![]() ![]() $130 is worth less than your life and your house, I promise. To have a professional do it, it'll probably be in the $80-$130 range, most have free estimates. Or worse, if you are confident but incompetent, REALLY don't do it, that's where the fires and electrocutions start. If you are not confident with your ability to wire, don't do it. This scenario is not as common as others, but still, it happens and it is not worth saving a few bucks. I'm a licensed electrician and see the first few steps of a electrical fire all the time. Since this splice is buried in the wall, and the smoke is most likely going straight to the attic, you probably won't smell it and your smoke detectors won't detect it until your studs are on fire, and your house is destroyed. Loose connections, under load, create heat, heat creates fire. It is dangerous because if not spliced using proper wiring methods, it can be weak, loose. If that splice fails, it'll take a sledge hammer on your wall to fix the thing. The reason you don't ever want to bury a junction in the wall is because it is a splice - splices fail. If you don't mind the look of a blank cover on your wall, do as suggested before me. Doing it this way eliminates adding unsightly junction boxes, but is definitely the harder option. The better option would be, turn off the circuit, get some 12/2 romex cable and firmly tape it to each of the existing cables and use the old cables as sort of a pull string to get the new cable to the existing locations, then junction where the original cables were junctioned. Lets look at aother scenario, QAAV is installed, 5yrs later a new owner moves in, they have no clue where the "safe" QAAV was installed, they put a long screw in the wall and it goes right into the QAAV body and lands on the hot side CCC.As far as I know, there is no approved method of splicing class I wiring inside of a wall, aside from that, it is both dangerous and begging for failure.Īs posted above, you can use junction boxes (he or she suggested using what is called a "nail on" or "new work" box, if the wall is no longer opened up to access the wall studs, use a "old work" or "cut in" box, this is a type of junction box that as little tabs connected to screws that when turned, flange out the tabs, mounting the box.) we really didnt need QAAV to be able to do safe splice burials (concealment). I just think its very narrow minded to think QAAV's are the only safe way to bury a splice. hmmmm, that wont happen if you used a mounted box (metal or plastic) with a metal cover (unless they were using a self tapping screw and when it got real tough they just kept going, but we cant stop folks from doing stupid things, etc.). Lets look at aother scenario, QAAV is installed, 5yrs later a new owner moves in, they have no clue where the "safe" QAAV was installed, they put a long screw in the wall and it goes right into the QAAV body and lands on the hot side CCC. the issue is, why does nec accept one safe method over any other safe method? using wago in a mounted box with proper NM clamps (i dunno, invent "proper clamps" is you want special strain relief) is just as safe as a QAAV device. Wago connector is already accepted for approved use, so i dont see any reason for wago to press the issue. If UL tests a mounted box, NM, NM clamps, and wago's, tested to the same safety tests QAAV's are tested to, and the box-wago passes, why is this any different than a QAAV device in terms of safety, not only for the splice itself, but for the lifetime of the splice regardless of if a box-wago can be opened later, boxes and wagos are made as reusable components, etc.
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He had researched the subject deeply in the same town – Lens, in the north of France – where he made the film. ![]() L’Enfance nue grew out of a documentary project about the fostering of children. Pialat himself tried on various hats through the 1950s and 60s, making observational documentaries and quirky shorts borrowing from silent cinema and surrealism. Of the two, he inclined more to Renoir’s brand of realism – a natural way of acting, a freedom to react to the conditions of the shoot, an open camera style in natural locations – than Carné’s supremely crafted world filled with poetic dialogue and gestures, and usually filmed on elaborate sets. It’s easy to see Jean Gabin, the star of Renoir’s film, as a model actor for Pialat – a solid man of the people, totally believable in a fictional context and unaffected in his speech and manner.Īlthough Pialat was very grudging in his praise of other filmmakers (while at the same time denying his own worth), he held to Renoir and Marcel Carné as the two masters of classic French cinema. This was very much la France profonde, the near-mythical world of rural life outside the big cities, up there on the big screen. The film that made the greatest impression on him as a boy was Jean Renoir’s La Bête humaine (1938), a contemporary adaptation of Emile Zola’s novel dominated by working-class figures steeped in the soot and oil of the railways. His films were challenging in their brutal subject matter and elliptical narratives, and extremely autobiographical, yet he was capable of reaching a large audience, and moving them with an underlying tenderness. In generational terms, he should rightly be considered a member of the French New Wave, but he stood apart from them and only shot his first feature, L’Enfance nue (Naked Childhood), in 1968, when he was 43. While his refusal to concede to cliché and the sentimental, as well as his boldness in tackling unpredictable subjects, is perfectly evident in the work of such overt disciples as Cédric Kahn and Arnaud Desplechin, it’s much harder to define exactly where Pialat himself springs from – and in what tradition in French cinema he takes his place, if any.Īny attempt to assess Pialat’s cinema is necessarily a catalogue of contradictions. When Cahiers du cinéma in 1998 convened a meeting of young French filmmakers to discuss the influence of the New Wave, the conversation soon turned to Pialat, with the majority asserting that he was far more significant in their formation. 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