I am new to Stack Overflow, and I have asked about 5 questions so far. I have uploaded images of my code on most of my questions. On two separate occasions, two different users advised me not to upload images of code and outputs. One even jokingly said that, every time an image of code is uploaded, a kitten somewhere dies.
Instead of using images, paste your actual code into your question or answer, select it, and hit the code button in the toolbar (it looks like {}) or press Ctrl+K. (If you wish to format it by hand, you can insert four spaces before each line of code, or use code fences.)
Qr Code Picture
Download Zip 🔥 https://tiurll.com/2y2EtX 🔥
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Presuming you are using an HTML5 doctype, your IMG tags are properly formatted. What appears to be the problem is the relative directory path. The page containing this code needs to be in the same directory as the /img/ folder. If the page is in another directory or another level up relative to the /img/ folder, it's not going to find the path.
Up until now, I have used pictures from either Unsplash or Pexels. So, the tables have several columns and one of them is for pictures. You are required to use the links to the picture. The links should be inside quotation marks, since they are strings.
I've been seeing this image popping up on muy VS code but it doesnt look the same with my git hub profile picture, infact i dont know where they got the picture from, its just an old picture of mine of over 7 years ago, please is there any way you can help?
Tip: A screen reader is a software program that reads the HTML code, and allows the user to "listen" to the content. Screen readers are useful for people who are visually impaired or learning disabled.
Create personalized business cards with a QR code online image that includes your contact information and profile picture. When shared, it simplifies networking and ensures others have your details readily available.
Craft visually appealing event invitations with an image gallery QR code that showcase event themes or details. Scanning the QE from the picture can enable attendees to access event information or view event-related images.
The Motion Picture Production Code was a set of industry guidelines for the self-censorship of content that was applied to most motion pictures released by major studios in the United States from 1934 to 1968. It is also popularly known as the Hays Code, after Will H. Hays, president of the Motion Picture Producers and Distributors of America (MPPDA) from 1922 to 1945. Under Hays's leadership, the MPPDA, later the Motion Picture Association of America (MPAA) and the Motion Picture Association (MPA), adopted the Production Code in 1930 and began rigidly enforcing it in 1934. The Production Code spelled out acceptable and unacceptable content for motion pictures produced for a public audience in the United States.
From 1934 to 1954, the code was closely identified with Joseph Breen, the administrator appointed by Hays to enforce the code in Hollywood. The film industry followed the guidelines set by the code well into the late 1950s, but it began to weaken, owing to the combined impact of television, influence from foreign films, controversial directors (such as Otto Preminger) pushing boundaries, and intervention from the courts, including the U.S. Supreme Court.[1][2] In 1968, after several years of minimal enforcement, the Production Code was replaced by the MPAA film rating system.
In 1924, Hays introduced a set of recommendations dubbed "the Formula", which the studios were advised to heed, and asked filmmakers to describe to his office the plots of films they were planning on producing.[9] In 1915, the Supreme Court had decided unanimously in Mutual Film Corporation v. Industrial Commission of Ohio that free speech did not extend to motion pictures.[10] While there had been token attempts to clean up the films before (such as when the studios formed the National Association of the Motion Picture Industry (NAMPI) in 1916), little had come of the efforts.[11] New York became the first state to take advantage of the Supreme Court's decision by instituting a censorship board in 1921. Virginia followed suit the following year,[12] with eight individual states having a board by the advent of sound film,[13][14] but many of these were ineffectual. By the 1920s, the New York stage, a frequent source of subsequent screen material, had topless shows, performances filled with curse words, adult subject matter, and sexually suggestive dialog.[15] Early in the sound system conversion process, it became apparent that what was acceptable in New York might not be so in Kansas.[15] Filmmakers were facing the possibility that many states and cities would adopt their own codes of censorship, necessitating a multiplicity of versions of films made for national distribution. Self-censorship was deemed a preferable outcome.
In 1929, Catholic layman Martin Quigley, editor of the prominent trade paper Motion Picture Herald, and Jesuit priest Father Daniel A. Lord, created a code of standards[22] and submitted it to the studios.[6][23] Lord was particularly concerned with the effects of sound film on children, whom he considered especially susceptible to their allure.[22] In February 1930, several studio heads, including Irving Thalberg of Metro-Goldwyn-Mayer, met with Lord and Quigley. After some revisions, they agreed to the stipulations of the Code. One of the main motivating factors in adopting the Code was to avoid direct government intervention.[24] It was the responsibility of the SRC (headed by Colonel Jason S. Joy, a former American Red Cross Executive Secretary)[16][25] to supervise film production and advise the studios when changes or cuts were required.[26][27] On March 31, the MPPDA agreed it would abide by the Code.[28] The production code was intended to put a limitation on films which were distributed to a large audience, making it more difficult to appeal to all individuals in the audiences.[29]
The code was divided into two parts. The first was a set of "general principles" which prohibited a picture from "lowering the moral standards of those who see it", so as not to wrongly influence a specific audience of views including, women, children, lower-class, and those of "susceptible" minds, called for depictions of the "correct standards of life", and lastly forbade a picture to show any sort of ridicule towards a law or "creating sympathy for its violation".[30] The second part was a set of "particular applications", which was an exacting list of items that could not be depicted. Some restrictions, such as the ban on homosexuality or on the use of specific curse words, were never directly mentioned, but were assumed to be understood without clear demarcation. The Code also contained an addendum commonly referred to as the Advertising Code, which regulated advertising copy and imagery.[31]
Homosexuals were de facto included under the proscription of sex perversion,[32] and the depiction of miscegenation (by 1934, defined only as sexual relationships between black and white races) was forbidden.[33] It also stated that the notion of an "adults-only policy" would be a dubious, ineffective strategy that would be difficult to enforce;[34] however, it did allow that "maturer minds may easily understand and accept without harm subject matter in plots which does younger people positive harm".[35] If children were supervised and the events implied elliptically, the code allowed "the possibility of a cinematically inspired thought crime".[35]
The code sought not only to determine what could be portrayed on screen, but also to promote traditional values.[36] Sexual relations outside marriage, which were forbidden to be portrayed as attractive or beautiful, were to be presented in a way that would not arouse passion or make them seem permissible.[37] Any sexual act considered perverted, including any suggestion of same-sex relationships, sex or romance, was ruled out.[32]
One factor in ignoring the code was the fact that some found such censorship prudish, owing to the libertine social attitudes of the 1920s and early 1930s. This was a period in which the Victorian era was sometimes ridiculed as being nave and backward.[49] When the Code was announced, the liberal periodical The Nation attacked it,[42] stating that if crime were never to be presented in a sympathetic light, then taken literally that would mean that "law" and "justice" would become one and the same; therefore, events such as the Boston Tea Party could not be portrayed. If clergy must always be presented in a positive way, then hypocrisy could not be dealt with either.[42] The Outlook agreed and, unlike Variety, predicted from the beginning that the Code would be difficult to enforce.[42] The Great Depression of the 1930s led many studios to seek income by any way possible. Since films containing racy and violent content resulted in high ticket sales, it seemed reasonable to continue producing such films.[50] Soon, the flouting of the code became an open secret. In 1931, The Hollywood Reporter mocked the code and quoted an anonymous screenwriter saying that "the Hays moral code is not even a joke any more; it's just a memory"; two years later Variety followed suit.[27]
On June 13, 1934, an amendment to the Code was adopted, which established the Production Code Administration (PCA) and required all films released on or after July 1, 1934, to obtain a certificate of approval before being released. The PCA had two offices: one in Hollywood and the other in New York City. The first film to receive an MPPDA seal of approval was The World Moves On (1934). For over 30 years, virtually all motion pictures produced in the United States adhered to the code.[51] The Production Code was not created or enforced by federal, state, or city government; the Hollywood studios adopted the code in large part in the hopes of avoiding government censorship, preferring self-regulation to government regulation. ff782bc1db