBB_oev_b_t02"></use>
</svg>
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class="sbbsc-lightbox-example-icon-2"
style="width: 60px; height: 20px;"
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</svg>

 Zugnummer  5 527

Fahrtrichtung Richtung Zürich HB

</sbb-lightbox-header>
<sbb-lightbox-content>

Install Angular

Set alignment of buttons in footer

<sbb-field label="Alignment" mode="default" class="sbbsc-block">
<sbb-radio-button
[(ngModel)]="alignment"
name="alignment-radio"
value="left"
>LEFT</sbb-radio-button
>
</sbb-field>
<sbb-field label="Alignment" mode="default" class="sbbsc-block">
<sbb-radio-button
[(ngModel)]="alignment"
name="alignment-radio"
value="center"
>CENTER</sbb-radio-button
>
</sbb-field>
<sbb-field label="Alignment" mode="default" class="sbbsc-block">
<sbb-radio-button
[(ngModel)]="alignment"
name="alignment-radio"
value="right"
>RIGHT</sbb-radio-button
>
</sbb-field>

Develop across all platforms

Learn one way to build applications with Angular and reuse your code and
abilities to build apps for any deployment target. For web, mobile web,
native mobile and native desktop.

Speed & Performance

Achieve the maximum speed possible on the Web Platform today, and take it
further, via Web Workers and server-side rendering. Angular puts you in
control over scalability. Meet huge data requirements by building data
models on RxJS, Immutable.js or another push-model.

Incredible tooling

Build features quickly with simple, declarative templates. Extend the
template language with your own components and use a wide array of existing
components. Get immediate Angular-specific help and feedback with nearly
every IDE and editor. All this comes together so you can focus on building
amazing apps rather than trying to make the code work.

Loved by millions

From prototype through global deployment, Angular delivers the productivity
and scalable infrastructure that supports Google's largest applications.

What is Angular?

Angular is a platform that makes it easy to build applications with the web.
Angular combines declarative templates, dependency injection, end to end
tooling, and integrated best practices to solve development challenges.
Angular empowers developers to build applications that live on the web,
mobile, or the desktop

Architecture overview

Angular is a platform and framework for building client applications in HTML
and TypeScript. Angular is itself written in TypeScript. It implements core
and optional functionality as a set of TypeScript libraries that you import
into your apps.

The basic building blocks of an Angular application are NgModules, which
provide a compilation context for components. NgModules collect related code
into functional sets; an Angular app is defined by a set of NgModules. An
app always has at least a root module that enables bootstrapping, and
typically has many more feature modules.

Components define views, which are sets of screen elements that Angular can
choose among and modify according to your program logic and data. Every app
has at least a root component.

Components use services, which provide specific functionality not directly
related to views. Service providers can be injected into components as
dependencies, making your code modular, reusable, and efficient.

Both components and services are simply classes, with decorators that mark
their type and provide metadata that tells Angular how to use them.

The metadata for a component class associates it with a template that
defines a view. A template combines ordinary HTML with Angular directives
and binding markup that allow Angular to modify the HTML before rendering it
for display.

The metadata for a service class provides the information Angular needs to
make it available to components through Dependency Injection (DI).

An app's components typically define many views, arranged hierarchically.
Angular provides the Router service to help you define navigation paths
among views. The router provides sophisticated in-browser navigational
capabilities. END

</sbb-lightbox-content>
<sbb-lightbox-footer [alignment]="alignment">
<button sbbButton mode="secondary" sbbLightboxClose>
Abbrechen
<sbb-icon-cross *sbbButtonIcon></sbb-icon-cross>
</button>
<button sbbButton [sbbLightboxClose]="true">
Übernehmen
<sbb-icon-arrow-right *sbbButtonIcon></sbb-icon-arrow-right>
</button>
</sbb-lightbox-footer>
<svg>
<symbol id="SBB_oev_b_t02" viewBox="0 0 20 20">
<path
d="M15.3 13.7c.2 0 .3-.1.3-.3l-.3-1.9h-3.2v2.2h3.2zM8.6 4.2L10.3 3 8 1.7 5.7 3l1.8 1.2h1.1zm3.3 3.3c0 .<IP_ADDRESS>.3h1.6c.2 0 .3-.1.3-.3l-.3-2.4c0-.2-.2-.3-.3-.3h-1.3c-.2 0-.3.1-.3.3v2.4zM7.7 4.8H.5v-.6h5.9L4.5 3 8 1l3.5 2-1.9 1.2h3.8c.5 0 .<IP_ADDRESS>l.8 5.9H.5V7.8h7.2c.2 0 .3-.1.3-.3 0-.2-.1-.3-.3-.3H.5v-.6h7.2c.2 0 .3-.1.3-.3S7.9 6 7.7 6H.5v-.6h7.2c.2 0 .3-.1.3-.3 0-.1-.1-.3-.3-.3zM4.5 13c0-.9.7-1.6 1.6-1.6s1.6.7 1.6 1.6-.7 1.6-1.6 1.6c-.9 0-1.6-.7-1.6-1.6m3.7 0c0-.9.7-1.6 1.6-1.6s1.6.7 1.6 1.6-.7 1.6-1.6 1.6-1.6-.7-1.6-1.6M.5.8h15V.5H.5v.3zm0 14.7h15v-.6H.5v.6zm0-3.9l3.4-.1v2.2H.5v-2.1z"
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></path>
</symbol>
</svg>


Social Good
We address problems within our society, communities and environment. We deliver alternative solutions for a fairer, safer and sustainable future.
Cooperation over Collaboration over Conflict
Our view is that cooperation is better than the need to collaborate on everything and that collaboration is better than conflict. Our actions are often independent and are made with our shared values working towards shared goals. Acceptance of this in our decisions means our cooperation with each other. Cooperation is better than a blanket policy for collaboration on everything we do which would become a bottleneck hindering our productivity and becoming costly. We will know when our decisions need collaboration based on our other values such as fairness and integrity. We embrace challenge and alternative opinions can often be received as conflict though our view is that this is collaborating, we leave our egos out of the discussion an arrive at better decisions and solutions. Conflict is not an option.
Simplicity and Transparency
If we can’t communicate it easily it’s probably too complex. We break down complexity and strive for simplicity so we can maintain and support our own goals, strategies and code. A solution should be as simple as possible and no simpler. We bring a transparency to all we do demonstrating our openness and other values as well as testing if our work is becoming too complicated.
Sustainability
For us sustainability means living within ecological, social and personal limits such that we try to offset the resources we use with benefits as well as protect and care for those resources so we can regenerate them - this includes the environment, our communities, our organisation and ourselves.
Make everything open
As far as is possible, bearing in mind our commitment to fairness, integrity and sustainability, our products and practices should be open. We take the view that secrecy - secret code, secret methods and secret business practices - does not add value, but instead erodes trust. A culture of openness fosters mass participation in our aims.
Integrity, honesty, fairness and respect for everyone
We work together because we share the same values and want to effect change in the world. We acknowledge that when organisations interact with individuals, there is frequently a disparity of power in the organisation’s favour, and we pledge to exercise that power ethically. We bring integrity into everything we do, whether we are working on a problem together, liaising with our stakeholders or just generally communicating to broader communities. We call out three specific attributes which we feel strongly about.
- Truth to power embodied in honesty - we don’t play games with each other, we hope there are no surprises and we are open about who we are and what we stand for.
- Fairness - we believe that we all need a voice and should be listened to as an equal - our skills and personal attributes are determined by market factors they are based on face value of delivering into the work we do.
- Respect - we always give each other the time and space to think and speak, there are never wrong views or silly questions only ones which lead to better and broader understandings and we recognise our differences as being one of our main strengths.
Review values on a regular basis
These values will be reviewed regularly to ensure they remain practical and comprehensive. We will also regularly assess our practices to ensure that they are in line with our values. We strive for continuous improvements of ourselves and our work. We review our own values, ways of working, skills and personal traits and look for opportunities for feedback as much as possible so we can address any suggestions we feel will make a better culture and us better people. Our work is constantly under stress and test so we can assess from as many sources as possible how we make our services and products better for our users. Anyone, inside or outside of the organisation, should feel empowered to challenge a practice they feel does not conform with these values.


During the later half of the 2100's deep sea oil mining became the main source of fossil fuel. However locked within this deep sea biomass for 100's of millions of years a virus laid dormant. "The Great Plague" also known as Necro-Pelagicia Virus attacked the host's brain and with a 90% fatality rate in primates it wiped out over 50% of the human population, roughly 5 billion people, in the span of 7 years. Out of the remaining 50% of the survivors over half were left infertile due to a side effect of the vaccination.


Preparation time
less than 30 mins
Cooking time
10 to 30 mins
Serves
Serves 4
Chicken wings spiced up with sweet paprika, chilli and garlic served alongside savoury braised peas.
Cut the pointy tips from each chicken wing and discard. Dry the wings well on kitchen paper.
Heat the oil for deep-frying to 180C/350F (use a cooking thermometer), or alternatively use a deep fat fryer. (CAUTION: hot oil can be dangerous. Do not leave unattended.)
Deep fry a quarter of the chicken wings for 6-7 minutes, until cooked through, crisp and golden-brown.
Meanwhile, for the dressing, put the garlic cloves on a board, sprinkle with some salt and crush them into a smooth paste with the flat side of a large knife.
Put the extra virgin olive oil and the crushed garlic in a small pan over a medium-low heat. As soon as the garlic begins to sizzle, add the crushed dried chillies and cook very gently for two minutes, until the garlic is very lightly golden-brown.
Stir in the sweet paprika and sherry vinegar and remove from the heat.
As soon as the first batch of chicken wings is cooked, remove them from the oil with a slotted spoon and drain them briefly on kitchen paper. Tip them into a serving bowl and drizzle with some of the warm garlic and chilli dressing.
Stir to coat the chicken with the dressing then sprinkle with a little sea salt.
Repeat with the remaining wings frying in batches.
For the peas, heat the olive oil in a medium, lidded, frying pan. Add the shallots and garlic, cover and cook gently for five minutes until soft but not browned.
Stir in the peas and chicken stock, part-cover and simmer gently for five minutes until the peas are tender and the liquid has reduced to leave them just moist.
Stir in the Serrano ham, and season to taste with salt and pepper.
Break the eggs, spaced well apart, on top of the peas, season lightly with salt and freshly ground black pepper and cover the pan with a well-fitting lid.
Leave to cook gently for five minutes, or until the eggs are set to your liking.
To serve, pile the hot chicken wings alongside the peas and eggs.


Deepomatic is a deep-learning startup specialized in image recognition. We develop a B2B platform helping companies to automate expert tagging tasks, by continuously training and deploying deep learning models. Our platform is used by Global 500 companies to solve problems ranging from industrial quality control to user-generated content categorization, including threat detection. Learn more at www.deepomatic.com.
My research work belongs to the field of proof theory and Curry-Howard correspondance. More precisely: linear logic, forcing and classical realizability and what they can bring to functional programming. Recently I have been interested in the connections between deep learning and functional programming.
PhD Thesis
I did my PhD at the LIPN, Université Paris 13, under the supervision of Damiano Mazza.
The purpose of this thesis is the definition of a new algebraic framework called


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Market Charts > 1997 > Movie Chart
Annual Movie Chart - 1997
Note: This chart ranks movies by the amount they earned during 1997.
It includes movies released in previous years that earned money during 1997.
For example, a movie released over Thanksgiving in 1996 will most likely earn money in 1996 and 1997.
Click on the individual movie to see its total gross over all the years in which it played.
Each box office year ends on the first Sunday of the following year.
The next year starts the following day (Monday).
For example, the "2004 box office year" ended on Sunday, January 2, 2005.
Inflation-adjusted figures are based on ticket sale estimates.
See Top 1997 Movies at the Domestic Box Office for the total domestic box office for the top 100 movies released in 1997, and Movie Index 1997 for an overview of all movies released in 1997.
Top Grossing Movies of 1997
| Rank | Movie | Release Date | Distributor | Genre | 1997 Gross | Tickets Sold |
| 1 |
Men in Black |
Jul 1, 1997 |
Sony Pictures |
Adventure |
$250,650,052 |
54,607,854 |
| 2 |
The Lost World: Jurassic Park |
May 22, 1997 |
Universal |
Action |
$229,086,679 |
49,909,951 |
| 3 |
Liar Liar |
Mar 21, 1997 |
Universal |
Comedy |
$181,410,615 |
39,523,009 |
| 4 |
Air Force One |
Jul 25, 1997 |
Sony Pictures |
Action |
$172,480,186 |
37,577,382 |
| 5 |
Titanic |
Dec 19, 1997 |
Paramount Pictures |
Drama |
$157,467,971 |
34,306,747 |
| 6 |
Star Wars Ep. IV: A New Hope |
Jul 21, 1978 |
20th Century Fox |
Adventure |
$138,133,173 |
30,094,373 |
| 7 |
The Godfather |
Mar 15, 1972 |
Paramount Pictures |
Drama |
$129,141,981 |
28,135,507 |
| 8 |
My Best Friend's Wedding |
Jun 20, 1997 |
Sony Pictures |
Comedy |
$126,776,290 |
27,620,106 |
| 9 |
Face/Off |
Jun 27, 1997 |
Paramount Pictures |
Action |
$112,276,146 |
24,461,033 |
| 10 |
Batman & Robin |
Jun 20, 1997 |
Warner Bros. |
Action |
$107,325,195 |
23,382,395 |
| 11 |
George Of The Jungle |
Jul 16, 1997 |
Walt Disney |
Adventure |
$105,263,257 |
22,933,171 |
| 12 |
Con Air |
Jun 6, 1997 |
Walt Disney |
Action |
$101,117,573 |
22,029,972 |
| 13 |
Contact |
Jul 11, 1997 |
Warner Bros. |
Drama |
$100,920,329 |
21,986,999 |
| 14 |
Hercules |
Jun 13, 1997 |
Walt Disney |
Adventure |
$99,112,101 |
21,593,050 |
| 15 |
Tomorrow Never Dies |
Dec 19, 1997 |
MGM |
Action |
$92,433,154 |
20,137,942 |
| 16 |
Scream 2 |
Dec 12, 1997 |
Miramax |
Horror |
$85,520,969 |
18,632,019 |
| 17 |
Flubber |
Nov 26, 1997 |
Walt Disney |
Comedy |
$83,134,090 |
18,112,002 |
| 18 |
Conspiracy Theory |
Aug 8, 1997 |
Warner Bros. |
Thriller/Suspense |
$76,118,990 |
16,583,657 |
| 19 |
Jerry Maguire |
Dec 13, 1996 |
Sony Pictures |
Romantic Comedy |
$70,614,467 |
15,384,415 |
| 20 |
I Know What You Did Last Su… |
Oct 17, 1997 |
Sony Pictures |
Horror |
$70,426,975 |
15,343,567 |
| 21 |
Star Wars Ep. V: The Empire… |
Jul 31, 1981 |
20th Century Fox |
Adventure |
$67,484,485 |
14,702,502 |
| 22 |
Dante’s Peak |
Feb 7, 1997 |
Universal |
Thriller/Suspense |
$67,163,857 |
14,632,648 |
| 23 |
Anaconda |
Apr 11, 1997 |
Sony Pictures |
Horror |
$65,598,907 |
14,291,700 |
| 24 |
Scream |
Dec 20, 1996 |
Miramax |
Horror |
$63,916,834 |
13,925,236 |
| 25 |
The Fifth Element |
May 9, 1997 |
Sony Pictures |
Action |
$63,570,862 |
13,849,861 |
| 26 |
In & Out |
Sep 19, 1997 |
Paramount Pictures |
Comedy |
$63,417,425 |
13,816,432 |
| 27 |
The Saint |
Apr 4, 1997 |
Paramount Pictures |
Action |
$61,363,304 |
13,368,911 |
| 28 |
Jungle 2 Jungle |
Mar 7, 1997 |
Walt Disney |
Comedy |
$59,925,026 |
13,055,561 |
| 29 |
Kiss the Girls |
Oct 3, 1997 |
Paramount Pictures |
Thriller/Suspense |
$59,757,672 |
13,019,100 |
| 30 |
Devil’s Advocate |
Oct 17, 1997 |
Warner Bros. |
Horror |
$59,092,127 |
12,874,101 |
| 31 |
Spawn |
Jul 31, 1997 |
New Line |
Action |
$54,979,992 |
11,978,211 |
| 32 |
Starship Troopers |
Nov 7, 1997 |
Sony Pictures |
Action |
$54,320,555 |
11,834,543 |
| 33 |
Austin Powers: Internationa… |
May 2, 1997 |
New Line |
Comedy |
$53,883,989 |
11,739,431 |
| 34 |
The Jackal |
Nov 14, 1997 |
Universal |
Thriller/Suspense |
$53,153,666 |
11,580,319 |
| 35 |
Anastasia |
Nov 14, 1997 |
20th Century Fox |
Musical |
$53,147,865 |
11,579,055 |
| 36 |
The English Patient |
Nov 15, 1996 |
Miramax |
Drama |
$50,644,298 |
11,033,616 |
| 37 |
Breakdown |
May 2, 1997 |
Paramount Pictures |
Thriller/Suspense |
$50,159,144 |
10,927,918 |
| 38 |
Absolute Power |
Feb 14, 1997 |
Sony Pictures |
Thriller/Suspense |
$50,068,310 |
10,908,128 |
| 39 |
The Game |
Sep 12, 1997 |
Polygram |
Thriller/Suspense |
$48,265,581 |
10,515,377 |
| 40 |
G.I.Jane |
Aug 22, 1997 |
Walt Disney |
Drama |
$48,169,156 |
10,494,369 |
| 41 |
Speed II: Cruise Control |
Jun 13, 1997 |
20th Century Fox |
Action |
$48,097,081 |
10,478,666 |
| 42 |
Star Wars Ep. VI: Return of… |
Mar 14, 1997 |
20th Century Fox |
Adventure |
$48,063,790 |
10,471,413 |
| 43 |
Evita |
Dec 25, 1996 |
Walt Disney |
Musical |
$47,769,067 |
10,407,204 |
| 44 |
Volcano |
Apr 25, 1997 |
20th Century Fox |
Action |
$47,546,796 |
10,358,779 |
| 45 |
Alien: Resurrection |
Nov 26, 1997 |
20th Century Fox |
Action |
$46,139,186 |
10,052,110 |
| 46 |
Bean |
Oct 17, 1997 |
Gramercy |
Comedy |
$45,105,316 |
9,826,866 |
| 47 |
Cop Land |
Aug 15, 1997 |
Miramax |
Drama |
$44,906,632 |
9,783,579 |
| 48 |
Nothing To Lose |
Jul 18, 1997 |
Walt Disney |
Comedy |
$44,480,039 |
9,690,640 |
| 49 |
The Rainmaker |
Nov 21, 1997 |
Paramount Pictures |
Drama |
$44,477,263 |
9,690,035 |
| 50 |
Soul Food |
Sep 26, 1997 |
20th Century Fox |
Comedy |
$43,201,124 |
9,412,009 |
| 51 |
The Devil's Own |
Mar 26, 1997 |
Sony Pictures |
Thriller/Suspense |
$42,885,593 |
9,343,266 |
| 52 |
Michael |
Dec 25, 1996 |
New Line |
Comedy |
$42,611,506 |
9,283,552 |
| 53 |
Donnie Brasco |
Feb 28, 1997 |
Sony Pictures |
Drama |
$41,954,997 |
9,140,522 |
| 54 |
As Good as it Gets |
Dec 24, 1997 |
Sony Pictures |
Romantic Comedy |
$41,563,194 |
9,055,162 |
| 55 |
The Peacemaker |
Sep 26, 1997 |
Dreamworks SKG |
Action |
$41,263,140 |
8,989,790 |
| 56 |
Private Parts |
Mar 7, 1997 |
Paramount Pictures |
Comedy |
$41,198,146 |
8,975,630 |
| 57 |
Money Talks |
Aug 22, 1997 |
New Line |
Action |
$41,076,865 |
8,949,208 |
| 58 |
Mouse Hunt |
Dec 19, 1997 |
Dreamworks SKG |
Adventure |
$40,081,904 |
8,732,440 |
| 59 |
L.A. Confidential |
Sep 19, 1997 |
Warner Bros. |
Drama |
$38,296,320 |
8,343,424 |
| 60 |
Seven Years in Tibet |
Oct 8, 1997 |
Sony Pictures |
Drama |
$37,600,360 |
8,191,799 |
| 61 |
Vegas Vacation |
Feb 14, 1997 |
Warner Bros. |
Comedy |
$36,470,465 |
7,945,635 |
| 62 |
Selena |
Mar 21, 1997 |
Warner Bros. |
Drama |
$35,450,113 |
7,723,336 |
| 63 |
The Full Monty |
Aug 13, 1997 |
Fox Searchlight |
Comedy |
$35,431,393 |
7,719,257 |
| 64 |
Mortal Kombat: Annihilation |
Nov 21, 1997 |
New Line |
Action |
$35,059,903 |
7,638,323 |
| 65 |
Addicted To Love |
May 23, 1997 |
Warner Bros. |
Romantic Comedy |
$34,673,095 |
7,554,051 |
| 66 |
The Relic |
Jan 10, 1997 |
Paramount Pictures |
Horror |
$33,956,608 |
7,397,953 |
| 67 |
Metro |
Jan 17, 1997 |
Walt Disney |
Action |
$32,017,895 |
6,975,576 |
| 68 |
Picture Perfect |
Aug 1, 1997 |
20th Century Fox |
Romantic Comedy |
$31,301,775 |
6,819,558 |
| 69 |
Beverly Hills Ninja |
Jan 17, 1997 |
Sony Pictures |
Comedy |
$31,245,344 |
6,807,264 |
| 70 |
The Little Mermaid |
Nov 15, 1989 |
Walt Disney |
Adventure |
$29,678,678 |
6,465,942 |
| 71 |
Fools Rush In |
Feb 14, 1997 |
Sony Pictures |
Romantic Comedy |
$29,299,524 |
6,383,338 |
| 72 |
Romy and Michelle's High Sc… |
Apr 25, 1997 |
Walt Disney |
Comedy |
$29,235,353 |
6,369,357 |
| 73 |
Shine |
Nov 22, 1996 |
Fine Line |
Drama |
$29,117,149 |
6,343,605 |
| 74 |
Out to Sea |
Jul 2, 1997 |
20th Century Fox |
Romantic Comedy |
$28,985,323 |
6,314,885 |
| 75 |
Father's Day |
May 9, 1997 |
Warner Bros. |
Comedy |
$28,681,080 |
6,248,601 |
| 76 |
Grosse Pointe Blank |
Apr 11, 1997 |
Walt Disney |
Black Comedy |
$28,084,357 |
6,118,596 |
| 77 |
The Edge |
Sep 26, 1997 |
20th Century Fox |
Thriller/Suspense |
$27,799,255 |
6,056,482 |
| 78 |
Jackie Brown |
Dec 25, 1997 |
Miramax |
Drama |
$27,190,450 |
5,923,845 |
| 79 |
Amistad |
Dec 12, 1997 |
Dreamworks SKG |
Drama |
$26,751,325 |
5,828,175 |
| 80 |
Event Horizon |
Aug 15, 1997 |
Paramount Pictures |
Horror |
$26,673,242 |
5,811,163 |
| 81 |
Murder at 1600 |
Apr 18, 1997 |
Warner Bros. |
Thriller/Suspense |
$25,842,024 |
5,630,070 |
| 82 |
Mimic |
Aug 22, 1997 |
Miramax |
Horror |
$25,514,166 |
5,558,641 |
| 83 |
Air Bud |
Aug 1, 1997 |
Walt Disney |
Adventure |
$24,646,936 |
5,369,702 |
| 84 |
For Richer or Poorer |
Dec 12, 1997 |
Universal |
Comedy |
$24,523,486 |
5,342,807 |
| 85 |
Sling Blade |
Nov 20, 1996 |
Miramax |
Drama |
$24,335,157 |
5,301,777 |
| 86 |
Home Alone III |
Dec 12, 1997 |
20th Century Fox |
Comedy |
$24,271,517 |
5,287,912 |
| 87 |
Boogie Nights |
Oct 10, 1997 |
New Line |
Drama |
$23,841,916 |
5,194,317 |
| 88 |
Good Burger |
Jul 25, 1997 |
Paramount Pictures |
Comedy |
$23,712,993 |
5,166,229 |
| 89 |
Midnight in the Garden of G… |
Nov 21, 1997 |
Warner Bros. |
Drama |
$23,616,463 |
5,145,198 |
| 90 |
Hoodlum |
Aug 27, 1997 |
MGM |
Drama |
$23,489,997 |
5,117,646 |
| 91 |
Red Corner |
Oct 31, 1997 |
MGM |
Thriller/Suspense |
$22,290,435 |
4,856,303 |
| 92 |
An American Werewolf in Paris |
Dec 25, 1997 |
Walt Disney |
Horror |
$20,105,359 |
4,380,252 |
| 93 |
Booty Call |
Feb 26, 1997 |
Sony Pictures |
Comedy |
$20,066,917 |
4,371,877 |
| 94 |
Gone Fishin' |
May 30, 1997 |
Walt Disney |
Comedy |
$19,745,922 |
4,301,943 |
| 95 |
Mother |
Dec 25, 1996 |
Paramount Pictures |
Comedy |
$18,596,826 |
4,051,596 |
| 96 |
The People vs. Larry Flynt |
Dec 25, 1996 |
Sony Pictures |
Drama |
$18,447,098 |
4,018,975 |
| 97 |
That Darn Cat |
Feb 14, 1997 |
Walt Disney |
Adventure |
$18,301,828 |
3,987,326 |
| 98 |
That Old Feeling |
Apr 4, 1997 |
Universal |
Romantic Comedy |
$16,408,534 |
3,574,844 |
| 99 |
Fire Down Below |
Sep 5, 1997 |
Warner Bros. |
Action |
$16,148,906 |
3,518,280 |
| 100 |
Wes Craven's Wishmaster |
Sep 19, 1997 |
Live Entertainment |
Horror |
$15,719,109 |
3,424,642 |
| 101 |
Mr. Magoo |
Dec 25, 1997 |
Walt Disney |
Comedy |
$15,671,371 |
3,414,242 |
| 102 |
Rocket Man |
Oct 10, 1997 |
Walt Disney |
Comedy |
$15,448,043 |
3,365,586 |
| 103 |
The Sixth Man |
Mar 28, 1997 |
Walt Disney |
Comedy |
$14,765,099 |
3,216,797 |
| 104 |
Jackie Chan's First Strike |
Jan 10, 1997 |
New Line |
Action |
$14,601,662 |
3,181,189 |
| 105 |
In Love and War |
Dec 18, 1996 |
New Line |
Drama |
$14,462,242 |
3,150,815 |
| 106 |
101 Dalmatians |
Nov 27, 1996 |
Walt Disney |
Adventure |
$14,393,536 |
3,135,846 |
| 107 |
The Postman |
Dec 25, 1997 |
Warner Bros. |
Action |
$14,384,941 |
3,133,974 |
| 108 |
Excess Baggage |
Aug 29, 1997 |
Sony Pictures |
Comedy |
$14,351,432 |
3,126,673 |
| 109 |
Fairytale: A True Story |
Oct 24, 1997 |
Paramount Pictures |
Drama |
$14,014,656 |
3,053,301 |
| 110 |
Def Jam's How To Be a Player |
Aug 6, 1997 |
Gramercy |
Comedy |
$14,010,363 |
3,052,366 |
| 111 |
One Fine Day |
Dec 20, 1996 |
20th Century Fox |
Romantic Comedy |
$13,865,615 |
3,020,831 |
| 112 |
The Man Who Knew Too Little |
Nov 14, 1997 |
Warner Bros. |
Comedy |
$13,678,426 |
2,980,049 |
| 113 |
Trial And Error |
May 30, 1997 |
New Line |
Comedy |
$13,602,831 |
2,963,579 |
| 114 |
Eve's Bayou |
Nov 7, 1997 |
Trimark |
Drama |
$13,497,086 |
2,940,541 |
| 115 |
Rosewood |
Feb 21, 1997 |
Warner Bros. |
Drama |
$13,104,494 |
2,855,009 |
| 116 |
Love Jones |
Mar 14, 1997 |
New Line |
Drama |
$12,554,569 |
2,735,200 |
| 117 |
Marvin's Room |
Dec 20, 1996 |
Miramax |
Drama |
$12,510,768 |
2,725,657 |
| 118 |
Gattaca |
Oct 24, 1997 |
Sony Pictures |
Drama |
$12,468,416 |
2,716,430 |
| 119 |
Chasing Amy |
Apr 4, 1997 |
Miramax |
Romantic Comedy |
$12,006,514 |
2,615,798 |
| 120 |
Turbulence |
Jan 10, 1997 |
MGM |
Thriller/Suspense |
$11,532,774 |
2,512,586 |
| 121 |
The Beautician and the Beast |
Feb 7, 1997 |
Paramount Pictures |
Romantic Comedy |
$11,486,880 |
2,502,588 |
| 122 |
Das Boot (1982) (Re-Release) |
Apr 4, 1997 |
Sony Pictures |
Drama |
$11,397,741 |
2,483,167 |
| 123 |
Double Team |
Apr 4, 1997 |
Sony Pictures |
Action |
$11,328,565 |
2,468,096 |
| 124 |
Leave It To Beaver |
Aug 22, 1997 |
Universal |
Comedy |
$11,307,615 |
2,463,532 |
| 125 |
Mad City |
Nov 7, 1997 |
Warner Bros. |
Drama |
$10,523,865 |
2,292,781 |
| 126 |
Operation Condor |
Jul 18, 1997 |
Miramax |
Action |
$10,461,161 |
2,279,120 |
| 127 |
Buddy |
Jun 6, 1997 |
Sony Pictures |
Adventure |
$10,067,104 |
2,193,268 |
| 128 |
Night Falls On Manhattan |
May 16, 1997 |
Paramount Pictures |
Drama |
$9,889,670 |
2,154,612 |
| 129 |
Shall We Dance? |
Jul 11, 1997 |
Miramax |
Romantic Comedy |
$9,517,621 |
2,073,555 |
| 130 |
Everyone Says I Love You |
Dec 6, 1996 |
Miramax |
Musical |
$9,441,360 |
2,056,941 |
| 131 |
The Preacher’s Wife |
Dec 13, 1996 |
Walt Disney |
Drama |
$9,437,882 |
2,056,183 |
| 132 |
Fierce Creatures |
Jan 24, 1997 |
Universal |
Comedy |
$9,254,184 |
2,016,162 |
| 133 |
Beavis and Butt-Head Do Ame… |
Dec 20, 1996 |
Paramount Pictures |
Adventure |
$8,921,390 |
1,943,657 |
| 134 |
The Wings of the Dove |
Nov 7, 1997 |
Miramax |
Drama |
$8,698,249 |
1,895,043 |
| 135 |
Ulee's Gold |
Jun 13, 1997 |
Orion Pictures |
Drama |
$8,637,027 |
1,881,705 |
| 136 |
Mrs. Brown |
Jul 18, 1997 |
Miramax |
Drama |
$8,451,663 |
1,841,320 |
| 137 |
Turbo: A Power Rangers Movie |
Mar 28, 1997 |
20th Century Fox |
Action |
$8,363,899 |
1,822,200 |
| 138 |
A Simple Wish |
Jul 11, 1997 |
Universal |
Comedy |
$8,165,213 |
1,778,913 |
| 139 |
A Thousand Acres |
Sep 19, 1997 |
Walt Disney |
Drama |
$7,928,412 |
1,727,322 |
| 140 |
Good Will Hunting |
Dec 5, 1997 |
Miramax |
Drama |
$7,604,641 |
1,656,784 |
| 141 |
Sprung |
May 14, 1997 |
Trimark |
Romantic Comedy |
$7,553,105 |
1,645,556 |
| 142 |
The Ice Storm |
Sep 26, 1997 |
Fox Searchlight |
Drama |
$7,438,480 |
1,620,583 |
| 143 |
Wild America |
Jul 2, 1997 |
Warner Bros. |
Adventure |
$7,365,417 |
1,604,666 |
| 144 |
Ransom |
Nov 8, 1996 |
Walt Disney |
Action |
$7,311,075 |
1,592,826 |
| 145 |
She's So Lovely |
Aug 29, 1997 |
Miramax |
Drama |
$7,281,450 |
1,586,372 |
| 146 |
Ghosts of Mississippi |
Dec 20, 1996 |
Sony Pictures |
Drama |
$7,269,988 |
1,583,875 |
| 147 |
B*A*P*S |
Mar 28, 1997 |
New Line |
Comedy |
$7,246,735 |
1,578,809 |
| 148 |
Zeus and Roxanne |
Jan 24, 1997 |
MGM |
Adventure |
$7,183,046 |
1,564,933 |
| 149 |
Secrets & Lies |
Sep 28, 1996 |
October Films |
Drama |
$7,180,054 |
1,564,281 |
| 150 |
U-Turn |
Oct 3, 1997 |
Sony Pictures |
Drama |
$6,645,225 |
1,447,761 |
| 151 |
Switchback |
Oct 31, 1997 |
Paramount Pictures |
Action |
$6,504,442 |
1,417,089 |
| 152 |
Warriors of Virtue |
May 2, 1997 |
MGM |
Action |
$6,448,817 |
1,404,971 |
| 153 |
Most Wanted |
Oct 10, 1997 |
New Line |
Action |
$6,343,015 |
1,381,920 |
| 154 |
Kull The Conqueror |
Aug 29, 1997 |
Universal |
Action |
$6,086,891 |
1,326,120 |
| 155 |
Inventing the Abbotts |
Apr 4, 1997 |
20th Century Fox |
Drama |
$5,926,128 |
1,291,095 |
| 156 |
Gang Related |
Oct 8, 1997 |
MGM |
Drama |
$5,906,773 |
1,286,878 |
| 157 |
Kolya |
Jan 24, 1997 |
Miramax |
Comedy |
$5,770,254 |
1,257,135 |
| 158 |
One Eight Seven |
Jul 30, 1997 |
Warner Bros. |
Drama |
$5,747,802 |
1,252,244 |
| 159 |
Gridlock'd |
Jan 29, 1997 |
Gramercy |
Black Comedy |
$5,573,929 |
1,214,363 |
| 160 |
Dangerous Ground |
Feb 12, 1997 |
New Line |
Thriller/Suspense |
$5,102,151 |
1,111,579 |
| 161 |
Deconstructing Harry |
Dec 12, 1997 |
Fine Line |
Romantic Comedy |
$5,022,710 |
1,094,272 |
| 162 |
Space Jam |
Nov 15, 1996 |
Warner Bros. |
Adventure |
$5,021,238 |
1,093,951 |
| 163 |
Across The Sea of Time |
Oct 20, 1995 |
Sony Pictures Cla… |
Drama |
$4,866,837 |
1,060,313 |
| 164 |
McHale's Navy |
Apr 18, 1997 |
Universal |
Comedy |
$4,408,420 |
960,440 |
| 165 |
My Fellow Americans |
Dec 20, 1996 |
Warner Bros. |
Comedy |
$4,289,747 |
934,585 |
| 166 |
A Life Less Ordinary |
Oct 24, 1997 |
20th Century Fox |
Comedy |
$4,287,595 |
934,116 |
| 167 |
Playing God |
Oct 17, 1997 |
Walt Disney |
Thriller/Suspense |
$4,166,918 |
907,825 |
| 168 |
Kama Sutra |
Feb 28, 1997 |
Trimark |
Drama |
$4,109,095 |
895,227 |
| 169 |
Meet Wally Sparks |
Jan 31, 1997 |
Trimark |
Comedy |
$4,073,582 |
887,490 |
| 170 |
Hamlet |
Dec 25, 1996 |
Sony Pictures |
Drama |
$4,069,672 |
886,638 |
| 171 |
Mars Attacks! |
Dec 13, 1996 |
Warner Bros. |
Black Comedy |
$3,974,446 |
865,892 |
| 172 |
Lost Highway |
Feb 21, 1997 |
October Films |
Thriller/Suspense |
$3,796,699 |
827,167 |
| 173 |
Daylight |
Dec 6, 1996 |
Universal |
Action |
$3,751,635 |
817,349 |
| 174 |
8 Heads in a Duffel Bag |
Apr 18, 1997 |
Orion Pictures |
Black Comedy |
$3,602,884 |
784,942 |
| 175 |
Cats Don't Dance |
Mar 26, 1997 |
Warner Bros. |
Musical |
$3,588,602 |
781,830 |
| 176 |
The Pest |
Feb 7, 1997 |
Sony/TriStar |
Comedy |
$3,533,790 |
769,888 |
| 177 |
Til There Was You |
May 30, 1997 |
Paramount Pictures |
Romantic Comedy |
$3,525,125 |
768,001 |
| 178 |
Free Willy 3: The Rescue |
Aug 8, 1997 |
Warner Bros. |
Drama |
$3,519,178 |
766,705 |
| 179 |
The MatchMaker |
Oct 3, 1997 |
Gramercy |
Romantic Comedy |
$3,398,083 |
740,323 |
| 180 |
Jingle All the Way |
Nov 22, 1996 |
20th Century Fox |
Comedy |
$3,378,865 |
736,136 |
| 181 |
The Portrait of a Lady |
Dec 24, 1996 |
Gramercy |
Drama |
$3,328,809 |
725,230 |
| 182 |
A Smile Like Yours |
Aug 22, 1997 |
Paramount Pictures |
Romantic Comedy |
$3,317,930 |
722,860 |
| 183 |
Love! Valour! Compassion! |
May 16, 1997 |
New Line |
Drama |
$2,936,611 |
639,784 |
| 184 |
Waiting for Guffman |
Jan 31, 1997 |
Sony Pictures Cla… |
Comedy |
$2,922,988 |
636,816 |
| 185 |
In the Company of Men |
Aug 1, 1997 |
Sony Pictures Cla… |
Drama |
$2,883,661 |
628,248 |
| 186 |
Dirty Dancing (1987) (Re-Re… |
Aug 22, 1997 |
Vestron |
Drama |
$2,868,135 |
624,866 |
| 187 |
Star Trek: First Contact |
Nov 22, 1996 |
Paramount Pictures |
Adventure |
$2,840,174 |
618,774 |
| 188 |
Breaking the Waves |
Nov 13, 1996 |
October Films |
Drama |
$2,712,685 |
590,998 |
| 189 |
The Crucible |
Nov 29, 1996 |
20th Century Fox |
Drama |
$2,687,616 |
585,537 |
| 190 |
When We Were Kings |
Oct 25, 1996 |
Gramercy |
Documentary |
$2,666,118 |
580,853 |
| 191 |
One Night Stand |
Nov 14, 1997 |
New Line |
Drama |
$2,642,718 |
575,755 |
| 192 |
The Evening Star |
Dec 25, 1996 |
Paramount Pictures |
Drama |
$2,617,435 |
570,247 |
| 193 |
Brassed Off |
May 23, 1997 |
Miramax |
Comedy |
$2,589,188 |
564,093 |
| 194 |
Thrill Ride: The Science of… |
Jul 11, 1997 |
Sony Pictures Cla… |
Documentary |
$2,570,742 |
560,074 |
| 195 |
Career Girls |
Aug 8, 1997 |
October Films |
Comedy |
$2,506,039 |
545,977 |
| 196 |
Crash |
Oct 4, 1996 |
Fine Line |
Drama |
$2,430,321 |
529,481 |
| 197 |
The Pillow Book |
Jun 6, 1997 |
Lionsgate |
Drama |
$2,372,744 |
516,937 |
| 198 |
Snowriders 2 |
Oct 15, 1997 |
Warren Miller Ent… |
Documentary |
$2,287,639 |
498,396 |
| 199 |
Smilla's Sense of Snow |
Feb 28, 1997 |
Fox Searchlight |
Thriller/Suspense |
$2,221,994 |
484,094 |
| 200 |
Shadow Conspiracy |
Jan 31, 1997 |
Walt Disney |
Thriller/Suspense |
$2,154,540 |
469,398 |
| 201 |
The Daytrippers |
Mar 5, 1997 |
Lionsgate |
Romantic Comedy |
$2,096,256 |
456,700 |
| 202 |
Paradise Road |
Apr 11, 1997 |
Fox Searchlight |
Drama |
$1,990,257 |
433,607 |
| 203 |
Kiss Me, Guido |
Jul 18, 1997 |
Paramount Pictures |
Comedy |
$1,916,898 |
417,624 |
| 204 |
Masterminds |
Aug 22, 1997 |
Sony Pictures |
Action |
$1,890,472 |
411,867 |
| 205 |
Wings of Courage |
Apr 21, 1995 |
Sony Pictures Cla… |
Drama |
$1,865,734 |
406,477 |
| 206 |
Les Boys |
Dec 12, 1997 |
Distributor Unknown |
Comedy |
$1,851,655 |
403,410 |
| 207 |
Steel |
Aug 15, 1997 |
Warner Bros. |
Action |
$1,686,429 |
367,413 |
| 208 |
Washington Square |
Oct 5, 1997 |
Walt Disney |
Drama |
$1,683,826 |
366,846 |
| 209 |
When The Cat's Away |
Sep 20, 1996 |
Sony Pictures Cla… |
Comedy |
$1,652,472 |
360,015 |
| 210 |
Rhyme & Reason |
Mar 5, 1997 |
Miramax |
Documentary |
$1,591,687 |
346,772 |
| 211 |
City of Industry |
Mar 14, 1997 |
Orion Pictures |
Drama |
$1,554,338 |
338,635 |
| 212 |
Romeo+Juliet |
Nov 1, 1996 |
20th Century Fox |
Drama |
$1,540,132 |
335,540 |
| 213 |
Wag the Dog |
Dec 25, 1997 |
New Line |
Drama |
$1,462,110 |
318,542 |
| 214 |
Set It Off |
Nov 6, 1996 |
New Line |
Drama |
$1,410,047 |
307,199 |
| 215 |
The Sweet Hereafter |
Oct 10, 1997 |
|
Drama |
$1,387,966 |
302,389 |
| 216 |
Ponette |
Mar 14, 1997 |
Arrow Releasing |
Drama |
$1,351,319 |
294,405 |
| 217 |
Temptress Moon |
Jun 13, 1997 |
Miramax |
Drama |
$1,084,532 |
236,281 |
| 218 |
Blood and Wine |
Feb 21, 1997 |
Fox Searchlight |
Thriller/Suspense |
$1,083,350 |
236,023 |
| 219 |
Shiloh |
Apr 25, 1997 |
Legacy Releasing |
Adventure |
$1,002,175 |
218,338 |
| 220 |
Ridicule |
Nov 29, 1996 |
Miramax |
Drama |
$921,283 |
200,715 |
| 221 |
Female Perversions |
Apr 25, 1997 |
October Films |
Drama |
$883,973 |
192,586 |
| 222 |
Anna Karenina |
Apr 4, 1997 |
Warner Bros. |
Drama |
$858,553 |
187,048 |
| 223 |
Children of the Revolution |
Apr 30, 1997 |
Miramax |
Comedy |
$845,391 |
184,181 |
| 224 |
The First Wives Club |
Sep 20, 1996 |
Paramount Pictures |
Comedy |
$819,191 |
178,472 |
| 225 |
Nueba Yol 3 |
Oct 31, 1997 |
Kit Parker Films |
Drama |
$793,112 |
172,791 |
| 226 |
Prisoner of the Mountains |
Jan 31, 1997 |
Orion Classics |
Drama |
$790,078 |
172,130 |
| 227 |
The Ghost and the Darkness |
Oct 11, 1996 |
Paramount Pictures |
Action |
$784,041 |
170,815 |
| 228 |
Kiss or Kill |
Nov 14, 1997 |
October Films |
Thriller/Suspense |
$771,091 |
167,993 |
| 229 |
Fast, Cheap & Out of Control |
Oct 3, 1997 |
Sony Pictures Cla… |
Documentary |
$760,472 |
165,680 |
| 230 |
Guantanamera |
Jul 4, 1997 |
Lionsgate |
Comedy |
$751,478 |
163,720 |
| 231 |
SubUrbia |
Feb 7, 1997 |
Sony Pictures Cla… |
Comedy |
$726,207 |
158,215 |
| 232 |
Box of Moonlight |
Jul 25, 1997 |
Trimark |
Comedy |
$720,717 |
157,018 |
| 233 |
Thieves |
Dec 25, 1996 |
Sony Pictures Cla… |
Drama |
$692,005 |
150,763 |
| 234 |
A Chef in Love |
Apr 23, 1997 |
Sony Pictures Cla… |
Romantic Comedy |
$686,121 |
149,481 |
| 235 |
Beaumarchais the Scoundrel |
Sep 13, 1996 |
New Yorker |
Drama |
$630,269 |
137,313 |
| 236 |
The Van |
May 16, 1997 |
Fox Searchlight |
Comedy |
$621,093 |
135,314 |
| 237 |
The House of Yes |
Oct 10, 1997 |
Miramax |
Comedy |
$617,403 |
134,510 |
| 238 |
Love Serenade |
Aug 1, 1997 |
Miramax |
Comedy |
$604,523 |
131,704 |
| 239 |
The Assignment |
Sep 26, 1997 |
Sony Pictures |
Thriller/Suspense |
$600,843 |
130,902 |
| 240 |
Star Maps |
Jul 23, 1997 |
Fox Searchlight |
Comedy |
$592,573 |
129,100 |
| 241 |
Prefontaine |
Jan 24, 1997 |
Walt Disney |
Drama |
$590,817 |
128,718 |
| 242 |
Big Night |
Sep 20, 1996 |
Goldwyn Entertain… |
Drama |
$550,581 |
119,952 |
| 243 |
Commandments |
May 2, 1997 |
Gramercy |
Comedy |
$548,562 |
119,512 |
| 244 |
Dream With The Fishes |
Jun 20, 1997 |
Sony Pictures Cla… |
Drama |
$542,909 |
118,280 |
| 245 |
Fargo |
Mar 8, 1996 |
Gramercy |
Thriller/Suspense |
$531,868 |
115,875 |
| 246 |
Contempt |
Dec 18, 1964 |
Rialto Pictures |
Drama |
$528,428 |
115,125 |
| 247 |
Margaret's Museum |
Feb 7, 1997 |
Cinepix Film Prop… |
Drama |
$524,963 |
114,371 |
| 248 |
J'en Suis |
Mar 14, 1997 |
|
|
$510,977 |
111,323 |
| 249 |
The Myth of Fingerprints |
Sep 17, 1997 |
Sony Pictures Cla… |
|
$505,828 |
110,202 |
| 250 |
Traveller |
Apr 18, 1997 |
October Films |
|
$500,649 |
109,073 |
| 251 |
The Mirror Has Two Faces |
Nov 15, 1996 |
Sony Pictures |
Romantic Comedy |
$499,856 |
108,901 |
| 252 |
Boys Life 2 |
Mar 7, 1997 |
Strand |
Drama |
$479,504 |
104,467 |
| 253 |
The Second Jungle Book: Mow… |
May 16, 1997 |
Sony/TriStar |
|
$479,099 |
104,378 |
| 254 |
Pippi Longstocking |
Aug 22, 1997 |
Legacy Releasing |
Musical |
$478,113 |
104,164 |
| 255 |
Broken English |
May 2, 1997 |
Sony Pictures Cla… |
Drama |
$476,070 |
103,718 |
| 256 |
Kissed |
Apr 11, 1997 |
Goldwyn Entertain… |
|
$465,417 |
101,398 |
| 257 |
In Search of a Dream |
Oct 29, 1997 |
|
Drama |
$461,661 |
100,579 |
| 258 |
La Promesse |
Nov 1, 1996 |
New Yorker |
|
$454,720 |
99,067 |
| 259 |
D3: The Mighty Ducks |
Oct 4, 1996 |
Walt Disney |
Comedy |
$444,578 |
96,857 |
| 260 |
Flamenco |
Apr 25, 1997 |
New Yorker |
|
$420,392 |
91,588 |
| 261 |
Swingers |
Oct 18, 1996 |
Miramax |
Comedy |
$417,670 |
90,995 |
| 262 |
Pink Flamingos |
Apr 11, 1997 |
Fine Line |
Comedy |
$413,802 |
90,152 |
| 263 |
Sunday |
Aug 22, 1997 |
|
Drama |
$410,919 |
89,524 |
| 264 |
Touch |
Feb 14, 1997 |
MGM |
|
$408,097 |
88,910 |
| 265 |
Sleepers |
Oct 18, 1996 |
Warner Bros. |
Drama |
$406,804 |
88,628 |
| 266 |
Fire |
Aug 22, 1997 |
Zeitgeist |
|
$402,749 |
87,744 |
| 267 |
Kundun |
Dec 25, 1997 |
Walt Disney |
Drama |
$391,808 |
85,361 |
| 268 |
The Associate |
Oct 25, 1996 |
Walt Disney |
Comedy |
$388,132 |
84,560 |
| 269 |
The End of Violence |
Sep 12, 1997 |
MGM |
|
$386,673 |
84,242 |
| 270 |
The Hanging Garden |
Nov 7, 1997 |
Goldwyn Entertain… |
Drama |
$386,350 |
84,172 |
| 271 |
Bent |
Nov 26, 1997 |
MGM |
Drama |
$372,341 |
81,120 |
| 272 |
Thinner |
Oct 25, 1996 |
Paramount Pictures |
Horror |
$364,078 |
79,319 |
| 273 |
La cérémonie |
Dec 18, 1996 |
New Yorker |
Drama |
$356,284 |
77,621 |
| 274 |
Albino Alligator |
Jan 17, 1997 |
Miramax |
Drama |
$353,480 |
77,010 |
| 275 |
Grizzly Mountain |
Oct 31, 1997 |
Legacy Releasing |
|
$340,556 |
74,195 |
| 276 |
Some Mother's Son |
Dec 25, 1996 |
Sony Pictures |
Drama |
$328,468 |
71,561 |
| 277 |
Unhook the Stars |
Feb 14, 1997 |
Miramax |
|
$301,888 |
65,770 |
| 278 |
The Long Kiss Goodnight |
Oct 11, 1996 |
New Line |
Action |
$297,963 |
64,915 |
| 279 |
Alive and Kicking |
Jul 25, 1997 |
First Look |
Comedy |
$294,467 |
64,154 |
| 280 |
Telling Lies in America |
Oct 17, 1997 |
|
|
$291,000 |
63,398 |
| 281 |
Different for Girls |
Sep 12, 1997 |
First Look |
|
$281,764 |
61,386 |
| 282 |
All Over Me |
Apr 25, 1997 |
Fine Line |
Drama |
$281,175 |
61,258 |
| 283 |
Gabbeh |
Sep 13, 1996 |
New Yorker |
|
$273,967 |
59,687 |
| 284 |
The Tango Lesson |
Nov 14, 1997 |
Sony Pictures Cla… |
Drama |
$265,120 |
57,760 |
| 285 |
Schizopolis |
Apr 9, 1997 |
Northern Arts Ent… |
Comedy |
$250,000 |
54,466 |
| 286 |
Microcosmos |
Oct 11, 1996 |
Miramax |
Documentary |
$247,975 |
54,025 |
| 287 |
Ma Vie en Rose |
Dec 26, 1997 |
Sony Pictures Cla… |
Drama |
$244,717 |
53,315 |
| 288 |
Hollow Reed |
Apr 18, 1997 |
|
|
$244,337 |
53,232 |
| 289 |
Year of the Horse |
Oct 8, 1997 |
October Films |
|
$243,094 |
52,961 |
| 290 |
Oscar and Lucinda |
|
|
Drama |
$241,431 |
52,599 |
| 291 |
The Swan Princess: Escape f… |
Jul 18, 1997 |
Legacy Releasing |
|
$235,766 |
51,365 |
| 292 |
The Disappearance of Garcia… |
Sep 12, 1997 |
Sony Pictures |
Thriller/Suspense |
$226,427 |
49,330 |
| 293 |
The Boxer |
Dec 31, 1997 |
Universal |
Drama |
$226,280 |
49,298 |
| 294 |
Dancehall Queen |
Oct 10, 1997 |
|
|
$223,426 |
48,676 |
| 295 |
Lilies |
Oct 25, 1996 |
|
Drama |
$221,494 |
48,255 |
| 296 |
Critical Care |
Oct 31, 1997 |
|
Drama |
$220,175 |
47,968 |
| 297 |
4 Little Girls |
Jul 9, 1997 |
|
Documentary |
$218,444 |
47,591 |
| 298 |
Dear God |
Nov 1, 1996 |
Paramount Pictures |
Comedy |
$214,477 |
46,727 |
| 299 |
Love and Other Catastrophes |
Mar 28, 1997 |
Fox Searchlight |
Comedy |
$212,285 |
46,249 |
| 300 |
Bliss |
Jun 6, 1997 |
Sony Pictures |
Drama |
$207,751 |
45,261 |
| 301 |
A Life Apart: Hasidism in A… |
Jul 25, 1997 |
First Run Features |
|
$197,338 |
42,993 |
| 302 |
Irma Vep |
May 2, 1997 |
Zeitgeist |
Comedy |
$191,164 |
41,647 |
| 303 |
Happy Together |
Oct 12, 1997 |
|
Drama |
$187,508 |
40,851 |
| 304 |
The Winter Guest |
Dec 24, 1997 |
Fine Line |
Drama |
$181,466 |
39,535 |
| 305 |
Johns |
Jan 31, 1997 |
First Look |
|
$177,605 |
38,693 |
| 306 |
That Thing You Do! |
Oct 4, 1996 |
20th Century Fox |
Drama |
$177,067 |
38,576 |
| 307 |
Nowhere |
May 9, 1997 |
Fine Line |
|
$176,979 |
38,557 |
| 308 |
Rough Magic |
May 30, 1997 |
Goldwyn Entertain… |
|
$171,979 |
37,468 |
| 309 |
First Kid |
Aug 30, 1996 |
Walt Disney |
Adventure |
$166,264 |
36,223 |
| 310 |
La conciergerie |
Sep 26, 1997 |
|
|
$160,944 |
35,064 |
| 311 |
I'm Not Rappaport |
Dec 25, 1996 |
Gramercy |
|
$160,077 |
34,875 |
| 312 |
Welcome to Sarajevo |
Nov 26, 1997 |
Miramax |
|
$155,009 |
33,771 |
| 313 |
Hotel de Love |
Feb 7, 1997 |
|
|
$152,720 |
33,272 |
| 314 |
Paperback Romance |
Aug 15, 1997 |
Goldwyn Entertain… |
|
$147,651 |
32,167 |
| 315 |
Afterglow |
Dec 26, 1997 |
Sony Pictures Cla… |
Romantic Comedy |
$145,838 |
31,772 |
| 316 |
Marius et Jeannette |
Dec 5, 1997 |
New Yorker |
Romantic Comedy |
$142,749 |
31,100 |
| 317 |
Hard Eight |
Feb 28, 1997 |
MGM |
Drama |
$142,356 |
31,014 |
| 318 |
Citizen Ruth |
Dec 13, 1996 |
Miramax |
Comedy |
$142,349 |
31,012 |
| 319 |
Garden of the Finzi-Continis |
Nov 8, 1996 |
Sony Pictures Cla… |
Drama |
$134,512 |
29,305 |
| 320 |
Shooting Porn |
Jul 11, 1997 |
|
|
$133,048 |
28,986 |
| 321 |
Sick |
Nov 7, 1997 |
|
|
$116,806 |
25,447 |
| 322 |
High School High |
Oct 25, 1996 |
Sony Pictures |
Comedy |
$111,963 |
24,392 |
| 323 |
For Roseanna |
Jun 18, 1997 |
Fine Line |
|
$111,851 |
24,368 |
| 324 |
Michael Collins |
Oct 11, 1996 |
Warner Bros. |
Drama |
$104,717 |
22,814 |
| 325 |
Kicked in the Head |
Sep 26, 1997 |
October Films |
|
$102,739 |
22,383 |
| 326 |
Napoleon |
Oct 10, 1997 |
Goldwyn Entertain… |
Adventure |
$100,127 |
21,814 |
| 327 |
Phenomenon |
Jul 5, 1996 |
Walt Disney |
Drama |
$97,255 |
21,188 |
| 328 |
Latin Boys Go to Hell |
Sep 5, 1997 |
Strand |
|
$96,765 |
21,081 |
| 329 |
Texas Chainsaw Massacre: Th… |
Aug 29, 1997 |
New Line |
Horror |
$94,558 |
20,600 |
| 330 |
Late Bloomers |
Jun 27, 1997 |
Strand |
|
$91,285 |
19,887 |
| 331 |
Fly Away Home |
Sep 13, 1996 |
Sony Pictures |
Drama |
$89,616 |
19,524 |
| 332 |
Matusalem II |
Dec 19, 1997 |
|
|
$88,675 |
19,319 |
| 333 |
Gummo |
Oct 17, 1997 |
Fine Line |
|
$87,403 |
19,042 |
| 334 |
Going All the Way |
Sep 19, 1997 |
Gramercy |
|
$86,175 |
18,774 |
| 335 |
The Graduate |
Dec 21, 1967 |
Embassy |
Comedy |
$75,702 |
16,492 |
| 336 |
Twin Town |
May 9, 1997 |
Gramercy |
|
$74,188 |
16,162 |
| 337 |
The Wind in the Willows |
Oct 31, 1997 |
Sony Pictures |
Adventure |
$72,844 |
15,870 |
| 338 |
Marquise |
Sep 12, 1997 |
|
Drama |
$71,384 |
15,552 |
| 339 |
A Self-Made Hero |
Sep 12, 1997 |
Strand |
|
$69,977 |
15,245 |
| 340 |
A Brother's Kiss |
Apr 25, 1997 |
First Look |
Drama |
$66,961 |
14,588 |
| 341 |
Jack |
Aug 9, 1996 |
Walt Disney |
Drama |
$63,076 |
13,742 |
| 342 |
Mouth to Mouth |
Sep 5, 1997 |
Miramax |
Comedy |
$62,411 |
13,597 |
| 343 |
Keys to Tulsa |
Apr 11, 1997 |
Gramercy |
Drama |
$57,252 |
12,473 |
| 344 |
Truth or Consequences, N.M. |
May 2, 1997 |
Sony Pictures |
Action |
$54,154 |
11,798 |
| 345 |
This World, Then the Fireworks |
Jul 11, 1997 |
Orion Classics |
|
$51,618 |
11,245 |
| 346 |
Bandwagon |
Sep 12, 1997 |
Cinepix Film Prop… |
Comedy |
$44,544 |
9,704 |
| 347 |
Wallace & Gromit: The Best … |
Apr 6, 1996 |
Northern Arts Ent… |
Adventure |
$42,303 |
9,216 |
| 348 |
The Apostle |
Dec 17, 1997 |
October Films |
Drama |
$40,969 |
8,925 |
| 349 |
The Watermelon Woman |
Mar 5, 1997 |
First Run Features |
Drama |
$40,746 |
8,877 |
| 350 |
Hamsun |
Aug 6, 1997 |
First Run Features |
|
$40,000 |
8,714 |
| 351 |
Good Luck |
Mar 7, 1997 |
|
|
$39,962 |
8,706 |
| 352 |
Le Samouraï (1972) (Re-Rele… |
Feb 28, 1997 |
|
Thriller/Suspense |
$39,481 |
8,601 |
| 353 |
The Locusts |
Oct 3, 1997 |
MGM |
|
$37,888 |
8,254 |
| 354 |
Office Killer |
Dec 3, 1997 |
Strand |
Black Comedy |
$37,446 |
8,158 |
| 355 |
Julian Po |
Sep 5, 1997 |
Fine Line |
|
$33,148 |
7,221 |
| 356 |
Lone Star |
Jun 21, 1996 |
Sony Pictures Cla… |
Drama |
$32,915 |
7,171 |
| 357 |
Head Above Water |
Jun 25, 1997 |
Fine Line |
|
$32,212 |
7,017 |
| 358 |
The Substance of Fire |
Mar 14, 1997 |
Miramax |
|
$31,638 |
6,892 |
| 359 |
Intimate Relations |
Sep 19, 1997 |
Fox Searchlight |
Black Comedy |
$28,978 |
6,313 |
| 360 |
Squeeze |
Jun 13, 1997 |
Miramax |
Drama |
$26,764 |
5,830 |
| 361 |
Catherine's Grove |
Sep 5, 1997 |
|
Drama |
$26,641 |
5,804 |
| 362 |
The Swindle |
Oct 24, 1997 |
New Yorker |
Comedy |
$25,696 |
5,598 |
| 363 |
Le Plus Beau Metier du Monde |
Mar 28, 1997 |
|
|
$23,862 |
5,198 |
| 364 |
The Whole Wide World |
Dec 18, 1996 |
Sony Pictures Cla… |
|
$23,833 |
5,192 |
| 365 |
Wedding Bell Blues |
Jun 13, 1997 |
|
|
$22,002 |
4,793 |
| 366 |
The Winner |
Jul 25, 1997 |
Live Entertainment |
|
$21,000 |
4,575 |
| 367 |
Twilight of the Golds |
Oct 24, 1997 |
|
|
$20,868 |
4,546 |
| 368 |
I Love You, I Love You Not |
Oct 31, 1997 |
|
|
$20,325 |
4,428 |
| 369 |
The Long Way Home |
Sep 19, 1997 |
Seventh Art Relea… |
Documentary |
$18,665 |
4,066 |
| 370 |
The Delta |
Aug 15, 1997 |
Strand |
|
$18,134 |
3,950 |
| 371 |
Day for Night (1973) (Re-Re… |
Jul 25, 1997 |
Warner Bros. |
Drama |
$17,808 |
3,879 |
| 372 |
The Last Time I Committed S… |
Jun 20, 1997 |
Roxie Releasing |
|
$12,836 |
2,796 |
| 373 |
Nick and Jane |
Nov 14, 1997 |
Avalanche Releasing |
|
$11,251 |
2,451 |
| 374 |
Soul in the Hole |
Aug 8, 1997 |
Northern Arts Ent… |
Documentary |
$10,758 |
2,343 |
| 375 |
The Innocent Sleep |
Jun 27, 1997 |
|
|
$8,225 |
1,791 |
| 376 |
The Mouse |
Nov 14, 1997 |
Strand |
|
$6,707 |
1,461 |
| 377 |
Cafe Society |
Jul 20, 1997 |
Sony Pictures |
Drama |
$6,325 |
1,377 |
| 378 |
Unforgotten: Twenty-Five Ye… |
Feb 14, 1997 |
Castle Hill Produ… |
|
$5,000 |
1,089 |
| 379 |
The James Gang |
Nov 7, 1997 |
Polygram |
|
$5,000 |
1,089 |
| 380 |
The Deli |
Nov 7, 1997 |
|
|
$5,000 |
1,089 |
| 381 |
Frankenstein and Me |
Feb 9, 1997 |
Trimark |
Comedy |
$5,000 |
1,089 |
| 382 |
Guy |
Dec 17, 1997 |
Gramercy |
|
$5,000 |
1,089 |
| 383 |
Cadillac Ranch |
Apr 11, 1997 |
Legacy Releasing |
Action |
$5,000 |
1,089 |
| 384 |
Inside |
Jan 10, 1997 |
|
Drama |
$5,000 |
1,089 |
| 385 |
Tollbooth |
Jun 6, 1997 |
|
|
$5,000 |
1,089 |
| 386 |
Legal Deceit |
Nov 18, 1997 |
|
|
$5,000 |
1,089 |
| 387 |
The Grimm Brothers' Snow White |
Aug 24, 1997 |
Gramercy |
Horror |
$5,000 |
1,089 |
| 388 |
Jerusalem |
Mar 7, 1997 |
First Look |
|
$5,000 |
1,089 |
| 389 |
The Call of the Wild: Dog o… |
Jan 12, 1997 |
|
Adventure |
$5,000 |
1,089 |
| 390 |
Drunks |
Mar 14, 1997 |
Northern Arts Ent… |
Drama |
$5,000 |
1,089 |
| 391 |
Lewis & Clark & George |
Oct 4, 1997 |
|
|
$5,000 |
1,089 |
| 392 |
Kiss and Tell |
Oct 17, 1997 |
Phaedra Cinema |
|
$5,000 |
1,089 |
| 393 |
Grind |
Apr 11, 1997 |
Castle Hill Produ… |
|
$5,000 |
1,089 |
| 394 |
Breaking Up |
Oct 17, 1997 |
Warner Bros. |
|
$5,000 |
1,089 |
| 395 |
Raven |
Oct 14, 1997 |
|
Action |
$5,000 |
1,089 |
| 396 |
Carla's Song |
May 15, 1997 |
Shadow |
Drama |
$5,000 |
1,089 |
| 397 |
Follow Me Home |
Feb 28, 1997 |
|
|
$5,000 |
1,089 |
| 398 |
A Couch in New York |
Nov 17, 1997 |
|
Romantic Comedy |
$5,000 |
1,089 |
| 399 |
Best Men |
Oct 17, 1997 |
Orion Pictures |
Comedy |
$5,000 |
1,089 |
| 400 |
Underworld |
May 9, 1997 |
Trimark |
|
$5,000 |
1,089 |
| 401 |
Gray's Anatomy |
Mar 19, 1997 |
Northern Arts Ent… |
|
$5,000 |
1,089 |
| 402 |
Touch Me |
|
|
Drama |
$5,000 |
1,089 |
| 403 |
Hugo Pool |
Dec 12, 1997 |
Northern Arts Ent… |
Romantic Comedy |
$3,620 |
788 |
| 404 |
Dead Heart |
Nov 28, 1997 |
|
|
$1,209 |
263 |
| 405 |
Cold Around the Heart |
Nov 7, 1997 |
20th Century Fox |
|
$552 |
120 |
| 406 |
Trojan War |
Sep 26, 1997 |
Warner Bros. |
Comedy |
$217 |
47 |
| Total Gross of All Movies | $6,358,155,799 | |
| Total Tickets Sold | 1,385,218,935 |
Our Theatrical Market pages are based on the Domestic Theatrical Market performance only. The Domestic Market is defined as the North American movie territory (consisting of the United States, Canada, Puerto Rico and Guam).
The yearly amounts on our Theatrical Market pages are based on box office years. Each box office year starts on the first Monday of the year, so the previous year ends on the Sunday before the first Monday. For example, the "2017 box office year" started on January 2, 2017 so the "2016 box office year" ended on Sunday, January 1, 2017.


Notes from this YouTube tutorial series.
Modifier keys help make movement and panning possible. With a touch scroll mouse, the touch scroll by itself moves the camera. The scroll + Control or Command will zoom. The scroll + shift will pan.
The widget on the top right will snap the view to top/bottom/left/right of object. There are key options for this too (if you have a num pad).
If you get lost somewhere in 3D space, press Shift + C to move back to center of the scene.
Do this the first time on a fresh install.
Internal add-ons are under Preferences > Add-Ons (click checkboxes to install).
External ones can be found and imported.
Recommended internal add-ons:
Recommended external add-ons:
General resource/forum: blenderartists.org
Now preserve these settings for all new files with: File > Defaults > Save Startup File
Right click version number in bottom right corner and select "Scene statistics" for handy info
When a mesh object is selected, [tab] will toggle between object mode and edit mode.
Select vertices, edges and faces with 1, 2, 3 keys.
Select a "loop" of faces around an object, alt/option + click on edge. Works for vertices and edges too.
Control + i to invert a selection
Control + click faces to create a pathway from previously selected face to newly selected face
Circle select is a way to "paint" a selection, press "c" to enter that mode. Hold shift to deselect
3D cursor is the object left in the middle when everything else is deleted.
X brings up delete in menu
Shift S brings up in-context menu, including way to get 3D cursor back to "world center" (or shift + c)
Shift and right click to snap 3D cursor to your mouse
Shift and A brings up add menu for adding objects
Origin of an object = little orange dot
Origin of creation = 3D cursor
Shift + right click on an object to snap the 3D cursor to the surface of that object
Top has menu for snapping, you can choose vertex
Shift + right click and hold to drag 3D cursor around, add Ctrl to snap near a vertex
Shift + d to duplicate a selected object. It follows the mouse, right click to drop at origin of duplication
While constrained to cursor, limit to X, Y, Z axis movement with those keys.
While constrained, Shift + Z to limit to only X/Y movement
While constrained and fixed to an axis, type 5 to move it 5 mm out on that axis.
Press - to toggle between -5 and 5 mm from original position.
Press [enter/return] to confirm the placement
Duplicate in edit mode keeps the duplication in the same object
Control + L selects everything linked to the vertex you've picked
Control + J to join two objects together. The active one (parent) will retain the origin point
If you change an objects dimensions, you have to Control + A and pick Scale to adjust the scale back to 1.
G to grab an object (lock to cursor for moving)
Constraints are global at first, but click again to constrain to local (object's axis). Example: rotated cube, click Y to constrain to global Y axis, click Y again to constrain to Y axis of cube as it's rotated
When multiple things are picked you can use the pivot point menu to pick various ways to define pivoting (based on the active, each according to their individual object origin, or even using the 3d cursor)


Created by John Martin / @johndavidfive
Users say experience is "SMOOTH".
Examples "SMOOTH" vs "NOT SMOOTH"
Users experience minimal friction.
Friction is anything that impedes a user.
Which has more friction (A) or (B)?
Improve Resolution / Contrast / Color
Improve Display / Processor Performance
Improve Display / IO Performance
Pick a different platform!
( ie. get rid of IE ;-) )
( Complex business logic and poor design lead to bad code resuability )
( AKA: T-Fric )
How fast system responds to user interaction.
( https://www.nngroup.com/articles/response-times-3-important-limits/ )
FPS during any transition.
It's more than just responsiveness and FPS...
( Think video game lag... aaaargh, RAGE QUIT! )
Click around, look for JANK ( ie. user testing ).
Run scripts to detect JANK
( Dev tools do not expose data to the page... yet! )
Record a perf snapshot!
Turn on CPU Throttling / Network Throttling to test mobile devices / slower computers.
Why do these cause slow down?
( https://developers.google.com/web/fundamentals/performance/rendering/ )
How do scrolling, interacting, animations effect the pipeline?
Demo Repo ( Branch: perf-original )
will-change: transform;
- or -
transform: translate3d(0,0,0);
Cycle based computation. Should include a "flush" strategy.
Pre-compiled byte code... ultra fast...
Enables multi-threading in the browser.
Be PROACTIVE not reactive.


String method,
String url,
{bool async,
String user,
String password}
) String url,
{bool async,
String user,
String password}
Specify the desired url
, and method
to use in making the request.
By default the request is done asyncronously, with no user or password
authentication information. If async
is false, the request will be send
synchronously.
Calling open
again on a currently active request is equivalent to
calling abort
.
Note: Most simple HTTP requests can be accomplished using the getString,
request, requestCrossOrigin, or postFormData methods. Use of this
open
method is intended only for more complext HTTP requests where
finer-grained control is needed.
Source
/**
* Specify the desired `url`, and `method` to use in making the request.
*
* By default the request is done asyncronously, with no user or password
* authentication information. If `async` is false, the request will be send
* synchronously.
*
* Calling `open` again on a currently active request is equivalent to
* calling `abort`.
*
* Note: Most simple HTTP requests can be accomplished using the [getString],
* [request], [requestCrossOrigin], or [postFormData] methods. Use of this
* `open` method is intended only for more complext HTTP requests where
* finer-grained control is needed.
*/
@DomName('XMLHttpRequest.open')
@DocsEditable()
void open(String method, String url, {bool async, String user, String password}) => _blink.BlinkXMLHttpRequest.instance.open_Callback_5_(unwrap_jso(this), method, url, async, user, password);


--- layout: archive title: Zulip Chat Archive permalink: /stream/116395-maths/topic/are.20quotient.20groups.20in.20mathlib.html ---
I now have a complex. I want to take its homology. I can't find quotient groups in mathlib. What is the best way forward? Should I define them myselves, or should I cast to modules?
you should define them yourself
{% endraw %}Last updated: Apr 24 2020 at 19:02 UTC


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- Life-long seeker of knowledge and Psychology Graduate who currently has her sights set on a Front-End Web Developer position.
- Recent graduate of The UNC- Chapel Hill Coding Boot Camp through which I gained this much-desired experience.
- Currently a Senior Coordinator at Verizon Enterprise Solutions and a Scrum Master Intern at IBM.
- Experienced in HTML5, CSS3, JavaScript, JQuery, ReactJS, Bootstrap, Materialize, Bulma, Mobile Responsiveness, Node JS, Express, Firebase, MySQL, MongoDB, GitHub Collaboration & Heroku Deployment.
- Additionally, familiar with the Agile Methodology and its significance in Project Management.
An application that allows fellow Web Developers to search for positions within the field through the use of keywords such as: html, css, front-end, etc. The application uses the Authentic Jobs API to pull and display the specific jobs requested via the ajax call. Once the jobs are displayed, the Google Maps API is then used to display the locations of the various jobs on the map using pins. This app has much potential for future development.
Click here to access app! Close ProjectAn application that serves as a “sign-up” platform for social dinner meet-ups. Some of the motivations behind Pasta Club are to promote in person social interaction, lessen screen time, and increase intake of nutritional foods. This application has Google OAuth API integration for simple user authentication. It also implements Node JS, Express, My SQL/Sequelize, and Materialize to provide a clean and pleasant UX. The future plans for this app include Facebook Authentication, a Mobile Friendly App, and much more.
Click here to access app! Close ProjectPhoenix is a responsive web application that allows users to organize a collection of their personal bucket list goals. We wanted to create a digital and interactive environment where you can keep track of your ideas. This application uses Google OAuth API for user authentication and the Getty Images API to request photos for the activity cards. It is a React.js based app built using Bulma components which implements MongoDB for database purposes. Some other technologies used are Node JS, Express, ES6, and Babel. The future plans for this app include sharing and inviting members to bucket list items, push notifications, implementing Google Flights/Maps, search capabilities, and much more.
Click here to access app! Close Project


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