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足协评议：新鹏城短暂9打11符合竞赛规则，但裁判组程序存在不足_我的网站
A | Ahead of director Priyadarshan nearing the remarkable milestone of 100 films, Filmfare's Editor-in-Chief Jitesh Pillaai reflects on the filmmaker’s unmatched legacy, especially in Malayalam cinema and why the maestro deserves to be celebrated much more. In his words: Kilometers of Laughter: A Journey Through Priyan’s World He is on his century—that is 100 films old. I think he is currently batting on 99. Inching close to seventy years of age, Director Priyadarshan has celebrated enough. He should be toasted for his style and his Malayalam body of work. Cine goers of a certain vintage remember him for his sharp comedies, including his debut Poochakkoru Mookkuthi. He paid tribute to Sai Paranjpye with Odaruthammava Aalariyam (inspired by Chashme Buddoor) and Mukunthetta Sumitra Vilikkunnu. He rehashed several Malayalam films like Ramji Rao Speaking, Kireedam, and Punjabi House to give us a slew of Hindi bonanzas like Hungama, Hulchul, Gardish, and of course, the rib-tickling Hera Pheri. Priyadarshan brought spit and polish to Malayalam movies with technical marvels like Kaalapani and Kanchivaram. The team of Mohanlal and Priyadarshan gave us a slew of classics: Kinnararam, Kilukkam, Thenmavin Kombath, Chandralekha, and Mithunam. Films like Mazha Peyyunnu Maddalam Kottunnu, Kilukkam, and Thenmavin Kombath reach "iconic" status with every passing year. What makes the familiar and time-tested Priyadarshan tropes so warm and all-embracing? He gave comedy a mad, zany world appeal. He humanised comedians and gave them an afterlife. Whether it was Vellanakalude Nadu or Adwaitham, Priyadarshan showed us life’s foibles; he showed us how a unique strength lies within our dysfunctional families and their frailties. With a master craftsman like Mohanlal helming his ventures, you could not go wrong. You may recall the Priyadarshan of Bhool Bhulaiyaa and Bhagam Bhag, but he is more than all of that. He redefined comedy and rewrote the rules of drama. He mocked filmmakers ever so gently and turned the rules of filmmaking topsy-turvy. Watch that one scene in Boeing Boeing where a three-timing Mohanlal is trying to hide his three girlfriends in different rooms; it is a hoot. That scene was later re-enacted in Garam Masala by John Abraham and Akshay Kumar. To reduce Priyadarshan’s oeuvre to just comedy is to diminish his legacy. One of my favourite films of his, Dheem Tharikida Thom, about a run-down drama troupe, is a classic. As are Punnaram Cholli Cholli and Thalavattam. Like all great filmmakers, Priyadarshan harnessed the best out of Santosh Sivan, Sabu Cyril, and S. Kumar, alongside his band of wonderful ensemble actors: Nedumudi Venu, KPAC Lalitha, Innocent, Oduvil Unnikrishnan, and Mamukkoya. You have to watch Mithunam to realise his legerdemain and absolute control of his craft. It would be a pity if Priyadarshan is cited only for his Bollywood outpourings. What he gave to Malayalam cinema was clout, longevity, charisma, and unabashed storytelling. I have lost count of the times I have watched Kilukkam, Vandanam, Mazha Peyyunnu Maddalam Kottunnu, and Poochakkoru Mookkuthi. He makes the absurd believable and the impossible look real. Priyadarshan is a part of our Malayalam movie memories and our rites of passage. If we cut our milk teeth on Poochakkoru Mookkuthi, we came of age with Vandanam and Kaalapani. I assure you, well into our dotage, we will still be chuckling at the "kilometers and kilometers" joke from Mazha Peyyunnu Maddalam Kottunnu. Like Priyadarshan and his movies, we grew up at the turnstiles. His music and his shot-taking changed the lexicon of how Malayalam film songs are picturized. We still sway to Doore Kizhakudikkum, Ambalappuzhe, and Ende Manassil Oru Naanam. Priyadarshan is not celebrated enough, which is a pity because it means we do not celebrate our wonder years enough. You may go and enjoy Bhooth Bangla in theatres soon, while I will yet again rewind to the mad world of Vandanam and Boeing Boeing. Priyadarshan’s gift to the movies is that he made us all believe in magic and the fanciful, and he never let us grow up. Also Read: Bhooth Bangla: Priyadarshan Openly Discusses The Age-gap Between Akshay Kumar and Wamiqa Gabbi。 08月26日讯 中国足协发布新一期裁判评议，对裁判组处理深圳新鹏城队替换队员事件作出说明。指出新鹏城场上9打11丢球事件符合竞赛规则，但裁判组程序处理上存在不足。【相关】新鹏城申诉函内容：四官拒绝受理换人申请，球队场上仅有9人作战 【判例内容】判例七：中超联赛第24轮，深圳新鹏城vs浙江俱乐部绿城。比赛第80分钟，深圳新鹏城替换队员，因替换下场的11号队员未在10秒内离场，造成替换上场的17号队员暂时不能上场，之后深圳新鹏城15号队员受伤下场，未能作出替换。随后比赛恢复，深圳新鹏城场上队员暂时为9人，深圳新鹏城踢直接任意球恢复比赛后，浙江俱乐部绿城队得到控球权，发起进攻并取得进球。裁判员判进球有效。深圳新鹏城俱乐部申诉意见认为：本队在队员受伤后，已提交换人申请，但第四官员拒绝执行换人程序，导致本方在只有9名场上队员的情况下，被对方进球。对于此判例，经调查和了解现场情况，评议组作出如下认定和说明：第一，深圳新鹏城17号替换11号时，因后者未能在10秒限时内离开比赛场地，按照竞赛规则，替换上场的17号暂时不能上场，需在比赛恢复后再经过1分钟，之后的首次比赛停止时，得到裁判员的示意，方可上场。第二，在比赛恢复前，深圳新鹏城15号受伤倒地，随后由担架抬出场地。在此过程中，深圳新鹏城再次提出替换申请，由6号和25号，替换场上的2号和受伤的15号。第四官员未执行替换前的有关检查。此时比赛具备恢复条件，裁判员决定恢复比赛，该程序并不违反竞赛规则。球队提出替换申请，并不意味着替换程序即刻开始，第四官员必须先进行一系列检查核对程序（包括检查核对替换单据、换人牌、本场报名名单、确认队员号码和参赛资格、检查替补队员装备等），所有程序就绪后，才可通知裁判员，并在比赛停止时进行替换。
B | 在上述检查完成前，如果比赛具备继续或恢复的条件，裁判员应先允许比赛继续或恢复。第三，此判例中，在深圳新鹏城15号受伤倒地时，比赛已具备恢复条件。但裁判员因深圳新鹏城15号受伤而延迟比赛恢复，此时如果球队提出替换申请，并且递交资料齐备，从管理角度出发，第四官员应优先启动替换前的检查程序（无论是否能够在比赛恢复前完成替换），其次再兼顾（或由其他比赛官员兼顾）暂不允许上场的深圳新鹏城17号的管理与计时（如果比赛恢复）。综上，此判例中，比赛在深圳新鹏城场上暂时只有9名队员时恢复，符合竞赛规则。但裁判组在比赛管理和工作程序处理上存在不足。
C |
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