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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#Bibliography] | [TOKENS: 6859] |
Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/Cosplayer#References] | [TOKENS: 6859] |
Contents Cosplay Cosplay, a blend word of "costume play", is an activity and performance art in which participants called cosplayers wear costumes and fashion accessories to represent a specific character. Cosplayers often interact to create a subculture, and a broader use of the term "cosplay" applies to any costumed role-playing in venues apart from the stage. Any entity that lends itself to dramatic interpretation may be taken up as a subject. Favorite sources include anime, cartoons, manga, comic books, television series, musical artists, video games, memes, and in some cases, original characters. The term has been adopted as slang, often in politics, to mean someone pretending to play a role or take on a personality disingenuously. Cosplay grew out of the practice of fan costuming at science fiction conventions, beginning with Morojo's "futuristicostumes" created for the 1st World Science Fiction Convention held in New York City, United States, in 1939. The Japanese term "cosplay" (コスプレ, kosupure) was coined in 1983. A rapid growth in the number of people cosplaying as a hobby since the 1990s has made the phenomenon a significant aspect of popular culture in Japan, as well as in other parts of East Asia and in the Western world. Cosplay events are common features of fan conventions, and today there are many dedicated conventions and competitions, as well as social networks, websites, and other forms of media centered on cosplay activities. Cosplay is very popular among all genders, and it is not unusual to see crossplay, also referred to as gender-bending. Etymology The term "cosplay" is a Japanese blend word of the English terms costume and play. The term was coined by Nobuyuki Takahashi [ja] of Studio Hard in an article for the Japanese magazine My Anime [ja] in June 1983. Takahashi decided to coin a new word rather than use the existing translation of the English term "masquerade" because it implied nobility and was old-fashioned. The coinage reflects a common Japanese method of abbreviation in which the first two moras of a pair of words are used to form an independent compound: 'costume' becomes kosu (コス) and 'play' becomes pure (プレ). History Masquerade balls were a feature of the Carnival season in the 15th century, and involved increasingly elaborate allegorical Royal Entries, pageants, and triumphal processions celebrating marriages and other dynastic events of late medieval court life. They were extended into costumed public festivities in Italy during the 16th century Renaissance, generally elaborate dances held for members of the upper classes, which were particularly popular in Venice. In April 1877, French novelist Jules Verne sent out almost 700 invitations for an elaborate costume ball, where several of the guests showed up dressed as characters from Verne's novels. Costume parties (American English) or fancy dress parties (British English) were popular from the 19th century onwards. Costuming guides of the period, such as Samuel Miller's Male Character Costumes (1884) or Ardern Holt's Fancy Dresses Described (1887), feature mostly generic costumes, whether that be period costumes, national costumes, objects or abstract concepts such as "Autumn" or "Night". Most specific costumes described therein are for historical figures although some are sourced from fiction, like Alexandre Dumas' The Three Musketeers or William Shakespeare's characters. By March 1891, a literal call by one Herbert Tibbits for what would today be described as "cosplayers" was advertised for an event held from 5–10 March that year at the Royal Albert Hall in London, for the so-named Vril-Ya Bazaar and Fete based on a science fiction novel and its characters, published two decades earlier. A.D. Condo's science fiction comic strip character Mr. Skygack, from Mars (a Martian ethnographer who comically misunderstands many Earthly affairs) is arguably the first fictional character that people emulated by wearing costumes, as in 1908 Mr. and Mrs. William Fell of Cincinnati, Ohio, are reported to have attended a masquerade at a skating rink wearing Mr. Skygack and Miss Dillpickles costumes. Later, in 1910, an unnamed woman won first prize at masquerade ball in Tacoma, Washington, wearing another Skygack costume. The first people to wear costumes to attend a convention were science fiction fans Forrest J Ackerman and Myrtle R. Douglas, known in fandom as Morojo. They attended the 1939 1st World Science Fiction Convention (Nycon or 1st Worldcon) in the Caravan Hall, New York, US dressed in "futuristicostumes", including green cape and breeches, based on the pulp magazine artwork of Frank R. Paul and the 1936 film Things to Come, designed and created by Douglas. Ackerman later stated that he thought everyone was supposed to wear a costume at a science fiction convention, although only he and Douglas did. Fan costuming caught on, however, and the 2nd Worldcon (1940) had both an unofficial masquerade held in Douglas' room and an official masquerade as part of the programme. David Kyle won the masquerade wearing a Ming the Merciless costume created by Leslie Perri, while Robert A. W. Lowndes received second place with a Bar Senestro costume (from the novel The Blind Spot by Austin Hall and Homer Eon Flint). Other costumed attendees included guest of honor E. E. Smith as Northwest Smith (from C. L. Moore's series of short stories) and both Ackerman and Douglas wearing their futuristicostumes again. Masquerades and costume balls continued to be part of World Science Fiction Convention tradition thereafter. Early Worldcon masquerade balls featured a band, dancing, food and drinks. Contestants either walked across a stage or a cleared area of the dance floor. Ackerman wore a "Hunchbackerman of Notre Dame" costume to the 3rd Worldcon (1941), which included a mask designed and created by Ray Harryhausen, but soon stopped wearing costumes to conventions. Douglas wore an Akka costume (from A. Merritt's novel The Moon Pool), the mask again made by Harryhausen, to the 3rd Worldcon and a Snake Mother costume (another Merritt costume, from The Snake Mother) to the 4th Worldcon (1946). Terminology was yet unsettled; the 1944 edition of Jack Speer's Fancyclopedia used the term costume party. Rules governing costumes became established in response to specific costumes and costuming trends. The first nude contestant at a Worldcon masquerade was in 1952; but the height of this trend was in the 1970s and early 1980s, with a few every year. This eventually led to "No Costume is No Costume" rule, which banned full nudity, although partial nudity was still allowed as long as it was a legitimate representation of the character. Mike Resnick describes the best of the nude costumes as Kris Lundi wearing a harpy costume to the 32nd Worldcon (1974) (she received an honorable mention in the competition). Another costume that instigated a rule change was an attendee at the 20th Worldcon (1962) whose blaster prop fired a jet of real flame; which led to fire being banned. At the 30th WorldCon (1972), artist Scott Shaw wore a costume composed largely of peanut butter to represent his own underground comix character called "The Turd". The peanut butter rubbed off, doing damage to soft furnishings and other peoples' costumes, and then began to go rancid under the heat of the lighting. Food, odious, and messy substances were banned as costume elements after that event. Costuming spread with the science fiction conventions and the interaction of fandom. The earliest known instance of costuming at a convention in the United Kingdom was at the London Science Fiction Convention (1953) but this was only as part of a play. However, members of the Liverpool Science Fantasy Society attended the 1st Cytricon (1955), in Kettering, wearing costumes and continued to do so in subsequent years. The 15th Worldcon (1957) brought the first official convention masquerade to the UK. The 1960 Eastercon in London may have been the first British-based convention to hold an official fancy dress party as part of its programme. The joint winners were Ethel Lindsay and Ina Shorrock as two of the titular witches from the novel The Witches of Karres by James H. Schmitz. Star Trek conventions began in 1969 and major conventions began in 1972 and they have featured cosplay throughout. In Japan, costuming at conventions was a fan activity from at least the 1970s, especially after the launch of the Comiket convention in December 1975. Costuming at this time was known as kasō (仮装). The first documented case of costuming at a fan event in Japan was at Ashinocon (1978), in Hakone, at which future science fiction critic Mari Kotani wore a costume based on the cover art for Edgar Rice Burroughs' novel A Fighting Man of Mars.[Notes 1] In an interview Kotani states that there were about twenty costumed attendees at the convention's costume party—made up of members of her Triton of the Sea fan club and Kansai Entertainers (関西芸人, Kansai Geinin), antecedent of the Gainax anime studio—with most attendees in ordinary clothing. One of the Kansai group, an unnamed friend of Yasuhiro Takeda, wore an impromptu Tusken Raider costume (from the film Star Wars) made from one of the host-hotel's rolls of toilet paper. Costume contests became a permanent part of the Nihon SF Taikai conventions from Tokon VII in 1980. Possibly the first costume contest held at a comic book convention was at the 1st Academy Con held at Broadway Central Hotel in New York in August 1965. Roy Thomas, future editor-in-chief of Marvel Comics but then just transitioning from a fanzine editor to a professional comic book writer, attended in a Plastic Man costume. The first Masquerade Ball held at San Diego Comic-Con was in 1974 during the convention's 6th event. Voice actress June Foray was the master of ceremonies. Future scream queen Brinke Stevens won first place wearing a Vampirella costume. Ackerman (who was the creator of Vampirella) was in attendance and posed with Stevens for photographs. They became friends and, according to Stevens "Forry and his wife, Wendayne, soon became like my god parents." Photographer Dan Golden saw a photograph of Stevens in the Vampirella costume while visiting Ackerman's house, leading to him hiring her for a non-speaking role in her first student film, Zyzak is King (1980), and later photographing her for the cover of the first issue of Femme Fatales (1992). Stevens attributes these events to launching her acting career. As early as a year after the 1975 release of The Rocky Horror Picture Show, audience members began dressing as characters from the movie and role-playing (although the initial incentive for dressing-up was free admission) in often highly accurate costumes. Costume-Con, a conference dedicated to costuming, was first held in January 1983. The International Costumers Guild, Inc., originally known as the Greater Columbia Fantasy Costumer's Guild, was launched after the 3rd Costume-Con (1985) as a parent organization and to support costuming. Costuming had been a fan activity in Japan from the 1970s, and it became much more popular in the wake of Takahashi's report. The new term did not catch on immediately, however. It was a year or two after the article was published before it was in common use among fans at conventions. It was in the 1990s, after exposure on television and in magazines, that the term and practice of cosplaying became common knowledge in Japan. The first cosplay cafés appeared in the Akihabara area of Tokyo in the late 1990s. A temporary maid café was set up at the Tokyo Character Collection event in August 1998 to promote the video game Welcome to Pia Carrot 2 (1997). An occasional Pia Carrot Restaurant was held at the shop Gamers in Akihabara in the years up to 2000. Being linked to specific intellectual properties limited the lifespan of these cafés, which was solved by using generic maids, leading to the first permanent establishment, Cure Maid Café, which opened in March 2001. The first World Cosplay Summit was held on 12 October 2003 at the Rose Court Hotel in Nagoya, Japan, with five cosplayers invited from Germany, France and Italy. There was no contest until 2005, when the World Cosplay Championship began. The first winners were the Italian team of Giorgia Vecchini [it], Francesca Dani and Emilia Fata Livia. Worldcon masquerade attendance peaked in the 1980s and started to fall thereafter. This trend was reversed when the concept of cosplay was re-imported from Japan. Practice of cosplay Cosplay costumes vary greatly and can range from simple themed clothing to highly detailed costumes. It is generally considered different from Halloween and Mardi Gras costume wear, as the intention is to replicate a specific character, rather than to reflect the culture and symbolism of a holiday event. As such, when in costume, some cosplayers often seek to adopt the affect, mannerisms, and body language of the characters they portray (with "out of character" breaks). The characters chosen to be cosplayed may be sourced from any movie, TV series, book, comic book, video game, musical artist, anime, or manga. Some cosplayers even choose to cosplay an original character of their own design or a fusion of different genres (e.g., a steampunk version of a character), and it is a part of the ethos of cosplay that anybody can be anything, as with genderbending, crossplay, or drag, a cosplayer playing a character of another ethnicity, or a hijabi portraying Captain America. Cosplayers obtain their apparel through many different methods. Manufacturers produce and sell packaged outfits for use in cosplay, with varying levels of quality. These costumes are often sold online, but also can be purchased from dealers at conventions. Japanese manufacturers of cosplay costumes reported a profit of 35 billion yen in 2008. A number of individuals also work on commission, creating custom costumes, props, or wigs designed and fitted to the individual. Other cosplayers, who prefer to create their own costumes, still provide a market for individual elements, and various raw materials, such as unstyled wigs, hair dye, cloth and sewing notions, liquid latex, body paint, costume jewelry, and prop weapons. Cosplay represents an act of embodiment. Cosplay has been closely linked to the presentation of self, yet cosplayers' ability to perform is limited by their physical features. The accuracy of a cosplay is judged based on the ability to accurately represent a character through the body, and individual cosplayers frequently are faced by their own "bodily limits" such as level of attractiveness, body size, and disability that often restrict and confine how accurate the cosplay is perceived to be. Authenticity is measured by a cosplayer's individual ability to translate on-screen manifestation to the cosplay itself. Some have argued that cosplay can never be a true representation of the character; instead, it can only be read through the body, and that true embodiment of a character is judged based on nearness to the original character form. Cosplaying can also help some of those with self-esteem problems. Many cosplayers create their own outfits, referencing images of the characters in the process. In the creation of the outfits, much time is given to detail and qualities, thus the skill of a cosplayer may be measured by how difficult the details of the outfit are and how well they have been replicated. Because of the difficulty of replicating some details and materials, cosplayers often educate themselves in crafting specialties such as textiles, sculpture, face paint, fiberglass, fashion design, woodworking, and other uses of materials in the effort to render the look and texture of a costume accurately. Cosplayers often wear wigs in conjunction with their outfit to further improve the resemblance to the character. This is especially necessary for anime and manga or video-game characters who often have unnaturally colored and uniquely styled hair. Simpler outfits may be compensated for their lack of complexity by paying attention to material choice and overall high quality. To look more like the characters they are portraying, cosplayers might also engage in various forms of body modification. Cosplayers may opt to change their skin color utilizing make-up to more simulate the race of the character they are adopting. Contact lenses that match the color of their character's eyes are a common form of this, especially in the case of characters with particularly unique eyes as part of their trademark look. Contact lenses that make the pupil look enlarged to visually echo the large eyes of anime and manga characters are also used. Another form of body modification in which cosplayers engage is to copy any tattoos or special markings their character might have. Temporary tattoos, permanent marker, body paint, and in rare cases, permanent tattoos, are all methods used by cosplayers to achieve the desired look. Permanent and temporary hair dye, spray-in hair coloring, and specialized extreme styling products are all used by some cosplayers whose natural hair can achieve the desired hairstyle. It is also commonplace for them to shave off their eyebrows to gain a more accurate look. Some anime and video game characters have weapons or other accessories that are hard to replicate, and conventions have strict rules regarding those weapons, but most cosplayers engage in some combination of methods to obtain all the items necessary for their costumes; for example, they may commission a prop weapon, sew their own clothing, buy character jewelry from a cosplay accessory manufacturer, or buy a pair of off-the-rack shoes, and modify them to match the desired look. Cosplay may be presented in a number of ways and places. A subset of cosplay culture is centered on sex appeal, with cosplayers specifically choosing characters known for their attractiveness or revealing costumes. However, wearing a revealing costume can be a sensitive issue while appearing in public. People appearing naked at American science fiction fandom conventions during the 1970s were so common, a "no costume is no costume" rule was introduced. Some conventions throughout the United States, such as Phoenix Comicon (now known as Phoenix Fan Fusion) and Penny Arcade Expo, have also issued rules upon which they reserve the right to ask attendees to leave or change their costumes if deemed to be inappropriate to a family-friendly environment or something of a similar nature. The most popular form of presenting a cosplay publicly is by wearing it to a fan convention. Multiple conventions dedicated to anime and manga, comics, TV shows, video games, science fiction, and fantasy may be found all around the world. Cosplay-centered conventions include Cosplay Mania in the Philippines and EOY Cosplay Festival in Singapore. The single largest event featuring cosplay is the semiannual doujinshi market, Comic Market (Comiket), held in Japan during summer and winter. Comiket attracts hundreds of thousands of manga and anime fans, where thousands of cosplayers congregate on the roof of the exhibition center. In North America, the highest-attended fan conventions featuring cosplayers are San Diego Comic-Con and New York Comic Con held in the United States, and the anime-specific Anime North in Toronto, Otakon held in Washington, D.C. and Anime Expo held in Los Angeles. Europe's largest event is Japan Expo held in Paris, while the London MCM Expo and the London Super Comic Convention are the most notable in the UK. Supanova Pop Culture Expo is Australia's biggest event. Star Trek conventions have featured cosplay for many decades. These include Destination Star Trek, a UK convention, and Star Trek Las Vegas, a US convention. In different comic fairs, "Thematic Areas" are set up where cosplayers can take photos in an environment that follows that of the game or animation product from which they are taken. Sometimes the cosplayers are part of the area, playing the role of staff with the task of entertaining the other visitors. Some examples are the thematic areas dedicated to Star Wars or to Fallout. The areas are set up by not for profit associations of fans, but in some major fairs it is possible to visit areas set up directly by the developers of the video games or the producers of the anime. The appearance of cosplayers at public events makes them a popular draw for photographers. As this became apparent in the late 1980s, a new variant of cosplay developed in which cosplayers attended events mainly for the purpose of modeling their characters for still photography rather than engaging in continuous role play. Rules of etiquette were developed to minimize awkward situations involving boundaries. Cosplayers pose for photographers and photographers do not press them for personal contact information or private sessions, follow them out of the area, or take photos without permission. The rules allow the collaborative relationship between photographers and cosplayers to continue with the least inconvenience to each other. Some cosplayers choose to have a professional photographer take high quality images of them in their costumes posing as the character. Cosplayers and photographers frequently exhibit their work online and sometimes sell their images. As the popularity of cosplay has grown, many conventions have come to feature a contest surrounding cosplay that may be the main feature of the convention. Contestants present their cosplay, and often to be judged for an award, the cosplay must be self-made. The contestants may choose to perform a skit, which may consist of a short performed script or dance with optional accompanying audio, video, or images shown on a screen overhead. Other contestants may simply choose to pose as their characters. Often, contestants are briefly interviewed on stage by a master of ceremonies. The audience is given a chance to take photos of the cosplayers. Cosplayers may compete solo or in a group. Awards are presented, and these awards may vary greatly. Generally, a best cosplayer award, a best group award, and runner-up prizes are given. Awards may also go to the best skit and a number of cosplay skill subcategories, such as master tailor, master weapon-maker, master armorer, and so forth. The most well-known cosplay contest event is the World Cosplay Summit, selecting cosplayers from 40 countries to compete in the final round in Nagoya, Japan. Some other international events include European Cosplay Gathering (finals taking place at Japan Expo in Paris), EuroCosplay (finals taking place at London MCM Comic Con), and the Nordic Cosplay Championship (finals taking place at NärCon in Linköping, Sweden). This table contains a list of the most common cosplay competition judging criteria, as seen from World Cosplay Summit, Cyprus Comic Con, and ReplayFX. Portraying a character of the opposite sex is called crossplay. The practicality of crossplay and cross-dress stems in part from the abundance in manga of male characters with delicate and somewhat androgynous features. Such characters, known as bishōnen (lit. 'pretty boy'), are Asian equivalent of the elfin boy archetype represented in Western tradition by figures such as Peter Pan and Ariel. Male to female cosplayers may experience issues when trying to portray a female character because it is hard to maintain the sexualized femininity of a character. Male cosplayers may also be subjected to discrimination, including homophobic comments and being touched without permission. This affects men possibly even more often than it affects women, despite inappropriate contact already being a problem for women who cosplay, as is "slut-shaming". Animegao kigurumi players, a niche group in the realm of cosplay, are often male cosplayers who use zentai and stylized masks to represent female anime characters. These cosplayers completely hide their real features so the original appearance of their characters may be reproduced as literally as possible, and to display all the abstractions and stylizations such as oversized eyes and tiny mouths often seen in Japanese cartoon art. This does not mean that only males perform animegao or that masks are only female. "Cosplay Is Not Consent", a movement started in 2013 by Rochelle Keyhan, Erin Filson, and Anna Kegler, brought attention to the issue of sexual harassment in the convention attending cosplay community. Harassment of cosplayers include photography without permission, verbal abuse, touching, and groping. Harassment is not limited to women in provocative outfits as male cosplayers talked about being bullied for not fitting certain costume and characters. Starting in 2014, New York Comic Con placed large signs at the entrance stating that "Cosplay is Not Consent". Attendees were reminded to ask permission for photos and respect the person's right to say no. The movement against sexual harassment against cosplayers has continued to gain momentum and awareness since being publicized. Traditional mainstream news media like The Mercury News and Los Angeles Times have reported on the topic, bringing awareness of sexual harassment to those outside of the cosplay community. As cosplay has entered more mainstream media, ethnicity becomes a controversial point. Cosplayers of different skin color than the character are often ridiculed for not being 'accurate' or 'faithful'. Many cosplayers feel as if anyone can cosplay any character, but it becomes complicated when cosplayers are not respectful of the character's ethnicity. These views against non-white cosplayers within the community have been attributed to the lack of representation in the industry and in media. Issues such as blackface, brownface, and yellowface are still controversial since a large part of the cosplay community see these as separate problems, or simply an acceptable part of cosplay.[citation needed] Cosplay has influenced the advertising industry, in which cosplayers are often used for event work previously assigned to agency models. Some cosplayers have thus transformed their hobby into profitable, professional careers. Japan's entertainment industry has been home to the professional cosplayers since the rise of Comiket and Tokyo Game Show. The phenomenon is most apparent in Japan but exists to some degree in other countries as well. Professional cosplayers who profit from their art may experience problems related to copyright infringement. A cosplay model, also known as a cosplay idol, cosplays costumes for anime and manga or video game companies. Good cosplayers are viewed as fictional characters in the flesh, in much the same way that film actors come to be identified in the public mind with specific roles. Cosplayers have modeled for print magazines like Cosmode and a successful cosplay model can become the brand ambassador for companies like Cospa. Some cosplay models can achieve significant recognition. While there are many significant cosplay models, Yaya Han was described as having emerged "as a well-recognized figure both within and outside cosplay circuits". Jessica Nigri, used her recognition in cosplay to gain other opportunities such as voice acting and her own documentary on Rooster Teeth. Liz Katz used her fanbase to take her cosplay from a hobby to a successful business venture, sparking debate through the cosplay community whether cosplayers should be allowed to fund and profit from their work. In the 2000s, cosplayers started to push the boundaries of cosplay into eroticism paving the way to "erocosplay". The advent of social media coupled with crowdfunding platforms like Patreon and OnlyFans have allowed cosplay models to turn cosplay into profitable full-time careers. During protests During various protests, cosplaying as a satirization of important people and political events. In Myanmar various protests after the 2021 coup d'état various protests occurred with cosplayers. Youth groups protested on the roads by wearing cosplay costumes, skirts, wedding dresses, and other unusual clothing for daily life while holding signboards and vinyl banners that break with the country's more traditional protest messages for the purpose of grabbing attention from both domestic and international press media. Other times fictional characters are used to convey a message such as women dressing like characters from The Handmaid's Tale to protest bodily restrictions in the United States. Cosplay by country or region Cosplayers in Japan formerly referred to themselves as reiyā (レイヤー), pronounced "layer". In contemporary Japan, however, cosplayers are more commonly referred to as kosupure (コスプレ), pronounced "ko-su-pray", as the term reiyā is now more frequently used to describe literal layers (for example, hair or clothing). Words such as kawaii (可愛い) (lit. 'cute') and kakko ī (かっこいい) (lit. 'cool') were often used to describe these changes, expressions that were closely tied to notions of femininity and masculinity. Those who photograph players are known as cameko (カメコ), a shortened form of camera kozō (カメラ小僧) (lit. 'camera boy'). Originally, cameko would give printed photographs to players as gifts. Growing interest in cosplay events—both among photographers and cosplayers willing to model—has led to the formalization of procedures at events such as Comiket. Photography is conducted in designated areas separate from the exhibit halls. In Japan, wearing costumes outside of conventions or other designated areas is generally discouraged. Since 1998, Tokyo's Akihabara district has contained a number of cosplay restaurants catering to devoted anime and manga fans, in which waitresses dress as characters from video games, anime, or manga; maid cafés are particularly popular. In Japan, Tokyo's Harajuku district serves as a favored informal gathering place for engaging in cosplay in public. Events held in Akihabara also attract large numbers of cosplayers. Ishoku-hada (異色肌) is a form of Japanese cosplay in which players use body paint to alter their skin color to match that of the character they portray. This practice allows for the representation of anime or manga characters, as well as video game characters, with non-human skin tones. A 2014 survey conducted for the Comiket convention in Japan reported that approximately 75% of cosplayers attending the event were female. Cosplay is common in many East Asian countries. For example, it is a major part of the Comic World conventions taking place regularly in South Korea, Hong Kong and Taiwan. Historically, the practice of dressing up as characters from works of fiction can be traced as far as the 17th century late Ming dynasty China. Western cosplay developed primarily from science fiction and fantasy fandoms. Compared with Japan, Western cosplayers are more likely to portray characters originating from live-action television series and films. Western costuming traditions also encompass a variety of related hobbyist subcultures, including participants in Renaissance faires, live action role-playing games, and historical reenactments. Costume competitions at science fiction conventions commonly feature masquerades, in which costumes are formally judged during stage presentations, as well as hall costumes that are evaluated informally throughout the event. The growing international popularity of Japanese cartoon during the late 2000s contributed to a rise in American and other Western cosplayers portraying characters from manga and anime. Over the following decade, anime conventions became increasingly common across Western countries, often rivaling long-established science fiction, comic book, and historical conventions in terms of attendance. At these events, cosplayers—much like their Japanese counterparts—gather to display their costumes, be photographed, and participate in competitive costume events. Convention attendees also frequently choose to dress as characters from Western comic books, animated works, films, and video games. Despite increasing global exchange, cultural differences in taste remain evident. Certain costume styles that may be worn without hesitation by Japanese cosplayers are often avoided in Western contexts, particularly those that resemble Nazi uniforms. Western cosplayers may also encounter debates regarding legitimacy when portraying characters whose canonical racial backgrounds differ from their own, and instances of insensitivity toward cosplayers depicting characters of different skin tones have been documented. Western cosplayers who portray anime characters may likewise experience targeted ridicule or misunderstanding. In comparison with Japan, wearing costumes in public spaces is generally more socially accepted in countries such as the United Kingdom, Ireland, the United States, and Canada. These regions possess longer-standing traditions of Halloween costuming, fan dress, and related practices. Consequently, it is not uncommon for convention attendees in costume to be seen in nearby restaurants and public venues outside the immediate boundaries of the event itself. Media Japan is home to two especially popular cosplay magazines, Cosmode (コスモード) and ASCII Media Works' Dengeki Layers (電撃Layers). Cosmode has the largest share in the market and an English-language digital edition. Another magazine, aimed at a broader, worldwide audience is CosplayGen. In the United States, Cosplay Culture began publication in February 2015. Other magazines include CosplayZine featuring cosplayers from all over the world since October 2015, and Cosplay Realm Magazine which was started in April 2017. There are many books on the subject of cosplay as well. Cosplay groups and organizations See also Notes References Bibliography External links |
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Contents Extra (newspaper) Extra is a Brazilian newspaper based in Rio de Janeiro, Brazil. Founded in April 1998 by Infoglobo, the newspaper quickly became one of the best selling in the metropolitan region of Rio de Janeiro. Closing 2010 with an evolution of 12.97%, reaching 302,697 copies sold. With the success in the fluminenses banks, the Extra gains an online version (Extra Online). The site was redesigned with thematic pages, and soon was also successful in the network, with 6 million visitors. Extra is now one of the few newspapers focused on women, being 57% women and 43% men. Leading in the age group of 30 to 50 years. The Extra is formed by 3 notebooks (Extra, Extra Game and Extra Session), dealing with different subjects. Extra Notebook – Rio 2016 and Carioca Championship – 3rd Notebook Extra Session – Television, Cinema, Show and Modern Life – In addition to the daily notebooks, the Extra has weekly notebooks. Sunday: Extra Property – Offers, services and tips. Sunday: Extra Welfare – Health, education and family relationships. Tuesdays: Extra "Vida Ganha' – Employment, business and opportunities. Columnists References External links This Brazilian newspaper-related article is a stub. You can help Wikipedia by adding missing information. |
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Contents Talk:IGN Page move I think this page should be moved to ign.com, and the ign page should point to either the Institut Geographique National or the disambig page; the latter is far more internationally recognised and important the website referenced here. CheesyBiscuit (talk) 16:34, 11 March 2010 (UTC)[reply] AU Podcast I don't know if it is an official podcast or not yet, but maybe the podcast section should be updated with info on the IGN AU Pubcast. There is only one episode so far. There's a link to the first podcast...--210.14.96.246 (talk) 12:49, 28 August 2010 (UTC)[reply] IGN plagiarizing Gearspedia for their "wiki" Worthy for the article? --76.110.37.244 (talk) 01:38, 28 September 2011 (UTC)[reply] Not really. Where there is the Internet people, as in the readers of IGN, will plagiarize. I don't think it an important note. — Preceding unsigned comment added by Bradlysneezer3 (talk • contribs) 01:05, 24 April 2012 (UTC)[reply] Semi-protected edit request on 3 December 2014 Super Smash Bros. for Wii U (Wii U, 2014) Jlapb2001 (talk) 19:46, 3 December 2014 (UTC)[reply] Founding date How exactly do we know that IGN was launched September 29, 1996 exactly? I have some sources that could prove that wrong. The only IGN site to launch on day one was n64.com (later IGN64.com). IGN was launched the day the N64 was released in the US, Sept 29, 1996. Bpm140 (talk) 22:06, 8 September 2021 (UTC)[reply] Source(s): First September mention - https://en.wikipedia.org/w/index.php?title=IGN&diff=35766254&oldid=35724670 First 29 mention - https://en.wikipedia.org/w/index.php?title=IGN&diff=682624052&oldid=682531438 First 1996 mention - http://web.archive.org/web/20050111092654/http://www.ign.com/ Domain name regestried on March 22, 1996 - http://whois.domaintools.com/gamesnetwork.com — Preceding unsigned comment added by 96.255.203.83 (talk) 02:04, 1 September 2016 (UTC)[reply] External links modified Hello fellow Wikipedians, I have just modified 3 external links on IGN. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes: When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs. This message was posted before February 2018. After February 2018, "External links modified" talk page sections are no longer generated or monitored by InternetArchiveBot. No special action is required regarding these talk page notices, other than regular verification using the archive tool instructions below. Editors have permission to delete these "External links modified" talk page sections if they want to de-clutter talk pages, but see the RfC before doing mass systematic removals. This message is updated dynamically through the template {{source check}} (last update: 5 June 2024). Cheers.—InternetArchiveBot (Report bug) 22:24, 7 April 2017 (UTC)[reply] External links modified Hello fellow Wikipedians, I have just modified one external link on IGN. Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes: When you have finished reviewing my changes, you may follow the instructions on the template below to fix any issues with the URLs. This message was posted before February 2018. After February 2018, "External links modified" talk page sections are no longer generated or monitored by InternetArchiveBot. No special action is required regarding these talk page notices, other than regular verification using the archive tool instructions below. Editors have permission to delete these "External links modified" talk page sections if they want to de-clutter talk pages, but see the RfC before doing mass systematic removals. This message is updated dynamically through the template {{source check}} (last update: 5 June 2024). Cheers.—InternetArchiveBot (Report bug) 04:26, 10 November 2017 (UTC)[reply] Source Staff walkout source dump If anyone is up for expanding the article in the future, I came across a lot of coverage surrounding the 2017 staff walkout over sexual harassment allegations (while adding to Alanah Pearce's article). Just for convenience, I'll put an excess of sources found in a quick search: Aranya (talk) 17:22, 17 July 2021 (UTC)[reply] "Insider Community Board" listed at Redirects for discussion An editor has identified a potential problem with the redirect Insider Community Board and has thus listed it for discussion. This discussion will occur at Wikipedia:Redirects for discussion/Log/2022 March 30#Insider Community Board until a consensus is reached, and readers of this page are welcome to contribute to the discussion. Steel1943 (talk) 05:20, 30 March 2022 (UTC)[reply] Ok I think that there is another controversy to be addressed here, and it rhymes with "chronic" Remember when IGN swapped out Sonic Team's gameplay footage of Frontiers for their own, which made the game look like a *ring loss sound* TECH DEMO?! They also made a grating, error filled, and at times creepy and twisted review of the franchise on Game Scoop in 2016 claiming that "Sonic was never good". Then there was that dumpster fire that was the 2008 Unleashed review, in which a lot of the criticism came from blatant skill issues. I believe that these things deserve a subsection in the "Controversy" area. If not here, then possibly in respective Sonic articles. FerDeLancer (talk) 23:48, 30 June 2023 (UTC)[reply] |
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[SOURCE: https://en.wikipedia.org/wiki/Special:RecentChangesLinked/IGN] | [TOKENS: 57] |
Related changes Enter a page name to see changes on pages linked to or from that page. (To see members of a category, enter Category:Name of category). Changes to pages on your Watchlist are shown in bold with a green bullet. See more at Help:Related changes. |
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[SOURCE: https://en.wikipedia.org/wiki/IGN_(disambiguation)] | [TOKENS: 47] |
Contents IGN (disambiguation) IGN, formerly Imagine Games Network, is an entertainment website which focuses on video games, films, music and other media. IGN or ign may also refer to: National mapping institutes Other uses See also |
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[SOURCE: https://en.wikipedia.org/wiki/Photograph] | [TOKENS: 2726] |
Contents Photograph A photograph (also known as a photo, or more generically referred to as an image or picture) is an image created by light falling on a photosensitive surface, usually photographic film or an electronic image sensor. The process and practice of creating such images is called photography. Photographs are now created using a smartphone or camera, which uses a lens to focus the scene's visible wavelengths of light into a reproduction of what the human eye would perceive. Etymology The word photograph was coined in 1839 by Sir John Herschel and is based on the Greek φῶς (phos), meaning "light," and γραφή (graphê), meaning "drawing, writing," together meaning "drawing with light." History The first permanent photograph, a contact-exposed copy of an engraving, was made in 1822 using the bitumen-based "heliography" process developed by Nicéphore Niépce. The first photographs of a real-world scene, made using a camera obscura, followed a few years later at Le Gras, France, in 1826, but Niépce's process was not sensitive enough to be practical for that application: a camera exposure lasting for hours or days was required. In 1829, Niépce entered into a partnership with Louis Daguerre, and the two collaborated to work out a similar, but more sensitive, and otherwise improved process. After Niépce's death on the 5th July 1833, Daguerre concentrated on silver halide-based alternatives. He exposed a silver-plated copper sheet to iodine vapor, creating a layer of light-sensitive silver iodide; exposed it in the camera for a few minutes; developed the resulting invisible latent image to visibility with mercury fumes; then bathed the plate in a hot salt solution to remove the remaining silver iodide, making the results light-fast. He named this first practical process for making photographs with a camera, the daguerreotype, after himself. Its existence was announced to the world on 7 January 1839, but working details were not made public until 19 August that year. Other inventors soon made drastic improvements that reduced the required amount of exposure time from a few minutes to just a few seconds, making portrait photography truly practical and widely popular during this time. The daguerreotype had shortcomings, notably the fragility of the mirror-like image surface and the particular viewing conditions required to see the image properly. Each was a unique, opaque positive that could only be duplicated by copying it with a camera. Inventors set about working out improved processes that would be more practical. By the end of the 1850s, the daguerreotype had been replaced by the less expensive and more easily viewed ambrotype and tintype, which made use of the recently introduced collodion process. Glass plate collodion negatives used to make prints on albumen paper soon became the preferred photographic method and held that position for many years, even after the introduction of the more convenient gelatin process in 1871. Refinements of the gelatin process have remained the primary black-and-white photographic process to this day, differing primarily in the sensitivity of the emulsion and the support material used, which was originally glass, then a variety of flexible plastic films, along with various types of paper for the final prints. Color photography is almost as old as black-and-white, with early experiments including John Herschel's Anthotype prints in 1842, the pioneering work of Louis Ducos du Hauron in the 1860s, and the Lippmann process unveiled in 1891, but for many years color photography remained little more than a laboratory curiosity. It first became a widespread commercial reality with the introduction of Autochrome plates in 1907, but the plates were very expensive and not suitable for casual snapshot-taking with hand-held cameras. The mid-1930s saw the introduction of Kodachrome and Agfacolor Neu, the first easy-to-use color films of the modern multi-layer chromogenic type. These early processes produced transparencies for use in slide projectors and viewing devices, but color prints became increasingly popular after the introduction of chromogenic color print paper in the 1940s. The needs of the motion picture industry generated a number of special processes and systems, perhaps the best-known being the now-obsolete three-strip Technicolor process. Types of photographs Non-digital photographs are produced with a two-step chemical process. In the two-step process, the light-sensitive film captures a negative image (colors and lights/darks are inverted). To produce a positive image, the negative is most commonly transferred ('printed') onto photographic paper. Printing the negative onto transparent film stock is used to manufacture motion picture films. Alternatively, the film is processed to invert the negative image, yielding positive transparency. Such positive images are usually mounted in frames, called slides. Before recent advances in digital photography, transparencies were widely used by professionals because of their sharpness and accuracy of color rendition. Most photographs published in magazines were taken on color transparency film. Originally, all photographs were monochromatic or hand-painted in color. Although methods for developing color photos were available as early as 1861, they did not become widely available until the 1940s or 1950s, and even so, until the 1960s, most photographs were taken in black and white. Since then, color photography has dominated popular photography, although black-and-white is still used, being easier to develop than color. Panoramic format images can be taken with cameras like the Hasselblad Xpan on standard film. Since the 1990s, panoramic photos have been available on the Advanced Photo System (APS) film. APS was developed by several of the major film manufacturers to provide a film with different formats and computerized options available, though APS panoramas were created using a mask in panorama-capable cameras, far less desirable than a true panoramic camera, which achieves its effect through a wider film format. APS has become less popular and has been discontinued. The advent of the microcomputer and digital photography has led to the rise of digital prints. These prints are created from stored graphic formats such as JPEG, TIFF, and RAW. The types of printers used include inkjet printers, dye-sublimation printers, laser printers, and thermal printers. Inkjet prints are sometimes given the coined name "Giclée". The Web has been a popular medium for storing and sharing photos ever since the first photograph was published on the web by Tim Berners-Lee in 1992 (an image of the CERN house band Les Horribles Cernettes). Today, popular sites such as Flickr, PhotoBucket, and 500px are used by millions of people to share their pictures. The first "selfie", or self-portrait, was taken by Robert Cornelious back in 1839. "Selfies" have become one of the most common photographs.[citation needed]. Social media has become such a cultural advancement because of photography. People thrive off of the selfies of their favorite celebrities, many receive millions of likes on social media because of one simple selfie. Preservation Ideal photograph storage involves placing each photo in an individual folder constructed from buffered, or acid-free paper. Buffered paper folders are especially recommended in cases when a photograph was previously mounted onto poor quality material or using an adhesive that will lead to even more acid creation. Store photographs measuring 8x10 inches or smaller vertically along the longer edge of the photo in the buffered paper folder, within a larger archival box, and label each folder with relevant information to identify it. The rigid nature of the folder protects the photo from slumping or creasing, as long as the box is not packed too tightly or under filled. Folder larger photos or brittle photos stacked flat within archival boxes with other materials of comparable size. The most stable of plastics used in photo preservation, polyester, does not generate any harmful chemical elements, nor does it have any capability to absorb acids generated by the photograph itself. Polyester sleeves and encapsulation have been praised for their ability to protect the photograph from humidity and environmental pollution, slowing the reaction between the item and the atmosphere. However, the polyester just as frequently traps these elements next to the material it is intended to protect. This is especially risky in a storage environment that experiences drastic fluctuations in humidity or temperature, leading to ferrotyping, or sticking of the photograph to the plastic. Photographs sleeved or encapsulated in polyester cannot be stored vertically in boxes because they will slide down next to each other within the box, bending and folding, nor can the archivist write directly onto the polyester to identify the photograph. Therefore, it is necessary to either stack polyester-protected photographs horizontally within a box, or bind them in a three-ring binder. Stacking the photos horizontally within a flat box will greatly reduce ease of access, and binders leave three sides of the photo exposed to the effects of light and do not support the photograph evenly on both sides, leading to slumping and bending within the binder. The plastic used for enclosures has been manufactured to be as frictionless as possible to prevent scratching photos during insertion to the sleeves. Unfortunately, the slippery nature of the enclosure generates a build-up of static electricity, which attracts dust and lint particles. The static can attract the dust to the inside of the sleeve, as well, where it can scratch the photograph. Likewise, these components that aid in insertion of the photo, referred to as slip agents, can break down and transfer from the plastic to the photograph, where they deposit as an oily film, attracting further lint and dust. At this time, there is no test to evaluate the long-term effects of these components on photographs. In addition, the plastic sleeves can develop kinks or creases in the surface, which will scratch away at the emulsion during handling. It is best to leave photographs lying flat on the table when viewing them. Do not pick it up from a corner, or even from two sides and hold it at eye level. Every time the photograph bends, even a little, this can break down the emulsion. The very nature of enclosing a photograph in plastic encourages users to pick it up; users tend to handle plastic enclosed photographs less gently than non-enclosed photographs, simply because they feel the plastic enclosure makes the photo impervious to all mishandling. As long as a photo is in its folder, there is no need to touch it; simply remove the folder from the box, lay it flat on the table, and open the folder. If for some reason the researchers or archivists do need to handle the actual photo, perhaps to examine the verso for writing, they can use gloves if there appears to be a risk from oils or dirt on the hands. Myths and beliefs Because daguerreotypes were rendered on a mirrored surface, many spiritualists also became practitioners of the new art form. Spiritualists would claim that the human image on the mirrored surface was akin to looking into one's soul. The spiritualists also believed that it would open their souls and let demons in. Among some Muslims, it is makruh (disliked) to perform salah (worship) in a place decorated with photographs. Photography and darkroom anomalies and artifacts sometimes lead viewers to believe that spirits or demons have been captured in photos. Some have made a career out of taking pictures of "ghosts" or "spirits". There are many instances where people believe photos will bring bad luck either to the person taking the picture or people captured in the photo. For instance, that a photograph taken of a pregnant woman will bring bad luck to the baby in the womb, or that photos taken of a dead person will ensure that that person is not successful in the afterlife. Legality The production or distribution of certain types of photograph has been forbidden under modern laws, such as those of government buildings, highly classified regions, private property, copyrighted works, children's genitalia, child pornography and less commonly pornography overall. These laws vary greatly between jurisdictions. In some public property owned by government, such as law courts, government buildings, libraries, civic centres and some of the museums in Hong Kong, photography is not allowed without permission from the government. It is illegal to equip or take photographs and recording in a place of public entertainment, such as cinemas and indoor theaters. In Hungary, from 15 March 2014 when the long-awaited Civil Code was published, the law re-stated what had been normal practice, namely, that a person had the right to refuse being photographed. However, implied consent exists: it is not illegal to photograph a person who does not actively object. In South Africa photographing people in public is legal. Reproducing and selling photographs of people is legal for editorial and limited fair use commercial purposes. There exists no case law to define what the limits on commercial use are. In the United Kingdom there are no laws forbidding photography of private property from a public place. Persistent and aggressive photography of a single individual may come under the legal definition of harassment. A right to privacy came into existence in UK law as a consequence of the incorporation of the European Convention on Human Rights into domestic law through the Human Rights Act 1998. This can result in restrictions on the publication of photography. See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Filmmaking] | [TOKENS: 3501] |
Contents Filmmaking Filmmaking, or film production, is the process of creating a motion picture. Traditionally, filmmaking is thought of as a process specific for the creation of feature films; however, its iconic methodology has been used in the creation of other types of filmed products, including movies and episodic series for streaming and network broadcasting, commercials and advertisements, animations, music videos, and documentaries. It involves a number of distinct stages, including an initial story idea or commission, followed by screenwriting, casting, pre-production, shooting, sound recording, post-production, and screening the finished product before an audience, which may result in a film release distribution and exhibition. The process is nonlinear, in that the filmmaker typically shoots the script out of sequence, repeats shots as needed, and puts them together through editing later. Filmmaking takes place in a variety of economic, social, and political contexts around the world and uses a wide range of technologies and cinematic techniques. While originally films were recorded on photographic film, most modern filmmaking is now digital. The production of a film typically consists of five major stages. The first is development, where the initial idea for the film is explored, rights to intellectual property may be secured, the screenplay is written, and financing is obtained. This is followed by pre-production, where all the arrangements and preparations for the shoot are made, including hiring cast and crew, scouting and securing locations, and constructing sets. The third stage is production, which is when the raw footage and other elements of the film are recorded. After filming is complete, the project enters post-production. In this stage, the raw footage is edited, sound is mixed, visual effects are added, and a musical score is composed and recorded. The final stage is distribution, where the finished film is released to audiences. This involves marketing and promotion, and the film may be shown in cinemas, released on home video, or made available through streaming services, cable, or television. Some filmmakers operate outside of the mainstream system and engage in independent filmmaking, which has become more accessible with the advent of affordable digital technology and streaming platforms. Production stages Film production consists of five major stages: The development stage contains both general and specific components. Each film studio has a yearly retreat where their top creative executives meet and interact on a variety of areas and topics they wish to explore through collaborations with producers and screenwriters, and then ultimately, directors, actors, and actresses. They choose trending topics from the media and real life, as well as many other sources, to determine their yearly agenda. For example, in a year when action is popular, they may wish to explore that topic in one or more movies. Sometimes, they purchase the rights to articles, bestselling novels, plays, the remaking of older films, stories with some basis in real life through a person or event, a video game, fairy tale, comic book, graphic novel. Likewise, research through surveys may inform their decisions. They may have had blockbusters from their previous year and wish to explore a sequel. They will additionally acquire a completed and independently financed and produced film. Such notable examples are Little Miss Sunshine, The English Patient, and Roma. Studios hold general meetings with producers and screenwriters about original story ideas. "In my decade working as a writer, I knew of only a few that were sold and fewer that made it to the screen," relays writer Wayne Powers. Alan Watt, writer-director and founder of The LA Writer's Lab confirmed that completed original screenplays, referred to as "specs," make big news when they sell, but these make up a very small portion of movies that are ultimately given the green light to be produced by the president of a studio. The executives return from the retreat with fairly well-established instructions. They spread these concepts through the industry community, especially to producers they have deals with (traditional studios will have those producers in offices on their lots). Also, agents for screenwriters are made aware. This results in a pairing of producers with writers, where they develop a "take", a basic story idea that utilizes the concept given by studio executives. Often it is a competition with several pairings meeting with studio executives and "pitching" their "take." Very few writing jobs are from original ideas brought to studios by producers or writers. Perhaps one movie a year will be a "spec" script that was purchased. Once the producer and writer have sold their approach to the desired subject matter, they begin to work. However, many writers and producers usually pass before a particular concept is realized in a way that is awarded a green light to production. Production of Unforgiven, which earned Oscars for its Director/Star Clint Eastwood, as well as its screenwriter, David Webb Peoples, required fifteen years. Powers related that The Italian Job took approximately eight years from concept to screen, which, as Powers added, "is average." And most concepts turned into paid screenplays wind up gathering dust on some executive's shelf, never to see production. Writers have different styles and creative processes; some have stronger track records than others. Because of this, how the development process proceeds from there and how much detail a writer returns to the studio to divulge before beginning writing can vary greatly. Screenwriters are often protected by the union, the Writers Guild of America, or WGA. The WGA allows a screenwriter to contract for One Draft, One Revision, and One Polish. Bob Eisle, writer and Member of the Guild Board, states, "Additional writing requires an extension of contracts and payment for additional work". They are paid 80% of their fee after the First Draft. Preliminary discussions are minimal with studio executives but might be quite detailed with the producer. Next, a screenwriter writes a screenplay over a period of several months, or however long it takes. Deadlines are in their contracts but there is no pressure to adhere to them. Again, every writer's process and speed vary. The screenwriter may rewrite the script several times to improve dramatization, clarity, structure, characters, dialogue, and overall style. Script Coverage, a freelance job held by recent university graduates, does not feed scripts into the system that are ready for production nor already produced. "Coverage" is a way for young screenwriters to be read and their ideas might make their way up to an executive or famous producer and result in "meet and greets" where relations with up-and-comers can be formed. But it has not historically yielded ideas studios pursue into production. The studio is the film distributor who at an early stage attempts to choose a slate of concepts that are likely to have market appeal and find potential financial success. Hollywood distributors consider factors such as the film genre, the target audience and assumed audience, the historical success of similar films, the actors who might appear in the film, and potential directors. All these factors imply a certain appeal of the film to a possible audience. Not all films make a profit from the theatrical release alone, however, the studio mainly targets the opening weekend and the second weekend to make most domestic profits. Occasionally, a film called a "word of mouth film" does not market strongly but its success spreads by word of mouth. It slowly gains its audience. These are special circumstances and these films may remain in theaters for 5 months while a typical film run is closer to 5 weekends. Further earnings result from pay television purchases, foreign market purchases and DVD sales to establish worldwide distribution gross of a film. Once a screenplay is "greenlit", directors and actors are attached and the film proceeds into the pre-production stage, although sometimes development and pre-production stages will overlap. Projects which fail to obtain a green light may have protracted difficulties in making the transition to pre-production and enter a phase referred to as development hell for extended period of time or until developmental turnaround. Analogous to almost any business venture, financing of a film project deals with the study of filmmaking as the management and procurement of financial resources to cover production costs. It includes the dynamics of assets that are required to fund the filmmaking and liabilities incurred during the filmmaking over the time period from early development through the management of profits and losses after distribution under conditions of different degrees of uncertainty and risk. The practical aspects of filmmaking finance can also be defined as the science of the money management of all phases involved in filmmaking. Film finance aims to price assets based on their risk level and their expected rate of return based upon anticipated profits and protection against losses. In pre-production, every step of actually creating the film is carefully designed and planned. This is the phase where one would narrow down all the options of the production. It is where all the planning takes place before the camera rolls and sets the overall vision of the project. The production company is created and a production office established. The film is pre-visualized by the director and may be storyboarded with the help of illustrators and concept artists. A production budget is drawn up to plan expenditures for the film. For major productions, insurance is procured to protect against accidents. Pre-production also includes working out the shoot location and casting process. The Producer hires a Line Manager or a Production Manager to create the schedule and budget for the film. The nature of the film, and the budget, determine the size and type of crew used during filmmaking. Many Hollywood blockbusters employ a cast and crew of hundreds, while a low-budget, independent film may be made by a "skeleton crew" of eight or nine (or fewer). These are typical crew positions: In production, the film is created and shot. In this phase, it is key to keep planning ahead of the daily shoot. The primary aim is to stick to the budget and schedule, which requires constant vigilance. More crew will be recruited at this stage, such as the property master, script supervisor, assistant directors, stills photographer, picture editor, and sound editors. These are the most common roles in filmmaking; the production office will be free to create any unique blend of roles to suit the various responsibilities needed during the production of a film. Communication is key between the location, set, office, production company, distributors and all other parties involved. A typical day shooting begins with the crew arriving on the set/location by their call time. Actors usually have their own separate call times. Since set construction, dressing and lighting can take many hours or even days, they are often set up in advance. The grip, electric and production design crews are typically a step ahead of the camera and sound departments: for efficiency's sake, while a scene is being filmed, they are already preparing the next one. While the crew prepares their equipment, the actors do their costumes and attend the hair and make-up departments. The actors rehearse the script and blocking with the director, and the camera and sound crews rehearse with them and make final tweaks. Finally, the action is shot in as many takes as the director wishes. Most American productions follow a specific procedure: The assistant director (AD) calls "picture is up!" to inform everyone that a take is about to be recorded, and then "quiet, everyone!" Once everyone is ready to shoot, the AD calls "roll sound" (if the take involves sound), and the production sound mixer will start their equipment, record a verbal slate of the take's information, and announce "sound speed", or just "speed", when they are ready. The AD follows with "roll camera", answered by "speed!" by the camera operator once the camera is recording. The clapper loader, who is already in front of the camera with the clapperboard, calls "marker!" and slaps it shut. If the take involves extras or background action, the AD will cue them ("action background!"), and last is the director, telling the actors "action!". The AD may echo "action" louder on large sets. A take is over when the director calls "Cut!" and the camera and sound stop recording. The script supervisor will note any continuity issues, and the sound and camera teams log technical notes for the take on their respective report sheets. If the director decides additional takes are required, the whole process repeats. Once satisfied, the crew moves on to the next camera angle or "setup", until the whole scene is "covered." When shooting is finished for the scene, the assistant director declares a "wrap" or "moving on", and the crew will "strike", or dismantle, the set for that scene. At the end of the day, the director approves the next day's shooting schedule and a daily progress report is sent to the production office. This includes the report sheets from continuity, sound, and camera teams. Call sheets are distributed to the cast and crew to tell them when and where to turn up the next shooting day. Later on, the director, producer, other department heads, and, sometimes, the cast, may gather to watch that day or yesterday's footage, called dailies, and review their work. With workdays often lasting fourteen or eighteen hours in remote locations, film production tends to create a team spirit. When the entire film is "in the can", or in the completion of the production phase, it is customary for the production office to arrange a wrap party, to thank all the cast and crew for their efforts. For the production phase on live-action films, synchronizing work schedules of key cast and crew members is very important. For many scenes, several cast members and many crew members must be physically present at the same place at the same time (and bankable stars may need to rush from one project to another). Animated films have different workflow at the production phase, in that voice actors can record their takes in the recording studio at different times and may not see one another until the film's premiere. Animated films also have different crew, since most physical live-action tasks are either unnecessary or are simulated by various types of animators. This stage is usually thought of as starting when principal photography ends, but they may overlap. The bulk of post-production consists of the film editor reviewing the footage with the director and assembling the film out of selected takes. The production sound (dialogue) is also edited; music tracks and songs are composed and recorded if a film is intended to have a score; sound effects are designed and recorded. Any computer-generated visual effects are digitally added by an artist. Finally, all sound elements are mixed down into "stems", which are synchronized to the images on the screen, and the film is fully completed ("locked"). Distribution is the last stage, where the film is released in movie theaters or, occasionally, directly to consumer media (VHS, VCD, DVD, Blu-ray) or direct download from a digital media provider. The film is duplicated as required (either onto film or hard disk drives) and distributed in cinemas for exhibition (screening). Press kits, posters, and other advertising materials are published, and the film is advertised and promoted. A B-roll clip may be released to the press based on raw footage shot for a "making of" documentary, which may include making-of clips as well as on-set interviews separate from those of the production company or distributor. For major films, key personnel are often contractually required to participate in promotional tours in which they appear at premieres and festivals and sit for interviews with many TV, print, and online journalists. The largest productions may require more than one promotional tour, in order to rejuvenate audience demand at each release window. Since the advent of home video in the late 1970s, most major films have followed a pattern of having several distinct release windows. A film may first be released to a few select cinemas, or if it tests well enough, may go directly into wide release. Next, it is released, normally at different times several weeks (or months) apart, into different market segments like rental, retail, pay-per-view, in-flight entertainment, cable television, satellite television, or free-to-air broadcast television. The distribution rights for the film are also usually sold for worldwide distribution. The distributor and the production company share profits and manage losses. Independent filmmaking Filmmaking also takes place outside of the mainstream and is commonly called independent filmmaking. Since the introduction of DV technology, the means of production have become more democratized and economically viable. Filmmakers can conceivably shoot and edit a film, create and edit the sound and music, and mix the final cut on a home computer. However, while the means of production may be democratized, financing, traditional distribution, and marketing remain difficult to accomplish outside the traditional system. In the past, most independent filmmakers have relied on film festivals (such as Sundance Film Festival, Venice Film Festival, Cannes Film Festival, and Toronto International Film Festivals) to get their films noticed and sold for distribution and production. However, the internet has allowed for the relatively inexpensive distribution of independent films on websites such as YouTube. As a result, several companies have emerged to assist filmmakers in getting independent movies seen and sold via mainstream internet marketplaces, often adjacent to popular Hollywood titles. With internet movie distribution, independent filmmakers who choose to forego a traditional distribution deal now have the ability to reach global audiences. See also References External links |
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[SOURCE: https://en.wikipedia.org/w/index.php?title=Special:CiteThisPage&page=Cosplay&id=1335331455&wpFormIdentifier=titleform] | [TOKENS: 561] |
Contents Cite This Page IMPORTANT NOTE: Most educators and professionals do not consider it appropriate to use tertiary sources such as encyclopedias as a sole source for any information—citing an encyclopedia as an important reference in footnotes or bibliographies may result in censure or a failing grade. Wikipedia articles should be used for background information, as a reference for correct terminology and search terms, and as a starting point for further research. As with any community-built reference, there is a possibility for error in Wikipedia's content—please check your facts against multiple sources and read our disclaimers for more information. Bibliographic details for "Cosplay" Please remember to check your manual of style, standards guide or instructor's guidelines for the exact syntax to suit your needs. For more detailed advice, see Citing Wikipedia. Citation styles for "Cosplay" Wikipedia contributors. (2026, January 28). Cosplay. In Wikipedia, The Free Encyclopedia. Retrieved 13:41, February 21, 2026, from https://en.wikipedia.org/w/index.php?title=Cosplay&oldid=1335331455 Wikipedia contributors. "Cosplay." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 28 Jan. 2026. Web. 21 Feb. 2026. Wikipedia contributors, 'Cosplay', Wikipedia, The Free Encyclopedia, 28 January 2026, 17:25 UTC, <https://en.wikipedia.org/w/index.php?title=Cosplay&oldid=1335331455> [accessed 21 February 2026] Wikipedia contributors, "Cosplay," Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Cosplay&oldid=1335331455 (accessed February 21, 2026). Wikipedia contributors. Cosplay [Internet]. Wikipedia, The Free Encyclopedia; 2026 Jan 28, 17:25 UTC [cited 2026 Feb 21]. Available from: https://en.wikipedia.org/w/index.php?title=Cosplay&oldid=1335331455. Cosplay, https://en.wikipedia.org/w/index.php?title=Cosplay&oldid=1335331455 (last visited Feb. 21, 2026). Wikipedia contributors. Cosplay. Wikipedia, The Free Encyclopedia. January 28, 2026, 17:25 UTC. Available at: https://en.wikipedia.org/w/index.php?title=Cosplay&oldid=1335331455. Accessed February 21, 2026. When using the LaTeX package url (\usepackage{url} somewhere in the preamble), which tends to give much more nicely formatted web addresses, the following may be preferred: |
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[SOURCE: https://en.wikipedia.org/wiki/File:Guinness_World_Records_logo.svg] | [TOKENS: 115] |
Contents File:Guinness World Records logo.svg ✓ The source code of this SVG is valid. Summary Guinness World Records logo Submitted via Guinness World Records See below. Licensing PD Public domain false false File history Click on a date/time to view the file as it appeared at that time. You cannot overwrite this file. File usage The following page uses this file: Metadata This file contains additional information, probably added from the digital camera or scanner used to create or digitize it. If the file has been modified from its original state, some details may not fully reflect the modified file. |
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[SOURCE: https://en.wikipedia.org/wiki/%C3%89poca_(Brazilian_magazine)] | [TOKENS: 255] |
Contents Época (Brazilian magazine) Época (Brazilian Portuguese pronunciation: [ˈɛpokɐ]; lit. 'Era') is a Brazilian weekly news and analysis magazine. The magazine was started in May 1998. It is published by Editora Globo, part of the Grupo Globo media conglomerate. Época's style is based on the German magazine Focus, emphasizing the use of images and graphics, and even their logos share some similarities. Circulation In 2010, Época had a circulation of 408,000 copies. It dipped to 389,000 copies in 2012 and slightly rose to 393,000 in 2013. In 2018, it circulates over 500,000 copies weekly and has 5.9 million unique digital users. Criticism and controversies In March 2006, Época magazine became involved in the political scandal involving the breach of banking secrecy of the handyman Francenildo Santos Costa, which culminated in the fall of the Finance Minister, Antônio Palocci. Delivery Beginning in 2018, subscribers receive Época, Globo, and Valor Econômico delivered together on Fridays. References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Sound] | [TOKENS: 3443] |
Contents Sound Sound is a phenomenon in which pressure disturbances propagate through a transmission medium. In the context of physics, it is characterised as a mechanical wave of pressure or related quantities (e.g. displacement), whereas in physiological-psychological contexts it refers to the reception of such waves and their perception by the brain. Though sensitivity to sound varies among all organisms, the human ear is sensitive to frequencies ranging from 20 Hz to 20 kHz. Examples of the significance and application of sound include music, medical imaging techniques, oral language and parts of science. Definition According to the technical standard established by ANSI/ASA S1.1-2013, the American National Standard for Acoustical Terminology, sound is defined as: This two-part definition of sound states that sound can be taken as a wave motion in an elastic medium, making it also a stimulus, or as an excitation of the hearing mechanism that results in the perception of sound, making it a sensation. Acoustics Acoustics is the interdisciplinary scientific study of mechanical waves, vibrations, sound, ultrasound, and infrasound in gaseous, liquid, or solid media. A scientist who works in the field of acoustics is called an acoustician, while an individual specialising in acoustical engineering may be referred to as an acoustical engineer. An audio engineer, by contrast, is concerned with the recording, manipulation, mixing, and reproduction of sound. Applications of acoustics are found in many areas of modern society. Subdisciplines include aeroacoustics, audio signal processing, architectural acoustics, bioacoustics, electroacoustics, environmental noise, musical acoustics, noise control, psychoacoustics, speech, ultrasound, underwater acoustics, and vibration. Physics Sound travels as a mechanical wave through a medium (e.g. water, crystals, air). Sound waves are generated by a sound source, such as a vibrating diaphragm of a loudspeaker. As the sound source vibrates the surrounding medium, mechanical disturbances propagate away from the source at the local speed of sound, thus resulting in a sound wave. At a fixed distance from the source, the pressure, velocity, and displacement of the medium's particles vary in time. At an instant in time, the pressure, velocity, and displacement vary spatially. The particles of the medium do not travel with the sound wave; instead, the disturbance and its mechanical energy propagate through the medium. Though intuitively obvious for solids, this also applies for liquids and gases. During propagation, waves can be reflected, refracted, or attenuated by the medium. The matter that supports the transmission of a sound is named the transmission medium. Media may be any form of matter, whether solids, liquids, gases or plasmas. However, sound cannot propagate through a vacuum because there is no medium to support mechanical disturbances. The propagation of sound in a medium is influenced primarily by: When sound is moving through a medium that isn't uniform in its physical properties, it may be refracted (either dispersed or focused). Some theoretical work suggests that sound waves may carry an extremely small effective mass and be associated with a weak gravitational field. Sound is transmitted through fluids (e.g. gases, plasmas, and liquids) as longitudinal waves, also called compression waves. Through solids, however, sound can be transmitted as both longitudinal waves and transverse waves. Longitudinal sound waves are waves of alternating pressure deviations from the equilibrium pressure, causing local regions of compression and rarefaction, while transverse waves (in solids) are waves of alternating shear stress perpendicular to the direction of propagation. Unlike longitudinal sound waves, transverse sound waves have the property of polarisation. Sound waves may be viewed using parabolic mirrors and objects that produce sound. The energy carried by a periodic sound wave alternates between the potential energy of the extra compression (in the case of longitudinal waves) or lateral displacement strain (in the case of transverse waves) of the matter, and the kinetic energy of the particles' displacement velocity in the medium. Although sound transmission involves many physical processes, the signal received at a point (such as a microphone or the ear) can be fully described as a time‑varying pressure. This pressure‑versus‑time waveform provides a complete representation of any sound or audio signal detected at that location. Sound waves are often simplified as sinusoidal plane waves, which are characterized by these generic properties: Sometimes speed and direction are combined as a velocity vector; wave number and direction are combined as a wave vector. To analyse audio, a complicated waveform—such as the one shown on the right—can be represented as a linear combination of sinusoidal components of different frequencies, amplitudes, and phases. The speed of sound depends on the medium the waves pass through, and is a fundamental property of the material. The first significant effort towards measurement of the speed of sound was made by Isaac Newton. He believed the speed of sound in a particular substance was equal to the square root of the pressure acting on it divided by its density: This was later proven wrong and the French mathematician Laplace corrected the formula by deducing that the phenomenon of sound travelling is not isothermal, as believed by Newton, but adiabatic. He added another factor to the equation—gamma—and multiplied γ {\displaystyle {\sqrt {\gamma }}} by p / ρ {\displaystyle {\sqrt {p/\rho }}} , thus coming up with the equation c = γ ⋅ p / ρ {\displaystyle c={\sqrt {\gamma \cdot p/\rho }}} . Since K = γ ⋅ p {\displaystyle K=\gamma \cdot p} , the final equation came up to be c = K / ρ {\displaystyle c={\sqrt {K/\rho }}} , which is also known as the Newton–Laplace equation. In this equation, K is the elastic bulk modulus, c is the velocity of sound, and ρ {\displaystyle \rho } is the density. Thus, the speed of sound is proportional to the square root of the ratio of the bulk modulus of the medium to its density. Those physical properties and the speed of sound change with ambient conditions. For example, the speed of sound in gases depends on temperature. In 20 °C (68 °F) air at sea level, the speed of sound is approximately 343 m/s (1,230 km/h; 767 mph) using the formula v [m/s] = 331 + 0.6 T [°C]. The speed of sound is also slightly sensitive, being subject to a second-order anharmonic effect, to the sound amplitude, which means there are non-linear propagation effects, such as the production of harmonics and mixed tones not present in the original sound (see parametric array). If relativistic effects are important, the speed of sound is calculated from the relativistic Euler equations. In fresh water the speed of sound is approximately 1,482 m/s (5,335 km/h; 3,315 mph). In steel, the speed of sound is about 5,960 m/s (21,460 km/h; 13,330 mph). Sound moves the fastest in solid atomic hydrogen at about 36,000 m/s (129,600 km/h; 80,530 mph). Sound pressure is the difference, in a given medium, between average local pressure and the pressure in the sound wave. A square of this difference (i.e., a square of the deviation from the equilibrium pressure) is usually averaged over time and/or space, and a square root of this average provides a root mean square (RMS) value. For example, 1 Pa RMS sound pressure (94 dBSPL) in atmospheric air implies that the actual pressure in the sound wave oscillates between (1 atm − 2 {\displaystyle -{\sqrt {2}}} Pa) and (1 atm + 2 {\displaystyle +{\sqrt {2}}} Pa), that is between 101323.6 and 101326.4 Pa. As the human ear can detect sounds with a wide range of amplitudes, sound pressure is often measured as a level on a logarithmic decibel scale. The sound pressure level (SPL) or Lp is defined as Since the human ear does not have a flat spectral response, sound pressures are often frequency weighted so that the measured level matches perceived levels more closely. The International Electrotechnical Commission (IEC) has defined several weighting schemes. A-weighting attempts to match the response of the human ear to noise and A-weighted sound pressure levels are labeled dBA. C-weighting is used to measure peak levels. Perception A distinct use of the term sound from its use in physics is that in physiology and psychology, where the term refers to the subject of perception by the brain. The field of psychoacoustics is dedicated to such studies. Webster's dictionary defined sound as: "1. The sensation of hearing, that which is heard; specif.: a. Psychophysics. Sensation due to stimulation of the auditory nerves and auditory centers of the brain, usually by vibrations transmitted in a material medium, commonly air, affecting the organ of hearing. b. Physics. Vibrational energy which occasions such a sensation. Sound is propagated by progressive longitudinal vibratory disturbances (sound waves)." This means that the correct response to the question: "if a tree falls in a forest and no one is around to hear it, does it make a sound?" is "yes", and "no", dependent on whether being answered using the physical, or the psychophysical definition, respectively. The physical reception of sound in any hearing organism is limited to a range of frequencies. Humans normally hear sound as pitch for frequencies between approximately 20 Hz and 20,000 Hz (20 kHz),: 382 The upper limit decreases with age.: 249 Below 20 Hz, sound waves are heard as discrete stuttering sounds (for discrete pulses) or fast 'wow-wow-wow' sounds(for continuous sounds like sine waves). Sometimes sound refers to only those vibrations with frequencies that are within the hearing range for humans or sometimes it relates to a particular animal. Other species have different ranges of hearing. For example, dogs can perceive vibrations higher than 20 kHz. As a signal perceived by one of the major senses, sound is used by many species for detecting danger, navigation, predation, and communication. Earth's atmosphere, water, and virtually any physical phenomenon, such as fire, rain, wind, surf, or earthquake, produces (and is characterized by) its unique sounds. Many species, such as frogs, birds, marine and terrestrial mammals, have also developed special organs to produce sound. In some species, these produce song and speech. Furthermore, humans have developed culture and technology (such as music, telephone and radio) that allows them to generate, record, transmit, and broadcast sound. Noise is a term often used to refer to an unwanted sound. In science and engineering, noise is an undesirable component that obscures a wanted signal. However, in sound perception it can often be used to identify the source of a sound and is an important component of timbre perception (see below). Soundscape is the component of the acoustic environment that can be perceived by humans. The acoustic environment is the combination of all sounds (whether audible to humans or not) within a given area as modified by the environment and understood by people, in context of the surrounding environment. There are, historically, six experimentally separable ways in which sound waves are analysed. They are: pitch, duration, loudness, timbre, sonic texture and spatial location. Some of these terms have a standardised definition (for instance in the ANSI Acoustical Terminology ANSI/ASA S1.1-2013). More recent approaches have also considered temporal envelope and temporal fine structure as perceptually relevant analyses. Pitch is perceived as how "low" or "high" a sound is and represents the cyclic, repetitive nature of the vibrations that make up sound. For simple sounds, pitch relates to the frequency of the slowest vibration in the sound (called the fundamental harmonic). In the case of complex sounds, pitch perception can vary. Sometimes individuals identify different pitches for the same sound, based on their personal experience of particular sound patterns. Selection of a particular pitch is determined by pre-conscious examination of vibrations, including their frequencies and the balance between them. Specific attention is given to recognising potential harmonics. Every sound is placed on a pitch continuum from low to high. For example: white noise (random noise spread evenly across all frequencies) sounds higher in pitch than pink noise (random noise spread evenly across octaves) as white noise has more high frequency content. Duration is perceived as how "long" or "short" a sound is and relates to onset and offset signals created by nerve responses to sounds. The duration of a sound usually lasts from the time the sound is first noticed until the sound is identified as having changed or ceased. Sometimes this is not directly related to the physical duration of a sound. For example; in a noisy environment, gapped sounds (sounds that stop and start) can sound as if they are continuous because the offset messages are missed owing to disruptions from noises in the same general bandwidth. This can be of great benefit in understanding distorted messages such as radio signals that suffer from interference, as (owing to this effect) the message is heard as if it was continuous. Loudness is perceived as how “loud” or “soft” a sound is, and reflects the overall pattern of auditory‑nerve activity produced by a sound. In general, louder sounds create greater displacement of the basilar membrane, which stimulates more auditory‑nerve fibres and results in a stronger neural representation of loudness. Perceived loudness also depends on how sound energy is distributed over time. When a sound is very brief, the auditory system does not fully integrate its energy, so it is heard as softer than a longer sound presented at the same physical intensity. This process, known as temporal summation, operates over a window of roughly 200 ms. Beyond this duration, increasing the length of the sound no longer increases its perceived loudness. The spectral complexity of a sound can also influence loudness perception. Complex tones, which activate a broader range of auditory‑nerve fibres, are often judged as louder than simple tones (such as sine waves) even when matched for physical amplitude. Timbre is perceived as the quality of different sounds (e.g. the thud of a fallen rock, the whir of a drill, the tone of a musical instrument or the quality of a voice) and represents the pre-conscious allocation of a sonic identity to a sound (e.g. "it's an oboe!"). This identity is based on information gained from frequency transients, noisiness, unsteadiness, perceived pitch and the spread and intensity of overtones in the sound over an extended time frame. The way a sound changes over time provides most of the information for timbre identification. Even though a small section of the wave form from each instrument looks very similar, differences in changes over time between the clarinet and the piano are evident in both loudness and harmonic content. Less noticeable are the different noises heard, such as air hisses for the clarinet and hammer strikes for the piano. Sonic texture relates to the number of sound sources and the interaction between them. The word texture, in this context, relates to the cognitive separation of auditory objects. In music, texture is often referred to as the difference between unison, polyphony and homophony, but it can also relate (for example) to a busy cafe; a sound which might be referred to as cacophony. Spatial location represents the cognitive placement of a sound in an environmental context; including the placement of a sound on both the horizontal and vertical plane, the distance from the sound source and the characteristics of the sonic environment. In a thick texture, it is possible to identify multiple sound sources using a combination of spatial location and timbre identification. Frequency Ultrasound is sound waves with frequencies higher than 20,000 Hz. Ultrasound is not different from audible sound in its physical properties, but cannot be heard by humans. Ultrasound devices operate with frequencies from 20 kHz up to several gigahertz. Medical ultrasound is commonly used for diagnostics and treatment. Infrasound is sound waves with frequencies lower than 20 Hz. Although sounds of such low frequency are too low for humans to hear as a pitch, these sound are heard as discrete pulses (like the 'popping' sound of an idling motorcycle). Whales, elephants and other animals can detect infrasound and use it to communicate. It can be used to detect volcanic eruptions and is used in some types of music. See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/IGN#cite_note-1] | [TOKENS: 3612] |
Contents IGN IGN[b] is a compromised American video gaming and entertainment media website operated by IGN Entertainment Inc., a subsidiary of Ziff Davis, Inc. The company's headquarters is located in San Francisco's SoMa district and is headed by its former editor-in-chief, Peer Schneider. The IGN website was the brainchild of media entrepreneur Chris Anderson and launched on September 29, 1996. IGN features articles on games, films, anime, television, comics, technology, and other media. Originally a network of desktop websites, IGN is also distributed on mobile platforms, console programs available on the Xbox and PlayStation, Nintendo Switch, PC, Mobile, FireTV, Roku, and via YouTube, Twitch, Hulu, and Snapchat. Originally, IGN was the flagship website of IGN Entertainment, a website which owned and operated several other websites oriented towards players' interests, games, and entertainment, such as Rotten Tomatoes, GameSpy, GameStats, VE3D, TeamXbox, Vault Network, FilePlanet, and AskMen. IGN was sold to publishing company Ziff Davis in February 2013. History IGN was created in September 1996 as the Imagine Games Network, the IGN content network was founded by publishing executive Jonathan Simpson-Bint and began as five individual websites within Imagine Media: N64.com (later renamed ign64.com), PSXPower, Saturnworld, Next-Generation.com and Ultra Game Players Online. Imagine expanded on its owned-and-operated websites by creating an affiliate network that included a number of independent fansites such as PSX Nation.com, Sega-Saturn.com, Game Sages, and GameFAQs. In 1998, the network launched a new homepage that consolidated the individual sites as system channels under the IGN brand. The homepage exposed content from more than 30 different channels. Websites Next-Generation and Ultra Game Players Online were not part of this consolidation; U.G.P.O. dissolved with the cancellation of the magazine, and Next-Generation was put "on hold" when Imagine decided to concentrate on launching the short-lived Daily Radar brand. In February 1999, PC Magazine named IGN one of the hundred-best websites, alongside competitors GameSpot and CNET Gamecenter. That same month, Imagine Media incorporated a spin-off that included IGN and its affiliate channels as Affiliation Networks, while Simpson-Bint remained at the former company. In September, the newly spun-out standalone internet media company, changed its name to Snowball.com. At the same time, small entertainment website The Den merged into IGN and added non-gaming content to the growing network. Snowball held an IPO in 2000, but shed most of its other properties during the dot-com bubble. IGN prevailed with growing audience numbers and a newly established subscription service called IGN Insider (later IGN Prime), which led to the shedding of the name "Snowball" and adoption of IGN Entertainment on May 10, 2002. In June 2005, IGN reported having 24,000,000 unique visitors per month, with 4.8 million registered users through all departments of the site. IGN has been ranked among the top 500 most-visited websites according to Alexa. In September 2005, IGN was acquired by Rupert Murdoch's multimedia business empire, News Corporation, for $650 million. IGN celebrated its 10th anniversary on January 12, 2008. IGN was headquartered in the Marina Point Parkway office park in Brisbane, California, until it relocated to a smaller office building near AT&T Park in San Francisco on March 29, 2010. On May 25, 2011, IGN sold its Direct2Drive division to Gamefly for an undisclosed amount. In 2011, IGN Entertainment acquired its rival UGO Entertainment (owners of 1Up.com) from Hearst Corporation. Ultimately, News Corp. planned to spin off IGN Entertainment as a publicly traded company, continuing a string of divestitures for digital properties it had previously acquired (including MySpace and Photobucket). On February 4, 2013, after a failed attempt to spin off IGN as a separate company, News Corp. announced that it had sold IGN Entertainment to the publishing company Ziff Davis, which was recently acquired by J2 Global. Financial details regarding the purchase were not revealed. Prior to its acquisition by UGO, 1UP.com had previously been owned by Ziff Davis. Soon after the acquisition, IGN announced that it would be laying off staff and closing GameSpy, 1UP.com, and UGO in order to focus on its flagship brands, IGN and AskMen. The role-playing video game interest website Vault Network was acquired by IGN in 1999. GameStats, a review aggregation website, was founded by IGN in 2004. GameStats includes a "GPM" (Game Popularity Metric) rating system which incorporates an average press score and average gamer score, as well as the number of page hits for the game. However, the site is no longer being updated. The Xbox interest site, TeamXbox, and the PC game website VE3D (Voodoo Extreme 3D) were acquired in 2003. IGN Entertainment merged with GameSpy Industries in 2005. The merger also brought the game download site FilePlanet into the IGN group; as of 2011 both FilePlanet and the GameSpy website still operate as video game-related web sites. IGN Entertainment acquired the online male lifestyle magazine AskMen in 2005. In 2004, IGN acquired film review aggregator Rotten Tomatoes and in 2010, sold the website to Flixster. In October 2017, Humble Bundle announced that it was being acquired by IGN. IGN Entertainment acquired Gamer Network and its properties in May 2024 for an undisclosed sum. These included Eurogamer, Rock Paper Shotgun, VG247 and others. As a result, some layoffs were made due to redundancies. A member of the IGN staff writes a review for a game and gives it a score between 0.1 and 10.0, which is assigned by increments of 0.1 and determines how much the game is recommended. The score is given according to the "individual aspects of a game, like presentation, graphics, sound, gameplay and lasting appeal". Each game is given a score in each of these categories, but the overall score for the game is an independent evaluation, not an average of the scores in each category. On August 3, 2010, IGN announced that the site would be changing to a new scoring scale. Instead of a 100-point scale, where games are scored in increments of 0.1, all future reviews would use a 20-point scale where games are scored in increments of 0.5. Under both systems, the maximum possible score a game can receive is 10.0. The scoring change was not retroactive: all scores on reviews written before the change would remain the same. This change also did not affect the scoring system for reader reviews. On September 13, 2012, IGN revealed that as part of its new review format all future reviews would follow a 100-point scale again, but without using decimals, meaning a score of 8.5 would become an 85. Unlike the previous conversion to the 20-point scale, this latest scoring system change was retroactive and all previous IGN review scores were to be updated to follow the new system. However, despite the announcement, the article included a short addition, post-release; it stated that after much discussion, they had decided to retain the decimal point in all upcoming scores. In early 2014, IGN introduced a new policy, in which a game's review score can be re-reviewed and improved, provided that continuous updates form a significant change compared to the game at launch. Examples of games that have been re-reviewed were League of Legends, Heroes of the Storm, Warframe, and the pocket edition of Minecraft. In January 2020, IGN revealed that reviews would be reverted to a 10-point scale, from 1 to 10, finding that the finer distinction of the 100-point scale was difficult to maintain, whereas a 10-point scale would still be true to its reviews and would be easier to promote. IGN 'Best of' awards IGN's 'Best of' is an end-of-year event to annually honor the year's best games, films, television shows and comics. Winners of each award category are selected by IGN staff from a list of nominees, while readers are able to cast their own votes online to determine the 'People's Choice' award for each category. Other sections In 2000, Snowball.com purchased an E-federation called the Internet Wrestling Organization (IWO). Since Snowball owned both IWO and IGN, IWO would go on to become IGN's first official E-Fed, even doing a column on the website. The IGN For Men section officially closed down on October 2, 2001, and is no longer updated. IGN has sites such as IGN Stars and AskMen.com that fulfil much of the function of the old IGN For Men site. IGN Wrestling met its end in early 2002 when many of the staff departed. Interviews with professional wrestling personalities and coverage of wrestling games have been folded into IGN Sports, headed by Jon Robinson. IGN Sci-Fi: Largely dead since 2002, this section of the site included movie news, comic book reviews, anime coverage and other associated items. It has since been discontinued. The site, SciFI.ign.com redirects to the recently created SciFiBrain.ign.com, which covers some of the content of the old Sci-Fi site.[citation needed] In 2002, IGN launched a dedicated video game FAQs site specifically designed to host user-submitted guides. This was launched following the cancellation of affiliation with GameFAQs.[citation needed] In 2004, IGN launched GameStats, which was intended to be a more unbiased rating network, as it takes in scores from every corporate-owned game rating site and averages them all into one score to give a general idea of the quality of a game. IGN also launched Direct2Drive.com in 2004. Its primary focus is selling digital downloads of full PC and Mac video games, as well as anime, comics and game guides. In 2005, IGN launched its comics site, which is devoted to not just the staple Marvel and DC titles, but also manga, graphic novels, statues and toys.[citation needed] In 2006, IGN launched its television site. It provides interviews with various television celebrities, in addition to a TV schedule, TV trivia and TV news. Like the film section, IGN's TV section has a variety of exclusive clips from upcoming television shows.[citation needed] On May 30, 2006, IGN Dreamcast was restarted; however, none of the Dreamcast updates were posted on the main IGN webpage.[citation needed] In 2007, IGN launched its anime site. It provided features on anime and manga, including trailers and free episodes. It also included reviews of manga and anime from other sections of IGN, such as IGN Comics and IGN DVD. The anime channel was dropped after IGN redesigned the site. In 2008, the IGN Retro channel was launched to mark IGN's 10th anniversary. To coincide with the release of Super Smash Bros. Brawl, IGN created the Super Smash Bros. World site. On the site, people can submit their user-created stages from the game and download ones made by other people. IGN subsequently launched a similar website called GTA 'Hood on April 29, 2008, for Grand Theft Auto IV.[citation needed] Along with its popular website content, IGN also publishes many different podcasts on both its website and on iTunes. Some of its podcasts include console-oriented shows like the PlayStation-focused "Podcast Beyond" and the Xbox-oriented "Podcast Unlocked", the Nintendo-oriented "Nintendo Voice Chat", and Game Scoop!, a podcast where a variety of editors discuss news and topics surrounding the video game industry. Regional websites IGN has 28 editions in 25 languages, as of 2021. The US & Canada, UK & Ireland, and Australia & New Zealand editions are operated by Ziff Davis subsidiaries, with all others being franchised publishers. Since 2006, IGN Entertainment began launching regional versions of the website for various countries and pan-regions. Initially, IGN began opening new offices outside the United States in order to support those regional websites, but later IGN began franchising its brand as a more cost-effective means of globalization, wherein it licensed various media publishers in many countries to use the IGN brand and manage regional websites on their own. Licensed regional publishers work on their own servers, albeit can link to IGN's HQ database, where they can import or translate articles, and use videos uploaded on IGN's servers that use IGN's own hosted video player.[citation needed] When visiting www.ign.com from an IGN-supported region, the site automatically redirects visitors to their localized version using geolocation software, based on their countries' IP addresses. Each version of the site has a modified logo with their country's/region's respective flags near the IGN logo. However, it is still possible to access the original American website using a navigation bar above or below (depending on the regional website) the page's master template.[citation needed] IGN Con IGN Convention (IGN Con) is a video games, movies, comics and pop culture convention held in various cities in the Middle East. The event generally includes celebrities, video game tournaments, table top games, card games, movie previews, comic book stalls and a cosplay competition. A number of Middle Eastern artists and game developers also showcase their work at IGN Convention. This convention is owned and operated by IGN Middle East, the Middle Eastern edition of popular video games website IGN. IGN Convention is the spiritual successor to GameFest, a biannual, smaller scale gaming gallery which was originally hosted by IGN Middle East's parent company T-break Media between 2010 and 2012, before the hosting duties were subsequently taken over by AMD EMEA. The IGN Convention logo was designed by prominent Gulf based artist Ashraf Ghori. Conferences have included: IGN Pro League In 2011, IGN launched IGN Pro League, a professional esports circuit that ran tournaments for StarCraft II: Wings of Liberty, ShootMania Storm and League of Legends. On March 6, 2013, only weeks prior to the event, IGN abruptly canceled the finals of IPL 6—which were to be held in Las Vegas from March 28 through 31, and discontinued the league. IGN indicated that it was no longer in a position to commit to compete with the increasing number of esports events that were being held. On April 8, 2013, Blizzard Entertainment announced that it had acquired the staff and assets of the IPL from IGN; its former staff were reassigned to work on in-house esports productions. Controversies In 2007, Video Game Media Watch accused former IGN editor Doug Perry of "journalistic misconduct" for an exclusive review of Prey. In November 2017, some IGN employees refused to work to show solidarity with Kallie Plagge, a former editor who alleged that in 2016, another editor, Vince Ingenito, sexually harassed her and another female employee and made inappropriate comments. Human resources allegedly told her that she "needed to have better judgment about who [she] was 'friends' with" and that she was an "equal participant" in "inappropriate flirtation". This incident was widely circulated across social media. In August 2018, the owner of YouTube channel Boomstick Gaming accused the IGN reviewer Filip Miucin of plagiarizing his video review of the game Dead Cells. On August 7, IGN stated that it had found "substantial similarities" between the reviews, apologized, and announced that it had dismissed Miucin. On August 10, IGN published a new review by Brandin Tyrrel, which included an editor's note apologizing again and stating that "this review (and its score) represents solely the opinion of the new reviewer". In a subsequently unlisted video, Miucin responded that while he took "complete ownership over what happened", the similarity was not intentional. Kotaku found similarities between Miucin's other reviews, reviews on Nintendo Life and Engadget and material posted on the games discussion forum NeoGAF. On August 14, IGN announced that it would remove all of Miucin's work pending further review. On April 19, 2019, Miucin admitted plagiarism and issued an apology on his YouTube channel. During the 2021 Israel–Palestine crisis, the main IGN site posted an article on May 14 urging readers to donate to charities helping Palestinian civilians such as the Palestine Children's Relief Fund and linked to relevant news reporting. A Palestinian flag was also added besides the IGN logo. Shortly after the article went up IGN Israel made statements on social media condemning the article. The Palestinian flag was soon replaced with a Red Cross. On May 16, the article was deleted and a statement was made on the IGN Twitter account saying that it was wrong to only highlight one side of the conflict. A reposted version on South Africa-based IGN Africa was also removed. On May 17, over 60 members of IGN's staff signed an open letter condemning the article's removal for going against the site's editorial freedom and policies for retracting or correcting articles, as well as the lack of communication with IGN staff. IGN reinstated the article on August 24 under a new headline alongside a statement of newly formalized editorial policies. Television and films Notes References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:Spam] | [TOKENS: 2313] |
Contents Wikipedia:Spam There are three main types of spam on Wikipedia: Advertisements masquerading as articles Articles considered advertisements include those that are solicitations for a business, product or service, or are public relations pieces designed to promote a company, organisation, or individual. Wikispam articles are usually noted for sales-oriented language and external links to a commercial website. However, a differentiation should be made between spam articles and legitimate articles about commercial entities or other organisations. Blatant examples of advertising masquerading as encyclopedia articles can be tagged for speedy deletion with the template {{db-spam}}. The same applies to pages in userspace, the draft namespace, or any other namespace. Other advertisements posted on Wikipedia can be dealt with by either proposed deletion or listing them on Wikipedia:Articles for deletion. On some occasions, the content can be removed temporarily on the basis of a suspected copyright violation, since the text is often copied from another website and posted anonymously. Before trying to get an advertisement masquerading as an article deleted, please check the article's history to see if an acceptable revision exists there. If so, please revert to the latest acceptable version of the article. When an article on an otherwise encyclopedic topic has the tone of an advertisement, the article can often be salvaged by rewriting it in a neutral point of view. Elements of articles about products or services with brand names can also be combined under a common topic or category to facilitate unbiased and collaborative information by including information about the competition and about different alternatives. Spam may also occur by hijacking articles. In this case, information is changed to the subject being promoted, and the article is "hijacked", or changed, to promote an entirely different subject. Tagging articles with spam or prone to spam Some articles, especially those pertaining to Internet topics, are prone to aggressive spamming from multiple websites. If articles have spam, and you haven't got the time or ability to remove it, you can tag them with {{Advert}}. This template expands to the following: Another possible tag to use is {{External links}}, which expands to the following: The third useful template is a substituted template {{subst:No more links}}, visible only while the page is being edited. After spam links have been removed from a Wikipedia article, this template can be substituted into the top of the external links section of the frequently spammed article as a pre-emptive measure. A fourth template, used for citation spam, is {{refimprove-spam}}, which looks like this: Finally to advise the Wikipedia community to watch an article for abuse you can add to the talk page (under the project banners and other page headers, but before any discussions) {{Prone to spam}} which looks like this: External link spamming Adding external links to an article or user page for the purpose of promoting a website or a product is not allowed, and is considered to be spam. Although the specific links may be allowed under some circumstances, repeatedly adding links will in most cases result in all of them being removed. Citation spamming is the illegitimate or improper use of citations, footnotes, or references. Citation spamming is a form of search engine optimization or promotion that typically involves the repeated insertion of a particular citation or reference in multiple articles by a single contributor. Often these are added not to verify article content, but rather to populate numerous articles with a particular citation. Variations of citation spamming include academics and scientists using their editing privileges primarily to add citations to their own work, and people replacing live or dead URLs with links to commercial sites or their own blogs. Citation spamming is a subtle form of spam and should not be confused with legitimate good-faith additions intended to verify article content and help build the encyclopedia. Source solicitations are messages on article talk pages that explicitly solicit editors to use a specific external source to expand an article. Editors with a conflict of interest should follow Wikipedia policies and best practices scrupulously when soliciting editors to use a specific external source to expand an article. Every article on Wikipedia can be expanded as a matter of course, but the question is in the details on a per-article basis. It is not possible to simply say "all articles of X type can be expanded using Y source". There is no hard rule on when this crosses over from being a legitimate attempt to improve the article into being internal spam, but some guidelines and questions to consider: A few parties now appear to have a spambot capable of spamming wikis from several wiki engines, analogous to the submitter scripts for guestbooks and blogs. They have a database of a few hundred wikis. Typically they insert external links. Like blog spam, their aim is to improve the search engine rankings of the external sites, not to directly advertise their product. (This does not work on Wikimedia wikis because of the use of the nofollow directive.) If you see a bot inserting external links, please consider checking the other language wikis to see if the attack is widespread. If it is, please contact a sysop on the Meta-Wiki; they can put in a Wikimedia-wide text filter. Any Meta sysop can edit the Wikimedia-wide spam blacklist to add or remove the patterns that are recognized by the filter, with the changes taking effect immediately. New links can also be added to the list if a new spammer should start making the rounds. Sysops are authorised to block unauthorised bots on sight. Spambots should be treated as vandal bots. Edits by spambots constitute unauthorised defacement of websites, which is against the law in many countries, and may result in complaints to ISPs and (ultimately) prosecution. The link spam problem extends far beyond Wikimedia projects, and is generally worse on smaller wikis where the community struggles to keep it clean. mw:Manual:Combating spam describes features available in MediaWiki (for administrators running this software). Many times, users can be confused by the removal of spam links because other links that could be construed as spam have been added to the article and not yet removed. The inclusion of a spam link should not be construed as an endorsement of the spam link, nor should it be taken as a reason or excuse to include another. Even if they are related to the subject or are an official page for the subject, external links containing affiliate or referral codes are considered spam. If the linked webpage is otherwise appropriate, please remove all referral codes from the URL. Adding links to gratis online videos that promote a site or product is not allowed [see exception below]. Often these videos have been uploaded in violation of their copyright, which adds an additional reason for not linking to them. A video might be a spamming video if: Exception: Generally, a video is not a spamming video if it refers to the official site associated with the Wikipedia article. For example, if the Wikipedia article is on a movie named "xyzMovie" and the official site for the movie is "xyzMovie.com" then links or references to "xyzMovie.com" are legitimate for a video at a video sharing page. Although all other links at that video page should also be legitimate, some judgement is needed. If the posted video just advertises a bunch of products associated with the movie, then it is a spamming video even though it refers to the official site. Sometimes Wikipedia sees bookspam, which is the insertion of text mentioning books to call attention to the books, rather than to contribute to the article. This often takes the form of inserting book listings into reference sections although the book is not used as the source of any information in the article. Bookspam is also seen as the addition of books to "external links", "further reading" or similar sections, although the books added do not add any useful and relevant information. Avoiding giving an opportunity to spammers Examples in articles tend to attract spam, as in these sentences: Such sentences tend to attract editors to add more examples because it is far easier to add a link to the end of this kind of sentence than to add encyclopedic content. Examples should only be given if they are highly relevant to the article topic, and should always be sourced with independent, reliable sources. How not to be a spammer Sometimes, people come to Wikipedia with the intention of spamming: creating articles which are mere advertisements or self-promotion, or adding external links to a web site over many articles. Some people spam Wikipedia without meaning to. That is, they do things which Wikipedians consider to be spamming, without realizing that their actions are not in line with building an encyclopedia. A new editor who owns a business may see that there are articles about other businesses on Wikipedia, and conclude that it would be appropriate to create their own such article. A web site operator may see many places in Wikipedia where their site would be relevant, and quickly add several dozen links to it. The following guidelines are intended to suggest how not to be a spammer—that is, how to mention a web site, product, business, or other resource without appearing to the Wikipedia community that you are trying to abuse Wikipedia for self-promotion. Warning spammers When it comes to warning spammers, use the list of spam warning templates. {{subst:uw-spam1}} (general note) is a useful "first warning" to put on the Talk page of a spammer. For new users. {{subst:welcomespam}} is the alternative and it should only be used if a user may have added a spam link in good faith according to an edit filter that they triggered that indicated that they have possibly added a spam link in good faith. Subsequent offenses can be tagged with {{subst:uw-spam2}} (caution), or more strongly, {{subst:uw-spam3}} (warning) and {{subst:uw-spam4}} (final warning). If an editor spams numerous articles in a systematic fashion, they may be warned with {{subst:uw-spam4im}} (only warning) as the only warning that they will receive before they are blocked. The template {{subst:uw-sblock}} indicates that the spammer has been blocked. If you have tagged an article for speedy deletion with {{db-spam}} because it is blatant spam, you may add {{subst:spam-warn}} to the originating editor's talk page to warn them of the impending deletion, and to allow them to possibly edit the article so it is no longer spam. Please remember to substitute these templates using for example {{subst:uw-spam1}} instead of {{uw-spam1}}. Editors who have enabled the Twinkle feature can use the warn tab to insert these templates. Dealing with spam Sometimes an article attracts so many improper external links that it "crosses the spam event horizon". Links should be removed and editors should be advised of our policy against promotion. Editors who continually add inappropriate links should receive escalating warnings, and if it continues, should be reported to AIV or 3RR, which may result in them being blocked from editing. Spambots A spambot is an automated process that will vandalize a wiki by adding spam links to user pages and articles, or by creating a mass of spam pages. Operating spambots on the English Wikipedia (or any Wikimedia project) is prohibited by the Terms of Use. See also External links |
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[SOURCE: https://en.wikipedia.org/w/index.php?title=Cosplay&action=info] | [TOKENS: 46] |
Contents Information for "Cosplay" Basic information Page protection Edit history Page properties This page is a member of 8 hidden categories (help): Pages transcluded onto the current version of this page (help): Lint errors External tools |
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[SOURCE: https://en.wikipedia.org/wiki/IGN#cite_note-2] | [TOKENS: 3612] |
Contents IGN IGN[b] is a compromised American video gaming and entertainment media website operated by IGN Entertainment Inc., a subsidiary of Ziff Davis, Inc. The company's headquarters is located in San Francisco's SoMa district and is headed by its former editor-in-chief, Peer Schneider. The IGN website was the brainchild of media entrepreneur Chris Anderson and launched on September 29, 1996. IGN features articles on games, films, anime, television, comics, technology, and other media. Originally a network of desktop websites, IGN is also distributed on mobile platforms, console programs available on the Xbox and PlayStation, Nintendo Switch, PC, Mobile, FireTV, Roku, and via YouTube, Twitch, Hulu, and Snapchat. Originally, IGN was the flagship website of IGN Entertainment, a website which owned and operated several other websites oriented towards players' interests, games, and entertainment, such as Rotten Tomatoes, GameSpy, GameStats, VE3D, TeamXbox, Vault Network, FilePlanet, and AskMen. IGN was sold to publishing company Ziff Davis in February 2013. History IGN was created in September 1996 as the Imagine Games Network, the IGN content network was founded by publishing executive Jonathan Simpson-Bint and began as five individual websites within Imagine Media: N64.com (later renamed ign64.com), PSXPower, Saturnworld, Next-Generation.com and Ultra Game Players Online. Imagine expanded on its owned-and-operated websites by creating an affiliate network that included a number of independent fansites such as PSX Nation.com, Sega-Saturn.com, Game Sages, and GameFAQs. In 1998, the network launched a new homepage that consolidated the individual sites as system channels under the IGN brand. The homepage exposed content from more than 30 different channels. Websites Next-Generation and Ultra Game Players Online were not part of this consolidation; U.G.P.O. dissolved with the cancellation of the magazine, and Next-Generation was put "on hold" when Imagine decided to concentrate on launching the short-lived Daily Radar brand. In February 1999, PC Magazine named IGN one of the hundred-best websites, alongside competitors GameSpot and CNET Gamecenter. That same month, Imagine Media incorporated a spin-off that included IGN and its affiliate channels as Affiliation Networks, while Simpson-Bint remained at the former company. In September, the newly spun-out standalone internet media company, changed its name to Snowball.com. At the same time, small entertainment website The Den merged into IGN and added non-gaming content to the growing network. Snowball held an IPO in 2000, but shed most of its other properties during the dot-com bubble. IGN prevailed with growing audience numbers and a newly established subscription service called IGN Insider (later IGN Prime), which led to the shedding of the name "Snowball" and adoption of IGN Entertainment on May 10, 2002. In June 2005, IGN reported having 24,000,000 unique visitors per month, with 4.8 million registered users through all departments of the site. IGN has been ranked among the top 500 most-visited websites according to Alexa. In September 2005, IGN was acquired by Rupert Murdoch's multimedia business empire, News Corporation, for $650 million. IGN celebrated its 10th anniversary on January 12, 2008. IGN was headquartered in the Marina Point Parkway office park in Brisbane, California, until it relocated to a smaller office building near AT&T Park in San Francisco on March 29, 2010. On May 25, 2011, IGN sold its Direct2Drive division to Gamefly for an undisclosed amount. In 2011, IGN Entertainment acquired its rival UGO Entertainment (owners of 1Up.com) from Hearst Corporation. Ultimately, News Corp. planned to spin off IGN Entertainment as a publicly traded company, continuing a string of divestitures for digital properties it had previously acquired (including MySpace and Photobucket). On February 4, 2013, after a failed attempt to spin off IGN as a separate company, News Corp. announced that it had sold IGN Entertainment to the publishing company Ziff Davis, which was recently acquired by J2 Global. Financial details regarding the purchase were not revealed. Prior to its acquisition by UGO, 1UP.com had previously been owned by Ziff Davis. Soon after the acquisition, IGN announced that it would be laying off staff and closing GameSpy, 1UP.com, and UGO in order to focus on its flagship brands, IGN and AskMen. The role-playing video game interest website Vault Network was acquired by IGN in 1999. GameStats, a review aggregation website, was founded by IGN in 2004. GameStats includes a "GPM" (Game Popularity Metric) rating system which incorporates an average press score and average gamer score, as well as the number of page hits for the game. However, the site is no longer being updated. The Xbox interest site, TeamXbox, and the PC game website VE3D (Voodoo Extreme 3D) were acquired in 2003. IGN Entertainment merged with GameSpy Industries in 2005. The merger also brought the game download site FilePlanet into the IGN group; as of 2011 both FilePlanet and the GameSpy website still operate as video game-related web sites. IGN Entertainment acquired the online male lifestyle magazine AskMen in 2005. In 2004, IGN acquired film review aggregator Rotten Tomatoes and in 2010, sold the website to Flixster. In October 2017, Humble Bundle announced that it was being acquired by IGN. IGN Entertainment acquired Gamer Network and its properties in May 2024 for an undisclosed sum. These included Eurogamer, Rock Paper Shotgun, VG247 and others. As a result, some layoffs were made due to redundancies. A member of the IGN staff writes a review for a game and gives it a score between 0.1 and 10.0, which is assigned by increments of 0.1 and determines how much the game is recommended. The score is given according to the "individual aspects of a game, like presentation, graphics, sound, gameplay and lasting appeal". Each game is given a score in each of these categories, but the overall score for the game is an independent evaluation, not an average of the scores in each category. On August 3, 2010, IGN announced that the site would be changing to a new scoring scale. Instead of a 100-point scale, where games are scored in increments of 0.1, all future reviews would use a 20-point scale where games are scored in increments of 0.5. Under both systems, the maximum possible score a game can receive is 10.0. The scoring change was not retroactive: all scores on reviews written before the change would remain the same. This change also did not affect the scoring system for reader reviews. On September 13, 2012, IGN revealed that as part of its new review format all future reviews would follow a 100-point scale again, but without using decimals, meaning a score of 8.5 would become an 85. Unlike the previous conversion to the 20-point scale, this latest scoring system change was retroactive and all previous IGN review scores were to be updated to follow the new system. However, despite the announcement, the article included a short addition, post-release; it stated that after much discussion, they had decided to retain the decimal point in all upcoming scores. In early 2014, IGN introduced a new policy, in which a game's review score can be re-reviewed and improved, provided that continuous updates form a significant change compared to the game at launch. Examples of games that have been re-reviewed were League of Legends, Heroes of the Storm, Warframe, and the pocket edition of Minecraft. In January 2020, IGN revealed that reviews would be reverted to a 10-point scale, from 1 to 10, finding that the finer distinction of the 100-point scale was difficult to maintain, whereas a 10-point scale would still be true to its reviews and would be easier to promote. IGN 'Best of' awards IGN's 'Best of' is an end-of-year event to annually honor the year's best games, films, television shows and comics. Winners of each award category are selected by IGN staff from a list of nominees, while readers are able to cast their own votes online to determine the 'People's Choice' award for each category. Other sections In 2000, Snowball.com purchased an E-federation called the Internet Wrestling Organization (IWO). Since Snowball owned both IWO and IGN, IWO would go on to become IGN's first official E-Fed, even doing a column on the website. The IGN For Men section officially closed down on October 2, 2001, and is no longer updated. IGN has sites such as IGN Stars and AskMen.com that fulfil much of the function of the old IGN For Men site. IGN Wrestling met its end in early 2002 when many of the staff departed. Interviews with professional wrestling personalities and coverage of wrestling games have been folded into IGN Sports, headed by Jon Robinson. IGN Sci-Fi: Largely dead since 2002, this section of the site included movie news, comic book reviews, anime coverage and other associated items. It has since been discontinued. The site, SciFI.ign.com redirects to the recently created SciFiBrain.ign.com, which covers some of the content of the old Sci-Fi site.[citation needed] In 2002, IGN launched a dedicated video game FAQs site specifically designed to host user-submitted guides. This was launched following the cancellation of affiliation with GameFAQs.[citation needed] In 2004, IGN launched GameStats, which was intended to be a more unbiased rating network, as it takes in scores from every corporate-owned game rating site and averages them all into one score to give a general idea of the quality of a game. IGN also launched Direct2Drive.com in 2004. Its primary focus is selling digital downloads of full PC and Mac video games, as well as anime, comics and game guides. In 2005, IGN launched its comics site, which is devoted to not just the staple Marvel and DC titles, but also manga, graphic novels, statues and toys.[citation needed] In 2006, IGN launched its television site. It provides interviews with various television celebrities, in addition to a TV schedule, TV trivia and TV news. Like the film section, IGN's TV section has a variety of exclusive clips from upcoming television shows.[citation needed] On May 30, 2006, IGN Dreamcast was restarted; however, none of the Dreamcast updates were posted on the main IGN webpage.[citation needed] In 2007, IGN launched its anime site. It provided features on anime and manga, including trailers and free episodes. It also included reviews of manga and anime from other sections of IGN, such as IGN Comics and IGN DVD. The anime channel was dropped after IGN redesigned the site. In 2008, the IGN Retro channel was launched to mark IGN's 10th anniversary. To coincide with the release of Super Smash Bros. Brawl, IGN created the Super Smash Bros. World site. On the site, people can submit their user-created stages from the game and download ones made by other people. IGN subsequently launched a similar website called GTA 'Hood on April 29, 2008, for Grand Theft Auto IV.[citation needed] Along with its popular website content, IGN also publishes many different podcasts on both its website and on iTunes. Some of its podcasts include console-oriented shows like the PlayStation-focused "Podcast Beyond" and the Xbox-oriented "Podcast Unlocked", the Nintendo-oriented "Nintendo Voice Chat", and Game Scoop!, a podcast where a variety of editors discuss news and topics surrounding the video game industry. Regional websites IGN has 28 editions in 25 languages, as of 2021. The US & Canada, UK & Ireland, and Australia & New Zealand editions are operated by Ziff Davis subsidiaries, with all others being franchised publishers. Since 2006, IGN Entertainment began launching regional versions of the website for various countries and pan-regions. Initially, IGN began opening new offices outside the United States in order to support those regional websites, but later IGN began franchising its brand as a more cost-effective means of globalization, wherein it licensed various media publishers in many countries to use the IGN brand and manage regional websites on their own. Licensed regional publishers work on their own servers, albeit can link to IGN's HQ database, where they can import or translate articles, and use videos uploaded on IGN's servers that use IGN's own hosted video player.[citation needed] When visiting www.ign.com from an IGN-supported region, the site automatically redirects visitors to their localized version using geolocation software, based on their countries' IP addresses. Each version of the site has a modified logo with their country's/region's respective flags near the IGN logo. However, it is still possible to access the original American website using a navigation bar above or below (depending on the regional website) the page's master template.[citation needed] IGN Con IGN Convention (IGN Con) is a video games, movies, comics and pop culture convention held in various cities in the Middle East. The event generally includes celebrities, video game tournaments, table top games, card games, movie previews, comic book stalls and a cosplay competition. A number of Middle Eastern artists and game developers also showcase their work at IGN Convention. This convention is owned and operated by IGN Middle East, the Middle Eastern edition of popular video games website IGN. IGN Convention is the spiritual successor to GameFest, a biannual, smaller scale gaming gallery which was originally hosted by IGN Middle East's parent company T-break Media between 2010 and 2012, before the hosting duties were subsequently taken over by AMD EMEA. The IGN Convention logo was designed by prominent Gulf based artist Ashraf Ghori. Conferences have included: IGN Pro League In 2011, IGN launched IGN Pro League, a professional esports circuit that ran tournaments for StarCraft II: Wings of Liberty, ShootMania Storm and League of Legends. On March 6, 2013, only weeks prior to the event, IGN abruptly canceled the finals of IPL 6—which were to be held in Las Vegas from March 28 through 31, and discontinued the league. IGN indicated that it was no longer in a position to commit to compete with the increasing number of esports events that were being held. On April 8, 2013, Blizzard Entertainment announced that it had acquired the staff and assets of the IPL from IGN; its former staff were reassigned to work on in-house esports productions. Controversies In 2007, Video Game Media Watch accused former IGN editor Doug Perry of "journalistic misconduct" for an exclusive review of Prey. In November 2017, some IGN employees refused to work to show solidarity with Kallie Plagge, a former editor who alleged that in 2016, another editor, Vince Ingenito, sexually harassed her and another female employee and made inappropriate comments. Human resources allegedly told her that she "needed to have better judgment about who [she] was 'friends' with" and that she was an "equal participant" in "inappropriate flirtation". This incident was widely circulated across social media. In August 2018, the owner of YouTube channel Boomstick Gaming accused the IGN reviewer Filip Miucin of plagiarizing his video review of the game Dead Cells. On August 7, IGN stated that it had found "substantial similarities" between the reviews, apologized, and announced that it had dismissed Miucin. On August 10, IGN published a new review by Brandin Tyrrel, which included an editor's note apologizing again and stating that "this review (and its score) represents solely the opinion of the new reviewer". In a subsequently unlisted video, Miucin responded that while he took "complete ownership over what happened", the similarity was not intentional. Kotaku found similarities between Miucin's other reviews, reviews on Nintendo Life and Engadget and material posted on the games discussion forum NeoGAF. On August 14, IGN announced that it would remove all of Miucin's work pending further review. On April 19, 2019, Miucin admitted plagiarism and issued an apology on his YouTube channel. During the 2021 Israel–Palestine crisis, the main IGN site posted an article on May 14 urging readers to donate to charities helping Palestinian civilians such as the Palestine Children's Relief Fund and linked to relevant news reporting. A Palestinian flag was also added besides the IGN logo. Shortly after the article went up IGN Israel made statements on social media condemning the article. The Palestinian flag was soon replaced with a Red Cross. On May 16, the article was deleted and a statement was made on the IGN Twitter account saying that it was wrong to only highlight one side of the conflict. A reposted version on South Africa-based IGN Africa was also removed. On May 17, over 60 members of IGN's staff signed an open letter condemning the article's removal for going against the site's editorial freedom and policies for retracting or correcting articles, as well as the lack of communication with IGN staff. IGN reinstated the article on August 24 under a new headline alongside a statement of newly formalized editorial policies. Television and films Notes References External links |
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[SOURCE: https://en.wikipedia.org/w/index.php?title=Wikipedia:Protection_policy&oldid=1338034418] | [TOKENS: 5211] |
Contents Wikipedia:Protection policy In some circumstances, pages may need to be protected from modification by certain groups of editors. Pages are protected when there is disruption that cannot be prevented through other means, such as blocks. Wikipedia is built on the principle that anyone can edit, and therefore aims to have as many pages open for public editing as possible so that anyone can add material and correct issues. This policy states in detail the protection types and procedures for page protection and unprotection, and when each protection should and should not be applied. Protection is a technical restriction applied only by administrators, although any user may request protection. Protection can be indefinite or expire after a specified time. The various levels of protection can be applied to the page edit, page move, page create, and file upload actions. Even when a page is protected from editing, the source wikitext of the page can still be viewed and copied by anyone. A protected page is marked at its top right by a padlock icon, usually added by the {{pp-protected}} template. The {{pp-protected}} template is automatically added by the {{documentation}} template used in template space. Overview of page protection Any protection applied to a page involves setting a type, level, and duration as follows: Preemptive protection Applying page protection solely as a preemptive measure is contrary to the open nature of Wikipedia and is generally not allowed. Instead, protection is used when vandalism, disruption, or abuse by multiple users is occurring at a frequency that warrants protection. The duration of protection should be as short as possible and at the lowest protection level sufficient to stop the disruption, allowing edits from as many productive users as possible. Exceptions include the Main Page, along with its templates and images, which are indefinitely fully protected. Additionally, Today's Featured Article is typically semi-protected from the day before its scheduled appearance on the Main Page until the day after it leaves. Finally, pages subject to Arbitration Committee remedies that permit or require preemptive protection may be protected accordingly. Requesting protection Page protection can be requested at Wikipedia:Requests for page protection. Changes to a protected page should be proposed on the corresponding talk page, and then (if necessary) requested by adding an edit request. From there, if the requested changes are uncontroversial or if there is consensus for them, the changes can be carried out by a user who can edit the page. Except in the case of office actions (see below), Arbitration Committee remedies, or pages in the MediaWiki namespace (see below), administrators may unprotect a page if the reason for its protection no longer applies, a reasonable period has elapsed, and there is no consensus that continued protection is necessary. Users can request unprotection or a reduction in protection level by asking the administrator who applied the protection on the administrator's user talk page. If the administrator is inactive, no longer an administrator, or does not respond, then a request for reduction in protection level may be filed. Note that such requests will normally be declined if the protecting administrator is active and was not consulted first. A log of protections and unprotections is available at Special:Log/protect. Summary table Protection types Edit protection restricts editing of a page, often due to vandalism or disputes, ensuring only experienced users can make changes (see above for more information). Administrators can prevent the creation of pages. This type of protection is useful for pages that have been deleted but repeatedly recreated. Such protection is case-sensitive. There are several levels of creation protection that can be applied to pages, identical to the levels for edit protection. A list of protected titles can be found at Special:ProtectedTitles (see also historical lists). Preemptive restrictions on new article titles are instituted through the title blacklist system, which allows for more flexible protection with support for substrings and regular expressions. Pages that have been creation-protected are sometimes referred to as "salted". Editors wishing to re-create a salted title with appropriate content should either contact an administrator (preferably the protecting administrator), file a request for reduction in protection level, or use the deletion review process. To make a convincing case for re-creation, it is helpful to show a draft version of the intended article when filing a request. Create protection of any duration may be applied to pages being repeatedly recreated in violation of policy using the lowest protection level sufficient to stop the disruption (autoconfirmed, extended-confirmed, or full). Due to the implementation of ACPERM, non-confirmed editors cannot create pages in mainspace; thus, semi-creation protection should be used only for protection of pages outside of mainspace. While creation-protection is usually permanent, temporary creation protection can be applied if a page is repeatedly recreated by a single user (or sockpuppets of that user, if applicable). Move-protected pages, or more technically, fully move-protected pages, cannot be moved to a new title except by an administrator. Move protection is commonly applied to: Move protection of any duration may be applied to pages being repeatedly moved in violation of policy using the lowest protection level sufficient to stop the disruption (extended-confirmed or full). Non-confirmed editors cannot move pages so semi-move protection has no effect. Fully edit-protected pages are also implicitly move-protected. As with full edit protection, protection because of edit warring should not be considered an endorsement of the current name. When move protection is applied during a requested move discussion, the page should be protected at the location it was at when the move request was started. All files and categories are implicitly move-protected, requiring file movers or administrators to rename files, and page movers or administrators to rename categories. Upload-protected files, or more technically, fully upload-protected files, cannot be replaced with new versions except by an administrator. Upload protection does not protect file pages from editing. It can be applied by an administrator to: Protection levels Pending changes protection allows unregistered and new users to edit pages, while keeping their edits hidden from unregistered users (who make up the vast majority of visitors to Wikipedia articles) until those changes are accepted by a pending changes reviewer or an administrator. An alternative to semi-protection, it is used to suppress vandalism and certain other persistent problems, while allowing all users to continue to submit edits. Pending changes is technically implemented as a separate option, with its own duration, and it yields to other edit protection levels in cases of overlap. When a page under pending changes protection is edited by an unregistered editor or a new user, the edit is not directly visible to the majority of Wikipedia readers, until it is reviewed and accepted by an editor with the pending changes reviewer right. When a page under pending changes protection is edited by an autoconfirmed user, the edit will be immediately visible to Wikipedia readers, unless there are pending edits waiting to be reviewed. Pending changes are visible in the page history, where they are marked as "pending review". Readers who are not logged in (the vast majority of readers) are shown the latest accepted version of the page; logged-in users see the latest version of the page, with all changes (reviewed or not) applied. When editors who are not reviewers make changes to an article with unreviewed pending changes, their edits are also marked as pending and are not visible to most readers. A user who clicks "edit this page" is always, at that point, shown the latest version of the page for editing regardless of whether the user is logged in or not. Pending changes are typically reviewed within several hours. Pending changes can be used to protect articles against: Pending changes protection should not be used as a preemptive measure against violations that have not yet occurred. Like semi-protection, pending changes protection should never be used in genuine content disputes, where there is a risk of placing a particular group of editors (unregistered users) at a disadvantage. Semi-protection is generally a better option for articles with a high edit rate as well as articles affected by issues difficult for pending changes reviewers to detect, such as non-obvious vandalism, plausible-sounding misinformation, and hard-to-detect copyright violations. In addition, administrators may apply temporary pending changes protection on pages that are subject to significant but temporary vandalism or disruption (for example, due to media attention) when blocking individual users is not a feasible option. As with other forms of protection, the time frame of the protection should be proportional to the problem. Indefinite PC protection should be used only in cases of severe long-term disruption. Removal of pending changes protection can be requested to any administrator, or at requests for unprotection. The reviewing process is described in detail at Wikipedia:Reviewing pending changes. Semi-protected pages may be edited only by registered users who are confirmed or autoconfirmed (accounts that are at least 4 days old and with at least 10 edits on English Wikipedia). Semi-protection is useful when there is a significant amount of disruption or vandalism from new or unregistered users, or to prevent sockpuppets of blocked or banned users from editing, especially when it occurs on biographies of living persons who have had a recent high level of media interest. An alternative to semi-protection is pending changes, which is sometimes favored when an article is being vandalized regularly, but otherwise receives a low amount of editing. Such users can request edits to a semi-protected page by proposing them on its talk page, using the {{Edit semi-protected}} template if necessary to gain attention. If the page in question and its talk page are both protected, the edit request should be made at Wikipedia:Requests for page protection instead. New users may also request the confirmed user right at Wikipedia:Requests for permissions/Confirmed. Semi-protection should not be used as a preemptive measure against vandalism that has not yet occurred or to privilege registered users over unregistered users in (valid) content disputes. Administrators may apply temporary semi-protection on pages that are: In addition, administrators may apply indefinite semi-protection to pages that are subject to heavy and persistent vandalism or violations of content policy (such as Wikipedia's biographies of living persons or neutral point of view policies). A page and its talk page should not normally be protected at the same time. In exceptional cases, if a page and its talk page are both protected, the talk page should direct affected editors to Wikipedia:Request for edit through the use of a non-iconified page protection template, to ensure that no editor is entirely prevented from contributing. Today's featured article is, since 2023, always semi-protected. However, this was historically not the case. Extended confirmed protection, previously known as 30/500 protection, restricts editing to users with the extended confirmed user access level, administrators, and bots. Extended confirmed is automatically granted to users one edit after their account has existed for at least 30 days and has made at least 500 edits. Where semi-protection has proven to be ineffective, administrators may use extended confirmed protection to combat disruption (vandalism, abusive sockpuppetry, edit wars, etc.) on any topic. Extended confirmed protection should not be used as a preemptive measure against disruption that has not yet occurred, nor should it be used to privilege extended confirmed users over unregistered/new users in valid content disputes (except as general sanction enforcement; see below). When necessary to prevent disruption in designated contentious topic areas, administrators are authorized to make protections at any level. (This is distinct from the extended confirmed restriction below.) Community-designated contentious topics grant similar authorizations. Some topic areas are under Arbitration Committee extended confirmed restriction as a general sanction. When such a restriction is in effect in a topic area, only extended-confirmed users may make edits related to the topic area. Enforcement of the restriction on articles primarily in the topic area is preferably done with extended confirmed protection, but it is not required (other enforcement methods are outlined in the policy). As always, review the policy before enforcing it. Community general sanctions, applying a similar extended confirmed restriction, have also been authorized by the community. General sanctions has a list of the active general sanctions that incorporate the extended confirmed restriction. High-risk templates can be extended confirmed–protected at administrator discretion when template protection would be too restrictive and semi-protection would be ineffective to stop widespread disruption. Extended confirmed protection can be applied at the discretion of an administrator when creation-protecting a page. A bot maintains a report of pages recently put under extended confirmed protection. Any protection made as arbitration enforcement will be automatically logged at Wikipedia:Arbitration enforcement log/Protections. Community-authorized discretionary sanctions must be logged on a page specific to the topic area. A full list of the 14975 pages under extended confirmed protection can be found here. Users can request edits to an extended confirmed–protected page by proposing them on its talk page, using the {{Edit extended-protected}} template if necessary to gain attention. A template-protected page can be edited only by administrators or users in the Template editors group. This protection level should be used almost exclusively on high-risk templates and modules. In cases where pages in other namespaces become transcluded to a very high degree, this protection level is also valid. This is a protection level that replaces full protection on pages that are merely protected due to high transclusion rates, rather than content disputes. It should be used on templates whose risk factor would have otherwise warranted full protection. It should not be used on less risky templates on the grounds that the template editor user right exists—the existence of the right should not result in more templates becoming uneditable for the general editing community. In borderline cases, extended confirmed protection or lower can be applied to high risk templates that the general editing community still needs to edit regularly. A full list of the pages under template protection can be found here. Editors may request edits to a template-protected page by proposing them on its talk page, using the {{Edit template-protected}} template if necessary to gain attention. A fully protected page cannot be edited or moved by anyone except administrators. Modifications to a fully protected page can be proposed on its talk page (or at another appropriate forum) for discussion. Administrators can make changes to the protected article reflecting consensus. Placing the {{Edit fully-protected}} template on the talk page will draw the attention of administrators for implementing uncontroversial changes. While content disputes and edit warring can be addressed with user blocks issued by uninvolved administrators, allowing normal page editing by other editors at the same time, the protection policy provides an alternative approach as administrators have the discretion to temporarily fully protect an article to end an ongoing edit war. This approach may better suit multi-party disputes and contentious content, as it makes talk page consensus a requirement for implementation of requested edits. When protecting a page because of a content dispute, administrators have a duty to avoid protecting a version that contains policy-violating content, such as vandalism, copyright violations, defamation, or poor-quality coverage of living people. Administrators are deemed to remain uninvolved when exercising discretion on whether to apply protection to the current version of an article, or to an older, stable, or pre-edit-war version. Fully protected pages may not be edited except to make changes that are uncontroversial or for which there is clear consensus. Editors convinced that the protected version of an article contains policy-violating content, or that protection has rewarded edit warring or disruption by establishing a contentious revision, may identify a stable version prior to the edit war and request reversion to that version. Before making such a request, editors should consider how independent editors might view the suggestion and recognize that continuing an edit war is grounds for being blocked. Administrators who have made substantive content changes to an article are considered involved and must not use their advanced permissions to further their own positions. When involved in a dispute, it is almost always wisest to respect the editing policies that bind all editors and call for input from an uninvolved administrator, rather than to invite controversy by acting unilaterally. If a deleted page is going through deletion review, only administrators are normally capable of viewing the former content of the page. If they feel it would benefit the discussion to allow other users to view the page content, administrators may restore the page, replace the contents with the {{Temporarily undeleted}} template or a similar notice, and fully protect the page to prevent further editing. The previous contents of the page are then accessible to everyone via the page history. Generic file names such as File:Photo.jpg, File:Example.jpg, File:Map.jpg, and File:Sound.wav are fully protected to prevent new versions from being uploaded. Furthermore, File:Map.jpg and File:Sound.wav are salted. The following pages and templates are usually fully protected for an indefinite period of time: As with full edit protection, administrators should avoid favoring one version over another, and protection should not be considered an endorsement of the current version. An exception to this rule is when they are protected due to upload vandalism. Pages can be protected by Wikimedia Foundation staff in response to issues such as copyright infringement or libel as outlined in Foundation:Policy:Office actions § Use of advanced rights by Foundation staff. Such actions override community consensus. Administrators should not edit or unprotect such pages without permission from Wikimedia Foundation staff. Cascading protection fully protects a page, and extends that full protection automatically to any page that is transcluded onto the protected page, whether directly or indirectly. This includes templates, images and other media that are hosted on the English Wikipedia. Files stored on Commons are not protected by any other wiki's cascading protection and, if they are to be protected, must be either temporarily uploaded to the English Wikipedia or explicitly protected at Commons (whether manually or through cascading protection there). When operational, KrinkleBot cascade-protects Commons files transcluded at Wikipedia:Main Page/Tomorrow, Wikipedia:Main Page/Commons media protection and Main Page. As the bot's response time varies, media should not be transcluded on the main page (or its constituent templates) until after it has been protected. (This is particularly relevant to Template:In the news, for which upcoming images are not queued at Wikipedia:Main Page/Tomorrow.) Cascading protection: The list of cascading-protected pages can be found at Wikipedia:Cascade-protected items. Requests to add or remove cascading protection on a page should be made at Wikipedia talk:Cascade-protected items as an edit request. Operational pages principally used by software, including bots and user scripts, may be protected based on the type of use, content, and other considerations. This includes configuration pages, data pages, log pages, status pages, and other pages specific to the operation of software. However, personal CSS, personal JavaScript, and personal JSON are automatically protected and should not be protected for this reason. Some pages on Wikipedia are subject to software-enforced protection that administrators cannot change or remove. This is called permanent or indefinite protection, and interface protection in the case of CSS and JavaScript pages. Specifically, this applies to: Protection by namespace Modifications to a protected page can be proposed on its talk page (or at another appropriate forum) for discussion. Administrators can make changes to the protected article reflecting consensus. Placing the {{Edit protected}} template on the talk page will draw the attention of administrators for implementing uncontroversial changes. Talk pages are not usually protected, and are semi-protected only for a limited duration in the most severe cases of disruption. User talk pages are rarely protected. However, protection can be applied if there is severe vandalism or abuse. Users whose talk pages are protected may wish to have an unprotected user talk subpage linked conspicuously from their main talk page to allow good-faith comments from users that the protection restricts editing from. A user's request to have their own talk page protected is not a sufficient rationale by itself to protect the page, although requests can be considered if a reason is provided. Blocked users' user talk pages should not ordinarily be protected, as this interferes with the user's ability to contest their block through the normal process. It also prevents others from being able to use the talk page to communicate with the blocked editor. In extreme cases of abuse by the blocked user, such as abuse of the {{unblock}} template, re-blocking the user with talk page access removed should be preferred over applying protection to the page. If the user has been blocked and with the ability to edit their user talk page disabled, they should be informed of this in a block notice, subsequent notice, or message, and it should include information and instructions for appealing their block off-wiki, such as through the UTRS tool interface or, as a last recourse, the Arbitration Committee. When required, protection should be implemented for only a brief period, not exceeding the duration of the block. Confirmed socks of registered users should be dealt with in accordance with Wikipedia:Sockpuppetry; their pages are not normally protected. Base user pages (for example, the page User:Example, and not User:Example/Lipsum or User talk:Example) are automatically protected from creation or editing by unconfirmed accounts and anonymous temporary account users. An exception is that unconfirmed registered users are allowed to create or edit their own user page. Temporary account editors and unconfirmed accounts are also unable to create or edit user pages that do not belong to a currently registered account. This protection is enforced by an edit filter. Users may opt-out of this protection by placing {{unlocked userpage}} anywhere on their own user page. User pages and subpages within their own user space can be protected upon a request from the user, as long as a need exists. Pages within the user space should not be automatically or preemptively protected without good reason or cause. Requests for protection specifically at uncommon levels (such as template protection) can be granted if the user has expressed a genuine and realistic need. When a filter is insufficient to stop user page vandalism, a user may choose to create a ".css" subpage (e.g., User:Example/monobook.css), copy all the contents of their user page onto the subpage, transclude the subpage by putting {{User:Example/monobook.css}} on their user page, and then ask an administrator to fully protect their user page. Because user space pages that end in ".css" and ".js" are editable only by the user to which that user space belongs and interface administrators, this will protect one's user page from further vandalism. In the event of the confirmed death of an editor, their user page (but not the user talk page) should be fully protected. Highly visible templates – those used on a large number of pages or frequently substituted – are often protected based on the degree of visibility, type of use, content, and other considerations. Protected templates should normally have the {{documentation}} template. It loads the unprotected /doc page, so that non-admins and IP-users can edit the documentation, categories and interwiki links. It also automatically adds {{pp-template}} to protected templates, which displays a small padlock in the top right corner and categorizes the template as protected. Only manually add {{pp-template}} to protected templates that do not use {{documentation}} (mostly the flag templates). Cascading protection should generally not be applied directly to templates, as it will not protect transclusions inside <includeonly> tags or transclusions that depend on template parameters, but will protect the template's documentation subpage. Instead, consider either of the following: Note: All editnotice templates (except those in userspace) are already protected via MediaWiki:Titleblacklist. They can be edited by admins, template editors and page movers only. Sandboxes should not ordinarily be protected since their purpose is to let new users test and experiment with wiki syntax. Most sandboxes are automatically cleaned every 12 hours, although they are frequently overwritten by other testing users. The Wikipedia:Sandbox is cleaned every hour. Those who use sandboxes for malicious purposes, or to violate policies such as no personal attacks, civility, or copyrights, should instead be warned and/or blocked. Available templates The following templates can be added at the very top of a page to indicate that it is protected: On redirect pages, use the {{Redirect category shell}} template, which automatically categorizes by protection level, below the redirect line. A protection template may also be added below the redirect line, but it will serve only to categorize the page, as it will not be visible on the page, and it will have to be manually removed when protection is removed. Retired protections Superprotect was a level of protection, allowing editing only by Wikimedia Foundation employees who were in the Staff global group. It was implemented on August 10, 2014 and removed on November 5, 2015. It was never used on the English Wikipedia. For several years, the Gadget namespace (which no longer exists) could only be edited by WMF staff, which has sometimes been referred to as superprotection even though it is unrelated to the above use. Cascading semi-protection was formerly possible, but it was disabled in 2007 after users noticed that non-administrators could fully protect any page by transcluding it onto the page to which cascading semi-protection had been applied by an administrator. Originally, two levels of pending changes protection existed, where level 2 required edits by all users who were not pending changes reviewers to be reviewed. Following a community discussion, level 2 was retired from the English Wikipedia in January 2017. Since that change, "pending changes level 1" is generally referred to as just "pending changes". See also Notes |
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[SOURCE: https://en.wikipedia.org/wiki/Animation] | [TOKENS: 5985] |
Contents Animation Animation is a filmmaking technique whereby pictures are generated or manipulated to create moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Animation has been recognized as an artistic medium, specifically within the entertainment industry. Many animations are either traditional animations or computer animations made with computer-generated imagery (CGI). Stop motion animation, in particular claymation, is also prominent alongside these other forms, albeit to a lesser degree. Animation is contrasted with live action, although the two do not exist in isolation. Many filmmakers have produced films that are a hybrid of the two. As CGI increasingly approximates photographic imagery, filmmakers can relatively easily composite 3D animated visual effects (VFX) into their film, rather than using practical effects. General overview Computer animation can be very detailed 3D animation, while 2D computer animation (which may have the look of traditional animation) can be used for stylistic reasons, low bandwidth, or faster real-time renderings. Other common animation methods apply a stop motion technique to two- and three-dimensional objects like paper cutouts, puppets, or clay figures. An animated cartoon, or simply a cartoon, is an animated film, usually short, that features an exaggerated style. This style is often inspired by comic strips, gag cartoons, and other non-animated art forms. Cartoons frequently include anthropomorphic animals, superheroes, or the adventures of human protagonists. The action often revolves around exaggerated physical humor, particularly in predator/prey dynamics (e.g. cats and mice, coyotes and birds), where violent pratfalls such as falls, collisions, and explosions occur, often in ways that would be lethal in the real life. During the late 1980s, the term "cartoon" was shortened to toon, referring to characters in animated productions, or more specifically, cartoonishly-drawn characters. This term gained popularity first in 1988 with the live-action/animated hybrid film Who Framed Roger Rabbit, which introduced ToonTown, a world inhabited by various animated cartoon characters. In 1990, Tiny Toon Adventures embraced the classic cartoon spirit, introducing a new generation of cartoon characters. Then, in 1993, Animaniacs followed, featuring the three rubber-hose-styled Warner siblings, Yakko Warner, Wakko Warner, and Dot Warner, who are trapped in the 1930s, eventually escaped and found themselves in the Warner Bros. water tower in the 1990s. The illusion of animation—as in motion pictures in general—has traditionally been attributed to the persistence of vision and later to the phi phenomenon and beta movement, but the exact neurological causes are still uncertain. The illusion of motion caused by a rapid succession of images that minimally differ from each other, with unnoticeable interruptions, is a stroboscopic effect. While animators traditionally used to draw each part of the movements and changes of figures on transparent cels that could be moved over a separate background, computer animation is usually based on programming paths between key frames to maneuver digitally created figures throughout a digitally created environment. Analog mechanical animation media that rely on the rapid display of sequential images include the phenakistiscope, zoetrope, flip book, praxinoscope, and film. Television and video are popular electronic animation media that originally were analog and now operate digitally. For display on computers, technology such as the animated GIF and Flash animation were developed. In addition to short films, feature films, television series, animated GIFs, and other media dedicated to the display of moving images, animation is also prevalent in video games, motion graphics, user interfaces, and visual effects. The physical movement of image parts through simple mechanics—for instance, moving images in magic lantern shows—can also be considered animation. The mechanical manipulation of three-dimensional puppets and objects to emulate living beings has a very long history in automata. Electronic automata were popularized by Disney as animatronics. Etymology The word animation comes to the Latin word animātiō, meaning 'bestowing of life'. The earlier meaning of the English word is 'liveliness' and has been in use much longer than the meaning of 'moving image medium'. History Long before modern animation began, audiences around the world were captivated by the magic of moving characters. For centuries, master artists and craftsmen have brought puppets, automatons, shadow puppets, and fantastical lanterns to life, inspiring the imagination through physically manipulated wonders. In 1833, the stroboscopic disc (better known as the phenakistiscope) introduced the principle of modern animation, which would also be applied in the zoetrope (introduced in 1866), the flip book (1868), the praxinoscope (1877) and film. When cinematography eventually broke through in the 1890s, the wonder of the realistic details in the new medium was seen as its biggest accomplishment. It took years before animation found its way to the cinemas. The successful short The Haunted Hotel (1907) by J. Stuart Blackton popularized stop motion and reportedly inspired Émile Cohl to create Fantasmagorie (1908), regarded as the oldest known example of a complete traditional (hand-drawn) animation on standard cinematographic film. Other great artistic and very influential short films were created by Ladislas Starevich with his puppet animations since 1910 and by Winsor McCay with detailed hand-drawn animation in films such as Little Nemo (1911) and Gertie the Dinosaur (1914). During the 1910s, the production of animated "cartoons" became an industry in the US. Successful producer John Randolph Bray and animator Earl Hurd, patented the cel animation process that dominated the animation industry for the rest of the century. Felix the Cat, who debuted in 1919, became the first fully realized anthropomorphic animal character in the history of American animation. In 1928, Steamboat Willie, featuring Mickey Mouse and Minnie Mouse, popularized film-with-synchronized-sound and put Walt Disney's studio at the forefront of the animation industry. Although Disney Animation's actual output relative to total global animation output has always been very small, the studio has overwhelmingly dominated the "aesthetic norms" of animation ever since. The enormous success of Mickey Mouse is seen as the start of the golden age of American animation that would last until the 1960s. The United States dominated the world market of animation with a plethora of cel-animated theatrical shorts. Several studios would introduce characters that would become very popular and would have long-lasting careers, including Walt Disney Productions' Goofy (1932) and Donald Duck (1934), Fleischer Studios/Paramount Cartoon Studios' Out of the Inkwell' Koko the Clown (1918), Bimbo and Betty Boop (1930), Popeye (1933) and Casper the Friendly Ghost (1945), Warner Bros. Cartoon Studios' Looney Tunes' Porky Pig (1935), Daffy Duck (1937), Elmer Fudd (1937–1940), Bugs Bunny (1938–1940), Tweety (1942), Sylvester the Cat (1945), Wile E. Coyote and the Road Runner (1949), MGM cartoon studio's Tom and Jerry (1940) and Droopy, Universal Cartoon Studios' Woody Woodpecker (1940), Terrytoons/20th Century Fox's Mighty Mouse (1942), and United Artists' Pink Panther (1963). In 1917, Italian-Argentine director Quirino Cristiani made the first feature-length film El Apóstol (now lost), which became a critical and commercial success. It was followed by Cristiani's Sin dejar rastros in 1918, but one day after its premiere, the film was confiscated by the government. After working on it for three years, Lotte Reiniger released the German feature-length silhouette animation Die Abenteuer des Prinzen Achmed in 1926, the oldest extant animated feature. In 1937, Walt Disney Studios premiered their first animated feature Snow White and the Seven Dwarfs, still one of the highest-grossing traditional animation features as of May 2020[update]. The Fleischer studios followed this example in 1939 with Gulliver's Travels with some success. Partly due to foreign markets being cut off by the Second World War, Disney's next features Pinocchio, Fantasia (both 1940), Fleischer Studios' second animated feature Mr. Bug Goes to Town (1941–1942) failed at the box office. For several decades, Disney was the only American studio to regularly produce animated features, until Ralph Bakshi became the first to release more than a handful of features. Sullivan-Bluth Studios began to regularly produce animated features starting with An American Tail in 1986. Although relatively few titles became as successful as Disney's features, other countries developed their own animation industries that produced both short and feature theatrical animations in a wide variety of styles, relatively often including stop motion and cutout animation techniques. Soviet Soyuzmultfilm animation studio, founded in 1936, produced 20 films (including shorts) per year on average and reached 1,582 titles in 2018. China, Czechoslovakia / Czech Republic, Italy, France, and Belgium were other countries that more than occasionally released feature films. Animation became very popular on television since the 1950s, when television sets started to become common in most developed countries. Cartoons were mainly programmed for children, on convenient time slots, and especially US youth spent many hours watching Saturday-morning cartoons. Many classic cartoons found a new life on the small screen and by the end of the 1950s, the production of new animated cartoons started to shift from theatrical releases to TV series. Hanna-Barbera Productions was especially prolific and had huge hit series, such as The Flintstones (1960–1966) (the first prime time animated series), Scooby-Doo (since 1969) and Belgian co-production The Smurfs (1981–1989). The constraints of American television programming and the demand for an enormous quantity resulted in cheaper and quicker limited animation methods and much more formulaic scripts. Quality dwindled until more daring animation surfaced in the late 1980s and in the early 1990s with hit series, the first cartoon of The Simpsons (1987), which later developed into its own show (in 1989) and SpongeBob SquarePants (since 1999) as part of a "renaissance" of American animation. While US animated series also spawned successes internationally, many other countries produced their own child-oriented programming, relatively often preferring stop motion and puppetry over cel animation. Japanese anime TV series became very successful internationally since the 1960s, and European producers looking for affordable cel animators relatively often started co-productions with Japanese studios, resulting in hit series such as Barbapapa (The Netherlands/Japan/France 1973–1977), Wickie und die starken Männer/小さなバイキング ビッケ (Vicky the Viking) (Austria/Germany/Japan 1974), Maya the Honey Bee (Japan/Germany 1975) and The Jungle Book (Italy/Japan 1989).[citation needed] Computer animation was gradually developed since the 1940s. 3D wireframe animation started popping up in the mainstream in the 1970s, with an early (short) appearance in the sci-fi thriller Futureworld (1976). The Rescuers Down Under was the first feature film to be completely created digitally without a camera. It was produced using the Computer Animation Production System (CAPS), developed by Pixar in collaboration with The Walt Disney Company in the late 1980s, in a style similar to traditional cel animation. The so-called 3D style, more often associated with computer animation, became the dominant technique following the success of Pixar's Toy Story (1995), the first computer-animated feature in this style. Most of the cel animation studios switched to producing mostly computer-animated films around the 1990s, as it proved cheaper and more profitable. Not only the very popular 3D animation style was generated with computers, but also most of the films and series with a more traditional hand-crafted appearance, in which the charming characteristics of cel animation could be emulated with software, while new digital tools helped developing new styles and effects. Economic status In 2010, the animation market was estimated to be worth circa US$80 billion. By 2021, the value had increased to an estimated US$370 billion. Animated feature-length films returned the highest gross margins (around 52%) of all film genres between 2004 and 2013. Animation as an art and industry continues to thrive as of the early 2020s. Education, propaganda and commercials The clarity of animation makes it a powerful tool for instruction, while its total malleability also allows exaggeration that can be employed to convey strong emotions and to thwart reality. It has therefore been widely used for other purposes than mere entertainment. During World War II, animation was widely exploited for propaganda. Many American studios, including Warner Bros. and Disney, lent their talents and their cartoon characters to convey to the public certain war values. These efforts extended to other countries well into the Cold War era, particularly as it pertained to "combatting" communism. For example, the English 1954 adaptation of George Orwell's Animal Farm (the nation's first feature-length animated film) is speculated to have had its production funded by the CIA. Animation has been very popular in television commercials, both due to its graphic appeal, and the humour it can provide. Some animated characters in commercials have survived for decades, such as Snap, Crackle and Pop in advertisements for Kellogg's cereals. Tex Avery was the producer of the first Raid "Kills Bugs Dead" commercials in 1966, which were very successful for the company. Other media, merchandise and theme parks Apart from their success in movie theaters and television series, many cartoon characters would also prove lucrative when licensed for all kinds of merchandise and for other media. Animation has traditionally been very closely related to comic books. While many comic book characters found their way to the screen (which is often the case in Japan, where many manga are adapted into anime), original animated characters also commonly appear in comic books and magazines. Somewhat similarly, characters and plots for video games (an interactive form of animation that became its own medium) have been derived from films and vice versa. While very many animation companies commercially exploit their creations outside moving image media, The Walt Disney Company is the best known and most extreme example. Since first being licensed for a children's writing tablet in 1929, their Mickey Mouse mascot has been depicted on an enormous amount of products, as have many other Disney characters. This may have influenced some pejorative use of Mickey's name, but licensed Disney products sell well, and the so-called Disneyana has many avid collectors, and even a dedicated Disneyana Fan Club (since 1984). Disneyland opened in 1955 and features many attractions that were based on Disney's cartoon characters. Its enormous success spawned several other Disney theme parks and resorts. Disney's earnings from the theme parks have relatively often been higher than those from their movies. Awards As with any other form of media, animation has instituted awards for excellence in the field. Many are part of general or regional film award programs, like the China's Golden Rooster Award for Best Animation (since 1981). Awards programs dedicated to animation, with many categories, include ASIFA-Hollywood's Annie Awards, the Emile Awards in Europe and the Anima Mundi awards in Brazil. Apart from Academy Awards for Best Animated Short Film (since 1932) and Best Animated Feature (since 2002), animated movies have been nominated and rewarded in other categories, relatively often for Best Original Song and Best Original Score. Beauty and the Beast was the first animated film nominated for Best Picture, in 1991. Up (2009) and Toy Story 3 (2010) also received Best Picture nominations, after the academy expanded the number of nominees from five to ten. Production The creation of non-trivial animation works (i.e., longer than a few seconds) has developed as a form of filmmaking, with certain unique aspects. Traits common to both live-action and animated feature films are labor intensity and high production costs. The most important difference is that once a film is in the production phase, the marginal cost of one more shot is higher for animated films than live-action films. It is relatively easy for a director to ask for one more take during principal photography of a live-action film, but every take on an animated film must be manually rendered by animators (although the task of rendering slightly different takes has been made less tedious by modern computer animation). It is pointless for a studio to pay the salaries of dozens of animators to spend weeks creating a visually dazzling five-minute scene if that scene fails to effectively advance the plot of the film. Thus, animation studios starting with Disney began the practice in the 1930s of maintaining story departments where storyboard artists develop every single scene through storyboards, then handing the film over to the animators only after the production team is satisfied that all the scenes make sense as a whole. While live-action films are now also storyboarded, they enjoy more latitude to depart from storyboards (i.e., real-time improvisation).[citation needed] Another problem unique to animation is the requirement to maintain a film's consistency from start to finish, even as films have grown longer and teams have grown larger. Animators, like all artists, necessarily have individual styles, but must subordinate their individuality in a consistent way to whatever style is employed on a particular film. Since the early 1980s, teams of about 500 to 600 people, of whom 50 to 70 are animators, typically have created feature-length animated films. It is relatively easy for two or three artists to match their styles; synchronizing those of dozens of artists is more difficult. This problem is usually solved by having a separate group of visual development artists develop an overall look and palette for each film before the animation begins. While animators must "sacrifice their personal drawing styles so that the work of many hands appears to be that of one", visual development artists are allowed to "create new worlds, new characters, and new entertainment possibilities in their own individualistic graphic styles". Character designers on the visual development team draw model sheets to show how each character should look like with different facial expressions, posed in different positions, and viewed from different angles. On traditionally animated projects, maquettes were often sculpted to further help the animators see how characters would look from different angles. Unlike live-action films, animated films were traditionally developed beyond the synopsis stage through the storyboard format; the storyboard artists would then receive credit for writing the film. The traditional approach worked for several decades because prior to the 1960s, no one except Disney was attempting to regularly produce feature-length animated films. All other animation studios, with occasional exceptions, were producing short films only a few minutes in length. For short films, it was enough for the storyboard artists to work up a few visual gags and then string them together to form a crude plot. In 1960, Hanna-Barbera pioneered the longer animated sitcom format for television with The Flintstones. Hanna-Barbera and the other early television animation studios soon discovered that storyboarding was far too inefficient to fill up a half-hour episode on the extremely tight budgets typical of television. During the 1960s, these studios experimented with a more efficient method for developing story material: a screenwriter is hired to draft a written screenplay which is approved and handed over to the storyboard artists for storyboarding. This method creates significant tension between screenwriters and storyboard artists, in that some artists feel that people who cannot draw should not be writing for animation, while some writers feel that artists do not understand how to write. Despite that tension, it has become and remains the dominant method by which animation studios develop both feature-length films and television shows. Ironically, the Disney studio was relatively slow to adopt this method. The first Disney feature animated film to have a complete screenplay written and approved before storyboarding was One Hundred and One Dalmatians (1961). However, 101 Dalmatians was "a short-lived experiment"; the next Disney film to follow this method was The Great Mouse Detective (1986). Finally, another key difference is that actors traditionally record vocal tracks for animated films in separate individual sessions; they often meet one another for the first time only at the film's premiere. Actors usually schedule sessions in the recording studio around their live-action work. In live-action filmmaking, it is very common for actors to drop out of projects due to scheduling conflicts, while in animation, recording actors separately makes it possible to "get a lot more stars into one movie than" would be possible if those actors needed to be physically present on the same set at the same time. Techniques Traditional animation (also called cel animation or hand-drawn animation) is the process that was used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels, which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by a rostrum camera onto motion picture film. The traditional cel animation process became obsolete by the beginning of the 21st century. In modern traditionally animated films, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system. Various software programs are used to color the drawings and simulate camera movement and effects. The final animated piece is output to one of several delivery media, including traditional 35 mm film and newer media with digital video. The "look" of traditional cel animation is still preserved, and the character animators' work has remained essentially the same over the past 90 years. Some animation producers have used the term "tradigital" (a play on the words "traditional" and "digital") to describe cel animation that uses significant computer technology. Examples of traditionally animated feature films include Pinocchio (United States, 1940), Animal Farm (United Kingdom, 1954), Lucky and Zorba (Italy, 1998), and The Illusionist (British-French, 2010). Traditionally animated films produced with the aid of computer technology include The Lion King (US, 1994), Anastasia (US, 1997), The Prince of Egypt (US, 1998), Akira (Japan, 1988), Spirited Away (Japan, 2001), The Triplets of Belleville (France, 2003), and The Secret of Kells (Irish-French-Belgian, 2009). Full animation is the process of producing high-quality traditionally animated films that regularly use detailed drawings and plausible movement, having a smooth animation. Fully animated films can be made in a variety of styles, from more realistically animated works like those produced by the Walt Disney studio (The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King) to the more 'cartoon' styles of the Warner Bros. animation studio. Many of the Disney animated features are examples of full animation, as are non-Disney works, The Secret of NIMH (US, 1982), The Iron Giant (US, 1999), and Nocturna (Spain, 2007). Fully animated films are often animated on "twos", sometimes on "ones", which means that 12 to 24 drawings are required for a single second of film. Limited animation involves the use of less detailed or more stylized drawings and methods of movement usually a choppy or "skippy" movement animation. Limited animation uses fewer drawings per second, thereby limiting the fluidity of the animation. This is a more economic technique. Pioneered by the artists at the American studio United Productions of America, limited animation can be used as a method of stylized artistic expression, as in Gerald McBoing-Boing (US, 1951), Yellow Submarine (UK, 1968), and certain anime produced in Japan. Its primary use, however, has been in producing cost-effective animated content for media for television (the work of Hanna-Barbera, Filmation, and other TV animation studios) and later the Internet (web cartoons). Rotoscoping is a technique patented by Max Fleischer in 1917 where animators trace live-action movement, frame by frame. The source film can be directly copied from actors' outlines into animated drawings, as in The Lord of the Rings (US, 1978), or used in a stylized and expressive manner, as in Waking Life (US, 2001) and A Scanner Darkly (US, 2006). Some other examples are Fire and Ice (US, 1983), Heavy Metal (1981), and Aku no Hana (Japan, 2013).[citation needed] Live-action/animation is a technique combining hand-drawn characters into live action shots or live-action actors into animated shots. One of the earlier uses was in Koko the Clown when Koko was drawn over live-action footage. Walt Disney and Ub Iwerks created a series of Alice Comedies (1923–1927), in which a live-action girl enters an animated world. Other examples include Allegro Non Troppo (Italy, 1976), Who Framed Roger Rabbit (US, 1988), Volere volare (Italy 1991), Cool World (US, 1992), The Pagemaster (US, 1994) Space Jam (US, 1996) and Osmosis Jones (US, 2001).[citation needed] Stop motion is used to describe animation created by physically manipulating real-world objects and photographing them one frame of film at a time to create the illusion of movement. There are many different types of stop-motion animation, usually named after the materials used to create the animation. Computer software is widely available to create this type of animation; traditional stop-motion animation is usually less expensive but more time-consuming to produce than current computer animation. Computer animation encompasses a variety of techniques, the unifying factor being that the animation is created digitally on a computer. 2D animation techniques tend to focus on image manipulation while 3D techniques usually build virtual worlds in which characters and objects move and interact. 3D animation can create images that seem real to the viewer. 2D animation figures are created or edited on the computer using 2D bitmap graphics and 2D vector graphics. This includes automated computerized versions of traditional animation techniques, interpolated morphing, onion skinning and interpolated rotoscoping. 2D animation has many applications, including After Effects Animation, analog computer animation, Flash animation, and PowerPoint animation. Cinemagraphs are still photographs in the form of an animated GIF file of which part is animated. Final line advection animation is a technique used in 2D animation, to give artists and animators more influence and control over the final product as everything is done within the same department. Speaking about using this approach in Paperman, John Kahrs said that "Our animators can change things, actually erase away the CG underlayer if they want, and change the profile of the arm." When working with game animations, skeletal 2D animations are commonly created using tools like Spine, DragonBones, Blender COA Tools, Rive, and the built-in Unity editor. The primary benefit of this approach is the ability to reuse images, which reduces the amount of graphics stored in RAM. This principle of maximizing resource efficiency means that by reusing existing elements, you can enhance the visual appeal of animations without needing to create additional graphics. 3D animation is digitally modeled and manipulated by an animator. The 3D model maker usually starts by creating a 3D polygon mesh for the animator to manipulate. A mesh typically includes many vertices that are connected by edges and faces, which give the visual appearance of form to a 3D object or 3D environment. Sometimes, the mesh is given an internal digital skeletal structure called an armature that can be used to control the mesh by weighting the vertices. This process is called rigging and can be used in conjunction with key frames to create movement. Other techniques can be applied, mathematical functions (e.g., gravity, particle simulations), simulated fur or hair, and effects, fire and water simulations. These techniques fall under the category of 3D dynamics. See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Bras%C3%ADlia] | [TOKENS: 9075] |
Contents Brasília Brasília (/brəˈzɪliə/ brə-ZIL-ee-ə, Brazilian Portuguese: [bɾaˈziliɐ, bɾaˈziljɐ] ⓘ) is the capital city of Brazil and the Federal District. Located in the Brazilian Highlands in the country's Central-West region, it was founded by President Juscelino Kubitschek on 21 April 1960, to replace Rio de Janeiro as the national capital. Brasília is Brazil's third-most populous city after São Paulo and Rio de Janeiro, with a population of 2.8 million. Among major Latin American cities, it has the highest GDP per capita. Brasília is a planned city developed by Lúcio Costa, Oscar Niemeyer and Joaquim Cardozo in 1956 in a scheme to move the capital from Rio de Janeiro to a more central location, which was chosen through a committee. The landscape architect was Roberto Burle Marx. The city's design divides it into numbered blocks as well as sectors for specified activities, such as the Hotel Sector, the Banking Sector, and the Embassy Sector. Brasília was inscribed as a UNESCO World Heritage Site in 1987 due to its modernist architecture and uniquely artistic urban planning. It was named "City of Design" by UNESCO in October 2017 and has been part of the Creative Cities Network since then. It is notable for its white-colored, modern architecture, designed by Oscar Niemeyer. All three branches of Brazil's federal government are located in the city: executive, legislative and judiciary. Brasília also hosts 124 foreign embassies. The city's international airport connects it to all other major Brazilian cities and some international destinations, and it is the third-busiest airport in Brazil. It was one of the main host cities of the 2014 FIFA World Cup and hosted some of the football matches during the 2016 Summer Olympics; it also hosted the 2013 FIFA Confederations Cup. Laid out in the shape of an airplane,[note 2] its "fuselage" is the Monumental Axis, a pair of wide avenues flanking a large park. In the "cockpit" is Praça dos Três Poderes, named for the 3 branches of government surrounding it. Brasília has a unique legal status, as it is an administrative region rather than a municipality like other cities in Brazil. The name "Brasília" is often used as a synonym for the Federal District as a whole, which is divided into 35 administrative regions, one of which (Plano Piloto) includes the area of the originally planned city and its federal government buildings. The entire Federal District is considered by IBGE to make up Brasília's city area, and the local government considers the entirety of the district plus 12 neighboring municipalities in the state of Goiás to be its metropolitan area. Etymology The term Brasília comes from the Latin translation of Brazil, which was suggested as a name for the country's capital in 1821 by José Bonifácio de Andrada e Silva. History Brazil's first capital was Salvador; in 1763 Rio de Janeiro became Brazil's capital and remained so until 1960. During this period, resources tended to be centered in Brazil's southeastern region, and most of the country's population was concentrated near its Atlantic coast. Brasilia's geographically central location fostered a more regionally neutral federal capital. The idea of relocating Brazil's capital city was conceived in 1827 by José Bonifácio, an advisor to Emperor Pedro I. He presented a plan to the General Assembly of Brazil for a new city called Brasília, with the idea of moving the capital westward from the heavily populated southeastern corridor. The original plan was to build Brasília upstream at the São Francisco River, instead of the later plans in the region around Goiás. The bill was not enacted because Pedro I dissolved the Assembly. According to a legend, Italian saint Don Bosco in 1883 had a dream in which he described a futuristic city that roughly fitted Brasília's location. In Brasília today, many references to Bosco, who founded the Salesian order, are found throughout the city and one church parish in the city bears his name. After the Proclamation of the Republic, the Third Article of the new Constitution from 1891 stated that the capital should be moved from Rio de Janeiro to a place close to the country's center. Stating that "The Union shall own, in the central plateau of the Republic, an area of 14,400 square kilometers, which will be demarcated in due course to establish the future federal capital." The government commissioned Belgian geodesist and astronomer Luís Cruls for a mission into the Central Plateau for surveying the land for the future capital, having done two expeditions in 1892 and 1894. The land demarcated for the future federal capital was denominated the Cruls Quadrilateral (Quadrilátero Cruls), and the proposed name for the new capital was Vera Cruz (in reference to the first name of Brazil, Ilha de Vera Cruz). However, the project was considered too ambitious, challenging and costly, and the idea of a new capital remained a very low priority for the governments of the Old Republic. In 1922 to celebrate the 100th anniversary of Brazil's independence, President Epitácio Pessoa ordered the construction of an obelisk in the Cruls Quadrilateral, known as the Foundation Stone of Brasília, to mark the location of the future capital. Juscelino Kubitschek was elected President of Brazil in 1955. Upon taking office in January 1956, in fulfilment of his campaign pledge, he initiated the planning and construction of the new capital. The following year an international jury selected Lúcio Costa's plan to guide the construction of Brazil's new capital, Brasília. Costa was a student of the famous modernist architect Le Corbusier, and some of modernism's architecture features can be found in his plan. Costa's plan was not as detailed as some of the plans presented by other architects and city planners. It did not include land use schedules, models, population charts or mechanical drawings; however, it was chosen by five out of six jurors because it had the features required to align the growth of a capital city. Even though the initial plan was transformed over time, it oriented much of the construction and most of its features survived. Brasília's accession as the new capital and its designation for the development of an extensive interior region inspired the symbolism of the plan. Costa used a cross-axial design indicating the possession and conquest of this new place with a cross, often likened to a dragonfly, an airplane or a bird. Costa's plan included two principal components, the Monumental Axis (east to west) and the Residential Axis (north to south). The Monumental Axis was assigned political and administrative activities, and is considered the body of the city with the style and simplicity of its buildings, oversized scales, and broad vistas and heights, producing the idea of Monumentality. This axis includes the various ministries, national congress, presidential palace, supreme court building and the television and radio tower. The Residential Axis was intended to contain areas with intimate character and is considered the most important achievement of the plan; it was designed for housing and associated functions such as local commerce, schooling, recreation and churches, constituted of 96 superblocks [pt] limited to six-story buildings and 12 additional superblocks limited to three-story buildings; Costa's intention with superblocks was to have small self-contained and self-sufficient neighborhoods and uniform buildings with apartments of two or three different categories, where he envisioned the integration of upper and middle classes sharing the same residential area. The urban design of the communal apartment blocks was based on Le Corbusier's Ville Radieuse of 1935, and the superblocks on the North American Radburn layout from 1929. Visually, the blocks were intended to appear absorbed by the landscape because they were isolated by a belt of tall trees and lower vegetation. Costa attempted to introduce a Brazil that was more equitable, he also designed housing for the working classes that was separated from the upper- and middle-class housing and was visually different, with the intention of avoiding slums (favelas) in the urban periphery. The superquadra has been accused of being a space where individuals are oppressed and alienated to a form of spatial segregation. One of the main objectives of the plan was to allow the free flow of automobile traffic, the plan included lanes of traffic in a north–south direction (seven for each direction) for the Monumental Axis and three arterials (the W3, the Eixo and the L2) for the residential Axis; the cul-de-sac access roads of the superblocks were planned to be the end of the main flow of traffic. And the reason behind the heavy emphasis on automobile traffic is the architect's desire to establish the concept of modernity in every level. Though automobiles were invented prior to the 20th century, mass production of vehicles in the early 20th made them widely available; thus, they became a symbol of modernity. The two small axes around the Monumental axis provide loops and exits for cars to enter small roads. Some argue that his emphasis of the plan on automobiles caused the lengthening of distances between centers and it attended only the necessities of a small segment of the population who owned cars. But one can not ignore the bus transportation system in the city. The buses routes inside the city operate heavily on W3 and L2. Almost anywhere, including satellite cities, can be reached just by taking the bus and most of the Plano Piloto can be reached without transferring to other buses. Later, as the population of the city increased, the transportation system also played an important role in mediating the relationship between the Pilot plan and the satellite cities. Due to the larger influx of vehicles, traffic lights were introduced to the Monumental Axis, which violates the concept of modernity and advancement the architect first employed. Additionally, the metro system in Brasília was mainly built for inhabitants of satellite cities. Though this growth has made Brasília no longer a pure utopia with incomparable modernity, the later development of traffic management, bus routes to satellite cities, and the metro system all serve as a remedy to the dystopia, enabling the citizens to enjoy the kind of modernity that was not carefully planned. At the intersection of the Monumental and Residential Axis Costa planned the city center with the transportation center (Rodoviaria), the banking sector and the hotel sector, near to the city center, he proposed an amusement center with theaters, cinemas and restaurants. Costa's Plan is seen as a plan with a sectoral tendency, segregating all the banks, the office buildings, and the amusement center. One of the main features of Costa's plan was that he presented a new city with its future shape and patterns evident from the beginning. This meant that the original plan included paving streets that were not immediately put into use; the advantage of this was that the original plan is hard to undo because he provided for an entire street network, but on the other hand, is difficult to adapt and mold to other circumstances in the future. In addition, there has been controversy with the monumental aspect of Lúcio Costa's Plan, because it appeared to some as 19th century city planning, not modern 20th century in urbanism. An interesting analysis can be made of Brasília within the context of Cold War politics and the association of Lúcio Costa's plan to the symbolism of aviation. From an architectural perspective, the airplane-shaped plan was certainly an homage to Le Corbusier and his enchantment with the aircraft as an architectural masterpiece. However, Brasília was constructed soon after the end of World War II. Despite Brazil's minor participation in the conflict, the airplane shape of the city was key in envisioning the country as part of the newly globalized world, together with the victorious Allies. Furthermore, Brasília is a unique example of modernism both as a guideline for architectural design but also as a principle for organizing society. Modernism in Brasília is explored in James Holston's 1989 book, The Modernist City. Juscelino Kubitschek, president of Brazil from 1956 to 1961, ordered Brasília's construction, fulfilling the promise of the Constitution and his own political campaign promise. Building Brasília was part of Juscelino's "fifty years of prosperity in five" plan. Already in 1892, the astronomer Louis Cruls, in the service of the Brazilian government, had investigated the site for the future capital. Lúcio Costa won a contest and was the main urban planner in 1957, with 5550 people competing. Oscar Niemeyer was the chief architect of most public buildings, Joaquim Cardozo was the structural engineer, and Roberto Burle Marx was the landscape designer. Brasília was built in 41 months, from 1956 to 21 April 1960, when it was officially inaugurated. Geography The city sits at an elevation of 1,000 metres (3,300 ft) and more, high on the Brazilian Highlands in the country's center-western region. Paranoá Lake, a large artificial lake, was built to increase the amount of water available and to maintain the region's humidity. It has a marina, and hosts wakeboarders and windsurfers. Diving can also be practiced and one of the main attractions is Vila Amaury, an old village submerged in the lake. This is where the first construction workers of Brasília used to live. Brasília has a tropical savanna climate (Aw, according to the Köppen climate classification), milder due to the elevation and with two distinct seasons: the rainy season, from October to April, and the dry season, from May to September. The average temperature is 21.4 °C (70.5 °F). September, at the end of the dry season, has the highest average maximum temperature, 29.1 °C (84.4 °F), and July has major and minor lower maximum average temperature, of 25.6 °C (78.1 °F) and 13.9 °C (57.0 °F), respectively. Average temperatures from September through March are a consistent 22 °C (72 °F). With 253.1 mm (10.0 in), November is the month with the highest rainfall of the year, while July is the lowest, with only 1.5 mm (0.1 in). During the dry season, the city can have very low relative humidity levels, often below 30%. According to the Brazilian National Institute of Meteorology (INMET), the record low temperature was 1.6 °C (34.9 °F) on 18 July 1975, and the record high was 36.4 °C (97.5 °F) on 18 October 2015 and 8 October 2020. The highest accumulated rainfall in 24 hours was 132.8 mm (5.2 in) on 15 November 1963. Demographics According to the 2022 IBGE Census, 2,817,381 people resided in Brasília and its metropolitan area, of whom 1,370,836 were Mixed (48.7%), 1,126,334 White (40%), 301,765 Black (10.7%), 12,810 Asian (0.5%), and 5,536 Amerindian (0.1%). In 2010, Brasília was ranked the fourth-most populous city in Brazil after São Paulo, Rio de Janeiro, and Salvador. In 2010, the city had 474,871 opposite-sex couples and 1,241 same-sex couples. The population of Brasília was 52.2% female and 47.8% male. In the 1960 census there were almost 140,000 residents in the new Federal district. By 1970 this figure had grown to 537,000. By 2010 the population of the Federal District had surpassed 2.5 million. The city of Brasília proper, the plano piloto was planned for about 500,000 inhabitants, a figure the plano piloto never surpassed, with a current population of only 214,529, but its metropolitan area within the Federal District has grown past this figure. From the beginning, the growth of Brasília was greater than original estimates. According to the original plans, Brasília would be a city for government authorities and staff. However, during its construction, Brazilians from all over the country migrated to the satellite cities of Brasília, seeking public and private employment. At the close of the 20th century, Brasília was the largest city in the world which had not existed at the beginning of the century. Brasília has one of the highest population growth rates in Brazil, with annual growth of 2.82%, mostly due to internal migration. Brasília's inhabitants include a foreign population of mostly embassy workers as well as large numbers of Brazilian internal migrants. Today, the city has important communities of immigrants and refugees. The city's Human Development Index was 0.936 in 2000 (developed level), and the city's literacy rate was around 95.65%. Christianity is by far the most prevalent religion in Brasília, with Roman Catholicism being the largest denomination. Source: IBGE 2022. In recent years, Brasília (Federal District) has shown a considerable reduction in crime rates. Between 2012 and 2022, there was a 67.4% decrease in the number of violent homicides, making it the federative unit with the greatest reduction during that period. According to Atlas of Violence of Municipalities 2024, Brasília became the second safest capital in Brazil, behind only Florianópolis, Santa Catarina. In 2024, the Federal District recorded the third lowest homicide rate among Brazil’s federative units, registering its lowest homicide rate in 48 years (6.8 per 100,000 inhabitants). Government Brasília does not have a mayor or councillors, because article 32 of the Constitution of Brazil expressly prohibits the Federal District being divided into municipalities. The Federal District is a legal entity of internal public law, which is part of the political-administrative structure of Brazil of a sui generis nature, because it is neither a state nor a municipality, but rather a special entity that incorporates the legislative powers reserved to the states and municipalities, as provided in Article 32, § 1º of the Constitution, which gives it a hybrid nature, both state and municipal. The executive power of the Federal District was represented by the mayor of the Federal District until 1969, when the position was transformed into governor of the Federal District. The legislative power of the Federal District is represented by the Legislative Chamber of the Federal District, whose nomenclature includes a mixture of legislative assembly (legislative power of the other units of the federation) and of municipal chamber (legislative of the municipalities). The Legislative Chamber is made up of 24 district deputies. The judicial power which serves the Federal District also serves federal territories as it is constituted, but Brazil does not have any territories. Therefore, the Court of Justice of the Federal District and of the Territories only serves the Federal District. Part of the budget of the Federal District Government comes from the Constitutional Fund of the Federal District. In 2012, the fund totaled 9.6 billion reais. By 2015, the forecast is 12.4 billion reais, of which more than half (6.4 billion) is spent on public security spending. Brasília is twinned with: Of these, Abuja and Washington, D.C. were also cities specifically planned as the seat of government of their respective countries. Brasília is associated with several significant declarations in the international political and social field, including: Economy The major roles of construction and of services (government, communications, banking and finance, food production, entertainment, and legal services) in Brasília's economy reflect the city's status as a governmental rather than an industrial center. Industries connected with construction, food processing, and furnishings are important, as are those associated with publishing, printing, and computer software. The gross domestic product (GDP) is divided in Public Administration 54.8%, Services 28.7%, Industry 10.2%, Commerce 6.1%, Agrobusiness 0.2%. Besides being the political center, Brasília is an important economic center. In 2018, it has the third highest GDP of cities in Brazil, R$254 billion reais, representing 3.6% of the total Brazilian GDP. Most economic activity in the federal capital results from its administrative function. Its industrial planning is studied carefully by the Government of the Federal District. Being a city registered by UNESCO, the government in Brasília has opted to encourage the development of non-polluting industries such as software, film, video, and gemology among others, with emphasis on environmental preservation and maintaining ecological balance, preserving the city property. According to Mercer's city rankings of cost of living for expatriate employees, Brasília ranks 45th among the most expensive cities in the world in 2012, up from the 70th position in 2010, ranking behind São Paulo (12th) and Rio de Janeiro (13th). Industries in the city include construction (Paulo Octavio, Via Construções, and Irmãos Gravia among others); food processing (Perdigão, Sadia); furniture making; recycling (Novo Rio, Rexam, Latasa and others); pharmaceuticals (União Química); and graphic industries. The main agricultural products produced in the city are coffee, guavas, strawberries, oranges, lemons, papayas, soybeans, and mangoes. It has over 110,000 cows and it exports wood products worldwide. The Federal District, where Brasília is located, has a GDP of R$133,4 billion (about US$64.1 billion), about the same as Belarus according to The Economist. Its share of the total Brazilian GDP is about 3.8%. The Federal District has the largest GDP per capita income of Brazil US$25,062, slightly higher than Belarus. The city's planned design included specific areas for almost everything, including accommodation, Hotels Sectors North and South. New hotel facilities are being developed elsewhere, such as the hotels and tourism Sector North, located on the shores of Lake Paranoá. Culture As a venue for political events, music performances and movie festivals, Brasília is a cosmopolitan city, with around 124 embassies, a wide range of restaurants and a complete infrastructure ready to host any kind of event. Not surprisingly, the city stands out as an important business/tourism destination, which is an important part of the local economy, with dozens of hotels spread around the federal capital. Traditional parties take place throughout the year. In June, large festivals known as "festas juninas" are held celebrating Catholic saints such as Saint Anthony of Padua, Saint John the Baptist, and Saint Peter. On 7 September, the traditional Independence Day parade is held on the Ministries Esplanade. Throughout the year, local, national, and international events are held throughout the city. Christmas is widely celebrated, and New Year's Eve usually hosts major events celebrated in the city. The city also hosts a varied assortment of art works from artists like Bruno Giorgi, Alfredo Ceschiatti, Athos Bulcão, Marianne Peretti, Alfredo Volpi, Di Cavalcanti, Dyllan Taxman, Victor Brecheret and Burle Marx, whose works have been integrated into the city's architecture, making it a unique landscape. The cuisine in the city is very diverse. Many of the best restaurants in the city can be found in the Asa Sul district. The city is the birthplace of Brazilian rock and place of origin of bands like: Legião Urbana, Capital Inicial, Aborto Elétrico, Plebe Rude and Raimundos. Brasília has the Rock Basement Festival which brings new bands to the national scene. The festival is held in the parking of the Brasília National Stadium Mané Garrincha. Since 1965, the annual Brasília Festival of Brazilian Cinema is one of the most traditional cinema festivals in Brazil, being compared only to the Brazilian Cinema Festival of Gramado, in Rio Grande do Sul. The difference between both is that the festival in Brasília still preserves the tradition to only submit and reward Brazilian movies. The International Dance Seminar in Brasília has brought top-notch dance to the Federal Capital since 1991. International teachers, shows with choreographers and guest groups and scholarships abroad are some of the hallmarks of the event. The Seminar is the central axis of the DANCE BRAZIL program and is promoted by the DF State Department of Culture in partnership with the Cultural Association Claudio Santoro. Brasília has also been the focus of modern-day literature. Published in 2008, The World In Grey: Dom Bosco's Prophecy, by author Ryan J. Lucero, tells an apocalyptical story based on the famous prophecy from the late 19th century by the Italian saint Don Bosco. According to Don Bosco's prophecy: "Between parallels 15 and 20, around a lake which shall be formed; A great civilization will thrive, and that will be the Promised Land". Brasília lies between the parallels 15° S and 20° S, where an artificial lake (Paranoá Lake) was formed. Don Bosco is Brasília's patron saint. American Flagg!, the First Comics comic book series created by Howard Chaykin, portrays Brasília as a cosmopolitan world capital of culture and exotic romance. In the series, it is a top vacation and party destination. The 2015 Rede Globo series Felizes para Sempre? was set in Brasília. At the Square of Three Powers, Brazilian architect Oscar Niemeyer and Brazilian structural engineer Joaquim Cardozo made buildings in the style of modern Brazilian architecture. The Congress also occupies various other surrounding buildings, some connected by tunnels. The National Congress building is located in the middle of the Eixo Monumental, the city's main avenue. In front lies a large lawn and reflecting pool. The building faces the Praça dos Três Poderes where the Palácio do Planalto and the Supreme Federal Court are located. The Brazilian landscape architect Roberto Burle Marx designed landmark modernist gardens for some of the principal buildings. In residential areas, buildings were built that were inspired in French modernist and bauhaus design. Although not fully accomplished, the "Brasília utopia" has produced a city of relatively high quality of life, in which the citizens live in forested areas with sporting and leisure structure (the superquadras) surrounded by small commercial areas, bookstores and cafés; the city is famous for its cuisine and efficiency of transit. Even these positive features have sparked controversy, expressed in the nickname "ilha da fantasia" ("fantasy island"), indicating the sharp contrast between the city and surrounding regions, marked by poverty and disorganization in the cities of the states of Goiás and Minas Gerais, around Brasília. Critics of Brasilia's grand scale have characterized it as a modernist bauhaus platonic fantasy about the future: Nothing dates faster than people's fantasies about the future. This is what you get when perfectly decent, intelligent, and talented men start thinking in terms of space rather than place; and single rather than multiple meanings. It's what you get when you design for political aspirations rather than real human needs. You get miles of jerry-built platonic nowhere infested with Volkswagens. This, one may fervently hope, is the last experiment of its kind. The utopian buck stops here. — Robert Hughes, The Shock of the New, Episode 4: "Trouble in Utopia", (1980) The Cathedral of Brasília in the capital of the Federative Republic of Brazil, is an expression of the atheist architect Oscar Niemeyer and the structural engineer Joaquim Cardozo. This concrete-framed hyperboloid structure, seems with its glass roof reaching up, open, to the heavens. The cathedral's structure was finished on 31 May 1970, and only the 70 m (229.66 ft) diameter of the circular area were visible. Niemeyer's and Cardozo's project of Cathedral of Brasília is based in the hyperboloid of revolution which sections are asymmetric. The hyperboloid structure itself is a result of 16 identical assembled concrete columns. There is controversy as to what these columns, having hyperbolic section and weighing 90 t, represent, some say they are two hands moving upwards to heaven, others associate it to the chalice Jesus used in the last supper and some claim it represent his crown of thorns. The cathedral was dedicated on 31 May 1970. At the end of the Eixo Monumental ("Monumental Axis") lies the Esplanada dos Ministérios ("Ministries Esplanade"), an open area in downtown Brasília. The rectangular lawn is surrounded by two eight-lane avenues where many government buildings, monuments and memorials are located. On Sundays and holidays, the Eixo Monumental is closed to cars so that locals may use it as a place to walk, bike, and have picnics under the trees. Praça dos Três Poderes (Portuguese for Square of the Three Powers) is a plaza in Brasília. The name is derived from the encounter of the three federal branches around the plaza: the Executive, represented by the Palácio do Planalto (presidential office); the Legislative, represented by the National Congress (Congresso Nacional); and the Judiciary branch, represented by the Supreme Federal Court (Supremo Tribunal Federal). It is a tourist attraction in Brasília, designed by Lúcio Costa and Oscar Niemeyer as a place where the three branches would meet harmoniously. The Palácio da Alvorada is the official residence of the president of Brazil. The palace was designed, along with the rest of the city of Brasília, by Oscar Niemeyer and inaugurated in 1958. One of the first structures built in the republic's new capital city, the "Alvorada" lies on a peninsula at the shore of Lake Paranoá. The principles of simplicity and modernity that in the past characterized the great works of architecture motivated Niemeyer. The viewer has an impression of looking at a glass box, softly landing on the ground with the support of thin external columns. The building has an area of 7,000 m2 with three floors consisting of the basement, landing, and second floor. The auditorium, kitchen, laundry, medical center, and administration offices are at basement level. The rooms used by the presidency for official receptions are on the landing. The second floor has four suites, two apartments, and various private rooms which make up the residential part of the palace. The building also has a library, a heated Olympic-sized swimming pool, a music room, two dining rooms and various meeting rooms. A chapel and heliport are in adjacent buildings. The Palácio do Planalto is the official workplace of the president of Brazil. It is located at the Praça dos Três Poderes in Brasília. As the seat of government, the term "Planalto" is often used as a metonym for the executive branch of government. The main working office of the President of the Republic is in the Palácio do Planalto. The President and his or her family do not live in it, rather in the official residence, the Palácio da Alvorada. Besides the President, senior advisors also have offices in the "Planalto", including the Vice-President of Brazil and the Chief of Staff. The other Ministries are along the Esplanada dos Ministérios. The architect of the Palácio do Planalto was Oscar Niemeyer, creator of most of the important buildings in Brasília. The idea was to project an image of simplicity and modernity using fine lines and waves to compose the columns and exterior structures. The Palace is four stories high, and has an area of 36,000 m2. Four other adjacent buildings are also part of the complex. Education The education factor of Brasília's Human Development Index in 2020 reached the mark of 0.804 - a considerably high level, in line with the standards of the United Nations Development Programme (UNDP) - while the literacy rate of the population over the age of ten indicated by the last demographic census was 96.7%, above the national average (91%). The city has seven international schools: the American School of Brasília, the Brasília International School, the Escola das Nações, the Swiss International School, the Lycée Français François Mitterrand, the Maple Bear Canadian School, and the British School of Brasília. Brasília has two universities, three university centers, and many private colleges. The main tertiary educational institutions are: Universidade de Brasília – University of Brasília (UnB) (public); Universidade Católica de Brasília – Catholic University of Brasília; Centro Universitário de Brasília (UniCEUB); Centro Universitário Euroamaricano (Unieuro); Centro Universitário do Distrito Federal [pt]; Universidade Paulista [pt]; and Instituto de Educação Superior de Brasília. There is an extreme concentration of higher education institutions in the Plano Piloto. In 2006, a new campus of the University of Brasilia was set up in Planaltina. There are also UnB campuses in the administrative regions of Ceilândia and Gama. The number of libraries is not proportional to the size of the population in the central area. The main public libraries in the Federal District are located in the city center, such as the University of Brasilia Library, the House and Senate Library, the Brasilia Demonstration Library and the Leonel de Moura Brizola National Library, also known as the Brasilia National Library, which opened in 2006. Transportation The average commute time on public transit in Brasília, for example to and from work, on a weekday is 96 min. 31% of public transit riders, ride for more than 2 hours every day. The average amount of time people wait at a stop or station for public transit is 28 min, while 61% of riders wait for over 20 minutes on average every day. The average distance people usually ride in a single trip with public transit is 15.1 km (9.4 mi), while 50% travel for over 12 km (7.5 mi) in a single direction. Brasília–Presidente Juscelino Kubitschek International Airport serves the metropolitan area with major domestic and international flights. It is the third busiest Brazilian airport based on passengers and aircraft movements. Because of its strategic location it is a civil aviation hub for the rest of the country. This results in a large number of takeoffs and landings and it is not unusual for flights to be delayed in a holding pattern before landing. Following the airport's master plan, Infraero built a second runway, which was finished in 2006. In 2007, the airport handled 11,119,872 passengers. The main building's third floor, with 12 thousand square meters, has a panoramic deck, a food court, shops, four movie theaters with total capacity of 500 people, and space for exhibitions. Brasília Airport has 136 vendor spaces. The airport is located about 11 km (6.8 mi) from the central area of Brasília, outside the metro system. The area outside the airport's main gate is lined with taxis as well as several bus line services that connect the airport to Brasília's central district. The parking lot accommodates 1,200 cars. The airport is serviced by domestic and regional airlines (TAM, GOL, Azul, WebJET, Trip and Avianca), in addition to a number of international carriers. In 2012, Brasília's International Airport was won by the InfraAmerica consortium, formed by the Brazilian engineering company ENGEVIX and the Argentine Corporacion America holding company, with a 50% stake each. During the 25-year concession, the airport may be expanded to up to 40 million passengers a year. In 2014 the airport received 15 new boarding bridges, totaling 28 in all. This was the main requirement made by the federal government, which transferred the operation of the terminal to the Inframerica Group after an auction. The group invested R$750 million in the project. In the same year, the number of parking spaces doubled, reaching three thousand. The airport's entrance has a new rooftop cover and a new access road. Furthermore, a VIP room was created on Terminal 1's third floor. The investments increased the airport's capacity from approximately 15 million passengers per year to 21 million by 2014. Brasília Air Force Base - ALA1, one of their most important bases of the Brazilian Air Force, is located in Brasília. Like most Brazilian cities, Brasília has a good network of taxi companies. Taxis from the airport are available outside the terminal, but at times there can be quite a queue of people. Although the airport is not far from the downtown area, taxi prices do seem to be higher than in other Brazilian cities. Booking in advance can be advantageous, particularly if time is limited, and local companies should be able to assist airport transfer or transport requirements. The Juscelino Kubitschek bridge, also known as the 'President JK Bridge' or the 'JK Bridge', crosses Lake Paranoá in Brasília. It is named after Juscelino Kubitschek, former president of Brazil. It was designed by architect Alexandre Chan and structural engineer Mário Vila Verde. Chan won the Gustav Lindenthal Medal for this project at the 2003 International Bridge Conference in Pittsburgh due to "...outstanding achievement demonstrating harmony with the environment, aesthetic merit and successful community participation". It consists of three 60 m (200 ft) tall asymmetrical steel arches that crisscross diagonally. With a length of 1,200 m (0.75 miles), it was completed in 2002 at a cost of US$56.8 million. The bridge has a pedestrian walkway and is accessible to bicyclists and skaters. The main bus hub in Brasília is the Central Bus Station, located in the crossing of the Eixo Monumental and the Eixão, about 2 km (1.2 mi) from the Three Powers Plaza. The original plan was to have a bus station as near as possible to every corner of Brasília. Today, the bus station is the hub of urban buses only, some running within Brasília and others connecting Brasília to the satellite cities. In the original city plan, the interstate buses would also stop at the Central Station. Because of the growth of Brasília (and corresponding growth in the bus fleet), today the interstate buses leave from the older interstate station (called Rodoferroviária) located at the western end of the Eixo Monumental. The Central Bus Station also contains a main metro station. A new bus station was opened in July 2010. It is on Saída Sul (South Exit) near Parkshopping Mall with its metro station, and is also an inter-state bus station, used only to leave the Federal District. The Federal District Metro is Federal District's underground metro system. The system has 24 stations on two lines, the Orange and Green lines, along a total network of 43 km (27 mi), covering some of the Federal District. Both lines begin at the Central Station and run parallel until the Águas Claras Station. The Federal District Metro is not comprehensive so buses may provide better access to the center. The metro leaves the Rodoviária (bus station) and goes south, avoiding most of the political and tourist areas. The main purpose of the metro is to serve cities, such as Samambaia, Taguatinga and Ceilândia, as well as Guará and Águas Claras. The satellite cities served are more populated in total than the Plano Piloto itself (the census of 2000 indicated that Ceilândia had 344,039 inhabitants, Taguatinga had 243,575, and the Plano Piloto had approximately 400,000 inhabitants), and most residents of the satellite cities depend on public transportation. The Expresso Pequi high-speed railway was planned to link Brasília and Goiânia, the capital of the state of Goias, but it will probably be turned into a regional service linking the capital cities and cities in between, including Anápolis and Alexânia. A 22 km light rail line is also planned, estimated to cost between 1 billion reais (US$258 million) and 1.5 billion reais with capacity to transport around 200,000 passengers per day. Sport The main stadiums are Estadio Nacional Mané Garrincha (re-inaugurated on 18 May 2013), the Serejão Stadium (home for Brasiliense) and the Bezerrão Stadium (home for Gama). There are a couple of professional clubs playing in Brasília, like Brasiliense, Gama, Brasília FC, and Real Brasília, but none are currently in the top two levels of Brazilian football. Clubs from Rio de Janeiro and São Paulo remain the most supported throughout the city. Brasília was one of the host cities of the 2014 FIFA World Cup and 2013 FIFA Confederations Cup. Brasília hosted the opening of the Confederations Cup and hosted 7 World Cup games. Brasília also hosted the football tournaments during the 2016 Summer Olympics held in Rio de Janeiro. Brasília is known as a departing point for the practice of unpowered air sports, sports that may be practiced with hang gliding or paragliding wings. Practitioners of such sports reveal that, because of the city's dry weather, the city offers strong thermal winds and great "cloud-streets", which is also the name for a maneuver quite appreciated by practitioners. In 2003, Brasília hosted the 14th Hang Gliding World Championship, one of the categories of free flying. In August 2005, the city hosted the second stage of the Brazilian Hang Gliding Championship. Brasília is the site of the Autódromo Internacional Nelson Piquet which hosted the Grande Prêmio Presidente Emílio Médici, a non-championship round of the 1974 Formula One Grand Prix season, which was won by Emerson Fittipaldi. An IndyCar race was cancelled at the last minute in 2015 due to financial concerns. The track, which has been closed since 2015, is being renovated for the end of 2023 after a deal was struck with Banco de Brasília and Terracap. The city is also home to one of Brazil's top basketball clubs, the three-time NBB champion Uniceub BRB. The club hosts some of its games at the 16,000 all-seat Nilson Nelson Gymnasium. Brasília attempted to host the 2000 Summer Olympics, but withdrew its application. In tennis, Brasília is host to the Aberto da República, and formerly hosted the Aberto de Brasília. See also Purpose-built Brazilian state capitals Notes References External links |
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Contents Recife Recife (/rɪˈsiːfi, -fə/ riss-EE-fee, -fə, Brazilian Portuguese: [ʁeˈsifi] ⓘ) is the state capital of Pernambuco, Brazil, on the northeastern Atlantic coast of South America. It is the largest urban area within both the North and the Northeast Region of Brazil. It is the largest city in Pernambuco state, and the fourth-largest urban area in all of Brazil; the metro population of the city of Recife was 3,726,974 in 2022. Recife was founded in 1537, serving as the main harbor of the Captaincy of Pernambuco—known for its large-scale production of sugar cane. At one point, it was known as Mauritsstad, when it served as the capital city of the 17th century colony of New Holland of Dutch Brazil (founded by the Dutch West India Company). Situated at the confluence of the Beberibe and Capibaribe rivers, before they drain into the South Atlantic Ocean, Recife is a major seaport along the Brazilian Atlantic coast. Its name is an allusion to the stone reefs that are present offshore. Together with the urban presence of the Beberibe and Capibaribe rivers and their tributaries, the many additional unique, small islands—and more than 50 bridges linking them throughout the city—create a distinct maritime or "riviera" atmosphere, leading to Recife being known as the "Venice of Brazil". As of 2010[update], Recife has maintained the highest HDI of any state capital in Northeastern Brazil, and the second-highest of the entire Northern and Northeastern regions (second only to Palmas). However, the city also is known as having some of the highest rates of gun violence in the entire country, despite also being considered the "safest state capital" in the Northeast. Although Recife often has a consistently higher crime rate than Brazil's South Region, it typically has a much lower crime rate than other regional capitals—such as Salvador or São Luís. Nonetheless, crime rose nearly 440% in 2015. The waters along the coastline are also considered to be among the most dangerous "on earth", as there have been many recorded shark attacks on swimmers at the beaches, including fatal incidents. The Metropolitan Region of Recife is the main industrial zone of the State of Pernambuco, major products are those derived from cane (sugar and ethanol), motor vehicles, ships, oil platforms, electronics, software, and others. With fiscal incentives by the government, many industrial companies were started in the 1970s and 1980s. Recife has a tradition of being the most important commercial hub of the North/Northeastern region of Brazil, with more than 52,500 business enterprises in Recife plus 32,500 in the Metro Area, totaling more than 85,000. A combination of a large supply of labor and significant private investments turned Recife into Brazil's second largest medical hub (the first being São Paulo); modern hospitals with state-of-the-art equipment receive patients from several neighbouring States. Recife stands out as a major tourist site within the Brazilian Northeast, known for the city itself, its beaches and for its historical sites, with many places of significance dating back to both the Portuguese and the Dutch colonies in the region. The beach of Porto de Galinhas, located 60 kilometers (37 mi) south of the city, has been repeatedly awarded the title of best beach in Brazil and has drawn many tourists. The Historic Centre of Olinda, 7 kilometers (4.3 mi) north of the city, was declared a UNESCO World Heritage Site in 1982, and both cities' Brazilian Carnival are among the world's most famous. According to The Herald, Recife has the biggest consumption of whisky around the world. The city is an education hub, and home to the Federal University of Pernambuco, the largest university in Pernambuco. Several Brazilian historical figures, such as the poet and abolitionist Castro Alves, moved to Recife for their studies. Recife and Natal are the only Brazilian cities with direct flights to the islands of Fernando de Noronha, a World Heritage Site. Recife was one of the host cities of the 2014 FIFA World Cup, and previously hosted the 2013 FIFA Confederations Cup and the 1950 FIFA World Cup. History Portuguese Empire 1537–1630 Dutch West India Company 1630–1654 Portuguese Empire 1654–1815 United Kingdom of Portugal, Brazil and the Algarves 1815–1822 Empire of Brazil 1822–1889 Republic of Brazil 1889–present Recife began as a collection of fishing shacks, inns and warehouses on the delta between the Capibaribe and Beberibe Rivers in the captaincy of Pernambuco, sometime between 1535 and 1537 in the earliest days of Portuguese colonisation of Terra de Santa Cruz, later called Brazil, on the northeast coast of South America. It was a settlement of colonial fishermen and way station for Portuguese sailors and passing ships. The first documented reference to the settlement with its "arrecife dos navios" (reef of the ships) was in the royal Charter Act of March 12, 1537, establishing Olinda, 6 kilometres (3.7 miles) to the north, as a village, with its port where the Beberibe River meets the sea. Olinda (and Igarassu before it) had been settled in 1536 by Captain General Duarte Coelho, a Portuguese nobleman, proprietor and administrator of the captaincy of Pernambuco. The city is named for the long reef recife running parallel to the shoreline which encloses its harbour. The reef is not as sometimes stated, a coral reef, but a consolidated ancient beach, now as firm and hard as stone. In 1541, Coelho returned from the Kingdom of Portugal with the machinery for an engenho (sugar mill), and with it, his brother-in-law established the first mill named Nossa Senhora da Ajuda (Our Lady of Help), in the floodplain of the Beberibe River at Recife. At that time the banks of the Capibaribe River were covered by sugar cane. Recife was capital of the 17th century New Holland (Dutch Brazil) established by the Dutch West India Company and was called Mauritsstad. The city was eventually recaptured by the Portuguese in 1654, following their victories at the first and second Battle of Guararapes. The Mascate War of 1710–1711 pitted merchants of Recife against those of nearby Olinda. Geography It has often been called "The Venice of Brazil". Recife has a tropical forest. Rainforests are characterised by high rainfall, with definitions setting minimum normal annual rainfall between 2,000 millimetres (79 in) and 1,700 millimetres (67 in). The soil can be poor because high rainfall tends to leach out soluble nutrients. There are several common characteristics of tropical rainforest trees. The city of Recife is formed by three islands (Recife, Santo Antônio, and Boa Vista). Between the islands are the rivers Beberibe and Capibaribe. Other rivers are the Jiquiá, Tejipió, Jordão and Pina. Recife has a tropical monsoon climate (Am) under the Köppen climate classification, with warm to hot temperatures and high relative humidity throughout the year. However, these conditions are relieved by pleasant westwardly trade winds blowing in from the ocean. January and February are the warmest months, with mean temperatures ranging from 31 °C (88 °F) to 22 °C (72 °F), with sun. July is the second cloudiest month and experiences the coolest temperatures, with mean temperatures ranging from 28 °C (82 °F) to 21 °C (70 °F). The wettest month is June, receiving an average of 390 mm (15.4 in) of rain. Recife features a short dry season which lasts from October to December. The driest and sunniest month is November, when maximum temperatures hover around 30 °C (86 °F) and an average of 39 mm (1.5 in) of rain is recorded. Demographics The Recife metropolitan area is the 5th most populous of Brazil, after São Paulo, Rio de Janeiro, Belo Horizonte and Porto Alegre, and the first in the Northeast region. The most populous neighborhoods of Recife in 2008 were Boa Viagem (100,388), Casa Amarela (69,134), and Várzea (64,512). According to the 2022 census, there were 1,488,920 people residing in the city of Recife. The census revealed the following numbers: 722,555 Pardo (Multiracial) people (48.5%), 578,413 White people (38.8%), 182,546 Black people (12.3%), 2,703 Asian people (0.2%), 2,656 Amerindian people (0.2%). In 2010, the center city of Recife was the 9th most populous city in Brazil. In 2010, the city had 268,160 opposite-sex couples and 1,004 same-sex couples. The gender proportion of the population of Recife was 53.8% female and 46.2% male. The Patroness Saint of Recife is Our Lady of Mount Carmel (Nossa Senhora do Carmo), dating back one hundred and eight years ago (1909). Every July 16, her day, she is remembered by the Roman Catholics in Recife, in her church. Source: IBGE 2010. Economy According to 2013 IBGE statistics, the GDP was at R$46,445,339,000. And the GDP per capita was at R$29,037. Recife has an area dedicated to information technology called "Porto Digital" (Digital Port) with more than 90 companies and 3,000 high tech Jobs. It was founded in July 2000 and has since attracted major investments. Generating some R$10 billion (Brazilian Reais) a year, it produces technology that is exported to the United States, India, Japan, and China, among other countries. Software manufacturing is the main activity in the Porto Digital. The Porto Digital cluster comprises small and medium companies, but multinationals from across the world, like Accenture, Motorola, Samsung, Dell and Sun Microsystems also have operations there. IBM and Microsoft transferred their regional headquarters to Recife. Porto Digital's startups can count on a ready pool of talent, courtesy of the Federal University of Pernambuco (UFPE), which boasts one of the best computer-science departments in all of Latin America. The university began teaching programmers to use Sun Microsystems Inc.'s (SUNW) Java language in 1996, the year it was introduced. Professors at the school also teamed up to launch the Centro de Estudos e Sistemas Avançados do Recife (C.E.S.A.R), a business incubator that has played a vital role in the birth of some 30 companies. Due to its ports, airport, and geographic location in the northeastern region of Brazil, Recife is considered one of the biggest logistics hubs in Brazil. The Logistics and Communications sector employs 4% of the people in Recife, 12.3% in Jaboatão dos Guararapes and over 9% in the Metropolitan Area. These numbers were due to increase with the conclusion of the Transnordestina (the main NE Trainline) with a 1,800/1,118 km/mi extension, which will cross 3 and connect 7 States (34 municipalities in Pernambuco alone) products with Suape port (PE) and Pecem Port (CE)) with costs that are estimated to be around 4.5 R$. Recife has historically benefited from its central location in the Northeast region. In a 200-mile (320 km) radius from Recife are four state capitals, two international and three regional airports, five international ports, 12 million people, 51% of the research centers of the Northeast and 35% of the region's GDP. Similarly, in a 500-mile (800 km) radius there are seven state capitals, five international and five regional airports, nine international seaports and two fluvial ports. Shopping Center Recife was inaugurated in 1980 and it was subsequently surpassed by Riomar Mall, which gross leasable area is 101.000 m2, compared with 91.200m² of Shopping Recife. Other shopping centers include: The Metropolitan Region of Recife has the third largest medical pool in Brazil, after São Paulo and Rio de Janeiro. Together they make up 417 hospitals and clinics with 72,000 employees in the Metro Area and more than 120,000 in the State of Pernambuco. The medical pool offers a total of 8,990 beds and, according to the Union of the Hospitals of Pernambuco, recorded in the year 2000 an invoicing of R$220 million (Brazilian Reals). It is thanks to the pool that Pernambuco has access to more CT scan devices than more developed countries such as Canada or France. A large portion of the modern hospitals included in the pool are located between the neighbourhoods of Derby and of the Ilha do Leite. The Hospital Real Português de Beneficência Portuguesa em Pernambuco, or "Hospital Português" (Portuguese Hospital) for short, is one of the most renowned hospitals in the country. Many people from neighbouring states go to Recife for treatment, as it has the largest and best medical facilities in the North–Northeast of Brazil. Recife has three universities / medical schools for medicine, two public, Federal University of Pernambuco and University of Pernambuco; and one private, Escola Pernambucana de Medicina FBV/IMIP (Medical School of Pernambuco). Many events taking place during the year include: Because of its geographic location, tourism and city infrastructure, Recife's convention centers are of a high standard. The two centers are: The third largest convention center in Brazil. A modern theatre with 1,931 seats and 2,071 square metres (22,290 square feet) of exposition area located on the university campus. Government and politics Recife's municipal government is divided into an executive branch called the Prefeitura, led by a mayor (Brazilian Portuguese: Prefeito/Prefeita) and a legislative branch called the Câmara Municipal, consisting of 39 councillors. Elections are held every four years, with the most recent being held in 2020. The current mayor is João Campos of the Brazilian Socialist Party (PSB), son of former governor of Pernambuco, Eduardo Campos. The city is the capital of the state of Pernambuco, and hosts administrative buildings of the state governor, legislative assembly, and judiciary. Tourism Celebrations, holidays and other events are numerous throughout the year. The New Year begins at the beach, Praia de Boa Viagem and in Old Recife. The carnival of Recife and Olinda (which has its historic town centre considered a World Heritage Site by UNESCO in 1982) begins many weeks ahead in December with innumerable balls and parades. In the city, the carnival festivities begin in January, as locals begin preparing for the official Carnival, which starts the week before Shrove Tuesday and Ash Wednesday in the Christian liturgical calendar. The pre-Carnival parties usually consist of percussion groups practising in local clubs, city streets and squares, and even Carnival balls. There is a variety of rhythms from different cultures. Carnival officially starts with the Galo da Madrugada, a party in Downtown Recife where people call old Recife, that attracts many people from several states of Brazil, and other parts of the world. Recife has many quality 3, 4 and 5-Star International Hotels as well as Pousadas (traditional Bed & breakfast) and Apart-Hotels, totalling more than 11,500 bedrooms and this number increases to over 30,000 when the metropolitan area is considered. The Mercado de São José (Market of Saint Joseph) is an old, iron construction with a popular market nearby. In the Fort Cinco Pontes (Fort of Five Points) is the state museum, Museu do Estado de Pernambuco. At the rectangular Pátio de São Pedro are the Cathedral São Pedro (Cathedral of Saint Peter) dating from the year 1782 and restored colonial houses, with numerous restaurants, bistros and bars. In the Bairro Santo Antônio (Saint Anthony neighborhood), at the meeting place of the rivers Capibaribe and Beberibe, is the Praça da República (Square of the Republic) with the Teatro Santa Isabel (Theatre of Saint Isabel), with its neoclassical front, the Law Courts, and the Palácio da Justiça (Palace of Justice). The Casa da Cultura (House of Culture) is an old prison that has been converted into a cultural space and shopping centre. Built between 1835 and 1855, the Malakoff Tower, a monument constructed in Tunisian / Arabic style, used to be an observatory and now is a cultural centre and a place for popular gatherings. It is located at Arsenal da Marinha Square. It has been registered as an Historical Patrimony and was named after a similar monument on the Crimean peninsula, off the Black Sea, used as a defence centre for Sebastopol. Recife has a zoo known as the Dois Irmãos Park, consisting of 387 hectares of Atlantic Forest reserve and 14 hectares of botanical gardens. It contains 800 animals, the Natural Science Museum and various ecological trails. The metropolitan area has also a giant water park 20 km (12 mi) North of Recife, called Veneza water park which has nearly one million square feet of area, ten million litres of water and many water slides for the youngsters. Among Recife's main tourist attractions are: Architectural Digest featured Rua do Bom Jesus as of the 31 most beautiful streets in the world in 2019, noting its history and the Kahal Zur Israel synagogue. Recife beaches Jaboatão beaches Olinda beaches North beaches Education There are international schools, such as the American School of Recife and the ABA Maple Bear Canadian School. Recife is home to several higher education institutions (83), notably several public-owned universities: Culture Recife is home to the frevo, a regional dance and music, typical in carnival, and Mangue Beat, a type of Brazilian rock with mixture of Maracatu, Ciranda, Rap and other musical styles. The Festival de São João, held annually in June, celebrates traditional culture and music that originated in the region. During carnival, downtown Recife holds one of the most authentic and democratic celebrations: every year more than two and a half million people open the festivities of the Brazilian Carnival at Galo da Madrugada. Recife and Olinda combined have 25 museums, 38 art galleries, 2 symphony orchestra halls, 15 theatres, 1 opera house and more than 40 movie theatres. The four-day period before the Christian liturgical preparatory season Lent leading up to Shrove Tuesday and Ash Wednesday is carnival time in Brazil. Rich and poor alike forget their cares as they gaily party in the streets. Pernambuco has large Carnival celebrations with more than 3000 shows in the streets of the historic centre performed by over 430 local groups, including the Frevo, typical Pernambuco music. Another famous carnival music style from Pernambuco is Maracatu. The cities of Recife and Olinda hold the most authentic and democratic Brazilian Carnival celebrations. The largest carnival in Brazil is Galo da Madrugada, which takes place in Downtown Recife on Carnival Saturday. Another famous event is the "Noite dos Tambores Silenciosos." (literally, Night of the Silent Drums) Carnival. Recife's Carnival is nationally known, attracting thousands of visitors every year. The party starts a week before the official date, with electric trios "shaking" the Boa Viagem neighborhood. On Friday, people take to the streets to dance to the sound of frevo and to dance with maracatu, ciranda, caboclinhos, afoxé, reggae and manguebeat groups. There are still many other entertainment centers spread out around the city, featuring local and national artists. One of the highlights is Saturday when more than two and a half million people follow the Galo da Madrugada group. Every day, there is the Night of the Silent Drums, on the Pátio do Terço, where Maracatus honor slaves that died in prisons. The Museum of Pernambuco State is housed in a 19th-century mansion in Recife. Known locally as the "Museu do Estado de Pernambuco (MEPE)", it dates back to 1929. The museum comprises over 12 thousand pieces from Masters who portrayed the Colonial period and the Dutch invasion (1630), to 20th and 21st century pieces. Kahal Zur Israel Synagogue: Sinagoga Kahal Zur Israel, the historic Recife synagogue in Recife Antigo, is the oldest in the Americas, dating to 1646. The original synagogue was destroyed, but a new one was built on site. In the early 21st century, it was restored for use as a museum. It is an important part of Pernambuco's historic patrimony. It was founded by Jews who settled in the Netherlands after expulsion from Spain and Portugal. They emigrated with the Dutch to "New Holland" when the Dutch invaded the northeastern portion of Brazilian lands occupied by the Portuguese. Moses Cohen Henriques led a Jewish 3000 contingent as part of the Dutch invasion. Isaac Aboab de Fonseca was brought from Amsterdam for the synagogue, serving as one of the first rabbis in the new world. When the Portuguese reconquered the land, these Sephardic Jews moved further north with the Dutch, and helped found "New Amsterdam" (now New York City) on Manhattan island in the United States. The first New York City synagogue was created in Lower Manhattan by the founders of the first synagogue in the New World in Recife. It later moved to the Upper West Side, where it is still called "the Portuguese and Spanish Synagogue". Gilberto Freyre Foundation: This farmhouse from the 18th century was Gilberto Freyre's old residence. Artworks, arts and crafts, book collections and objects that belonged to the Pernambucan writer and sociologist are displayed here. Ricardo Brennand Institute: Set up in a reproduction of a medieval-style castle, there is a collection of pieces from the period of Dutch rule in Recife, as well as daggers and armor from medieval Europe. Recife City Museum: Located in a room in Cinco Pontas Fort (the five-pointed Fort), this museum houses pictures, reproductions of old paintings, and objects that encapsulate Recife since the period of Dutch rule. Also known as Recife Audiovisual Festival or Cine-PE, Recife Cinema Festival is a competitive film and audiovisual festival. It is dedicated to the Brazilian and state production of feature & short films; as well as videos and documentaries. It was founded in 1997 by Alfredo & Sandra Bertini, who have been the directors since then. Between 1997 and 2008, 1806 films have been shown (through either competitive applications or National & International invitations), of all types and genres, for a public of over 250,000. Recife and consequently Pernambuco has a tradition in the Brazilian film making history. In the pioneer times of the Brazilian cinema emerged the Regional movements. One of those, was designated Ciclo de Recife (Recife cycle), between 1922 and 1931. Despite adverse conditions, during this cycle 13 feature films were produced in Recife (usually about drama & romance) and 7 documentary films (usually ordered by authorities to show their public works). Despite the pervasive influence of US and European cinemas in the silent film times, the Recife cycle was one of the most important and productive regional movements. One of the most important films was Aitaré da Praia, which is recognised for pioneering the rise of regional themes (1925). Other successful films were Retribuição (1923) and A Filha do Advogado (1926). Another important phase of the Pernambuco/Recife film history was in the 1970s with a movement called Super 8, often used for home videos and documentaries made by students, amateurs and aspirant film makers, due to the utilisation of 8 mm film, using the new technology released by Kodak. The typical regional main dishes include caldeirada (seafood stew with octopus cooked with various spices and coconut milk, which may be served with white beans or toasted cassava flour), feijoada Pernambucana (made with brown beans instead of black), sarapatel, buchada (goat stew), dobradinha (bean stew), roast goat, mão de vaca (cow's foot stew), Rabada (ox tail stew with manioc flour), cozido Pernambucano (beef stew), chambaril, galinha de cabidela (chicken in blood sauce), peixada Pernambucana (fish stew), macaxeira com charque (cassava with beef jerky), quiabada (okra with beef), feijão com arroz (rice and beans), and guaiamuns (giant crabs). One of the most traditional dishes, is Carne-de-sol (Sun-dried beef), which consists of beef dried in the sun and usually served with green beans. For dessert, Recife offers bolo de rolo (cake roll), cake Souza Leão, and cartola (top hat cake) which consists of fried long bananas with cheese topped with cinnamon and sugar. The diversity continues for the breakfast as one can find cuscuz of sweet corn or manioc, yams and cassava with charque (corned beef or beef jerky), sweet potato, goiabada, fried long banana, mugunzá, regional fruits, bread, tapioca, rice pudding, porridge, yogurt, queijo coalho, corn bread, hominy and pamonha. Breakfast is often accompanied by coffee and/or milk and juices from regional fruits such as cashew, pineapple, mangoes, acerola, guava, passion fruit, umbu, hog plum, pitanga, jackfruit, orange, avocado and the regionally most famous caldo-de-cana and água-de-coco juices. According to Abrasel (Brazilian Association of Bars & Restaurants), Recife has more than 1,700 bars and restaurants which serve regional (partially listed above), Brazilian (such as moqueca, bobó de camarão, açaí) and International dishes from all over the world, which has made it the first gastronomic centre of the Northeast and the third one in the whole country after São Paulo and Rio. Transportation Guararapes International Airport, also known as Gilberto Freyre International Airport, is the airport serving Recife. It has been open in its newest structure since July 2004 and is 52,000 square m in area. Recife Air Force Base - BARF, a base of the Brazilian Air Force, is located in Recife. Suape port, is located in the administrative area of the small town of Ipojuca, inside the metropolitan region. Suape serves ships 365 days a year without any restrictions with regard to tidal schedules. The port moves over 8.4 million tons of cargo a year. More than 95 companies from almost all industries are already installed in Suape which includes a Petrobras Refinery, the largest shipbuilder in South American and a large petrochemical Company as well as many others. Port of Recife is located in the city of Recife. Road access to Port of Recife is accomplished, mainly, through the federal highways BR-232 (linking the interior of the state) and BR-101 (linking to other States to the north and the south of the State of Pernambuco). The main producing and consuming centres of the interior of the state and of the rest of the Northeast, are linked to Port by paved highways. Recife Metro is one of the largest metro systems in Brazil. It reaches from Recife central station to Jaboatão, Timbi (Camaragibe) and Cajueiro Seco (Jaboatão dos Guararapes), being complemented by a light rail, with connections at Curado and Cajueiro Seco stations, which links Recife and Jaboatão to Cabo de Santo Agostinho. This system is also integrated with bus terminals such as at Barro, Joana Bezerra and Tancredo Neves stations. It is possible to ride the metro and the connected bus line by purchasing one ticket only. In March 2009, Recife Metro completed an additional phase of expansion. The system now has 29 stations (18 integrated with buses), plus 9 light rail stations, and is 39.5 km (24.5 mi) long. According to Detran-PE (Transportation State Bureau Administrator) in 2009, the city of Recife had a total fleet of over 464,000 motor vehicles on its streets. 54,335 cargo vehicles, 318,520 passenger vehicles, 72,719 motorbikes, 14,142 others and 4,855 buses (split between private and public). These buses transport almost two million passengers daily in the metropolitan area, distributed between 17 local bus companies. Recife metropolitan area is crossed by 3 main Federal highways: The average amount of time people spend commuting with public transit in Recife, for example to and from work, on a weekday is 96 min. 34% of public transit riders, ride for more than 2 hours every day. The average amount of time people wait at a stop or station for public transit is 27 min, while 60% of riders wait for over 20 minutes on average every day. The average distance people usually ride in a single trip with public transit is 9 km, while 19% travel for over 12 km in a single direction. Neighborhoods The city has 6 Political Administrative Regions (RPA), which contains all 94 neighborhoods: Sports Football in Pernambuco began in 1902, when English and Dutch sailors landed in Recife and played a game of football on the beach. The new game aroused the interest of the people of Pernambuco, and they soon started playing. Recife provides visitors and residents with various sporting activities. There are several football clubs based in Recife, such as Sport Recife the current 2023 State Champion (43 times state champion and once national champion (1987) and Brazil's Cup champion (2008)), Santa Cruz (29 times state champion) and Náutico (23 times state champion and unique 6 consecutives). The Campeonato Pernambucano (Pernambuco's State Championship) is divided into Taça Revolução and Taça Confederação. Also, the city has traditions in another sports as: Basketball, Hockey, Golf, Tenis, Table tennis, Volleyball, beach volley, Handball, Surf, Skateboard, Bodysurf, Swimning pool and Futsal. Provided by clubs such as: Nautico, Sport, Santa Cruz, Portuguese Club of Recife, Caxanga Golf & Country Club, Mauricio de Nassau University, School of Tenis Recife as others. Recife was one of the 12 cities chosen to host games for the 2014 FIFA World Cup, for which Brazil was the host nation. The Metropolitan Recife project consisted of a new Sports City constructed in São Lourenço da Mata in an intersection area near to Recife, Jaboatão dos Guararapes and Camaragibe. The new Sports complex is 19 km (12 mi) west of Recife city centre and 19 km (12 mi) from the Airport. The sports complex 'City' was constructed with a new stadium with 45,000 seats, 9,000 flats, 6,000 car parking spaces, 1 hospital, 1 technical school, 1 shopping centre, 1 integrated metro/bus station and improvement of federal roads, all with an estimated cost of R$1.6 billion. This was the second time Recife has been chosen to be one of the host cities of the FIFA World Cup. In 1950, Recife hosted just one game, between Chile and the United States, at Ilha do Retiro Stadium. At this time, it was the only city to represent the Northeast of Brazil. Social and environmental issues Violence In 2013, Recife had the 38th highest homicide rate in The Americas, after Detroit, New Orleans, Baltimore, San Juan and other cities. PESP plan The State Governor Eduardo Campos introduced the PESP plan (Security state Plan – Plano Estadual de Segurança Pública) on May 2, 2009. This aimed to reduce homicides by 12% each year until they reached half of the previous rate. The plan was based on the fact that 60% of murders were committed by people related to criminal activities and embraces both prevention and correction. Carnival security plan In 2007 ISS servers managed 50 Pelco Spectra PTZ cameras to capture all activity within areas of the city used for Carnival. Continued deployment of this project in Recife aimed to install over 1000 cameras in the city. Immediate statistics during the Carnival period indicated a reduction in violent crime of over 30%. UNICEF is an international development agency, which supports locally initiated projects with an emphasis on children. Recife offered an environment to utilise its rich cultural heritage to develop programs aimed at its most serious issues. One of the most hands-on projects was a radio program named "Jovens Comunicadores" (Communicating Youth). It trained a group of eighteen adolescents to produce a weekly radio program focusing on child labour. The program is recorded and sent to community radio stations, most of which are broadcast in the sugar cane area where many children work. Jovens Comunicadores advocates and lobbies against exploitation. All programs are produced and edited by teens. As a radio program, it also plays regional music, giving a boost to local culture. "Criança Feliz" (Happy Child) had the same objective, eliminating child exploitation, but used a different approach. It was begun by a women's organisation and offered after-school activities with the goal of discouraging children and adolescents from working in sex tourism. Besides giving classes and training in computers, English, art, and karate, it also offered psychological services and group therapy. These combined services sought to equip children not only with skills but also a positive self-image and respect to not fall into prostitution. As all the kids came from very poor backgrounds, the financial pull of prostitution was very high. Criança Feliz worked at educating them about the high costs in the long term. This was a very interesting project, since it was actually a house with groups of kids divided into participating in different activities. Shark attacks are a recurrent problem in Recife metropolitan area. They were addressed in the National Geographic Channel series Hunter Hunted in the episode "Shark Invasion." Surfing has been outlawed since 1995 on the urban beaches (Pina, Boa Viagem, Piedade, and Candeias) because of the risk the sport poses to its practitioners due to shark attacks. It is strongly recommended that bathers not climb over and swim beyond the reefs because of strong, unpredictable currents and the possible presence of bull sharks. Several beaches have messages alerting people to the danger of sharks. Before the 1990s there had been virtually no attacks reported here. As of June 28, 1992, Recife began officially registering shark attacks on its beaches (mainly on the beach of Boa Viagem), and between 1992 and 2021 there were 64 shark attacks along a 20 km (12 mi) stretch of coast, 26 of them being fatal. The last deadly attack occurred on July 10, 2021. Other facts contribute to the appearance of sharks in the area of Boa Viagem Beach: the marine currents direct the animals for that stretch of 20 kilometers. A sand bank extends into the sea about a thousand meters from Recife's beaches. Between this long strip, with depth between 1 and 3 meters, and the beach a deep channel is formed (between 5 and 8 meters), which becomes a kind of refectory for sharks, since it attracts several species of rays, one of the prey of sharks. The presence of so many prey in that area makes the sharks stay closer to the beaches for longer and when the shark enters these channels, there is a great risk of contact with people.[citation needed] The Council for Shark Hazard Monitoring (Cemit), recommends the following precautions to prevent the attack of sharks on beaches in Recife: Avoid bathing between sunset and sunrise. It is in this period that sharks are most active. Do not enter the sea when the tide is full. Hungry sharks get across the reef if there is enough water flowing over them. Avoid swimming alone and when the water is cloudy. Do not enter the water above the waist and do not swim in the open sea. In 1995, the Pernambuco government prohibited the practice of water sports on 32 km of coastline in the Metropolitan Region of Recife. This ban resulted in the reduction of incidents with sharks thereafter. The state-funded investigation has focused on the long-term ecological effects of the new port of Suape. Based on its findings, local human rights lawyers are considering a symbolic legal challenge to the State of Pernambuco, with the aim of securing compensation for the victims of attacks. Notable people Consular representations The following countries have consular representations in Recife: International relations Recife is twinned with: Recife cooperates with: References Bibliography External links |
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Contents Belo Horizonte Belo Horizonte[a] is the sixth-largest city in Brazil, with a population of around 2.4 million, and the third largest metropolitan area, containing a population of 6 million. It is the 13th-largest city in South America and the 18th-largest in the Americas. The metropolis is anchor to the Belo Horizonte metropolitan area, ranked as the third most populous metropolitan area in Brazil and the 17th most populous in the Americas. Belo Horizonte is the capital of the state of Minas Gerais, Brazil's second-most populous state. It is the first planned modern city in Brazil. The region was first settled in the early 18th century, but the city as it is known today was planned and constructed in the 1890s to replace Ouro Preto as the capital of Minas Gerais. The city features a mixture of contemporary and classical buildings and is home to several modern Brazilian architectural icons, most notably the Pampulha Complex. In planning the city, Aarão Reis and Francisco Bicalho sought inspiration in the urban planning of Washington, D.C. The city has employed notable programs in urban revitalization and food security, for which it has been awarded international accolades. The city is built on several hills, and is completely surrounded by mountains. There are several large parks in the surroundings of Belo Horizonte. The Mangabeiras Park (Parque das Mangabeiras), 6 km (4 mi) southeast of the city centre in the hills of Curral Ridge (Serra do Curral), has a broad view of the city. It has an area of 2.35 km2 (580 acres), of which 0.9 km2 (220 acres) is covered by the native forest. The Jambreiro Woods (Mata do Jambreiro) nature reserve extends over 912 hectares (2,250 acres), with vegetation typical of the Atlantic Forest. More than 100 species of birds inhabit the reserve, as well as 10 species of mammals. Belo Horizonte was one of the host cities of the 1950 and the 2014 FIFA World Cup. Additionally, the city shared as host of the 2013 FIFA Confederations Cup and the football tournament during the 2016 Summer Olympics. History The metropolis was once a small village, founded by João Leite da Silva Ortiz [pt], a bandeirante explorer from São Paulo. The explorer settled in the region in 1701, leading a gold rush expedition. He then established a farm called "Curral d'el Rey," archaic Portuguese for the "King's Corral". The farm's wealth and success encouraged people from surrounding places to move into the region, and Curral del Rey became a village surrounded by farms. Another important factor contributing to the growth of the village was people immigrating from the São Francisco River region, who had to pass through Curral d'el Rey to reach southern parts of Brazil. Travelers usually visited a small wooden chapel, where they prayed for a safe trip, so the chapel was named Capela da Nossa Senhora da Boa Viagem, which means "Chapel of Our Lady of the Good Journey." After the construction of Belo Horizonte, the old baroque chapel was replaced by a neo-Gothic church that became the city's cathedral. The previous capital of Minas Gerais, Ouro Preto (meaning "black gold," due to dark rocks with gold inside found on the region), originally called "Vila Rica" ("wealthy village"), was a symbol of both the monarchic Brazilian Empire and the period when most of Brazilian income was from the mining industry. That never pleased the members of the Inconfidência Mineira, republican intellectuals who conspired against the Portuguese dominion of Brazil. In 1889 Brazil became a republic, and it was agreed that a new state capital, in tune with a modern and prosperous Minas Gerais, had to be established. In 1893 due to the climatic and topographic conditions, Curral Del Rey was selected by Minas Gerais governor Afonso Pena among other cities as the location for the new economic and cultural center of the state, under the new name of Cidade de Minas, or City of Minas. Aarão Reis [pt], an urbanist from Pará, was then chosen to design the second planned city of Brazil after Teresina. Cidade de Minas was inaugurated in 1897, with many unfinished buildings as the Brazilian government set a deadline for its completion. The local government encouraged growth through subsidies. It offered free lots and funding for building houses. An interesting feature of Reis' downtown street plan for Belo Horizonte was the inclusion of a symmetrical array of perpendicular and diagonal streets named after Brazilian states and Brazilian indigenous tribes.[citation needed] In 1906 the name was changed to Belo Horizonte, which translates to "Beautiful Horizon" in English. The city's name is derived from the surrounding Curral del Rey Mountains, which create a visually striking, hilly ridge that appears as a "beautiful horizon" when viewed from the city. At that time, the city was experiencing a considerable industrial expansion that increased its commercial and service sectors. From its very beginning, the city's original plan prohibited workers from living inside the urban area, which was defined by Avenida do Contorno (a long avenue that goes around the city's central areas). Reserved for government workers (hence the name of the trendy neighbourhood "Funcionários"), and bringing about an accelerated occupation outside the city's area well provided with infrastructure since its very beginning. Naturally, the city's original planners did not count on its ongoing population growth, which proved especially intense in the last 20 years of the 20th century. In the 1940s a young Oscar Niemeyer designed the Pampulha Neighbourhood to great acclaim, a commission he got thanks to then-mayor and soon-to-be-president Juscelino Kubitschek. These two men are largely responsible for the wide avenues, large lakes, parks, and jutting skylines that characterize the city today. A 1949 American government film favorably reviewed the planning and building of the city. Belo Horizonte is fast becoming a regional center of commerce. The Latin American research and development center of Google, situated in Belo Horizonte, was responsible for the management and operation of the former social networking website Orkut. It continues to be a trendsetter in the arts, particularly where music, literature, architecture, and the avant garde are concerned. Geography The term "Grande BH" ("Greater Belo Horizonte") denotes any of various definitions for the metropolitan area of Belo Horizonte. The legally defined Metropolitan Region of Belo Horizonte consists of 34 municipalities in total, and a population of around six million inhabitants (as of 2021[update], according to Brazil's National Institute of Geography and Statistics (IBGE)). The intense process of urbanization that is taking place in the metropolitan region has made some of the political boundaries between municipalities in the region obsolete. The city is now composed of a relatively contiguous urban area, centred on Belo Horizonte, which extends out into municipalities such as Contagem, Betim, Nova Lima, Raposos, Ribeirão das Neves, Ibirité, Santa Luzia and Sabará, among others. The municipality is bounded to the north by Vespasiano, to the north east by Santa Luzia, by Sabará to the east, by Nova Lima to the southeast, Brumadinho to the south and Ribeirão das Neves, Contagem and Ibirité to the west. According to the current geographic classification by IBGE, the municipality belongs to the Immediate Geographic Region of Belo Horizonte, in the Intermediate Geographic Region of Belo Horizonte. Belo Horizonte lies on a region of contact between different geological series of the Proterozoic. The geology largely comprises crystalline rocks, which give rise to the varied morphology of the landscape. It is located in a large geological unit known as the craton of São Francisco, referring to extensive crustal nucleus of central-eastern Brazil, tectonically stable at the end of the Paleoproterozoic and bordering areas that suffered the regeneration at the Neoproterozoic. The archean rocks members of Belo Horizonte complex and supracrustal sequences of the Paleoproterozoic is predominant. The area of Belo Horizonte complex includes the geomorphological unit called Depression of Belo Horizonte, which represents about 70% of the municipality area and has its greatest expression in the northern Ribeirão Arrudas pipeline. The metasedimentary rocks has its area of occurrence on the south of Ribeirão Arrudas pipeline, constituting about 30% of the area of Belo Horizonte. The characteristics of this area are lithological diversities and rugged topography, which has its maximum expression in the Serra do Curral (Corral Ridge), the southern boundary of the municipality. Its soil comprises a succession of layers of rocks of varied composition, represented by itabirite, dolomite, quartzite, phyllites and schists different from the general direction northwest–southeast and dip to the southeast. The hills of Belo Horizonte are part of the Espinhaço Mountains and belong to the larger Itacolomi mountain chain. The highest point in the municipality is in the Serra do Curral, reaching 1,538 metres (5,046 ft). A centre for conservation and preservation of animals and plants it has also developed environmental education projects. The Zoo, which encompasses a total area of 1.4 million square meters, is located at the Foundation's headquarters and is regarded as one of the most complete in Latin America. It has a collection of close to 900 animals representing 200 species, from Brazil and other parts of the world, as well as the first public butterfly sanctuary in South America. Pampulha Ecological Park is administered by the Zoo-Botanical Foundation of Belo Horizonte and was inaugurated on May 21, 2004. It is 30 acres (12 ha) of green area that offers to the population and the tourists a permanent programming of environmental, cultural and patrimonial education. The city contains the 102 hectares (250 acres) Baleia State Park, created in 1988 but still not implemented as of 2014. It contains part of the 3,941 hectares (9,740 acres) Serra do Rola-Moça State Park, created in 1994. Belo Horizonte's has a latitude at 19'55" in the South tropical zone. Yearly temperatures average between 9 and 35 °C (48 and 95 °F). The Köppen climate classification of the region is tropical savanna climate (Aw), milder due to the elevation, with humid/warm summers and dry/mild winters. Belo Horizonte is located about 500 kilometres (310 mi) from the sea. Even though inter-seasonal differences are not as pronounced as they are in temperate places, there is a contrast between spring and summer, and between fall and winter. The coldest month is generally July, with a lowest recorded temperature of 3.1 °C (38 °F). The hottest month is usually January. With an elevation of 852 m (2,795 ft), Belo Horizonte is cooled considerably by the relatively high elevation, which suppresses high maximum air temperatures experienced in nearby cities at lower altitudes. Belo Horizonte's climate is mild throughout the year. Temperatures vary between 11 and 31 °C (52 and 88 °F), the average being 22 °C (72 °F). Winter is dry and mostly sunny, and summer is rainy. Demographics According to the 2022 census, there were 2,315,560 people residing in the city of Belo Horizonte. The census revealed the following numbers: 1,008,878 White people (43.6%), 986,302 Pardo (Multiracial) people (42.6%), 312,920 Black people (13.5%), 4,881 Asian people (0.2%), 2,486 Amerindian people (0.1%). In 2010, the city had 428,893 opposite-sex couples and 1,090 same-sex couples. The population of Belo Horizonte was 53.1% female and 46.9% male. The Metropolitan Region of Belo Horizonte, called Greater Belo Horizonte, is the 3rd most populous of Brazil, after only Greater São Paulo (with 19,672,582 people, first in Brazil and 5th in the world) and Greater Rio de Janeiro (with 14,387,000 people). The city is the 6th most populous of the country. During the 18th century, Minas Gerais received many Portuguese immigrants, mainly from Northern Portugal as well as many enslaved Africans. Belo Horizonte has a notable Italian influence; around 30% of the city's population have some Italian origin. The Italian culture is present in the cuisine, dance, and language. People of German, Spanish, French, and Syrian-Lebanese ancestries also make up sizeable groups. Source: IBGE 2010. The Catholic Church includes the territory of the municipality of Belo Horizonte and 28 other municipalities in the ecclesiastical jurisdiction of the Archdiocese of Belo Horizonte, which has Divinópolis, Luz, Oliveira and Sete Lagoas as suffragan dioceses. The archbishop's see is in the Cathedral of Our Lady of Boa Viagem. Some of the churches in Belo Horizonte have great artistic value, especially the Church of São Francisco de Assis, in Pampulha. The church's architectural design was by Oscar Niemeyer and its structural calculations were by Joaquim Cardoso. Its interior houses the Stations of the Cross, made up of fourteen panels by Cândido Portinari, considered one of his most significant works. The external panels are by Cândido Portinari (figurative panel) and Paulo Werneck (abstract panel). The gardens were designed by Burle Marx. Alfredo Ceschiatti sculpted the bronze bas-reliefs in the baptistery. Other shrines worth mentioning are the Basilica of Our Lady of Lourdes with its neo-Gothic style, in the Lourdes neighborhood; the Church of São José, in the hypercenter and the Church of São Judas Tadeu, in the Graça neighborhood. The Catholic Church recognizes Our Lady of Boa Viagem as the city's patron saint. In 1993, under mayor Patrus Ananias de Souza, the city started a series of innovations based on its citizens having the "right to food." These include, for example, creating farmers' markets in the town to enable direct sales and regularly surveying market prices and posting the results across the city. The city's process of participatory budgeting was linked with these innovations, as a result of which the infant mortality rate was reduced by 50% in a decade. There is some evidence that these programs have helped support a higher quality of life for the local farmers partnering with the city and that this may be having positive effects on biodiversity in the Atlantic rainforest around the city. The city's development of these policies garnered the first "Future Policy Award" in 2009, awarded by the World Future Council, a group of 50 activists (including Frances Moore Lappé, Vandana Shiva, Wes Jackson, and Youssou N'Dour) concerned with the development and recognition of policies to promote a just and sustainable future. The city has undertaken an internationally heralded project called Vila Viva ("Living Village" in Portuguese) that promises to "urbanize" the poorest areas (favelas), relocating families from areas with high risk of floods and landslides but keeping them in the same neighborhood, paving main avenues to allow public transportation, police and postal service to have access. All the work is done with 80% of locals, reducing unemployment and increasing family income. Former mayor Fernando da Mata Pimentel was nominated for World Mayor in 2005 on the strength of these and other programs. Economy Belo Horizonte receives large numbers of visitors, as it is in the Brazilian main economic axis, exerting influence even on other states. Multinational and Brazilian companies, such as Google, Deloitte, Thoughtworks, Localiza and Oi, maintain offices in the city. The service sector plays a very important role in the economy of Belo Horizonte, being responsible for 85% of the city's Gross Domestic Product (GDP), with other industry making up most of the remaining 15%. Belo Horizonte has a developed industrial sector, being traditionally a hub of the Brazilian steel-making and metallurgical industries, as the state of Minas Gerais has always been very rich in minerals, specifically iron ore. Belo Horizonte is the distribution and processing centre of a rich agricultural and mining region and the nucleus of a burgeoning industrial complex. Production is centred on steel, steel products, automobiles, and textiles. Gold, manganese, and gemstones mined in the surrounding region are processed in the city. The main industrial district of the city was set during the 1940s in Contagem, a part of greater Belo Horizonte. Multinational companies like FIAT (which opened its plant in Betim in 1974), Arcelor, and Toshiba have subsidiaries in the region, along with textiles like Group Rachelle Textil, Ematex and Cedro Textil, cosmetic, food, chemicals, pharmaceuticals, furnishing and refractory companies. Among the companies headquartered in the city are steel producer Açominas (held by Gerdau, one of the largest multinationals originated in Brazil); Usiminas; Belgo-Mineira (held by Arcelor); Acesita (partially held by Arcelor); mobile communication Vivo; and Telecom Italia Mobile, Dasein Executive Search, executive coaching company, as well as the NYSE-listed electrical company CEMIG. Leading steel product makers Sumitomo Metals of Japan and Vallourec of France also have plans to construct an integrated steel works on the outskirts of the city. There are also a large number of small enterprises in the technology sector with regional to nationwide success, particularly in the fields of computing and biotechnology. Because of both governmental and private funding in the diversification of its economy, the city has become an international reference in Information Technology and Biotechnology, and is also cited because of the advanced corporate and university research in Biodiesel fuel. The number of jobs in the Information sector has been growing at annual rates above 50%. The Belo Horizonte Metropolitan Area, composed of 33 cities under the capital's direct influence, is home to 16% of the country's biotechnology companies, with annual sales of over R$550 million. Projects in these fields are likely to expand because of integration between universities, the oil company Petrobras and the Brazilian Government. One of the largest events that ever took place in the city, the Inter-American Development Bank meeting, occurred in 2005 and attracted people from all over the world. For a long time Belo Horizonte was marked by the predominance of its industrial sector, but from the 1990s there has been a constant expansion of the service sector economy, particularly in computer science, biotechnology, business tourism, fashion and the jewelry-making. The city is considered to be a strategic leader in the Brazilian economy. The move towards business tourism transformed the capital into a national hub for this segment of the tourist industry. Government and politics Education Several higher education institutions are located in Belo Horizonte, including: Transport Belo Horizonte is served by two airports: The city is connected to the rest of Minas Gerais state and the country by a number of roadways. Minas Gerais has the country's largest federal highway network. The city is also served by other minor roads such as state highways MG-020, MG-050, MG-030, and MG-433. There is also an East-West Express Way, which goes from the city to the nearby industrial centres of Contagem and Betim (together having a population of ca. 900,000), and Anel Rodoviário, a kind of "beltway" – indeed it is not circumferential, but connects many highways, such as the federal (BR-ones) so it is not necessary for a large number of cars and trucks to pass through the city centre. Many of these roads are in poor condition, but in the last years many revitalization and rebuilding projects have been started. The bus system has a large number of bus lines going through all parts in the city, and is administered by BHTRANS. Among the upcoming projects are the expansion of the integration between bus lines and the metro, with integrated stations, many already in use. And the construction of bus corridors, with lanes and bus stops exclusively for the bus lines. Keeping buses from traffic congestions, making the trips more viable for commuters. Belo Horizonte Metro or MetroBH started operating at the end of the 1970s. There is one line, with 19 stations, from Vilarinho to Eldorado Station, in Contagem, transporting over 160,000 people daily. The current projects of expansion include Line 2, linking the existing Calafate Station to the region of Barreiro. And Line 3, from the city's main bus terminal to São Inácio de Loyola, Savassi economical district. Line 2 is planned to be overground (similar to the current line) and Line 3 is planned to be underground, passing through the city's financial centre, Praça Sete and Afonso Pena Avenue. Also, Line 1 is planned to be extended to Novo Eldorado Station. For long distance, Belo Horizonte is served by the Vitória-Minas Railway. There are daily passenger trips connecting Belo Horizonte to Cariacica, in the metropolitan region of Vitória, Espírito Santo. On its route, the railway also connects Belo Horizonte to several locations on Eastern Minas Gerais, such as Governador Valadares, João Monlevade and the cities of the Vale do Aço Metropolitan Region. The average amount of time people spend commuting with public transit in Belo Horizonte, for example to and from work, on a weekday is 85 min. 26% of public transit riders, ride for more than 2 hours every day. The average amount of time people wait at a stop or station for public transit is 23 min, while 50% of riders wait for over 20 minutes on average every day. The average distance people usually ride in a single trip with public transit is 8.7 km, while 19% travel for over 12 km in a single direction. Culture Clube da Esquina is one of the most important musical movements in the musical history of Brazil. It originated in the mid-1960s, and since then its members have been hugely influential in Brazilian and even international music, some like Milton Nascimento and Toninho Horta achieving worldwide acclaim. Other people involved in the movement include musicians, songwriters, composers, conductors and lyricists, such as Tavinho Moura, Wagner Tiso, Andersen Viana, Milton Nascimento, Lô Borges, Beto Guedes, Flávio Venturini, Toninho Horta, Márcio Borges and Fernando Brant, among others. The band Uakti, known for performing with self-built musical instruments, originated in Belo Horizonte under the influence of Walter Smetak and the Composition School from Bahia. Also, several nationally famous rock groups have been founded in Belo Horizonte, including Jota Quest, Pato Fu, Skank, 14 Bis and Tianastácia. In later years, Belo Horizonte has been more frequently included in Brazilian tours of foreign mainstream and independent acts. Belo Horizonte is also known as the Brazilian Capital of Metal music, hence the huge number of heavy metal bands (and the likes) founded there, especially in the 1980s. Most importantly, Overdose, the first metal band from BH and one of the first to gain prominence in Brazil; Sepultura, the world's best known Brazilian metal band; and Sarcófago, one of the founders of modern black metal. The contemporary Christian music band Diante do Trono, is also of Belo Horizonte. A short instrumental song by American band Earth, Wind & Fire is named after the city on their album Now, Then & Forever. Other genres are also popular, such as Sertanejo music, and it also has its own Funk carioca scene, being extremely popular among youngsters. Belo Horizonte features a number of museums including the Mineiro Museum, the Abílio Barreto Historic Museum, Arts and Workmanship Museum, a Natural History Museum and the UFMG Botanic Gardens, a telephone museum, the Pampulha Art Museum, the Professor Taylor Gramke Mineralogy Museum, and the UFMG Conservatory. The puppet theatre group Giramundo was established here in 1970, and continues to maintain a puppetry museum hosting a collection of their creations. The Circuito Cultural Praça da Liberdade, located in the central region of Belo Horizonte, is the largest cultural circuit in Brazil. In all, there are eleven functioning museums and cultural spaces: Arquivo Público Mineiro (Minas Gerais Public Archive), Biblioteca Pública Estadual Luiz de Bessa (Luiz de Bessa State Public Library), Cefar Liberdade, Centro de Arte Popular Cemig (Cemig Center of Popular Art), Centro Cultural Banco do Brasil (Culture Center Bank of Brazil), Espaço do Conhecimento UFMG (UFMG Knowledge Space), Horizonte Sebrae – Casa da Economia Criativa (Sebrae Horizon – The House of Creative Economy), Memorial Minas Gerais Vale (Minas Gerais Memorial), Museu das Minas e do Metal (Mines and Metal Museum), Museu Mineiro (Minas Gerais Museum) and Palácio da Liberdade (Liberty Palace). Besides these, another three spaces are already in the process of being implemented: the Casa Fiat de Cultura (Fiat Culture House), CENA and Oi Futuro. The proposal, according to the Circuit manager, Cristiana Kumaira, is to strengthen the circuit in the world cultural context. "We are already on this path and are being careful to ensure that the activities, services and assistance fulfill the needs and expectations of both the local population and the tourists who come to Belo Horizonte from around the world. The Circuit is establishing itself as one more source of pride for the people of Minas Gerais," she stresses. Inaugurated in 2010, the Circuito Cultural Praça da Liberdade was created with the goal of exploring cultural diversity, with interactive options open to the public, in an area of great symbolic, historical and architectural value for Belo Horizonte. The opportunity came with the transference of the Minas Gerais Government headquarters to the Cidade Administrativa (Administrative City), in Serra Verde. After they had been adapted, the old department buildings opened their doors and began to house museums and cultural spaces. The Circuito Cultural Praça da Liberdade is co-managed by the Instituto Sérgio Magnani (Institute) since June 2012, through a partnership signed with the Minas Gerais Government, and the museums/spaces are mostly run by private companies, which carry out investments in heritage recovery and building maintenance. According to Kumaira, this public-private partnership model allows large companies to participate and effectively contribute to the cultural advance of the city. "Beyond their fields of activities, the partners invest in the implantation and maintenance of museums, learning spaces, exhibition halls and shows, as well as memory centers that consolidate the history of Minas Gerais, presenting it either for free or at affordable prices," she adds. The Natural History Museum and Botanical Garden holds an important treasure of folk art, the Nativity of Pipiripau. Created during the 20th century, the craftsman Raimundo Machado, synchronizes 586 figures, distributed in 45 scenes, which tell the story of life and death of Jesus, mixed with its variety of arts and crafts. With 600,000 sq. m. of green area, the UFMG Museum of Natural History and Botanic Garden (MHN-JB) is a privileged ecological space that enables visitors to experience nature in a rich, multidisciplinary way. For 30 years, the mission of the MHN-JB has been to do research, to educate, and to meet the community's demand for service. It covers the areas of anthropology, archeology, Environmental Education, Natural History, Mineralogy, and Paleontology. It has an Ecological Amphitheater, a Free Art atelier, a greenhouse, and an Interactive Room. One of its traditional exhibitions is the Pipiripau Nativity Crèche. Palácio das Artes, inaugurated in 1970, comprises three theaters, three art galleries, a movie theater, a bookstore, a coffee shop and photography exhibition space. The building was designed by Oscar Niemeyer and it also houses the Minas Gerais Handcraft Center. The Pampulha Art Museum is located at the Pampulha Lake in Belo Horizonte in a building that originally housed the Pampulha Casino. The building was designed by Oscar Niemeyer, commissioned by the then-mayor and future president of Brazil Juscelino Kubitschek in the early 1940s, with external grounds by landscaper Roberto Burle Marx. The building was the first project of Oscar Niemeyer, opened as a casino, and closed in 1946. In 1957, it was re-opened as the Art Museum. His design was influenced by the principles of Le Corbusier. The gardens of Burle Marx are a tribute to the tropical green. There are three sculptures, by Ceschiatti, Zamoiski and José Pedrosa. In 1996, it won new multimedia rooms, library, café bar, a souvenir shop and technical infrastructure. The MAP has an impressive collection of 1,600 works. Belo Horizonte has several significant cultural landmarks, many of them situated in the Pampulha district, where there are notable examples of Brazilian contemporary architecture. Under the leadership of the then mayor of city, Juscelino Kubitschek, architects and artists such as Oscar Niemeyer, landscaper Burle Marx, and painter Candido Portinari, started a type of modern architecture and art here that was greatly developed later with the construction of Brazil's new capital, Brasília, also led by the now president Juscelino (aka JK). It is at the Pampulha complex that one can see the routes of this new architecture movement. The modern and protomodern architecture can also be seen all over Belo Horizonte, either in emblematic 1950s buildings such as Edificio Acaiaca, Conjunto JK, Hotel Amazonas and former Hotel Excelsior, all reflecting the modernity culture of the first planned capital of Brazil. The Pampulha Park area includes one of the largest soccer stadiums in the world, the Mineirão stadium, and the São Francisco de Assis Church, widely known as Igreja da Pampulha, designed by Brazilian Modernist architect Oscar Niemeyer. In Pampulha there is also the Universidade Federal de Minas Gerais campus, whose buildings themselves are important contributions to the city's architecture. Other notable buildings include the Mesbla and Niemeyer buildings. In the downtown area, landmarks include the São José Church, the Praça da Estação (Station Square), which is an old train station that now is also the Museum of Arts and Workmanship, the Municipal Park, the famous Sete de Setembro Square, where an obelisk built in 1922 marks the one hundred years of Brazilian independence from Portugal. Near Central the area, in the Lourdes neighborhood, the Lourdes Basilica, is an example of Gothic Revival style. The Nossa Senhora de Fátima Church, in Santo Agostinho neighborhood, is situated in Carlos Chagas Square. Both churches are referred to as the Assembléia Church and the Assembléia Square because of their proximity to the state's legislative assembly. Next to the downtown region is the Savassi district, known for fine restaurants and as a centre of cultural events as well as the best of the city's nightlife. Many landmarks are located there, such as the Praça da Liberdade (Liberty Square), and its surrounding buildings, including the former Executive Offices of the governor called the Palácio da Liberdade (Liberty Palace), the first building to be finished during the city's planned development in the late 1890s. The government offices moved to the "Cidade Administrativa" in 2010. This complex is made by a few massive buildings just outside the city. Nowadays, the "palaces" are being turned into museums. Still on Savassi, the meeting point of many social groups, especially the youth, is "Praça da Savassi" (Savassi Square), which is not exactly a square, and more a crossing between two major avenues (Getúlio Vargas and Cristóvão Colombo), and gathers some of the busiest bars and pubs (called locally "botecos" or "botequins") in town. Another important landmark is Praça do Papa (Pope's Square), located at a high point south of the downtown area, with its great view of the entire city. It is named for July 1, 1980, visit by John Paul II, who held a youth mass there. The nearby Parque das Mangabeiras (Mangabeiras Park) features extensive wildlife, and-owing to its considerable size-has its own bus service, which operates solely within the confines of the park. On Sundays, Afonso Pena Avenue hosts Latin America's biggest open-air market. This is the Market of Arts and Handicrafts, most commonly known as Feira Hippie (hippie fair). Every Sunday morning 70,000 visitors find food, drinks, clothes, furniture, earrings, shoes and almost anything else. Belo Horizonte is internationally known as the "capital of neighborhood bars." The regional Minas Gerais' food and the now internationally known drink of cachaça are very popular and highly rated in the capital. The neighborhoods and areas of Savassi, Lourdes, Mercado Central, Santa Tereza and Pampulha concentrate most of the city's restaurants and bars. Every year since 1999, the city hosts the Comida di Buteco festival ("Pub Foods", in an approximate translation), in which a panel selects 41 bars to be visited, and then elects the one with the best appetizers using the theme ingredient of each year. The festival is so successful that its brand was already sold to other 21 regions in Brazil (Belém, Belo Horizonte, Brasília, Campinas, Curitiba, Florianópolis, Fortaleza, Goiás, Juiz de Fora, Manaus, Montes Claros, Poços de Caldas, Porto Alegre, Recife, Ribeirão Preto, Rio de Janeiro, Salvador, São José do Rio Preto, São Paulo, Uberlândia e Vale do Aço). Sport As in the rest of Brazil, football is the most popular sport. The city's major teams are Atlético Mineiro, Cruzeiro and América Mineiro. The oldest stadium in the city is the Arena Independência, built for the 1950 FIFA World Cup, and site of the so-called Miracle Match, when an amateur United States national soccer team beat heavy favourites England in an unexpected 1–0 win. It is currently the home ground of América Mineiro. The city has one of the biggest football stadiums in the world, officially called Estádio Governador Magalhães Pinto, but widely known as Mineirão. It was built to provide the city of Belo Horizonte with a larger alternative for the Arena Independência, then the prime venue of the city. The stadium was meant to become the most modern stadium of Brazil and the new home of Atlético Mineiro and Cruzeiro. Construction took almost five years, and officially opened on September 5, 1965. Mineirão hardly changed in the following decades, and by the 1990s still had its original capacity. When Brazil won their bid to host the 2014 FIFA World Cup, it was clear that Mineirão needed to undergo a large redevelopment. The project included the complete reconstruction of the bottom tier, an extension of the roof, and further refurbishments to upgrade the stadium to FIFA standards. Building works took a total of three years and were completed in December 2012. The first match at the reopened Mineirão was played on February 3, 2013, with a state championship match between Cruzeiro and Atlético. Mineirão hosted a total of six matches during the 2014 FIFA World Cup. The stadium also was one of the playing venues of the 2013 FIFA Confederations Cup and the Olympic football tournament in 2016. While Cruzeiro agreed on a lease to play the next 25 years at Mineirão, Atlético decided to build its own arena in the Califórnia neighbourhood, in the northeast region of the city. The original project intended to build one of the most modern football grounds in Latin America, and the second largest sports arena in the state of Minas Gerais, with a capacity of over 46,000 people. Construction kicked off in 2017, broke ground on April 20, 2020, after delays due to the COVID-19 pandemic, and works were completed in 2023. The stadium was inaugurated on April 15, 2023, and saw its first official match on August 27, 2023, with Atlético Mineiro hosting Santos for the 2023 Campeonato Brasileiro Série A. The naming rights for the stadium were sold to Belo Horizonte-based home building and real estate company MRV, and the location became known as Arena MRV. 46.000 (44.048 record) 61.846 (132,834 record) 23,018 (32,721 record) In addition to football, Belo Horizonte has one of the largest attendances at volleyball matches in the entire country. They are played either at Mineirinho, home of Brazil's national volleyball team, or at Minas Tênis Clube. Belo Horizonte is home to 2015 French Open men's doubles champion and former World no. 1 doubles player Marcelo Melo as well as 2016 Australian Open men's doubles and mixed doubles champion Bruno Soares. The Minas Tênis Clube is a multi-sport club that plays in the Novo Basquete Brasil, Liga Nacional de Futsal, Brazilian Men's Volleyball Superliga and Brazilian Women's Volleyball Superliga. Consular representations The following countries have consular representations in Belo Horizonte: International relations Belo Horizonte is twinned with: Notable people Notes See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Ag%C3%AAncia_Estado] | [TOKENS: 47] |
Contents Agência Estado Agência Estado is a Private News Agency in Brazil. It was started by Brazilian media group Grupo Estado. References External links This article about media in Brazil is a stub. You can help Wikipedia by adding missing information. |
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