الجمعة، 29 مارس 2019

Top 15 Best URL Shortener to Earn Money 2019

  1. LINK.TL: LINK.TL is one of the best and highest URL shortener website.It pays up to $16 for every 1000 views.You just have to sign up for free.You can earn by shortening your long URL into short and you can paste that URL into your website, blogs or social media networking sites, like facebook, twitter, and google plus etc.
    One of the best thing about this site is its referral system.They offer 10% referral commission.You can withdraw your amount when it reaches $5.
    • Payout for 1000 views-$16
    • Minimum payout-$5
    • Referral commission-10%
    • Payout methods-Paypal, Payza, and Skrill
    • Payment time-daily basis

  2. Adf.ly: Adf.ly is the oldest and one of the most trusted URL Shortener Service for making money by shrinking your links. Adf.ly provides you an opportunity to earn up to $5 per 1000 views. However, the earnings depend upon the demographics of users who go on to click the shortened link by Adf.ly.
    It offers a very comprehensive reporting system for tracking the performance of your each shortened URL. The minimum payout is kept low, and it is $5. It pays on 10th of every month. You can receive your earnings via PayPal, Payza, or AlertPay. Adf.ly also runs a referral program wherein you can earn a flat 20% commission for each referral for a lifetime.
  3. Clk.sh: Clk.sh is a newly launched trusted link shortener network, it is a sister site of shrinkearn.com. I like ClkSh because it accepts multiple views from same visitors. If any one searching for Top and best url shortener service then i recommend this url shortener to our users. Clk.sh accepts advertisers and publishers from all over the world. It offers an opportunity to all its publishers to earn money and advertisers will get their targeted audience for cheapest rate. While writing ClkSh was offering up to $8 per 1000 visits and its minimum cpm rate is $1.4. Like Shrinkearn, Shorte.st url shorteners Clk.sh also offers some best features to all its users, including Good customer support, multiple views counting, decent cpm rates, good referral rate, multiple tools, quick payments etc. ClkSh offers 30% referral commission to its publishers. It uses 6 payment methods to all its users.
    • Payout for 1000 Views: Upto $8
    • Minimum Withdrawal: $5
    • Referral Commission: 30%
    • Payment Methods: PayPal, Payza, Skrill etc.
    • Payment Time: Daily

  4. Short.am: Short.am provides a big opportunity for earning money by shortening links. It is a rapidly growing URL Shortening Service. You simply need to sign up and start shrinking links. You can share the shortened links across the web, on your webpage, Twitter, Facebook, and more. Short.am provides detailed statistics and easy-to-use API.
    It even provides add-ons and plugins so that you can monetize your WordPress site. The minimum payout is $5 before you will be paid. It pays users via PayPal or Payoneer. It has the best market payout rates, offering unparalleled revenue. Short.am also run a referral program wherein you can earn 20% extra commission for life.
  5. Bc.vc: Bc.vc is another great URL Shortener Site. It provides you an opportunity to earn $4 to $10 per 1000 visits on your Shortened URL. The minimum withdrawal is $10, and the payment method used PayPal or Payoneer.
    Payments are made automatically on every seven days for earnings higher than $10.00. It also runs a referral system wherein the rate of referral earning is 10%.
    • The payout for 1000 views-$10
    • Minimum payout -$10
    • Referral commission-10%
    • Payment method -Paypal
    • Payment time-daily

  6. Linkbucks: Linkbucks is another best and one of the most popular sites for shortening URLs and earning money. It boasts of high Google Page Rank as well as very high Alexa rankings. Linkbucks is paying $0.5 to $7 per 1000 views, and it depends on country to country.
    The minimum payout is $10, and payment method is PayPal. It also provides the opportunity of referral earnings wherein you can earn 20% commission for a lifetime. Linkbucks runs advertising programs as well.
    • The payout for 1000 views-$3-9
    • Minimum payout-$10
    • Referral commission-20%
    • Payment options-PayPal,Payza,and Payoneer
    • Payment-on the daily basis

  7. Oke.io: Oke.io provides you an opportunity to earn money online by shortening URLs. Oke.io is a very friendly URL Shortener Service as it enables you to earn money by shortening and sharing URLs easily.
    Oke.io can pay you anywhere from $5 to $10 for your US, UK, and Canada visitors, whereas for the rest of the world the CPM will not be less than $2. You can sign up by using your email. The minimum payout is $5, and the payment is made via PayPal.
    • The payout for 1000 views-$7
    • Minimum payout-$5
    • Referral commission-20%
    • Payout options-PayPal, Payza, Bitcoin and Skrill
    • Payment time-daily

  8. Linkrex.net: Linkrex.net is one of the new URL shortener sites.You can trust it.It is paying and is a legit site.It offers high CPM rate.You can earn money by sing up to linkrex and shorten your URL link and paste it anywhere.You can paste it in your website or blog.You can paste it into social media networking sites like facebook, twitter or google plus etc.
    You will be paid whenever anyone will click on that shorten a link.You can earn more than $15 for 1000 views.You can withdraw your amount when it reaches $5.Another way of earning from this site is to refer other people.You can earn 25% as a referral commission.
    • The payout for 1000 views-$14
    • Minimum payout-$5
    • Referral commission-25%
    • Payment Options-Paypal,Bitcoin,Skrill and Paytm,etc
    • Payment time-daily

  9. Cut-win: Cut-win is a new URL shortener website.It is paying at the time and you can trust it.You just have to sign up for an account and then you can shorten your URL and put that URL anywhere.You can paste it into your site, blog or even social media networking sites.It pays high CPM rate.
    You can earn $10 for 1000 views.You can earn 22% commission through the referral system.The most important thing is that you can withdraw your amount when it reaches $1.
    • The payout for 1000 views-$10
    • Minimum payout-$1
    • Referral commission-22%
    • Payment methods-PayPal, Payza, Bitcoin, Skrill, Western Union and Moneygram etc.
    • Payment time-daily

  10. CPMlink: CPMlink is one of the most legit URL shortener sites.You can sign up for free.It works like other shortener sites.You just have to shorten your link and paste that link into the internet.When someone will click on your link.
    You will get some amount of that click.It pays around $5 for every 1000 views.They offer 10% commission as the referral program.You can withdraw your amount when it reaches $5.The payment is then sent to your PayPal, Payza or Skrill account daily after requesting it.
    • The payout for 1000 views-$5
    • Minimum payout-$5
    • Referral commission-10%
    • Payment methods-Paypal, Payza, and Skrill
    • Payment time-daily

  11. Ouo.io: Ouo.io is one of the fastest growing URL Shortener Service. Its pretty domain name is helpful in generating more clicks than other URL Shortener Services, and so you get a good opportunity for earning more money out of your shortened link. Ouo.io comes with several advanced features as well as customization options.
    With Ouo.io you can earn up to $8 per 1000 views. It also counts multiple views from same IP or person. With Ouo.io is becomes easy to earn money using its URL Shortener Service. The minimum payout is $5. Your earnings are automatically credited to your PayPal or Payoneer account on 1st or 15th of the month.
    • Payout for every 1000 views-$5
    • Minimum payout-$5
    • Referral commission-20%
    • Payout time-1st and 15th date of the month
    • Payout options-PayPal and Payza

  12. Shrinkearn.com: Shrinkearn.com is one of the best and most trusted sites from our 30 highest paying URL shortener list.It is also one of the old URL shortener sites.You just have to sign up in the shrinkearn.com website. Then you can shorten your URL and can put that URL to your website, blog or any other social networking sites.
    Whenever any visitor will click your shortener URL link you will get some amount for that click.The payout rates from Shrinkearn.com is very high.You can earn $20 for 1000 views.Visitor has to stay only for 5 seconds on the publisher site and then can click on skip button to go to the requesting site.
    • The payout for 1000 views- up to $20
    • Minimum payout-$1
    • Referral commission-25%
    • Payment methods-PayPal
    • Payment date-10th day of every month

  13. BIT-URL: It is a new URL shortener website.Its CPM rate is good.You can sign up for free and shorten your URL and that shortener URL can be paste on your websites, blogs or social media networking sites.bit-url.com pays $8.10 for 1000 views.
    You can withdraw your amount when it reaches $3.bit-url.com offers 20% commission for your referral link.Payment methods are PayPal, Payza, Payeer, and Flexy etc.
    • The payout for 1000 views-$8.10
    • Minimum payout-$3
    • Referral commission-20%
    • Payment methods- Paypal, Payza, and Payeer
    • Payment time-daily

  14. Wi.cr: Wi.cr is also one of the 30 highest paying URL sites.You can earn through shortening links.When someone will click on your link.You will be paid.They offer $7 for 1000 views.Minimum payout is $5.
    You can earn through its referral program.When someone will open the account through your link you will get 10% commission.Payment option is PayPal.
    • Payout for 1000 views-$7
    • Minimum payout-$5
    • Referral commission-10%
    • Payout method-Paypal
    • Payout time-daily

  15. Short.pe: Short.pe is one of the most trusted sites from our top 30 highest paying URL shorteners.It pays on time.intrusting thing is that same visitor can click on your shorten link multiple times.You can earn by sign up and shorten your long URL.You just have to paste that URL to somewhere.
    You can paste it into your website, blog, or social media networking sites.They offer $5 for every 1000 views.You can also earn 20% referral commission from this site.Their minimum payout amount is only $1.You can withdraw from Paypal, Payza, and Payoneer.
    • The payout for 1000 views-$5
    • Minimum payout-$1
    • Referral commission-20% for lifetime
    • Payment methods-Paypal, Payza, and Payoneer
    • Payment time-on daily basis

Introducing Android Q Beta

Posted by Dave Burke, VP of Engineering

In 2019, mobile innovation is stronger than ever, with new technologies from 5G to edge to edge displays and even foldable screens. Android is right at the center of this innovation cycle, and thanks to the broad ecosystem of partners across billions of devices, Android's helping push the boundaries of hardware and software bringing new experiences and capabilities to users.

As the mobile ecosystem evolves, Android is focused on helping users take advantage of the latest innovations, while making sure users' security and privacy are always a top priority. Building on top of efforts like Google Play Protect and runtime permissions, Android Q brings a number of additional privacy and security features for users, as well as enhancements for foldables, new APIs for connectivity, new media codecs and camera capabilities, NNAPI extensions, Vulkan 1.1 support, faster app startup, and more.

Today we're releasing Beta 1 of Android Q for early adopters and a preview SDK for developers. You can get started with Beta 1 today by enrolling any Pixel device (including the original Pixel and Pixel XL, which we've extended support for by popular demand!) Please let us know what you think! Read on for a taste of what's in Android Q, and we'll see you at Google I/O in May when we'll have even more to share.

Building on top of privacy protections in Android

Android was designed with security and privacy at the center. As Android has matured, we've added a wide range of features to protect users, like file-based encryption, OS controls requiring apps to request permission before accessing sensitive resources, locking down camera/mic background access, lockdown mode, encrypted backups, Google Play Protect (which scans over 50 billion apps a day to identify potentially harmful apps and remove them), and much more. In Android Q, we've made even more enhancements to protect our users. Many of these enhancements are part of our work in Project Strobe.

Giving users more control over location

With Android Q, the OS helps users have more control over when apps can get location. As in prior versions of the OS, apps can only get location once the app has asked you for permission, and you have granted it.

One thing that's particularly sensitive is apps' access to location while the app is not in use (in the background). Android Q enables users to give apps permission to see their location never, only when the app is in use (running), or all the time (when in the background).

For example, an app asking for a user's location for food delivery makes sense and the user may want to grant it the ability to do that. But since the app may not need location outside of when it's currently in use, the user may not want to grant that access. Android Q now offers this greater level of control. Read the developer guide for details on how to adapt your app for this new control. Look for more user-centric improvements to come in upcoming Betas. At the same time, our goal is to be very sensitive to always give developers as much notice and support as possible with these changes.

More privacy protections in Android Q

Beyond changes to location, we're making further updates to ensure transparency, give users control, and secure personal data.

In Android Q, the OS gives users even more control over apps, controlling access to shared files. Users will be able to control apps' access to the Photos and Videos or the Audio collections via new runtime permissions. For Downloads, apps must use the system file picker, which allows the user to decide which Download files the app can access. For developers, there are changes to how your apps can use shared areas on external storage. Make sure to read the Scoped Storage changes for details.

We've also seen that users (and developers!) get upset when an app unexpectedly jumps into the foreground and takes over focus. To reduce these interruptions, Android Q will prevent apps from launching an Activity while in the background. If your app is in the background and needs to get the user's attention quickly -- such as for incoming calls or alarms -- you can use a high-priority notification and provide a full-screen intent. See the documentation for more information.

We're limiting access to non-resettable device identifiers, including device IMEI, serial number, and similar identifiers. Read the best practices to help you choose the right identifiers for your use case, and see the details here. We're also randomizing the device's MAC address when connected to different Wi-Fi networks by default -- a setting that was optional in Android 9 Pie.

We are bringing these changes to you early, so you can have as much time as possible to prepare. We've also worked hard to provide developers detailed information up front, we recommend reviewing the detailed docs on the privacy changes and getting started with testing right away.

New ways to engage users

In Android Q, we're enabling new ways to bring users into your apps and streamlining the experience as they transition from other apps.

Foldables and innovative new screens

Foldable devices have opened up some innovative experiences and use-cases. To help your apps to take advantage of these and other large-screen devices, we've made a number of improvements in Android Q, including changes to onResume and onPause to support multi-resume and notify your app when it has focus. We've also changed how the resizeableActivity manifest attribute works, to help you manage how your app is displayed on foldable and large screens. To you get started building and testing on these new devices, we've been hard at work updating the Android Emulator to support multiple-display type switching -- more details coming soon!

Sharing shortcuts

When a user wants to share content like a photo with someone in another app, the process should be fast. In Android Q we're making this quicker and easier with Sharing Shortcuts, which let users jump directly into another app to share content. Developers can publish share targets that launch a specific activity in their apps with content attached, and these are shown to users in the share UI. Because they're published in advance, the share UI can load instantly when launched.

The Sharing Shortcuts mechanism is similar to how App Shortcuts works, so we've expanded the ShortcutInfo API to make the integration of both features easier. This new API is also supported in the new ShareTarget AndroidX library. This allows apps to use the new functionality, while allowing pre-Q devices to work using Direct Share. You can find an early sample app with source code here.

Settings Panels

You can now also show key system settings directly in the context of your app, through a new Settings Panel API, which takes advantage of the Slices feature that we introduced in Android 9 Pie.

A settings panel is a floating UI that you invoke from your app to show system settings that users might need, such as internet connectivity, NFC, and audio volume. For example, a browser could display a panel with connectivity settings like Airplane Mode, Wi-Fi (including nearby networks), and Mobile Data. There's no need to leave the app; users can manage settings as needed from the panel. To display a settings panel, just fire an intent with one of the new Settings.Panel actions.

Connectivity

In Android Q, we've extended what your apps can do with Android's connectivity stack and added new connectivity APIs.

Connectivity permissions, privacy, and security

Most of our APIs for scanning networks already require COARSE location permission, but in Android Q, for Bluetooth, Cellular and Wi-Fi, we're increasing the protection around those APIs by requiring the FINE location permission instead. If your app only needs to make peer-to-peer connections or suggest networks, check out the improved Wi-Fi APIs below -- they simplify connections and do not require location permission.

In addition to the randomized MAC addresses that Android Q provides when connected to different Wi-Fi networks, we're adding new Wi-Fi standard support, WPA3 and Enhanced Open, to improve security for home and work networks as well as open/public networks.

Improved peer-to-peer and internet connectivity

In Android Q we refactored the Wi-Fi stack to improve privacy and performance, but also to improve common use-cases like managing IoT devices and suggesting internet connections -- without requiring the location permission.

The network connection APIs make it easier to manage IoT devices over local Wi-Fi, for peer-to-peer functions like configuring, downloading, or printing. Apps initiate connection requests indirectly by specifying preferred SSIDs & BSSIDs as WiFiNetworkSpecifiers. The platform handles the Wi-Fi scanning itself and displays matching networks in a Wi-Fi Picker. When the user chooses, the platform sets up the connection automatically.

The network suggestion APIs let apps surface preferred Wi-Fi networks to the user for internet connectivity. Apps initiate connections indirectly by providing a ranked list of networks and credentials as WifiNetworkSuggestions. The platform will seamlessly connect based on past performance when in range of those networks.

Wi-Fi performance mode

You can now request adaptive Wi-Fi in Android Q by enabling high performance and low latency modes. These will be of great benefit where low latency is important to the user experience, such as real-time gaming, active voice calls, and similar use-cases.

To use the new performance modes, call WifiManager.WifiLock.createWifiLock() with WIFI_MODE_FULL_LOW_LATENCY or WIFI_MODE_FULL_HIGH_PERF. In these modes, the platform works with the device firmware to meet the requirement with lowest power consumption.

Camera, media, graphics

Dynamic depth format for photos

Many cameras on mobile devices can simulate narrow depth of field by blurring the foreground or background relative to the subject. They capture depth metadata for various points in the image and apply a static blur to the image, after which they discard the depth metadata.

Starting in Android Q, apps can request a Dynamic Depth image which consists of a JPEG, XMP metadata related to depth related elements, and a depth and confidence map embedded in the same file on devices that advertise support.

Requesting a JPEG + Dynamic Depth image makes it possible for you to offer specialized blurs and bokeh options in your app. You can even use the data to create 3D images or support AR photography use-cases in the future. We're making Dynamic Depth an open format for the ecosystem, and we're working with our device-maker partners to make it available across devices running Android Q and later.

With Dynamic Depth image you can offer specialized blurs and bokeh options in your app.

New audio and video codecs

Android Q introduces support for the open source video codec AV1. This allows media providers to stream high quality video content to Android devices using less bandwidth. In addition, Android Q supports audio encoding using Opus - a codec optimized for speech and music streaming, and HDR10+ for high dynamic range video on devices that support it.

The MediaCodecInfo API introduces an easier way to determine the video rendering capabilities of an Android device. For any given codec, you can obtain a list of supported sizes and frame rates using VideoCodecCapabilities.getSupportedPerformancePoints(). This allows you to pick the best quality video content to render on any given device.

Native MIDI API

For apps that perform their audio processing in C++, Android Q introduces a native MIDI API to communicate with MIDI devices through the NDK. This API allows MIDI data to be retrieved inside an audio callback using a non-blocking read, enabling low latency processing of MIDI messages. Give it a try with the sample app and source code here.

ANGLE on Vulkan

To enable more consistency for game and graphics developers, we are working towards a standard, updateable OpenGL driver for all devices built on Vulkan. In Android Q we're adding experimental support for ANGLE on top of Vulkan on Android devices. ANGLE is a graphics abstraction layer designed for high-performance OpenGL compatibility across implementations. Through ANGLE, the many apps and games using OpenGL ES can take advantage of the performance and stability of Vulkan and benefit from a consistent, vendor-independent implementation of ES on Android devices. In Android Q, we're planning to support OpenGL ES 2.0, with ES 3.0 next on our roadmap.

We'll expand the implementation with more OpenGL functionality, bug fixes, and performance optimizations. See the docs for details on the current ANGLE support in Android, how to use it, and our plans moving forward. You can start testing with our initial support by opting-in through developer options in Settings. Give it a try today!

Vulkan everywhere

We're continuing to expand the impact of Vulkan on Android, our implementation of the low-overhead, cross-platform API for high-performance 3D graphics. Our goal is to make Vulkan on Android a broadly supported and consistent developer API for graphics. We're working together with our device manufacturer partners to make Vulkan 1.1 a requirement on all 64-bit devices running Android Q and higher, and a recommendation for all 32-bit devices. Going forward, this will help provide a uniform high-performance graphics API for apps and games to use.

Neural Networks API 1.2

Since introducing the Neural Networks API (NNAPI) in 2017, we've continued to expand the number of operations supported and improve existing functionality. In Android Q, we've added 60 new ops including ARGMAX, ARGMIN, quantized LSTM, alongside a range of performance optimisations. This lays the foundation for accelerating a much greater range of models -- such as those for object detection and image segmentation. We are working with hardware vendors and popular machine learning frameworks such as TensorFlow to optimize and roll out support for NNAPI 1.2.

Strengthening Android's Foundations

ART performance

Android Q introduces several new improvements to the ART runtime which help apps start faster and consume less memory, without requiring any work from developers.

Since Android Nougat, ART has offered Profile Guided Optimization (PGO), which speeds app startup over time by identifying and precompiling frequently executed parts of your code. To help with initial app startup, Google Play is now delivering cloud-based profiles along with APKs. These are anonymized, aggregate ART profiles that let ART pre-compile parts of your app even before it's run, giving a significant jump-start to the overall optimization process. Cloud-based profiles benefit all apps and they're already available to devices running Android P and higher.

We're also continuing to make improvements in ART itself. For example, in Android Q we've optimized the Zygote process by starting your app's process earlier and moving it to a security container, so it's ready to launch immediately. We're storing more information in the app's heap image, such as classes, and using threading to load the image faster. We're also adding Generational Garbage Collection to ART's Concurrent Copying (CC) Garbage Collector. Generational CC is more efficient as it collects young-generation objects separately, incurring much lower cost as compared to full-heap GC, while still reclaiming a good amount of space. This makes garbage collection overall more efficient in terms of time and CPU, reducing jank and helping apps run better on lower-end devices.

Security for apps

BiometricPrompt is our unified authentication framework to support biometrics at a system level. In Android Q we're extending support for passive authentication methods such as face, and adding implicit and explicit authentication flows. In the explicit flow, the user must explicitly confirm the transaction in the TEE during the authentication. The implicit flow is designed for a lighter-weight alternative for transactions with passive authentication. We've also improved the fallback for device credentials when needed.

Android Q adds support for TLS 1.3, a major revision to the TLS standard that includes performance benefits and enhanced security. Our benchmarks indicate that secure connections can be established as much as 40% faster with TLS 1.3 compared to TLS 1.2. TLS 1.3 is enabled by default for all TLS connections. See the docs for details.

Compatibility through public APIs

Another thing we all care about is ensuring that apps run smoothly as the OS changes and evolves. Apps using non-SDK APIs risk crashes for users and emergency rollouts for developers. In Android Q we're continuing our long-term effort begun in Android P to move apps toward only using public APIs. We know that moving your app away from non-SDK APIs will take time, so we're giving you advance notice.

In Android Q we're restricting access to more non-SDK interfaces and asking you to use the public equivalents instead. To help you make the transition and prevent your apps from breaking, we're enabling the restrictions only when your app is targeting Android Q. We'll continue adding public alternative APIs based on your requests; in cases where there is no public API that meets your use case, please let us know.

It's important to test your apps for uses of non-SDK interfaces. We recommend using the StrictMode method detectNonSdkApiUsage() to warn when your app accesses non-SDK APIs via reflection or JNI. Even if the APIs are exempted (grey-listed) at this time, it's best to plan for the future and eliminate their use to reduce compatibility issues. For more details on the restrictions in Android Q, see the developer guide.

Modern Android

We're expanding our efforts to have all apps take full advantage of the security and performance features in the latest version of Android. Later this year, Google Play will require you to set your app's targetSdkVersion to 28 (Android 9 Pie) in new apps and updates. In line with these changes, Android Q will warn users with a dialog when they first run an app that targets a platform earlier than API level 23 (Android Marshmallow). Here's a checklist of resources to help you migrate your app.

We're also moving the ecosystem toward readiness for 64-bit devices. Later this year, Google Play will require 64-bit support in all apps. If your app uses native SDKs or libraries, keep in mind that you'll need to provide 64-bit compliant versions of those SDKs or libraries. See the developer guide for details on how to get ready.

Get started with Android Q Beta

With important privacy features that are likely to affect your apps, we recommend getting started with testing right away. In particular, you'll want to enable and test with Android Q storage changes, new location permission states, restrictions on background app launch, and restrictions on device identifiers. See the privacy documentation for details.

To get started, just install your current app from Google Play onto a device or Android Virtual Device running Android Q Beta and work through the user flows. The app should run and look great, and handle the Android Q behavior changes for all apps properly. If you find issues, we recommend fixing them in the current app, without changing your targeting level. Take a look at the migration guide for steps and a recommended timeline.

Next, update your app's targetSdkVersion to 'Q' as soon as possible. This lets you test your app with all of the privacy and security features in Android Q, as well as any other behavior changes for apps targeting Q.

Explore the new features and APIs

When you're ready, dive into Android Q and learn about the new features and APIs you can use in your apps. Take a look at the API diff report, the Android Q Beta API reference, and developer guides as a starting point. Also, on the Android Q Beta developer site, you'll find release notes and support resources for reporting issues.

To build with Android Q, download the Android Q Beta SDK and tools into Android Studio 3.3 or higher, and follow these instructions to configure your environment. If you want the latest fixes for Android Q related changes, we recommend you use Android Studio 3.5 or higher.

How do I get Android Q Beta?

It's easy - you can enroll here to get Android Q Beta updates over-the-air, on any Pixel device (and this year we're supporting all three generations of Pixel -- Pixel 3, Pixel 2, and even the original Pixel!). Downloadable system images for those devices are also available. If you don't have a Pixel device, you can use the Android Emulator, and download the latest emulator system images via the SDK Manager in Android Studio.

We plan to update the preview system images and SDK regularly throughout the preview. We'll have more features to share as the Beta program moves forward.

As always, your feedback is critical, so please let us know what you think — the sooner we hear from you, the more of your feedback we can integrate. When you find issues, please report them here. We have separate hotlists for filing platform issues, app compatibility issues, and third-party SDK issues.

Stanley Kubrick And Authorship

"One of his films... is equivalent to ten of somebody else's"
 - Martin Scorsese 

stanley kubrick
Speaking of the Auteur theory, Sarris (Cited in Chapman, 2003: 114) stated that 'the strong director imposes his own personality on a picture; the weak director allows the personalities of others to run rampant'. Film-making is undoubtedly the achievement of a group of people collaborating together, 'the single most consistent truth about movie making is its division of responsibilities, to look at a film as the idea of one man is to overlook the mechanics of making a picture' (Sultanik, 1986: 83). Despite this fact, Stanley Kubrick is an example of a director whose personality shines throughout his library of films, this contributes to many consistent thematic inclusions as well as cinematic techniques - some of which, such as symmetry have a bearing on both the narrative and cinematography.  

Bordwell and Thompson (2010: 70) state that a filmmaker does not create a film from scratch, 'all films borrow ideas and storytelling strategies from other movies', since a director is thus seemingly unable to create a text that is completely devoid of  influences from other filmmakers it puts into question whether their visions are truly unique. Indeed, Stoddard claims that the Cahiers writers 'neglected the origins of film production' (1995: pp. 40-41), but drawing on influences can be merely seen as an example of a director reflecting on their own personal preferences, since 'the way a film looks should have some reflection on how a director thinks and feels' (Sarris, 1962: 562). Robinson (2007: 192) points out that Kubrick held particular admiration for the works of the Soviet montage filmmakers; 'finding the ideas of Eisenstein and Pudovkin on editing, particularly cogent'. Rhythmic editing that develops in unison with the music is utilised within both A Clockwork Orange and Dr Strangelove (1964). When Alex De Large (Malcolm McDowell) is in his room, a montage gives the audience various close-ups of the four statues of Jesus that move in time with Beethoven's 9th, while at the end of Dr Strangelove, repeated nuclear explosions similarly occur in time with 'We'll Meet Again'. Even from early on, as the attack on the enemy cabin in Fear and Desire (1953) occurs, the way the stabbing is interspersed with the hands of the victims, cutting away before the audience sees the knife enter the soldiers is akin to the killing of the 'Cat Lady' (Miriam Karlin), when the impact of the phallic object is interrupted by various shots of her paintings. The way that violence is not actually shown in these scenes echoes Lolita (1962), which too uses an art piece to hide the actual impact of the bullet that kills Clare Quilty (Peter Sellers). These two instances of intertextuality are able to convey Alex's admiration for art and the pain of the victims of the ambush without resorting to speech, Gilbert (2006: 35) argues that such a method of editing occurred because 'Kubrick demanded so much from visual symbols and thus moved ever closer to the aesthetics of silent film'.

lolita kubrick authorshipSpeaking of his admiration for Orson Welles, Kolker (1988: 82) says that 'the Wellesian cinema is a cinema of space and spacial relationships', Alex is a lost and alienated individual when he leaves prison, shown through his positioning when he is eating at Frank Alexander's (Patrick Magee) house, the setting overshadows him and he is evidently nervous about the prospect of the writer poisoning him. Likewise, in Lolita, Quilty is manipulating Humbert Humbert (James Mason) while on the hotel veranda and through the use of a large depth of field, Quilty's dominance is shown through his position within the foreground of the frame, while Humbert is reduced to being placed in the background, unable to even see his tormentors face. Mather (2013: 243) states that high angle perspective establishes the location being filmed - 'often one that dominates the characters', while close ups of Alex's face characterised the first third of A Clockwork Orange, the prison that he finds himself in is captured in an extreme high angle shot, the camera 'reproduces the panoptic and impersonal gaze of the institution as it peers down on the grey stone prison'(Gehrkr, 2008:153). Similarly the chateau in Paths of Glory (1957) looms over the helpless soldiers during the trial scene, depth of field is reduced in order to create the opposite effect to that of Lolita, their isolation is captured in a telephoto lens which separates them from their environment. The placement of characters in their respective settings very often helps to reinforce the narrative, this is a trope that tracking also achieves. 

Mainar (1999:31) points out that tracking shots fulfil a specific task, 'they establish a link between at least two elements within the shot'. A Clockwork Orange establishes Alex's focus on sex in the opening at the Korova milk bar, when he is surrounded by naked mannequins while his love of music is encapsulated in a tracking shot that follows him walking around a record shop. In Paths of Glory, Colonel Dax (Kirk Douglas) is a 'brave, principled' (Perusek, 2006: 88) and resourceful man who is evidently respected by his soldiers that surround him as he walks through the trenches, again captured in a shot which follows him advancing forward. Unlike the objective camerawork that accompanied General Mireau (George Macready) through the same trenches earlier, this scene is combined with several point-of-view shots, as such it demonstrates how far removed Mireau is from the reality of war compared to Dax, he flinched at the explosions that went off around him while Dax is seemingly desensitised to them. In The Shining (1980), the fluid, long, steady cam sequences of Danny Torrence (Danny Lloyd) riding his tricycle through the winding corridors of the Overlook Hotel emphasise the maze-like nature of the setting, culminating in 'an astonished gaze into an impossible world' (Naremore, 2007 :191), which in this case makes Danny's stare reminiscent of Dave Bowman's (Keir Dullea) during the star gate sequence in 2001: A Space Odyssey (1968). In these instances the environments that surrounds the characters are used to reinforce their personality, demeanour and mentality.

the killing kubrick auteur theory While tracking shots, montage and the manipulation of the depth of field help to reinforce notions of power or a characters mental state, lighting too is another visual element which significantly contributes to the narrative.  Kubrick always strived to move away from arbitrary lighting, instead 'it always had to appeal to the audiences emotional appetite for uncanny or menacing atmospheres' (Kuberski, 2012: 72). Reminiscent of The Killing (1956) and Killer's Kiss (1956), A Clockwork Orange contains a scene characteristic of the film noir movement, when Alex and his droogs come across the homeless man, the chiaroscuro lighting distorts the shadows of the teenagers, Spicer (2013: 319) argues that noir's visual style is 'informed by the themes of angst and anxiety'. Therefore, the scene in question uses a trope from the movement in order to portend to the violence that is about to take place, further evidence of the validity of Spicer's view is that fact that the shadows of the menacing teenagers bears a relationship to the scene in Killer's Kiss when Vincent Rapallo's (Frank Silvera) henchmen corner and murder Davey's manager. The heavily backlit war room of Dr Strangelove can thus be said to contribute to create a similar effect; the impending doom of nuclear war. In addition to the use of shadows, Powell (2005: 45) says that he used coloured light to 'create extra layers of meaning' - blue light appears from behind doorways and archways in A Clockwork Orange, Spartacus (1960) and Eyes Wide Shut (1999), when Alex pleads to Mr. Alexander's wife (Adrienne Corri) to let him in the house, after the bath scene in which Antoninus (Tony Curtis) decides to abandon Crassus's (Laurence Olivier) service and when Alice (Nicole Kidman) admits her fantasy to Bill (Tom Cruise). In addition, the whole exterior of the Overlook Hotel is bathed in the colour blue during the chase scenes in the snow; betrayal, distrust and fear characterise the scenes explained, with the uniform lighting foreshadowing such. 

The idea of communication; or lack thereof is a trope that plays a large role in A Clockwork Orange, the use of Nadsat language, spoken only by the teenagers emphasises the division between the two generations of citizens within its dystopian world, the language is reminiscent of the military and sexual slang used by the troops in Full Metal Jacket (1987), which like the Nadsat 'can't always be deciphered' (Wetta & Curley, 1992: 41) by the audience. Furthermore, during his interrogation in the police station, Mr Deltoid rather than 'actively communicate with his pupil, merely mocks him (Alex) and spits in his face' (Sperb, 2006 114); If the inability to communicate in this instance exacerbates Alex's hostility, miscommunication in Dr Strangelove is what causes the destruction of earth. The Soviets failure to inform the Americans of their Doomsday device undermines the whole intention of a deterrent, an unnecessary call to Buck Turgidson (George C. Scott) from his girlfriend interrupts his dealings in the war room and Lionel Mandrake (Peter Sellers) is unable to potentially save the world since he has no change for the phone booth, Cooke (2007: 27) argues that such a scene 'encapsulates the entire film'. Bar one of the calls in the picture, the audience is not shown and cannot hear who is on the other end of the phone; instead Tugidson has to be relayed messages from his secretary and Merkin has to first navigate a language barrier before he can talk to the Soviet Premier. The telephone serves a familiar role of both frustration and anxiety for Humbert in Lolita when the line goes dead before he is able to talk to her, Quiston (2013: 14) states that the phone is 'another rude intervention' between the two. The whole reason why Alex is able to enter the house of the writer and his wife is by convincing the two to let him use their telephone; the device appears to serve as both an unreliable, dangerous or undermined feature often causing physical or emotional harm to characters.


dr strangelove kubrick
Even in The Shining, after Danny successfully communicates with Dick Hallorann (Scatman Crothers); it ultimately leads to the murder of him upon his return to the Overlook Hotel. Jack Torrence (Jack Nicholson) also blocks Wendy (Shelly Duvall) from using the radio, emphasising the alienation that befalls her and Danny as they attempt to flee him. Disinterest characterises attempts at communication in 2001 and in Eyes Wide Shut, just as how Alex refuses to testify in the aforementioned scene in the police station, Dr Floyd's daughter (Vivian Kubrick) and Frank Poole (Gary Lockwood) appear to give little gratification or attention to those who video call them. Likewise; when Alice asks her husband how she looks, William replies "perfect" without even looking at her; Kuberski (2012: 11) states that 'speech in Kubrick's films achieves an opacity and a physicality that frustrates attempts at communication and understanding', but it can be also argued that lack of speech serves an identical function. The theme may have been included by Kubrick because it served a large role within his own life; 'on the most basic level, communication underpins the whole process of making a film, someone who makes it the central feature of their working life will easily extend it to the intellectual concept of their films' (Walker, Taylor & Ruchti, 1999: 31). 

When talking about Spartacus, Baxter (1997: 137) explains that Crassus and Gracchus (Charles Laughton) illustrate Stanley Kubrick's belief 'in the abiding evil at the heart of all power', similarly one of the overriding themes in A Clockwork Orange appears to be the criticism of authority and how the government abuses their overwhelming ability. Cox (2004: 28) states that Kubrick had 'an obsession with paternal authority', while a positive representation is evident between Spartacus (Kirk Douglas) and Antoninus, Barry Lyndon (Ryan O'Neal) and his step-son Lord Bullingdon (Dominic Savage) share an incredibly tempestuous relationship, the lack of an omnipresent father figure for Lyndon himself 'may explain his own shortcomings as a father' (Hughes, 2000:188) which ultimately leads to his downfall after losing a duel with Bullingdon. Alex too appears to have little interaction with his own father and is depicted as a helpless child prior to his Ludovico treatment, asking whether his time spent watching films will be "like going to the pictures", with the doctors coaxing him into a false sense of security. It establishes that the doctors in A Clockwork Orange become the mothers and fathers, 'judging as necessary… where the world was once his playpen, Alex is now a pawn being manipulated by the sciences and the state' (Gehrkr, 2008: 155-156). Private Pyle (Vincent D'Onofrio) in Full Metal Jacket is similarly humiliated and treated like a child when forced to walk behind the platoon sucking his thumb as a punishment; his character is the victim of the brainwashing from Sgt Hartman (R.Lee Ermey) which wipes clean his individuality while Alex is unable to exercise free will, thus removing his own personality too. 

As Gerhrkr suggests, this theme of human authority over others may have emerged out of the directors love of chess, LoBrutto (1999: 19) says that it was 'more than a game to Stanley - it represented order and logic and embraced the young man's fascination with war and the military.' The battle scenes in Spartacus resemble such a pastime, as if a superior being is observing the events taking place from a vantage point, manipulating the arrangement of the Roman Army and is not dissimilar to how Jack oversees the model of the Overlook maze while his wife and son are in it themselves. While A Clockwork Orange depicts the government as an institution that chooses inhumane solutions to combat social problems, the generals in Paths of Glory punish the 'cowardice' of troops by murdering them, they are hypocritical figures who order men to certain death while viewing proceedings from a safe distance. Their indifference to the harrowing experiences that the troops have to undergo is almost identical to that of the Roman audience dis-interestingly observing the fight between Spartacus and Draba (Woody Strode).  Mireau observes the battle through binoculars, 'emphasising war as a spectator sport for the high command' (Walker, Taylor & Ruchti, 1999: 73) and it serves to highlight the juxtaposition between the privileged superiors compared to the soldiers confined to the claustrophobic suffering of the trenches. Visually, motifs of the game of chess repeatedly manifest themselves several times, the checkered floor of Mr Alexander's hallway and the chateau in Paths of Glory can be seen at times when victims, or 'pawns' are at the mercy of other, more powerful individuals. 

full metal jacket kubrickSymmetry and repetition permeates the work of Kubrick in terms of both in the mise-en-scene and the narrative; the corridors in The Shining, aboard the Discovery One in 2001, the barracks in Full Metal Jacket and the firing squad in Paths Of Glory are some of the examples of the visually balanced composition of shots throughout his work. The entire narrative of A Clockwork Orange revolves around such a theme, Kolker (1988: 134) describes the picture as a 'dismally cyclic vision', for Alex is forever going to be a sadistic individual who starts the picture in much the same way that he ends it.  Symmetry too pervades the introduction of Killer's Kiss; the crosscutting editing that accompanies Davey (Jamie Smith) and Gloria (Irene Kane) as they prepare to leave their respective apartments shows them getting dressed and going down the stairs at the same time, which helps to establish the relationship between the two individuals before they have even met. Mamber (2006: 58) says that 'the narrative repetition and circularity of Kubrick's films have always emphasised the sense that playing games, repeating duels, fighting battles is all that people do'. Such a statement can also be applied to sex within Eyes Wide Shut, in which it is initially used by William in order for him to rid himself of his insecurity regarding his wife, Rasmussen (2001: 356) states that the last line of the picture 'returns, very bluntly, to sex as a solution for problems arising out of jealousy'. The circular motif is expressed quite literally in A Clockwork Orange, the inmates exercise by walking in one, demonstrating the strict order and routine of the environment. This is not unlike the rotating Space Station V in 2001 or the way Mireau is led on a circular walk by Major Broulard (Adolphe Menjou) around the chateau, the last example perhaps pertaining to the endless nature of conflict. Very often Kubrick's films end in a similar way to how they started, reinforcing the impression of an 'overture built out of repetitions' (Krohn, 2010: 24).

A Clockwork Orange repeats Alex's encounters with the homeless man, his droogs and the writer when he leaves prison, as Falsetto (2001: 12) argues the film is 'structured around actions and their reversal', it is similar to the uncanny repetition within Paths of Glory, in which Mireau meets the same troops that he will send to their deaths. In addition, the intro and outro shots of A Clockwork Orange are strikingly similar; in both Alex is in the middle of a corridor-like environment surrounded first by mannequins and then by two rows of observers watching him in the snow. In The Killing, the repetition of the horses is used to re-establish the passage of time, and it has been observed that the massacre that follows Sherry's (Marie Windsor) ambush of her husband leads to the bodies to 'litter the room like the discarded betting slips on the floor of the racetrack at the start of the film' (Silver, Ursini & Duncan, 2004: 72). As with the use of the horses in The Killing, Dr Strangelove continuously establishes the return to the B-52 bombers through the use of the song 'When Johnny
paths of glory kubrick auteur theory
Goes Marching Home'. Lolita repeats two key events, the first being Humbert's entry into Quilty's home and the second being the introduction, which shows a hand caressing and painting the toenails of a woman. In order to satisfy the censors, 'Kubrick was forced to downplay the erotic nature of the relationship' (Matereau, 2008: 205), in this instance this limitation is overcome by establishing the relationship between Humbert and Lolita (Shelley Winters) in the title sequence which did not actually show the faces of the two individuals, thus appeasing the censors. When this action is repeated later in the picture it is evident that it bears a relationship to what has come before it, despite the fact that the 'eroticism' has been minimised in comparison. Bernardoni (1991: 7) explains that as a concept of the auteur theory, 'authorial vision refers to a directors communication of a distinctive point of view in spite of the restrictions of mainstream narrative filmmaking'. Kubrick was able to overcome the restraints that came with censorship rules in an early example of his implementation of repetition, one of his signature narrative themes that is integral to the structure of A Clockwork Orange. 

Helping to dismiss the notion of collaboration rendering the Auteur theory invalid, Kagan (1972: 82) notes that Dr Strangelove marked the film in which Stanley Kubrick attained his 'creative freedom'. Yet even before this picture, it is evident that the depiction of the themes of communication and authority emerged out of the directors own life and thoughts, while technical elements from editing to cinematography were both consistent and stemmed out of what influenced him. Every picture within his overture bears some kind of similarity with one-another, yet at the same time his body of work remains versatile and still deals with an overwhelming diversity of topics.

References

Baxter, J., 1998. Stanley Kubrick: A Biography. London: Harper Collins Publishers. 

Bell-Matereau, R. 2008. The Three Faces of Lolita: Or How I Leaned to Stop Worrying and Love the Adaptation. In J. Boozer ed. 2008. Authorship in Film Adaptation. Austin: University of Texas Press. pp. 203-229.

Bernardoni, J., 1991. The New Hollywood: What the Movies Did with the New Freedoms of the Seventies. Jefferson: McFarland Company. 

Bordwell, D. and Thompson, K., 2010. Film Art: An Introduction. New York: McGraw Hill.  

Chapman, J., 2003. Cinemas of the World: Film and Society from 1895 to the Present. London: Reaktion Books Ltd.

Cooke, E., 2007. Understanding the Enemy: The Dialogue of Fear in Fear and Desire and Dr Strangelove. In J. Abrams ed. 2007. The Philosophy of Stanley Kubrick. Lexington: University 
Press of Kentucky. pp. 9-33.

Cox, G., 2004. The Wolf at the Door: Stanley Kubrick, History, & the Holocaust. New York: Peter Lang Publishing.

Falsetto, M., 2001. Stanley Kubrick: A Narrative and Stylistic Analysis. Westport: Greenwood Publishing Group.

Gehrkr, P., 2006. Deviant subjects in Foucault and A Clockwork Orange. In G. Cocks, J Diedrick and G. Peruesed eds. 2006. Depth of Field: Stanley Kubrick, Film and the Uses of History. Wisconsin: University of Wisconsin Press. pp. 146- 164

Gilbert, J., 2006. Auteur with A Capital A. In R. Kolker ed. 2006. Stanley Kubrick's 2001: A Space Odyssey: New Essays. New York: Oxford University Press. 

Hughes, D., 2000. The Complete Kubrick. London: Virgin Publishing Ltd.

Kagan, N., 1972. The Cinema of Stanley Kubrick. London: Continuum Publishing Inc. 

Kolker, R., 1988. A Cinema of Loneliness: Penn, Kubrick, Scorcese, Spielberg, Altman. New York: Oxford University Press.

Krohn, B., 2010. Masters of Cinema: Stanley Kubrick. Paris: Phaidon Press. 

Kuberski, P., 2012. Kubrick's Total Cinema: Philosophical Themes and Formal Qualities. London: Continuum Publishing Company.

LoBrutto, V., 1999. Stanley Kubrick: A Biography. New York: Perseus Books. 

Mamber, S., 2006. 'Kubrick in Space'. In R. Kolker ed. 2006. Stanley Kubrick's 2001: A Space Odyssey: New Essays. New York: Oxford University Press. 

Mather, P., 2013. Stanley Kubrick at Look Magazine: Authorship and Genre in Photojournalism and Film. Chicago: University of Chicago Press.

McQuiston, K., 2013. We'll Meet Again: Musical Design in the Films of Stanley Kubrick. New York: Oxford University Press.

Naremore, J., 2007. On Kubrick. London: British Film Institute Publishing.

Perusek, G., 2006. Kubrick's Armies: Strategy, Hierarchy and Motive in the War Films of Stanley Kubrick. In G. Cocks, J. Diedrick and G. Perusek eds. 2006. Depth of Field: Stanley Kubrick: Film and The Uses of History. Wisconsin: University of Wisconsin Press. pp.77- 100

Powell, A., 2005. Deleuze and Horror Film. Edinburgh: Cromwell Press. 

Rasmussen, R., 2001. Stanley Kubrick: Seven Films Analysed. Jefferson: McFarland Company. 

Robinson, H., 2007. Russians in Hollywood, Hollywood's Russians: Biography of an Image. New England: University of New England Press. 

Sarris, A., 1962. Notes on the Auteur Theory. In L. Braudy and M. Cohen eds. 2004. Film Theory and Criticism: Introductory Readings. New York: Oxford University Press. pp. 561-564.

Silver, A., Ursini, J. and Duncan, P., 2012. Film Noir. Los Angles: Taschen Publishing.

Spicer, A. and Hanson, H., 2013. A Companion to Film Noir. Oxford: Blackwell Publishing. 

Stoddart, H., 1995. Auteurism and Film Authorship Theory. In J. Hollows and M. Jancovich eds.1995. Approaches To Popular Film. New York: Palgrave. pp. 37-59.

Sultanik, A., 1986. Film: A Modern Art. London: Cornwall Books.

Sperb, J., 2006. The Kubrick Facade: Faces and Voices in the Films of Stanley Kubrick. Oxford: Scarecrow Press. 

Spicer, A. and Hanson, H., 2013. A Companion to Film Noir. Oxford: Blackwell Publishing. 

Walker, W., Taylor, S. and Ruchti. 1999. Stanley Kubrick, Director: A Visual Analysis. London: Orion Publishing Group.

Wetta, F. and Curley, S., 1992. Celluloid Wars: A Guide to Film and the American Experience of War. Westport: Greenwood Press. 


Cha'alt Hardcover Option


That's right, there's now a professionally printed hardcover tier for the Cha'alt kickstarter!

It's limited to 1,000... so, get in on that while they're available.  Don't wait for ebay where you might see one for $300 in a couple years.

Thanks again for your support, and please share this news with your gaming friends.  ;)

VS

p.s. Here's a look at yet another Yannick Bouchard masterpiece that will be included in my full-color magnum opus Cha'alt.

p.p.s. Alien dinosaurs fighting in the post-apocalyptic wastes as some dude from the late 21st century hopes to survive!