![]() The following link provides various factors that may influence the results and therefore, test reliability. Reliability will depend upon how strict the test is conducted and the individual's level of motivation to perform the test. ![]() Test reliability refers to how a test is consistent and stable in measuring what it is intended to measure. Individuals where the test would be contraindicated. This test is suitable for team sports but not for It is expected that, with appropriate training between each test, the analysis would indicate an improvement in the athlete's agility and speed. The athlete's average speed for this test was:Īnalysis of the test result is by comparing it with the athlete's previous results for this test. GenderĬalculations are based on the above normative data table 2000) : Genderįor evaluating the athlete's performance, select the gender, enter the total time and then select the 'Calculate' button. The following normative data is available for this test.įor 16 to 19-year-olds (Davis et al. The assistant stops the stopwatch and records the time when the athlete passes the “Finish” cone.The athlete jumps to his/her feet and negotiates the course around the cones following the red line route as shown in the diagram to the finish.The assistant gives the command “GO” and starts the stopwatch.The athlete lies face down on the floor at the “Start” cone.The assistance sets up the course as detailed in the diagram.This test requires the athlete to run the red line route in the diagram below as fast as possible. The Illinois Agility Run Test (Getchell 1979) monitors the In the analysis, we need to bear in mind the factors that may influence the results. ![]() Upon which subsequent performance evaluations andĭecisions are made. Testing and measurement are the means of collecting information
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![]() TV series finale in television history, Seinfeld 's controversial 1998 episode " The Finale" was watched by 76.3 million people, drawing 67% of all televisions turned on at the time – as the New York Times put it, "grazing Super Bowl country" in terms of viewership. With only slightly fewer viewers than the series finale of Cheers was the finale of its one-time follow-up on NBC's " Must See TV" Thursday night line-up, the absurdist NBC comedy Seinfeld. TV series finale following the rise of cable television, and in terms of sheer viewership numbers for non-sports programming, sits second only to the aforementioned finale of M*A*S*H ![]() To date, "One for the Road" remains the most watched U.S. "One for the Road" was watched by between 80.4 million and 93.5 million viewers (estimates vary) while drawing 64% of TVs turned on at the time. television history was the 1993 finale of the NBC comedy Cheers, titled " One for the Road". ![]() The second-most-watched series finale in U.S. history to be watched by at least 100 million viewers for a single telecast). television episode (and so far, the only single television episode in U.S. However, M*A*S*H's final episode remains the all-time most-watched U.S. Viewed by 105.9 million viewers and drawing 77% of those watching televisions at the time, the finale of M*A*S*H held the record for most watched telecast of all-time for decades until 2010's Super Bowl XLIV edged it out with 106 million viewers, which coincidentally also aired on CBS. television history remains the 1983 finale of the CBS war/medical dramedy M*A*S*H, titled " Goodbye, Farewell and Amen". Notable television series finales Most-watched American series finales television history until the 1977 finale of the TV mini-series Roots (on the same network) and later the 1980 resolution episode of the internationally prominent " Who Shot J.R.?" cliffhanger of CBS' Dallas. This remained the highest viewership percentage in U.S. A rare dramatic series to have a planned finale during this period was Route 66, which concluded in March 1964 with a two-part episode that showed the characters ending their journey across America and then going their separate ways.Ĭonsidered to be "the series finale that invented the modern-day series finale," the August 1967 final episode of ABC's The Fugitive, "The Judgment: Part 2", attracted a 72% audience share when broadcast. Early comedy series that had special finale episodes include Howdy Doody in September 1960, Leave It to Beaver in June 1963, Hank in April 1966, and The Dick Van Dyke Show in June 1966. Most early television series consisted of stand-alone episodes rather than continuing story arcs, so there was little reason to provide closure at the end of their runs.
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![]() The next morning, the stranger and Dolarhyde put aside their differences and lead a posse after the “demons” that took their loved ones. As the story progresses and he makes his way to a nearby town, called Absolution, he soon finds himself locked up in prison by Sheriff Taggart (Keith Carradine), his eventual transfer to federal custody halted when a powerful local rancher, the hard-edged Colonel Dolarhyde (Ford), calls for his head.Īll at once, lights appear in the distance and out of the night sky comes an onslaught of UFOs that, after a barrage of laser blasts and explosions, swoop down and capture several townsfolk, grappling onto them with wires that yank them into the sky. When the travelers attempt to take the stranger into custody for a suspected bounty, Craig reacts by killing them with expert speed and skill. Just then, three travelers, a crusty father (genre legend Buck Taylor) and his two sons, surround him on horseback. Craig’s nameless stranger awakens in the Arizona desert with amnesia, his boots gone, and some kind of metallic contraption banded around his wrist. The story begins like many Westerns, with the introduction of the mysterious hero. But then, Favreau has more class than to follow Michael Bay’s school of thought-that every frame of celluloid should contain action. And with the inclusion of stars Harrison Ford and Daniel Craig, seen by millions as Indiana Jones and James Bond, moviegoers may become frustrated when Favreau remains so true to Western conventions that he begins with an easy pace, takes his time building characters, and then ends his picture with a massive shootout finale. Many audiences will expect that from Favreau, given his “fun” track record of titles like Elf and Zathura. It doesn’t feel like a story conceived by two children who decided to forgo their routine game of “Cowboys & Indians” and incorporate aliens into the mix instead. It’s not a rip-roaring, fast-paced adventure that expects you to check your brain at the box-office. Adapted by five credited screenwriters from the Scott Mitchell Rosenberg authored comic, the film serves up an interesting-if-serious-minded genre experiment that works, despite some lingering feelings of disappointment for its lack of raw, popcorn-munching silliness.Īlas, this summer blockbuster doesn’t feel as “fun” as it perhaps should have. Jon Favreau left his director’s chair on the Iron Man franchise for this project, and he brings his usual technical craftsmanship to a picture whose genre awareness is shown through subtle, indirect references, while all the time allowing the film to be its own beast. As the title suggests, Cowboys & Aliens embraces a whole cinematic history of tropes from “alien invasion” and Westerns films, stripping down both genres to their most basic form into a deceptively unique amalgamation. |
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