A nd Renard's piece of magic brings the first half to an end. France are in the driving seat in this encounter - South Korea haven't had a shot on goal and have struggled to match Les Bleues' attacking threat. Corinne Diacre's side have enjoyed the perfect start to their World Cup campaign, with Le Sommer grabbing the first within the opening 10 minutes, before a brace from the towering Renard.
L ee Youngju is robbed in possession right outside the box before the Koreans clear their lines for a French corner - it's their tenth of this first half. F rance are definitely looking the more agile side, intelligently passing the ball around in triangles around their Korean opponents. F rance have their second and it's a fantastic header from the tournament's tallest player, Wendie Renard. But the Lyon striker watches her shot get tipped over.
T he whole of Paris thought that France had doubled their lead. A madine Henry is nearly one-on-one as France continue their high press.
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But the striker can't unleash her shot and South Korea - who have barely been out of their own half in this opening quarter - survive again. D elphine Cascarino goes on a darting run before she's stopped in her tracks. I t took Le Sommer less than 10 minutes to score the tournament's opening goal. And this is what it means to this group of players. Korea are struggling to get a foothold in this game. I t was coming The striker pokes home from close range after South Korea fail to clear their lines.
F rance are showcasing some fluid movement in these opening exchanges. It's all France at the moment. A nd we're off - the crowd even did a ten-second countdown. A curling effort from the French captain, Eugenie Le Sommier edges wide.
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The hosts are already implementing their mark on the game as Korea are forced to deal with some early defending. L a Marseillaise rings out from every corner of the Parc des Princes stadium. The French players are singing their hearts out as Fifa president Gianni Infantino watches on from the stands. There's a fizzing excitement that is certainly palable. I t's Fifa's motto for this World Cup.
Will it be France or South Korea on this occasion? T he atmosphere is hotting up. Singer Jain, who has topped the album and singles charts in France, has provided the soundtrack to the entertainment. The Parc Des Princes is rocking. The winners have nevertheless enjoyed a rich pedigree in this tournament and are expected to progress beyond this group.
N igeria, meanwhile, are also a potent force, having won nine of the last 11 African Cup of Nations.
This is South Korea's third World Cup and tonight's game against a side tipped as one of the tournament's favourites will be a big test. When the year-old signed a two-year contract in January Chelsea manager Emma Hayes had nothing but praise for the striker:. Les Bleues have crashed out in the quarter-finals of their last four major tournaments; two European Championships, the Rio Olympics and defeat on penalties against Germany at the World Cup in One million tickets are expected to be sold at the tournament.
Tickets for this opening match were snapped up within 48 hours of going on sale, while , of them have been sold for the tournament so far. G ood evening and welcome to our coverage as the World Cup finally gets under way. Fiona Tomas will be here very shortly and tonight's focus will, of course, be on hosts France and their opening encounter with South Korea. There is set to be considerable focus over the coming days and weeks on Parris, England's top-scorer across their qualifying matches with six goals.
Parris said:. It's important we get those Ws on the board and I think it's important that as an individual I put out a good performance to really get my World Cup started. In every game I have a mindset of if I get two chances I want to put away two goals. You can't predict how the game is going to go, but what you can say is if a chance does come I want to put it away and make sure I look confident in front of that goal. It is possible to avoid the multiplications in a software implementation by using two accumulators. Repeatedly adding t into s computes the necessary multiples:.
The modular reduction can be done once at the end, as shown above in which case s could hold a value as large as , for the invalid ISBN X , or s and t could be reduced by a conditional subtract after each addition. The ISBN check digit, which is the last digit of the ISBN, must range from 0 to 9 and must be such that the sum of all the thirteen digits, each multiplied by its integer weight, alternating between 1 and 3, is a multiple of Each digit, from left to right, is alternately multiplied by 1 or 3, then those products are summed modulo 10 to give a value ranging from 0 to 9.
Subtracted from 10, that leaves a result from 1 to A zero 0 replaces a ten 10 , so, in all cases, a single check digit results. Specifically, if the difference between two adjacent digits is 5, the check digit will not catch their transposition.
For instance, the above example allows this situation with the 6 followed by a 1. However, 19 and 9 are congruent modulo 10, and so produce the same, final result: both ISBNs will have a check digit of 7. The ISBN formula uses the prime modulus 11 which avoids this blind spot, but requires more than the digits 0—9 to express the check digit. Additionally, if the sum of the 2nd, 4th, 6th, 8th, 10th, and 12th digits is tripled then added to the remaining digits 1st, 3rd, 5th, 7th, 9th, 11th, and 13th , the total will always be divisible by 10 i.
The reverse process can also be performed, but not for numbers commencing with a prefix other than , which have no digit equivalent. Publishers and libraries have varied policies about the use of the ISBN check digit.
Publishers sometimes fail to check the correspondence of a book title and its ISBN before publishing it; that failure causes book identification problems for libraries, booksellers, and readers. Most libraries and booksellers display the book record for an invalid ISBN issued by the publisher. If a book exists in one or more digital e-book formats, each of those formats must have its own ISBN.
Currently the barcodes on a book's back cover or inside a mass-market paperback book's front cover are EAN ; they may have a separate barcode encoding five digits called an EAN-5 for the currency and the recommended retail price. The process began on 1 January and was planned to conclude on 1 January As the ISBN supply is exhausted, the prefix was introduced. The digit ISMN codes differed visually as they began with an "M" letter; the bar code represents the "M" as a zero 0 , and for checksum purposes it counted as a 3.
Publisher identification code numbers are unlikely to be the same in the and ISBNs, likewise, there is no guarantee that language area code numbers will be the same. So, migration to an EAN-based system allows booksellers the use of a single numbering system for both books and non-book products that is compatible with existing ISBN based data, with only minimal changes to information technology systems.
Hence, many booksellers e. Although many American and Canadian booksellers were able to read EAN barcodes before , most general retailers could not read them. From Wikipedia, the free encyclopedia. Unique numeric book identifier. Yaglom's Correlation Theory Though Springer's and codes are different for English 0 and German 3 ; the same item number produces the same check digit for both 6. Springer uses as the publisher code for Japanese 4 , and ? Other Springer books in English have publisher code , and ? This suggests that special considerations were made for assigning Springer's publisher codes, as random assignments of different publisher codes would not be expected to lead by coincidence to the same check digit every time for the same item number.
Finding publisher codes for English and German, say, with this effect would amount to solving a linear equation in modular arithmetic. If present, hyphens must be correctly placed. The document defining the ranges, listed by agency, is 29 pages. Retrieved 20 February The Indexer. Archived from the original on 30 April Retrieved 20 April Archived from the original on 20 April Malta : Kunsill Nazzjonali tal-Ktieb. Archived from the original PDF on 17 August Retrieved 11 June Archived from the original on 16 May Communications in Computer and Information Science.
Retrieved 13 January Retrieved 15 June Retrieved 19 January Retrieved 29 March He received anonymous letters and bears slights from the village children. Director Robert Bresson gives us the face of actor Claude Laydu to watch through these random events. The camera follows his eyes with a careful framing, showing us his isolation in cold rooms, against the flat landscape.
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Scorsese uses the same style in Taxi Driver, the film that gives us another tortured soul, this time without the comfort of faith. There could not be a Travis Bickle without this country priest. Clouzot understood suspense. He could make you sit bolt upright in your seat, unable to take your eyes from the screen. In this story of four men agreeing to drive a shipment of volatile nitro-glycerine through jungle roads in South America, every jolt of the two trucks could be fatal. Not a shot is wasted. We see the fear behind the machismo, the desperation behind the posturing.
We emotionally invest in these men even as we know they might be blown to bits in a moment. A short documentary, Night And Fog intersperses black and white footage recovered from allied forces with colour shots taken in the remains of Nazi concentration camps on Polish soil. Some of the footage was considered to be so upsetting that the French government made it available only for this film.
Director Alain Resnais made later films that meditate on how time affects us, moves us away from the most tragic events, separates emotion from meaning. Night And Fog is the most powerful film he shot. Once is enough. Albert Lamorisse made short films into which he packed an incredible amount of loving detail; for instance, when you watch White Mane , you become a part of the landscape of the Camargue, running with the wild horses.
In The Red Balloon you see Paris with fresh eyes. The greys and browns of the city, the shapes of the doorways and rooftops, are a patchwork into which a single circle is woven. The colour is intense. There are the bangs of backfiring buses, the sharp spires and the points of umbrellas, always reminding the viewer that the balloon, like childhood, is a temporary gift only — no matter what delight it brings to us, it is a bubble that must, eventually, be popped.
Not only did Lamorisse make beautiful films, but he also co-created the board game Risk. Cool, huh? The key moments of The Blows occur when nothing seems to be happening at all. A boy makes a smudge in his schoolbook and tries to rip out the pages to avoid getting into trouble, or Antoine stokes the fire with coal and then wipes his hands on the curtains. The next punishment is always on the way, even when the children try to do the right thing. There is no freedom, and the cramped apartment and regulated schoolroom are used to great effect, giving us that feeling of claustrophobia that is only relieved in the great last moments of the film.
The director, Georges Franju, understood the importance of the eyes in cinema — the way the gaze is drawn, the way a stare captures our attention and holds it. The eyes of Christiane Edith Scob , the victim of a disfiguring car crash, shine out from her perfectly white mask with a bruised horror. Her father attempts to graft the faces of other women on to her own. It has a joking quality that makes your skin crawl. It documents a post-apocalyptic nightmare where humanity survives in tunnels under the surface of the Earth.
In an attempt to find hope for mankind, a time machine is invented, and a nameless criminal is chosen to be flung into the past and future. He survives numerous trips, and falls in love with a Parisian woman, who starts to shed light on experiences in his own past. The film raises so many questions about the nature of love, time, and memory that stay with you long after viewing it.
And the one moment of action, where we watch the woman open her eyes in the morning light, waking from sleep, is so wonderful amidst the harsh stills and the neutral voice-over.
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Jean Luc Godard made radical films that test the boundaries of the viewer in all sorts of ways, including their patience. Contempt is the perfect title for this film. This is the only time Godard made a big-budget film with American money. He encourages his wife Brigitte Bardot to be friendly to the brash American producer Jack Palance who obviously wants to bed her. Everything is about money, and power. Palance is very funny, declaring himself a god and using his secretary as a table. Fritz Lang appears as himself, looking dignified and lost in this age of fast cars and chequebooks.
At the time this film was made Brigitte Bardot was the sex-kitten of the world. The story goes that one of the producers, Joseph E Levine, insisted on a nude scene, and Godard gave it to him. The clients are ugly, strange, downright weird — and she accepts them all. Luis Bunuel made a spectacularly non-judgemental film. So the camera speaks for her. It shows us her fantasies and it never feels degrading.