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[SOURCE: https://en.wikipedia.org/wiki/Oscar_Gustave_Rejlander] | [TOKENS: 1277] |
Contents Oscar Gustave Rejlander Oscar Gustave Rejlander (19 October 1813 – 18 January 1875) was a Victorian art photographer and an expert in photomontage. His collaboration with Charles Darwin on The Expression of the Emotions in Man and Animals has assured him a position in the history of behavioural science and psychiatry. Biography According to his naturalisation papers, Rejlander was born in Stockholm on 19 October 1813.[citation needed] He was the son of Carl Gustaf Rejlander, a stonemason and Swedish Army Officer. During his youth, his family moved to the Swedish-speaking community in Rauma, Grand Duchy of Finland (then part of Russia). In the 1830s, he relocated to England, initially settling in Lincoln, England. In the 1850s, he abandoned his original profession as a painter and portrait miniaturist, apparently after seeing how well a photograph captured the fold of a sleeve. He set up as a portraitist in the industrial Midlands town of Wolverhampton, probably around 1846. In the early 1850s, he learned the wet-collodion and waxed-paper processes at great speed with Nicholas Henneman in London, and then changed his business to that of a photography studio. He undertook genre work and portraiture. Rejlander also produced nude studies, mainly for use as studies by painters, and later revealed that his early work was made with the aid of a local troupe of theatrical performers. Rejlander undertook many experiments to perfect his photography, including combination printing, which he did not invent; however, he created more elaborate and convincing composite photographs than any prior photographer. A 15 November 1854 article in the Wolverhampton Chronicle called "Improvement in Calotypes, by Mr. O.G. Rejlander, of Wolverhampton" suggests that by then he was experimenting with combination printing from several negatives. He was a friend of photographer Charles Lutwidge Dodgson (better known by the pen name Lewis Carroll), who collected Rejlander's work and corresponded with him on technical matters. Rejlander later created one of the best-known and most revealing portraits of Dodgson. Like Dodgson, Rejlander's work included many pictures of "undraped" children: Rejlander participated in the Paris Exhibition of 1855. In 1856, he made his best-known allegorical work, The Two Ways of Life. This was a seamlessly montaged combination print made of thirty-two images (akin to the use of Photoshop today, but then far more difficult to achieve) in about six weeks. First exhibited at the Manchester Art Treasures Exhibition of 1857, the work shows a man being lured to paths of vice or virtue by good and bad angels. The image's partial nudity, which showed real women as they actually appeared and not the idealised forms then common in Victorian art, was deemed 'indecent' by some. Rejlander was also accused of using prostitutes as models, although Rejlander categorically denied this and no proof was ever offered. Reservations about the work subsided when Queen Victoria ordered a 10-guinea copy to give to Prince Albert. Victoria and Albert would go on to purchase three copies of the work, all of which are now lost. Despite this royal patronage, controversy about The Two Ways of Life in Scotland in 1858 led to a secession of a large group from the Photographic Society of Scotland, the secessionists founding the Edinburgh Photographic Society in 1861. They objected to the picture being shown with one half of it concealed by drapes. The picture was also shown at the Birmingham Photographic Society with no such furor or censorship. However, the Photographic Society of Scotland later made amends and invited Rejlander to a grand dinner in his honour in 1866, held to open an exhibition that included many of his pictures. Rejlander moved his studio to Malden Road, London, around 1862 and largely abandoned his early experiments with double exposure, photomontage, photographic manipulation and retouching. Instead, he became one of Britain's leading portraitists, creating pictures with psychological charge. He became a leading expert in photographic techniques, lecturing and publishing widely, and sold work through bookshops and art dealers. He also found subject matter in London, photographing homeless London street children to produce popular 'social-protest' pictures such as "Poor Joe", also known as "Homeless". Charles Lutwidge Dodgson visited Rejlander's Malden Road studio in 1863. Carroll was in the process of relocating his studio and sought Rejlander's advice regarding its design. Around 1863 Rejlander visited the Isle of Wight at the request of Julia Margaret Cameron and helped teach her photography. Some of Rejlander's images were purchased as drawing-aids by Victorian painters of repute, such as Sir Lawrence Alma-Tadema. In 1871, he contributed photographs to Darwin's classic treatise on The Expression of the Emotions in Man and Animals. Personal life In 1862, Rejlander married Mary Bull, who was twenty-four years his junior. She had been his photographic model in Wolverhampton. Rejlander became seriously ill in 1874 and died in 1875 in Clapham, London, leaving several claims on his estate and costly funeral expenses. The Edinburgh Photographic Society raised money for his widow and helped set up the Rejlander Memorial Fund. His grave is in Kensal Green Cemetery; a new stone was placed there in 2012. Collections Rejlander's work is held in the permanent collections of many institutions worldwide, including the San Francisco Museum of Modern Art, the Harvard Art Museums, the Clark Art Institute, the Victoria and Albert Museum, the J. Paul Getty Museum, the University of Michigan Museum of Art, the Princeton University Art Museum, the Museum of Fine Arts St. Petersburg, the Fine Arts Museums of San Francisco, the National Media Museum, Bradford, and the Museum of Fine Arts, Houston. See also References Further reading External links |
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[SOURCE: https://en.wikipedia.org/wiki/Guinness_World_Records#cite_note-2] | [TOKENS: 3908] |
Contents Guinness World Records Page version status This is an accepted version of this page Guinness World Records, known from its inception in 1955 until 1999 as The Guinness Book of Records and in previous United States editions as The Guinness Book of World Records, is a British reference book published annually, listing world records both of human achievements and the extremes of the natural world. Sir Hugh Beaver created the concept in order to settle arguments debated in pubs, and twin brothers Norris and Ross McWhirter co-founded the book in London in late August 1955. The first edition topped the bestseller list in the United Kingdom by Christmas 1955. The following year the book was launched internationally, and as of the 2026 edition, it is now in its 71st year of publication, published in 100 countries and 40 languages, and maintains over 53,000 records in its database. The international franchise has extended beyond print to include television series and museums. The popularity of the franchise has resulted in Guinness World Records becoming the primary international source for cataloguing and verification of a huge number of world records. The organization employs record adjudicators to verify the authenticity of the setting and breaking of records. Following a series of owners, the franchise has been owned by the Jim Pattison Group since 2008, with its headquarters moved to South Quay Plaza, Canary Wharf, London, in 2017. Since 2008, Guinness World Records has orientated its business model away from selling books, and towards creating new world records as publicity exercises for individuals and organizations, which has attracted criticism. History On 10 November 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford, Ireland. After missing a shot at a golden plover, he became involved in an argument over whether the golden plover or the red grouse was the fastest game bird in Europe (the plover is faster, but neither is the fastest game bird in Europe). That evening at Castlebridge House, he realized that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird. Beaver knew that there must have been numerous other questions debated nightly among the public, but there was no book in the world with which to settle arguments about records. He realized then that a book supplying the answers to this sort of question might prove successful. Beaver's idea became a reality when Guinness employee Christopher Chataway recommended university friends Norris and Ross McWhirter, who had been running a fact-finding agency in London. The twin brothers were commissioned in August 1954 to compile what became The Guinness Book of (Superlatives and now) Records.[clarification needed] A thousand copies were distributed for free to pubs across Britain and Ireland as a promotional asset for the Guinness brand, and they became immensely popular with customers. After the founding of The Guinness Book of Records office at the top of Ludgate House, 107 Fleet Street, London, the first 198-page edition was bound on 27 August 1955 and went to the top of the British bestseller list by Christmas. The following year, it was introduced into the United States by New York publisher David Boehm and sold 70,000 copies. Since then, Guinness World Records has sold more than 150 million copies in 100 countries and 40 languages. Due to the book's surprise success, many further editions were printed, eventually settling into a pattern of one revision a year, published in September/October, in time for Christmas. The McWhirters continued to compile it for many years. Both brothers had an encyclopedic memory; on the British children's television series Record Breakers (based upon the book), which was broadcast on the BBC from 1972 to 2001, they would take questions posed by children in the audience on various world records and were able to give the correct answer. Ross McWhirter was assassinated by two members of the Provisional Irish Republican Army in 1975, in response to offering a £50,000 reward for information that would lead to the capture of members of the organization. Following Ross's assassination, the feature on the show where questions about records posed by children were answered was called Norris on the Spot. Norris carried on as the book's sole editor. Guinness Superlatives, later Guinness World Records Limited, was incorporated in London in 1954 to publish the first book. Sterling Publishing owned the rights to the Guinness book in the US for decades until it was repurchased by Guinness in 1989 after an 18-month long lawsuit. The group was owned by Guinness PLC and subsequently Diageo until 2001, when it was purchased by Gullane Entertainment for £45.5 million ($65 million). Gullane was itself purchased by HIT Entertainment in 2002. In 2006, Apax Partners purchased HIT and subsequently sold Guinness World Records in early 2008 to the Jim Pattison Group, the parent company of Ripley Entertainment, which is licensed to operate Guinness World Records' Attractions. With offices in New York City and Tokyo, Guinness World Records' global headquarters remain in South Quay Plaza in Canary Wharf, London, while its museum attractions are based at Ripley headquarters in Orlando, Florida. Recent editions have focused on record feats by individuals. Competitions range from obvious ones such as Olympic weightlifting to the longest egg tossing distances, or for the longest time spent playing Grand Theft Auto IV or the largest number of hot dogs consumed in three minutes. Besides records about competitions, it contains such facts such as the heaviest tumor, the most poisonous fungus, the longest-running soap opera and the most valuable life-insurance policy, among others. Many records also relate to the youngest people to have achieved something, such as the youngest person to visit all nations of the world, currently held by Maurizio Giuliano. Each edition contains a selection of the records from the Guinness World Records database, as well as select new records, with the criteria for inclusion changing from year to year. The latest edition is the 72nd, published in August 2025. The retirement of Norris McWhirter from his consulting role in 1995 and the subsequent decision by Diageo Plc to sell The Guinness Book of Records brand have shifted the focus of the books from text-oriented to illustrated reference. A selection of records are curated for the book from the full archive but all existing Guinness World Records titles can be accessed by creating a login on the company's website. Applications made by individuals for existing record categories are free of charge. There is an administration fee of £5 (or $5) to propose a new record title. A number of spin-off books and television series have also been produced. Guinness World Records bestowed the record of "Person with the most records" on Ashrita Furman of Queens, New York, in April 2009; at that time, he held 100 records. In 2005, Guinness designated 9 November as International Guinness World Records Day to encourage breaking of world records. In 2006, an estimated 100,000 people participated in over 10 countries. Guinness reported 2,244 new records in 12 months, which was a 173% increase over the previous year. In February 2008, NBC aired The Top 100 Guinness World Records of All Time and Guinness World Records made the complete list available on their website. The popularity of the franchise has resulted in Guinness World Records becoming the primary international authority on the cataloguing and verification of a huge number of world records. Over its history, numerous world record categories have been discontinued. This list may include that the record poses a threat to health or the environment. Defining records For many records, Guinness World Records is the effective authority on the exact requirements for them and with whom records reside, the company providing adjudicators to events to determine the veracity of record attempts. The list of records which the Guinness World Records covers is not fixed, records may be added and also removed for various reasons. The public is invited to submit applications for records, which can be either the bettering of existing records or substantial achievements which could constitute a new record. The company also provides corporate services for companies to "harness the power of record-breaking to deliver tangible success for their businesses." Guinness World Records states several types of records it will not accept for ethical reasons, such as those related to the killing or harming of animals. In the 2006 Guinness Book of World Records, Colombian serial killer Pedro López was listed as the "most prolific serial killer", having murdered at least 110 people (with Lopez himself claiming he murdered over 300 people) in Colombia, Ecuador and Peru in the late 1960s to 1980s. This was later removed after complaints that it made a competition out of murder, however the record was reinstated in the 2026 edition. Several world records that were once included in the book have been removed for ethical reasons, including concerns for the well-being of potential record breakers. For example, following publication of the "heaviest pet" record, many owners overfed their pets beyond the bounds of what was healthy, and therefore such entries were removed. The Guinness Book also dropped records within their "eating and drinking records" section of Human Achievements in 1991 over concerns that potential competitors could harm themselves and expose the publisher to potential litigation. These changes included the removal of all spirit, wine and beer drinking records, along with other unusual records for consuming such unlikely things as bicycles and trees. Other records, such as sword swallowing and rally driving (on public roads), were closed from further entry as the current holders had performed beyond what are considered safe human tolerance levels. There have been instances of closed categories being reopened. For example, the sword swallowing category was listed as closed in the 1990 Guinness Book of World Records, but has since been reopened with Johnny Strange breaking a sword swallowing record on Guinness World Records Live. Similarly, the speed beer drinking records which were dropped from the book in 1991, reappeared 17 years later in the 2008 edition, but were moved from the "Human Achievements" section of the older book to the "Modern Society" section of the newer edition. As of 2011[update], it is required in the guidelines of all "large food" type records that the item be fully edible, and distributed to the public for consumption, to prevent food wastage. Chain letters are also not allowed: "Guinness World Records does not accept any records relating to chain letters, sent by post or e-mail." After Roger Guy English set the record for sleeplessness in 1974, the category was discontinued for being too dangerous. At the request of the U.S. Mint, in 1984, the book stopped accepting claims of large hoardings of pennies or other currency. Environmentally unfriendly records (such as the releasing of sky lanterns and party balloons) are no longer accepted or monitored, in addition to records relating to tobacco or cannabis consumption or preparation. In 2024, Guinness World Records was accused of laundering the reputation of the oppressive governments as it set world records for the UAE's police forces and Egypt's military. By 2024, the UAE achieved 526 records, of which 21 were credited to the Emirates' police force. Matthew Hedges, a British academic who was forced to sign a false confession, asked the records body to take down the Abu Dhabi police department's certificate for "most signatures on a scroll", along with other such titles. Concerns were also raised around the activities around Egypt, which moved from 22 records to 110 within a decade until 2024. James Lynch, co-founder of FairSquare, said the records were legitimizing Abdel Fattah el-Sisi's regime. The Guinness World Records stated that its record titles "cannot be purchased". Guinness World Records has been accused of romanticizing diseases, such as Graves' Disease and Pica. For some potential categories, Guinness World Records has declined to list some records that are too difficult or impossible to determine. For example, its website states: "We do not accept any claims for beauty as it is not objectively measurable." On 10 December 2010, Guinness World Records stopped accepting submissions for the "dreadlock" category after an investigation of its first and only female title holder, Asha Mandela, determining it was impossible to judge this record accurately. Change in business model Traditionally, the company made a large amount of its revenue via book sales to interested readers, especially children. The rise of the Internet began to cut into book sales starting in the 2000s, part of a general decline in the book industry. According to a 2017 story by Planet Money of NPR, Guinness began to realize that a lucrative new revenue source to replace falling book sales was the would-be record-holders themselves. While any person can theoretically send in a record to be verified for free, the approval process is slow. Would-be record breakers that paid fees ranging from US$12,000 to US$500,000 would be given advisors, adjudicators, help in finding good records to break as well as suggestions for how to do it, prompt service, and so on. In particular, corporations and celebrities seeking a publicity stunt to launch a new product or draw attention to themselves began to hire Guinness World Records, paying them for finding a record to break or to create a new category just for them. As such, they have been described as a native advertising company, with no clear distinction between content and advertisement. Television talk show host John Oliver criticized Guinness World Records on the programme Last Week Tonight with John Oliver in August 2019, during an episode about President of Turkmenistan Gurbanguly Berdimuhamedow. Oliver said Guinness took money from authoritarian governments for pointless vanity projects such as Berdimuhamedow's. Oliver asked Guinness to work with Last Week Tonight to adjudicate a record for "Largest cake featuring a picture of someone falling off a horse", but according to Oliver, the offer did not work out after Guinness insisted on a non-disparagement clause. Guinness World Records denied the accusations and stated that they declined Oliver's offer to participate because "it was merely an opportunity to mock one of our record-holders," and that Oliver did not specifically request the record for the largest marble cake. As of 2021, the Guinness World Record for "Largest marble cake" remains with Betty Crocker Middle East in Saudi Arabia. Following Oliver's episode, Guinness World Records' ethics were called into question by human rights groups. Museums In 1976, a Guinness Book of World Records museum opened in the Empire State Building. Speed shooter Bob Munden then went on tour promoting The Guinness Book of World Records by performing his record fast draws with a standard weight single-action revolver from a Western movie-type holster. His fastest time for a draw was 0.02 seconds. Among exhibits were life-size statues of the world's tallest man, Robert Wadlow, and world's largest earthworm, an X-ray photo of a sword swallower, repeated lightning strike victim Roy Sullivan's hat complete with lightning holes and a pair of gem-studded golf shoes on sale for $6,500. The museum closed in 1995. In more recent years, the Guinness company has permitted the franchising of small museums with displays based on the book, all currently (as of 2010[update]) located in towns popular with tourists: Tokyo, Copenhagen, San Antonio. There were once Guinness World Records museums and exhibitions at the London Trocadero, Bangalore, San Francisco, Myrtle Beach, Orlando, Atlantic City, and Las Vegas. The Orlando museum, which closed in 2002, was branded The Guinness Records Experience; the Hollywood, Niagara Falls, Copenhagen, and Gatlinburg museums also previously featured this branding. Retail and merchandise Guinness World Records operates an official online shop, the Guinness World Records Store, which offers items related to record-breaking achievements, including certificates of participation, apparel, and the annual Guinness World Records book. The shop provides record-holders and the general public with access to official Guinness World Records materials. Merchandise is part of the organization's broader engagement efforts beyond its publications and events. Television series Guinness World Records has commissioned various television series documenting world record breaking attempts, including: Rhianna Loren (2025) Specials: Gamer's edition In 2008, Guinness World Records released its gamer's edition, a supplement that keeps records for popular video game high scores, codes and feats in association with Twin Galaxies. The Gamer's Edition used to contain 258 pages, over 1,236 video game related world records and four interviews including one with Twin Galaxies founder Walter Day. Editions were published for the years 2008 through 2020, with the 2009 edition in hardcover. The 2025 edition is the first since 2020, returning after a five-year hiatus. Since 2020, the supplement has had 192 pages. The Guinness Book of British Hit Singles The Guinness Book of British Hit Singles was a music reference book first published in 1977. It was compiled by BBC Radio 1 DJs Paul Gambaccini and Mike Read with brothers Tim Rice and Jonathan Rice. It was the first in a number of music reference books that were to be published by Guinness Publishing with sister publication The Guinness Book of British Hit Albums coming in 1983. After being sold to Hit Entertainment, the data concerning the Official Chart Company's singles and albums charts were combined under the title British Hit Singles & Albums, with Hit Entertainment publishing the book from 2003 to 2006 (under the Guinness World Records brand). After Guinness World Records was sold to The Jim Pattison Group, it was effectively replaced by a series of books published by Ebury Publishing/Random House with the Virgin Book of British Hit Singles first being published in 2007 and with a Hit Albums book following two years later. Other media and products In 1975, Parker Brothers marketed a board game, The Guinness Game of World Records, based on the book. Players compete by setting and breaking records for activities such as the longest streak of rolling dice before rolling doubles, stacking plastic pieces, and bouncing a ball off alternating sides of a card, as well as answering trivia questions based on the listings in the Guinness Book of World Records. A video game, Guinness World Records: The Videogame, was developed by TT Fusion and released for Nintendo DS, Wii and iOS in November 2008. In 2012, Warner Bros. announced the development of a live-action film version of Guinness World Records with Daniel Chun as scriptwriter. The film, however, never entered production. Dr. Sunil Gupta is listed in the Guinness World Records for participating in the largest multi-location diabetic neuropathy screening conducted on World Diabetes Day, 14 November 2013, during which 1,676 screenings were performed across 27 locations in India. References |
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[SOURCE: https://en.wikipedia.org/wiki/Combination_print] | [TOKENS: 1437] |
Contents Combination printing Combination printing is a photographic technique of using the negatives of two or more images in conjunction with one another to create a single image. Similar to dual-negative landscape photography, combination printing was technically much more complex. The concept of combination printing stemmed from the desire to create more of a fine art within photography and often more idealized images. Combination printing was popular in the mid-19th century due to the limitations of the negative's light sensitivity and camera technology. For example, the long exposures required at the time to create an image would properly expose the main subject, such as a building, but would completely overexpose the sky. The sky would then lack detail, usually appearing as solid white. Hippolyte Bayard, a French photographer, was the first to suggest combining two separate negatives, one of the subject matter and one of a properly exposed negative of clouds, to create a balanced photograph. The technique was also used to create new, original compositions and provided new ways for photographers to be more creative with their work. Later on, the technique paved the way for yet another artistic process, photomontage. Process Combination printing uses two or more negatives to make one print. Combination printing required a lot of careful work to plan out the concept of what the final image was desired to look like. It was also a task of great skill and patience. When a photographer wished to create a combination print, issues of good exposures, scaling the subjects to match up, and consistent lighting were all essentials if they aimed to make it look as realistic as possible. For instance, in the example of combining a foreground subject with adding clouds to a sky, it is important to make sure that the direction of the light falling on the clouds is the same as the light used on the main subject in the original foreground negative. In actually exposing the negatives to combine them, the photographer must control the exposure of the portion of the initial photo that they will be adding to or replacing. Therefore, for adding clouds into the sky, the photographer would have to hold back light from the sky area and expose the foreground area. Then, when printing the negative of the clouds, do the opposite and only expose the cloud and sky portion of the photo. After this, they would be able to combine the two negatives by blending them together. History Photographers such as William Frederick Lake Price and Oscar Rejlander are famous for using combination printing. Starting as early as the mid-19th century, new methods such as the combination printing, began to change the way people looked at different photographic techniques. Controversy broke out in the photographic community about the use of combination printing. Photographs originally had been regarded as truth and it was perceived that the camera never lied. However, with the newfound ability to manipulate the final product, the notion that photographs depicted "truth" was soon shattered. Henry Peach Robinson, considered to be another one of the pioneers of combination printing, was not only an artist, but also an author, and wrote many journal articles on photography. He then published a book in 1869 entitled Pictorial Effect in Photography. His writings about technique became fairly well known and he was held in high esteem, despite having critics who accused him of misrepresenting the real world and the truth by using the combination printing method. In his book, Robinson attempts to add some reasoning to appease the critics, by comparing the photograph editing to other art forms and writing that, "As music is only sound under governance of certain laws, so is pictorial effect only the combination of certain forms and lights and shadows in like manner harmoniously brought together." He agrees about the argument of staying true to nature in photographs, but alternatively writes that when a photographer obtains a foreground subject, they need the perfect background to create the "harmony" of a good photo, and "if nature does not supply such object, the pictorial requirement may often, without violating material truth, be furnished by art." In pointing this out, he is saying that it is often necessary to add artistic techniques to photographs. Discussing the benefits of composition in the art of photography and using combination printing, Robinson wrote, in Pictorial Effect in Photography, that the method of combination served to "produce an agreeable presentation of forms and tones, to tell the story which is to be elucidated, and to embody the spirit of what it is intended the picture shall represent or suggest." His writings show his knowledge and his passion for creating new content in his photos with using this process. During the Victorian Era, another proponent of the technique of combination printing was Queen Victoria herself. At the time, artists tried to represent ideal images from natural scenes to portraits. Photographers wished to do the same through creating perfected images after combining them. Queen Victoria was said to have belief in the power that photography could have to visually translate and promote ideals yet still be reality. Early examples One of the earliest and most famous combination prints is Oscar Rejlander's Two Ways of Life. The print was created in 1857. It was first exhibited at the Manchester Art Treasures Exhibition and it is considered one of the most distinguished examples of the technique. It used a combination of 32 negatives to create the complete image of the final product. The process took about six weeks. Other examples of the technique can be seen in Henry Peach Robinson's works. In one of his pieces, entitled Autumn there is a darker foreground subject with some hazy distance created with trees visible in the far background. The piece includes several human subjects, some facing the camera with light hitting them, and one darker and facing away from view. This was an albumen print photo that he put together in 1863. When explaining the print, Robinson discussed that he initially sketched out the scene that he hoped to produce, trying different various samples of what he could do with putting the scenery and figures together. Only after he was happy with his sketched out plan would he finally shoot the individual photos and then eventually combine the negatives in printing. Sometimes called Robinson's "masterpiece," his photograph, Fading Away, was a combination print that he generated in 1858. It took him around five negatives to create the final image. The photo shows a death of a young girl and her grieving family surrounding her. The subject was made up by Robinson and the figures were only posing, but the scene with the girl being centered and bright and the figure turned away, behind in the darkness, created an emotional exhibit. Modern applications In more modern times of photography, there exists a theory, presented by Jerry Uelsmann in 1965 to The Society for Photographic Education, called Post-Visualization, that can be connected back to the creation of combination printing. Post-Visualization was the idea that photographers can rethink what they are creating and manipulate images in the darkroom after photographing their subjects. This allows photographers additional ways to express themselves instead of just following the common belief that photography is a simply mechanical, straightforward process with no creative elements. Combination printing remained a great way of working with changing images to add that creativity. References See also |
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[SOURCE: https://en.wikipedia.org/wiki/Agence_France_Presse] | [TOKENS: 2593] |
Contents Agence France-Presse Agence France-Presse (AFP; French pronunciation: [aʒɑ̃s fʁɑ̃s pʁɛs]) is a French international news agency headquartered in Paris, France. Its origins date back to 1835, when it was founded as Havas, the world's oldest news agency. In August 1944, following the Liberation of Paris, it was reorganized as Agence France-Presse to succeed Havas. AFP's mission is to provide fast, comprehensive, impartial, and verified coverage of global events across all fields and formats, including video, photography, text, infographic, and audio. It collects, verifies, cross-checks, and distributes information in a neutral, factual form, intended for direct use by all types of media (radio, television, press, websites). It also serves as a source and alert service for major companies and public administrations. AFP operates one of the world's most extensive networks of correspondents. With 2,400 employees representing 100 nationalities, it maintains an editorial presence in 260 cities across 150 countries. Its main regional headquarters are located in Nicosia, Hong Kong, Washington, D.C., and Montevideo. The agency publishes stories, videos, photos, and graphics in French, English, Arabic, Portuguese, Spanish, and German. Two-thirds of its revenue is generated from commercial activities, while the remaining one-third is funded by the French government (€113.3 million in 2022) as compensation for fulfilling its mission of general interest. History Agence France-Presse has its origins in the Agence Havas, founded in 1835 in Paris by Charles-Louis Havas, making it the world's oldest news service. The agency pioneered the collection and dissemination of news as a commodity, and had established itself as a fully global concern by the late 19th century. Two Havas employees, Paul Julius Reuter and Bernhard Wolff, set up their own news agencies in London and Berlin respectively. In 1940, when German forces occupied France during World War II, the news agency was taken over by the authorities and renamed "Office français d'information" (French Information Office); only the private advertising company retained the name Havas. On 20 August 1944, as Allied forces moved on Paris, a group of journalists in the French Resistance seized the offices of the FIO and issued the first news dispatch from the liberated city under the name of Agence France-Presse. Established as a state enterprise, AFP devoted the post-war years to developing its network of international correspondents. One of them was the first Western journalist to report the death of the Soviet leader Joseph Stalin on 6 March 1953. AFP was keen to shake off its semi-official status, and on 10 January 1957, the French Parliament passed a law establishing its independence. Since that date, the proportion of the agency's revenues generated by subscriptions from government departments has steadily declined. Such subscriptions represented 115 million euros in 2011. In 1982, the agency began to decentralize its editorial decision-making by setting up the first of its five autonomous regional centres, in Hong Kong, then a British dependent territory. Each region has its own budget, administrative director and chief editor. In September 2007, the AFP Foundation was launched to promote higher standards of journalism worldwide. The Mitrokhin Archive identified six agents and two confidential KGB contacts inside Agence France-Presse who were used in Soviet operations in France. In 1991, AFP set up a joint venture with Extel to create a financial news service, AFX News. It was sold in 2006 to Thomson Financial. In October 2008, the Government of France announced moves to change AFP's status, including the involvement of outside investors. On 27 November of that year, the main trade unions represented in the company's home base of France – the CGT, Force Ouvrière, Syndicat national des journalistes, Union syndicale des journalistes CFDT and SUD, launched an online petition to oppose what they saw as an attempt to privatise the agency. On 10 December 2009, the French Culture Minister Frédéric Mitterrand announced that he was setting up a Committee of Experts under former AFP CEO Henri Pigeat to study plans for the agency's future status. On 24 February 2010, Pierre Louette unexpectedly announced his intention to resign as CEO by the end of March, and move to a job with France Télécom. In November 2013, AFP and Getty Images were ordered to pay $1.2 million compensation to freelance photojournalist Daniel Morel for using his images posted on Twitter related to the 2010 Haiti earthquake without his permission, in violation of copyright and Twitter's terms of service. AFP's statute was changed in 2015 to bring it into line with European legislation through Law No. 2015-433 of 17 April 2015. The State's financing of AFP was thus modified and was structured into two components: The current CEO and chairman is Fabrice Fries and the Global News Director is Phil Chetwynd. AFP returned to profitability in 2019 for the first time since 2013 and has consistently posted positive net results every year since. In 2023, the net profit reached 1.1 million euros. The debt, which stood at 50.2 million euros at the beginning of 2017, was reduced to 26.9 million euros by the end of 2023. On 11 February 2025, Deputy News Director for Digital Strategy and Director of Communications Grégoire Lemarchand spoke at the AI in the City event at École normale supérieure, part of the AI Action Summit. Editorial Manager of the MediaLab Denis Teyssou participated in a roundtable discussion and Deputy News Director for Photo and Documentation Eric Baradat joined a panel discussion with representatives of Google, Microsoft and Imatag. Notable journalists Distinctions AFP was voted "Best News Agency" in 2021 and 2020 by the Association for International Broadcasting (AIB). Two photographers won the Pulitzer Prize for an AFP photo: Massoud Hossaini for his photo of a young girl in tears after a suicide bombing in Kabul (1st place in the category Breaking News), and Javier Manzano in 2013 for his photo of two Syrian rebel soldiers in a room lit by rays of sunlight shining through bullet holes in the wall (1st place in the category Photo Magazine). The World Press Photo of the Year has been awarded on three occasions to AFP photographers: Hocine Zaourar in 1998 for his photo of a woman in tears in front of a hospital in Algiers, Ronaldo Schemidt in 2018 for his photo of a man running while on fire during a series of riots in Caracas, and Yasuyoshi Chiba in 2020 for his photo of young protesters in Khartoum. The Albert Londres Prize has been awarded to AFP journalists on five occasions: Patrick Meney in 1983, Sammy Ketz in 1988, AFP's Moscow office in 1995, Michel Moutot in 1999, and Emmanuel Duparcq in 2011. Five AFP collaborators have won the Rory Peck Prize: Pacôme Pabandji in 2014, Zein Al-Rifai in 2015, Will Vassilopoulos in 2016, Luis Sequeira in 2019, and Solan Kolli in 2021. The Visa d'Or (in the category News) has been awarded on four occasions to AFP photographers; Georges Gobet in 2003, Bülent Kılıç in 2015, Aris Messinis in 2016, Guillermo Arias in 2019, as well as Sameer Al-Doumy, who won the Visa d'Or Humanitaire in 2022. AFP was distinguished by the "Covering Climate Now Journalism Awards" in 2021 for photos taken by Josh Edelson and in 2022 (in the category "Video – Short Feature"). Prizes and awards In 1983, the Albert Londres Prize was awarded to Patrick Meney, who wrote a series of articles about 600 French people forcibly detained in the Gulag after World War II. In 1984, his book Les Mains coupées de la Taïga was published. In 1988, Sammy Ketz received the next Albert Londres Prize. Together with his colleague from the liberation movement, Serge Chalandon, he covered the events of the Libyan Civil War for six years. On 17 October 2014, AFP international director Michèle Léridon received the Investigation and Reporting Award at the International Congress of Journalism and Information. Michèle Léridon was the author of the article "Covering ISIS", which was posted on the agency's blog. In December 2014, Bülent Kılıç was named Time magazine Photojournalist of the Year for his coverage of events in the Middle East and Europe. The photographer received the same acknowledgement from The Guardian newspaper. AFP projects Since 1988, the agency has its own infographics department – AFP Graphics, which creates about 70 graphics per day. According to the agency's website, the graphics cover these topics: 31% – politics, 27% – economics, 18% – sports, 12% – society, 10% – general news, 2% – culture and media. Infographics are available in six languages: French, English, Arabic, Portuguese, Spanish and German. In 2014, Agence France-Presse launched AFP Forum, a unified Internet platform providing access to its text, photo, video, graphic, and videographic products in six languages. The platform offers over 6,000 new documents daily and includes digital archives of around 40 million items. While clients such as newspapers, broadcasters, and online media can access full services, the general public may search and view selected materials without usage rights. In July 2001, the agency announced the launch of AFP Video services, a video graphics division. Already in 2007, the agency launches AFPTV – a project in which all news from 2011 appear in HD video format. As of 2015, 200 videos in 7 languages appear on the site every day. On 10 June 2024, AFP announced the appointment of Mehdi Lebouachera as its new Global Editor-in-Chief, effective November 2024. Lebouachera succeeds Sophie Huet, who held the position since 2019 and is set to transition to a new role overseeing AFP's artificial intelligence strategy. Lebouachera previously worked as an AFP video journalist in Central America and Mexico before becoming the Video Editor-in-Chief for Latin America in Montevideo. He was later appointed Global Video Editor-in-Chief in Paris and, in September 2021, assumed the role of Editor-in-Chief for the Asia-Pacific region. He has also worked in Nicosia, Jerusalem, Gaza and Baghdad. In the late 2000s, Agence France-Presse expanded its presence on mobile platforms. In partnership with the agency Momac, AFP launched AFP Mobile, a white-label service offering real-time news dispatches, photos, and videos for mobile portal publishers (including WAP and smartphone platforms such as the iPhone). According to Erik Monjalous, AFP's Commercial and Marketing Director, the publishing platform was designed to provide a complete editorial and technical solution for mobile operators. The service also introduced an innovative business model based on advertising revenue sharing, marking a shift in AFP's role from a traditional content provider to a full-fledged media company. Statutes AFP operates under a 1957 law as a commercial business independent of the French government. AFP is administered by a CEO and a board comprising 15 members: The mission of AFP is defined in its statute: The board elects the CEO for a renewable term of three years. AFP also has a council charged with ensuring that the agency operates according to its statutes, which mandate absolute independence and neutrality. Editorially, AFP is governed by a network of senior journalists. AFP employs 2,600 staff from more than 100 nationalities, working across 150 countries and over 260 locations worldwide. The agency also operates regional hubs in six geographical zones: Investments Notable investments include: See also References External links Americas Asia Europe Oceania |
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File:L'hommealatêtet.jpg Summary Licensing public domain image Original upload log The original description page is/was domain imagepublic domain imagea.org/w/index.php?title=File%3AL%27hommealat%C3%AAtet.jpg here[dead link]. All following user names refer to en.wikipedia. File history Click on a date/time to view the file as it appeared at that time. File usage The following 3 pages use this file: Global file usage The following other wikis use 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/Ross_McWhirter] | [TOKENS: 1157] |
Contents Ross McWhirter Alan Ross McWhirter (12 August 1925 – 27 November 1975) was, with his twin brother, Norris, the cofounder of the 1955 Guinness Book of Records (known since 2000 as Guinness World Records) and a contributor to the television programme Record Breakers. He was assassinated by the Provisional Irish Republican Army (IRA) in 1975. Early life McWhirter was the youngest son of William McWhirter, editor of the Sunday Pictorial, and Margaret "Bunty" Williamson. He was born at 10 Branscombe Gardens, Winchmore Hill, in London. In 1929, as William was working on the founding of the Northcliffe Newspapers Group chain of provincial newspapers, the family moved to Aberfoyle, in Broad Walk, Winchmore Hill. Ross McWhirter was educated at Chesterton School, Seaford, Marlborough College and Trinity College, Oxford. Between 1943 and 1946, Ross served as a sub-lieutenant with the Royal Naval Volunteer Reserve aboard a minesweeper in the Mediterranean. McWhirter maintained his home and Guinness Publishing business in the Middlesex area as it became the Municipal Borough of Edmonton, then London Borough of Enfield, and finally as part of Greater London in 1965. Career Ross and Norris both became sports journalists in 1950. In 1951, they published Get to Your Marks, and earlier that year they had founded an agency to provide facts and figures to Fleet Street, endeavouring "to supply facts and figures to newspapers, yearbooks, encyclopaedias and advertisers." While building their business, they both worked as sports journalists. They knew and covered runner Christopher Chataway, a Guinness employee who recommended them to Hugh Beaver. After an interview in 1954 in which the Guinness directors enjoyed testing the twins' knowledge of records and unusual facts, the brothers agreed to start work on the book that would become The Guinness Book of Records. In August 1955, the first slim green volume, 198 pages long, appeared at bookstalls, and within four more months it had become the UK's number one nonfiction bestseller. Both brothers were regulars on the BBC show Record Breakers. They were noted for their encyclopedic memories, enabling them to provide detailed answers to questions from the audience about entries in The Guinness Book of Records. Norris continued to appear on the programme after Ross's death. In 1958, long after the legend of William Webb Ellis as the originator of rugby had become engrained in rugby culture, Ross managed to rediscover Ellis's grave in a cemetery in Menton in Alpes Maritimes (it has since been renovated by the French Rugby Federation). In 1965, Ross and Norris were guests on the American panel game show I've Got a Secret, where they exhibited their memorisation of the Guinness Book of Records. Politics In the early 1960s, McWhirter was a Conservative Party activist and unsuccessfully fought the seat of Edmonton in the 1964 general election. Following his killing, his brother and others founded the National Association for Freedom (later the Freedom Association). His views were on the right wing of the political spectrum. Controversy McWhirter advocated and lobbied for various restrictions on the freedom of the Irish community in Britain, such as compulsory registration with the local police and a requirement for signed photographs when renting flats or booking hotel rooms. In 1975, McWhirter offered a £50,000 reward (equivalent to £530,000 in 2023) for information leading to a conviction for several recent high-profile bombings in England that were publicly claimed by the Provisional Irish Republican Army (IRA). In doing so, McWhirter recognised that he could then be a target. This was described as a bounty by McWhirter, and considered a bounty by the IRA Army Council, a view that led directly to the events that followed. The idea was not originally his but that of John Gouriet. McWhirter advocated for capital punishment for terrorism offences. During a press conference on 4 November 1975, he proposed that terrorism be classified as treason and as a result carry the death penalty. In his 1981 book, former counterterrorism operative Gordon Winter of the South African Bureau of State Security recalled a briefing with his London-based handler Alf Bouwer warning him to be wary of McWhirter, who he claimed was a British intelligence operative and member of the right-wing, anti-immigration Society for Individual Freedom, which he described as a "front" for "disseminating Establishment-type propaganda." Assassination On 27 November 1975 at 6:45 p.m., McWhirter was shot and killed by Provisional IRA Volunteers Harry Duggan and Hugh Doherty, members of the IRA active service unit that was later dubbed the Balcombe Street Gang, for whose capture McWhirter had offered a reward. McWhirter was shot at close range in the head and chest with a .357 Magnum revolver outside his home in Village Road, Bush Hill Park. He was taken to Chase Farm Hospital but died soon after being admitted. Duggan and Doherty were apprehended following the Balcombe Street siege and charged with murdering McWhirter in addition to nine other victims. They were sentenced to life imprisonment in 1977 but released in 1999 under the terms of the Good Friday Agreement. Selected bibliography Sports and general encyclopædia See also References External links |
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[SOURCE: https://en.wikipedia.org/w/index.php?title=Cosplay&printable=yes] | [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 G1 (website) G1, stylized as g1, is a Brazilian news portal maintained by Grupo Globo and under the guidance of Central Globo de Jornalismo. It was released on 18 September 2006, the same date as Rede Globo's anniversary. The portal provides journalistic content from various companies of Grupo Globo – TV Globo, Globo News, Radios CBN and Globo, the newspapers O Globo, Extra, Expresso and Valor Econômico, Época and Globo Rural magazines, among others – besides its own reports in the form of text, photographs, audio and video. In addition to five editorial offices in Rio de Janeiro, São Paulo, Brasília, Belo Horizonte and Recife, affiliates of Rede Globo, newspapers, magazines, radio stations and news agencies Agência Estado, Agence France Presse, Associated Press, EFE, The New York Times, Lusa and Reuters feed the news portal, which is updated 24 hours a day. Versions in English and Spanish were released on 11 June 2010, and had videos subtitled in both languages, but both have since been discontinued. The portal also has the mobile version and applications for Android and iOS. In September 2021, to celebrate its 15th anniversary, the portal changed its logo to a new style, also changing the stylizing of the name, changing the G to be lowercase. References External links |
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[SOURCE: https://en.wikipedia.org/wiki/G1_(website)#cite_note-2] | [TOKENS: 301] |
Contents G1 (website) G1, stylized as g1, is a Brazilian news portal maintained by Grupo Globo and under the guidance of Central Globo de Jornalismo. It was released on 18 September 2006, the same date as Rede Globo's anniversary. The portal provides journalistic content from various companies of Grupo Globo – TV Globo, Globo News, Radios CBN and Globo, the newspapers O Globo, Extra, Expresso and Valor Econômico, Época and Globo Rural magazines, among others – besides its own reports in the form of text, photographs, audio and video. In addition to five editorial offices in Rio de Janeiro, São Paulo, Brasília, Belo Horizonte and Recife, affiliates of Rede Globo, newspapers, magazines, radio stations and news agencies Agência Estado, Agence France Presse, Associated Press, EFE, The New York Times, Lusa and Reuters feed the news portal, which is updated 24 hours a day. Versions in English and Spanish were released on 11 June 2010, and had videos subtitled in both languages, but both have since been discontinued. The portal also has the mobile version and applications for Android and iOS. In September 2021, to celebrate its 15th anniversary, the portal changed its logo to a new style, also changing the stylizing of the name, changing the G to be lowercase. References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Guinness_World_Records#cite_note-:3-3] | [TOKENS: 3908] |
Contents Guinness World Records Page version status This is an accepted version of this page Guinness World Records, known from its inception in 1955 until 1999 as The Guinness Book of Records and in previous United States editions as The Guinness Book of World Records, is a British reference book published annually, listing world records both of human achievements and the extremes of the natural world. Sir Hugh Beaver created the concept in order to settle arguments debated in pubs, and twin brothers Norris and Ross McWhirter co-founded the book in London in late August 1955. The first edition topped the bestseller list in the United Kingdom by Christmas 1955. The following year the book was launched internationally, and as of the 2026 edition, it is now in its 71st year of publication, published in 100 countries and 40 languages, and maintains over 53,000 records in its database. The international franchise has extended beyond print to include television series and museums. The popularity of the franchise has resulted in Guinness World Records becoming the primary international source for cataloguing and verification of a huge number of world records. The organization employs record adjudicators to verify the authenticity of the setting and breaking of records. Following a series of owners, the franchise has been owned by the Jim Pattison Group since 2008, with its headquarters moved to South Quay Plaza, Canary Wharf, London, in 2017. Since 2008, Guinness World Records has orientated its business model away from selling books, and towards creating new world records as publicity exercises for individuals and organizations, which has attracted criticism. History On 10 November 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford, Ireland. After missing a shot at a golden plover, he became involved in an argument over whether the golden plover or the red grouse was the fastest game bird in Europe (the plover is faster, but neither is the fastest game bird in Europe). That evening at Castlebridge House, he realized that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird. Beaver knew that there must have been numerous other questions debated nightly among the public, but there was no book in the world with which to settle arguments about records. He realized then that a book supplying the answers to this sort of question might prove successful. Beaver's idea became a reality when Guinness employee Christopher Chataway recommended university friends Norris and Ross McWhirter, who had been running a fact-finding agency in London. The twin brothers were commissioned in August 1954 to compile what became The Guinness Book of (Superlatives and now) Records.[clarification needed] A thousand copies were distributed for free to pubs across Britain and Ireland as a promotional asset for the Guinness brand, and they became immensely popular with customers. After the founding of The Guinness Book of Records office at the top of Ludgate House, 107 Fleet Street, London, the first 198-page edition was bound on 27 August 1955 and went to the top of the British bestseller list by Christmas. The following year, it was introduced into the United States by New York publisher David Boehm and sold 70,000 copies. Since then, Guinness World Records has sold more than 150 million copies in 100 countries and 40 languages. Due to the book's surprise success, many further editions were printed, eventually settling into a pattern of one revision a year, published in September/October, in time for Christmas. The McWhirters continued to compile it for many years. Both brothers had an encyclopedic memory; on the British children's television series Record Breakers (based upon the book), which was broadcast on the BBC from 1972 to 2001, they would take questions posed by children in the audience on various world records and were able to give the correct answer. Ross McWhirter was assassinated by two members of the Provisional Irish Republican Army in 1975, in response to offering a £50,000 reward for information that would lead to the capture of members of the organization. Following Ross's assassination, the feature on the show where questions about records posed by children were answered was called Norris on the Spot. Norris carried on as the book's sole editor. Guinness Superlatives, later Guinness World Records Limited, was incorporated in London in 1954 to publish the first book. Sterling Publishing owned the rights to the Guinness book in the US for decades until it was repurchased by Guinness in 1989 after an 18-month long lawsuit. The group was owned by Guinness PLC and subsequently Diageo until 2001, when it was purchased by Gullane Entertainment for £45.5 million ($65 million). Gullane was itself purchased by HIT Entertainment in 2002. In 2006, Apax Partners purchased HIT and subsequently sold Guinness World Records in early 2008 to the Jim Pattison Group, the parent company of Ripley Entertainment, which is licensed to operate Guinness World Records' Attractions. With offices in New York City and Tokyo, Guinness World Records' global headquarters remain in South Quay Plaza in Canary Wharf, London, while its museum attractions are based at Ripley headquarters in Orlando, Florida. Recent editions have focused on record feats by individuals. Competitions range from obvious ones such as Olympic weightlifting to the longest egg tossing distances, or for the longest time spent playing Grand Theft Auto IV or the largest number of hot dogs consumed in three minutes. Besides records about competitions, it contains such facts such as the heaviest tumor, the most poisonous fungus, the longest-running soap opera and the most valuable life-insurance policy, among others. Many records also relate to the youngest people to have achieved something, such as the youngest person to visit all nations of the world, currently held by Maurizio Giuliano. Each edition contains a selection of the records from the Guinness World Records database, as well as select new records, with the criteria for inclusion changing from year to year. The latest edition is the 72nd, published in August 2025. The retirement of Norris McWhirter from his consulting role in 1995 and the subsequent decision by Diageo Plc to sell The Guinness Book of Records brand have shifted the focus of the books from text-oriented to illustrated reference. A selection of records are curated for the book from the full archive but all existing Guinness World Records titles can be accessed by creating a login on the company's website. Applications made by individuals for existing record categories are free of charge. There is an administration fee of £5 (or $5) to propose a new record title. A number of spin-off books and television series have also been produced. Guinness World Records bestowed the record of "Person with the most records" on Ashrita Furman of Queens, New York, in April 2009; at that time, he held 100 records. In 2005, Guinness designated 9 November as International Guinness World Records Day to encourage breaking of world records. In 2006, an estimated 100,000 people participated in over 10 countries. Guinness reported 2,244 new records in 12 months, which was a 173% increase over the previous year. In February 2008, NBC aired The Top 100 Guinness World Records of All Time and Guinness World Records made the complete list available on their website. The popularity of the franchise has resulted in Guinness World Records becoming the primary international authority on the cataloguing and verification of a huge number of world records. Over its history, numerous world record categories have been discontinued. This list may include that the record poses a threat to health or the environment. Defining records For many records, Guinness World Records is the effective authority on the exact requirements for them and with whom records reside, the company providing adjudicators to events to determine the veracity of record attempts. The list of records which the Guinness World Records covers is not fixed, records may be added and also removed for various reasons. The public is invited to submit applications for records, which can be either the bettering of existing records or substantial achievements which could constitute a new record. The company also provides corporate services for companies to "harness the power of record-breaking to deliver tangible success for their businesses." Guinness World Records states several types of records it will not accept for ethical reasons, such as those related to the killing or harming of animals. In the 2006 Guinness Book of World Records, Colombian serial killer Pedro López was listed as the "most prolific serial killer", having murdered at least 110 people (with Lopez himself claiming he murdered over 300 people) in Colombia, Ecuador and Peru in the late 1960s to 1980s. This was later removed after complaints that it made a competition out of murder, however the record was reinstated in the 2026 edition. Several world records that were once included in the book have been removed for ethical reasons, including concerns for the well-being of potential record breakers. For example, following publication of the "heaviest pet" record, many owners overfed their pets beyond the bounds of what was healthy, and therefore such entries were removed. The Guinness Book also dropped records within their "eating and drinking records" section of Human Achievements in 1991 over concerns that potential competitors could harm themselves and expose the publisher to potential litigation. These changes included the removal of all spirit, wine and beer drinking records, along with other unusual records for consuming such unlikely things as bicycles and trees. Other records, such as sword swallowing and rally driving (on public roads), were closed from further entry as the current holders had performed beyond what are considered safe human tolerance levels. There have been instances of closed categories being reopened. For example, the sword swallowing category was listed as closed in the 1990 Guinness Book of World Records, but has since been reopened with Johnny Strange breaking a sword swallowing record on Guinness World Records Live. Similarly, the speed beer drinking records which were dropped from the book in 1991, reappeared 17 years later in the 2008 edition, but were moved from the "Human Achievements" section of the older book to the "Modern Society" section of the newer edition. As of 2011[update], it is required in the guidelines of all "large food" type records that the item be fully edible, and distributed to the public for consumption, to prevent food wastage. Chain letters are also not allowed: "Guinness World Records does not accept any records relating to chain letters, sent by post or e-mail." After Roger Guy English set the record for sleeplessness in 1974, the category was discontinued for being too dangerous. At the request of the U.S. Mint, in 1984, the book stopped accepting claims of large hoardings of pennies or other currency. Environmentally unfriendly records (such as the releasing of sky lanterns and party balloons) are no longer accepted or monitored, in addition to records relating to tobacco or cannabis consumption or preparation. In 2024, Guinness World Records was accused of laundering the reputation of the oppressive governments as it set world records for the UAE's police forces and Egypt's military. By 2024, the UAE achieved 526 records, of which 21 were credited to the Emirates' police force. Matthew Hedges, a British academic who was forced to sign a false confession, asked the records body to take down the Abu Dhabi police department's certificate for "most signatures on a scroll", along with other such titles. Concerns were also raised around the activities around Egypt, which moved from 22 records to 110 within a decade until 2024. James Lynch, co-founder of FairSquare, said the records were legitimizing Abdel Fattah el-Sisi's regime. The Guinness World Records stated that its record titles "cannot be purchased". Guinness World Records has been accused of romanticizing diseases, such as Graves' Disease and Pica. For some potential categories, Guinness World Records has declined to list some records that are too difficult or impossible to determine. For example, its website states: "We do not accept any claims for beauty as it is not objectively measurable." On 10 December 2010, Guinness World Records stopped accepting submissions for the "dreadlock" category after an investigation of its first and only female title holder, Asha Mandela, determining it was impossible to judge this record accurately. Change in business model Traditionally, the company made a large amount of its revenue via book sales to interested readers, especially children. The rise of the Internet began to cut into book sales starting in the 2000s, part of a general decline in the book industry. According to a 2017 story by Planet Money of NPR, Guinness began to realize that a lucrative new revenue source to replace falling book sales was the would-be record-holders themselves. While any person can theoretically send in a record to be verified for free, the approval process is slow. Would-be record breakers that paid fees ranging from US$12,000 to US$500,000 would be given advisors, adjudicators, help in finding good records to break as well as suggestions for how to do it, prompt service, and so on. In particular, corporations and celebrities seeking a publicity stunt to launch a new product or draw attention to themselves began to hire Guinness World Records, paying them for finding a record to break or to create a new category just for them. As such, they have been described as a native advertising company, with no clear distinction between content and advertisement. Television talk show host John Oliver criticized Guinness World Records on the programme Last Week Tonight with John Oliver in August 2019, during an episode about President of Turkmenistan Gurbanguly Berdimuhamedow. Oliver said Guinness took money from authoritarian governments for pointless vanity projects such as Berdimuhamedow's. Oliver asked Guinness to work with Last Week Tonight to adjudicate a record for "Largest cake featuring a picture of someone falling off a horse", but according to Oliver, the offer did not work out after Guinness insisted on a non-disparagement clause. Guinness World Records denied the accusations and stated that they declined Oliver's offer to participate because "it was merely an opportunity to mock one of our record-holders," and that Oliver did not specifically request the record for the largest marble cake. As of 2021, the Guinness World Record for "Largest marble cake" remains with Betty Crocker Middle East in Saudi Arabia. Following Oliver's episode, Guinness World Records' ethics were called into question by human rights groups. Museums In 1976, a Guinness Book of World Records museum opened in the Empire State Building. Speed shooter Bob Munden then went on tour promoting The Guinness Book of World Records by performing his record fast draws with a standard weight single-action revolver from a Western movie-type holster. His fastest time for a draw was 0.02 seconds. Among exhibits were life-size statues of the world's tallest man, Robert Wadlow, and world's largest earthworm, an X-ray photo of a sword swallower, repeated lightning strike victim Roy Sullivan's hat complete with lightning holes and a pair of gem-studded golf shoes on sale for $6,500. The museum closed in 1995. In more recent years, the Guinness company has permitted the franchising of small museums with displays based on the book, all currently (as of 2010[update]) located in towns popular with tourists: Tokyo, Copenhagen, San Antonio. There were once Guinness World Records museums and exhibitions at the London Trocadero, Bangalore, San Francisco, Myrtle Beach, Orlando, Atlantic City, and Las Vegas. The Orlando museum, which closed in 2002, was branded The Guinness Records Experience; the Hollywood, Niagara Falls, Copenhagen, and Gatlinburg museums also previously featured this branding. Retail and merchandise Guinness World Records operates an official online shop, the Guinness World Records Store, which offers items related to record-breaking achievements, including certificates of participation, apparel, and the annual Guinness World Records book. The shop provides record-holders and the general public with access to official Guinness World Records materials. Merchandise is part of the organization's broader engagement efforts beyond its publications and events. Television series Guinness World Records has commissioned various television series documenting world record breaking attempts, including: Rhianna Loren (2025) Specials: Gamer's edition In 2008, Guinness World Records released its gamer's edition, a supplement that keeps records for popular video game high scores, codes and feats in association with Twin Galaxies. The Gamer's Edition used to contain 258 pages, over 1,236 video game related world records and four interviews including one with Twin Galaxies founder Walter Day. Editions were published for the years 2008 through 2020, with the 2009 edition in hardcover. The 2025 edition is the first since 2020, returning after a five-year hiatus. Since 2020, the supplement has had 192 pages. The Guinness Book of British Hit Singles The Guinness Book of British Hit Singles was a music reference book first published in 1977. It was compiled by BBC Radio 1 DJs Paul Gambaccini and Mike Read with brothers Tim Rice and Jonathan Rice. It was the first in a number of music reference books that were to be published by Guinness Publishing with sister publication The Guinness Book of British Hit Albums coming in 1983. After being sold to Hit Entertainment, the data concerning the Official Chart Company's singles and albums charts were combined under the title British Hit Singles & Albums, with Hit Entertainment publishing the book from 2003 to 2006 (under the Guinness World Records brand). After Guinness World Records was sold to The Jim Pattison Group, it was effectively replaced by a series of books published by Ebury Publishing/Random House with the Virgin Book of British Hit Singles first being published in 2007 and with a Hit Albums book following two years later. Other media and products In 1975, Parker Brothers marketed a board game, The Guinness Game of World Records, based on the book. Players compete by setting and breaking records for activities such as the longest streak of rolling dice before rolling doubles, stacking plastic pieces, and bouncing a ball off alternating sides of a card, as well as answering trivia questions based on the listings in the Guinness Book of World Records. A video game, Guinness World Records: The Videogame, was developed by TT Fusion and released for Nintendo DS, Wii and iOS in November 2008. In 2012, Warner Bros. announced the development of a live-action film version of Guinness World Records with Daniel Chun as scriptwriter. The film, however, never entered production. Dr. Sunil Gupta is listed in the Guinness World Records for participating in the largest multi-location diabetic neuropathy screening conducted on World Diabetes Day, 14 November 2013, during which 1,676 screenings were performed across 27 locations in India. References |
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Contents Television show A television show, TV program (British English: programme), or simply a TV show, is the general reference to any content produced for viewing on a television set that is transmitted via over-the-air, satellite, and cable, or distributed digitally on streaming platforms. This generally excludes breaking news or advertisements that are aired between shows or between segments of a show. A regularly recurring show is called a television series, and an individual segment of such a series is called an episode. Content is produced either in-house on a television stage with multiple cameras or produced by contract with film production companies. Episodes are usually broadcast in annual sets, which are called seasons in North America and series in other regions. A one-off television show may be called a television special, while a show with a limited number of episodes is a miniseries.[a] A television film, or telefilm, is a feature film produced for broadcast by a terrestrial or cable network. Television shows by terrestrial and cable networks are most often scheduled for broadcast ahead of time and appear on electronic guides or other TV listings. The rise of streaming television, however, has made television schedules less relevant than in earlier decades. Some programming may be aired live—that is, events are broadcast at the time they happen rather than at a later time or date—but the vast majority of programming is produced ahead of time. Originally, viewers had no practical way to record a show for later viewing; this changed with the advent of home video, first in the form of videotape recorded on VCRs and later in the form of digital video recorders. Cable television providers began offering certain programming "pay-per-view" or on-demand, with viewers paying a one-time fee to watch a program at a time of their own choosing. Streaming television allows viewers to watch programming at any time with a subscription to the OTT platform service. History The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 1937 coronation of King George VI in the United Kingdom, and David Sarnoff's famous introduction at the 1939 New York World's Fair in the United States spurred growth in the medium, but World War II put a halt to development until after the war. The 1947 World Series inspired many Americans to buy their first television set, and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name "Mr. Television", and demonstrating that the medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951, when President Harry Truman's speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T's transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years, most network broadcasts, and nearly all local programming, continued to be in black-and-white. The color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 1972, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season. Formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional, educational, or entertaining, as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters' lives during the episode, it was usually undone by the end. Due to this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first US prime time drama television series to have this kind of dramatic structure,[better source needed] while the later series Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intended five-season run.[citation needed] In 2012, it was reported that television was growing into a larger component of major media companies' revenues than film. Some also noted the increase in quality of some television programs. In 2012, Academy Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: "I think those qualities are now being seen on television, and that people who want to see stories that have those kinds of qualities are watching television." Production When a person or company decides to create new content for television broadcast, they develop the show's elements, consisting of the concept, the characters, the crew, and the cast. Then they often "pitch" it to the various networks in an attempt to find one interested enough to order a prototype for the first episode of the series, known as a pilot. Eric Coleman, an animation executive at Disney, told an interviewer, "One misconception is that it's very difficult to get in and pitch your show, when the truth is that development executives at networks want very much to hear ideas. They want very much to get the word out on what types of shows they're looking for." To create the pilot, the structure and team of the whole series must be put together. If audiences respond well to the pilot, the network will pick up the show to air it the next season.[citation needed] Sometimes they save it for mid-season or request rewrites and additional review.[citation needed] Other times, they pass entirely, forcing the show's creator to "shop it around" to other networks. Many shows never make it past the pilot stage. The method of "team writing" is employed on some longer dramatic series (usually running up to a maximum of around 13 episodes). The idea for such a program may be generated "in-house" by one of the networks; it could originate from an independent production company (sometimes a product of both). For instance, the BBC's long-running soap opera EastEnders is wholly a BBC production, whereas its popular drama Life on Mars was developed by Kudos in association with the broadcaster. There are still a significant number of programs (usually sitcoms) that are built by just one or two writers and a small, close-knit production team. These are "pitched" in the traditional way, but since the creators handle all the writing requirements, there is a run of six or seven episodes per series once approval has been given. Many of the most popular British comedies have been made this way, including Monty Python's Flying Circus (albeit with an exclusive team of six writer-performers), Fawlty Towers, Blackadder and The Office. The production company is often separate from the broadcaster. The executive producer, often the show's creator, is in charge of running the show. They pick the crew and help cast the actors, approve and sometimes write series plots—some even write or direct major episodes—while various other producers help to ensure that the show runs smoothly. Very occasionally, the executive producer will cast themselves in the show. As with filmmaking or other electronic media production, producing of an individual episode can be divided into three parts: pre-production, principal photography, and post-production. Pre-production begins when a script is approved. A director is chosen to plan the episode's final look. Pre-production tasks include storyboarding; construction of sets, props, and costumes; casting guest stars; budgeting; acquiring resources like lighting, special effects, stunts, etc. Once the show is planned, it must then be scheduled: scenes are often filmed out of sequence, and guest actors or even regulars may only be available at certain times. Sometimes the principal photography of different episodes must be done at the same time, complicating the schedule (a guest star might shoot scenes from two episodes on the same afternoon). Complex scenes are translated from storyboard to animatics to further clarify the action. Scripts are adjusted to meet altering requirements. Some shows have a small stable of directors, but also usually rely on outside directors. Given the time constraints of broadcasting, a single show might have two or three episodes in pre-production, one or two episodes in principal photography, and a few more in various stages of post-production. The task of directing is complex enough that a single director can usually not work on more than one episode or show at a time, hence the need for multiple directors. Principal photography is the actual filming of the episode. Director, actors, and crew gather at a television studio or on location for filming or videoing a scene. A scene is further divided into shots, which should be planned during pre-production. Depending on scheduling, a scene may be shot in non-sequential order of the story. Conversations may be filmed twice from different camera angles, often using stand-ins, so one actor might perform all their lines in one set of shots, and then the other side of the conversation is filmed from the opposite perspective. To complete a production on time, a second unit may be filming a different scene on another set or location at the same time, using a different set of actors, an assistant director, and a second unit crew. A director of photography supervises the lighting of each shot to ensure consistency. Live events are usually covered by Outside Broadcast crews using mobile television studios, known as scanners or OB trucks. Although varying greatly depending on the era and subject covered, these trucks were normally crewed by up to 15 skilled operators and production personnel. In the UK for most of the 20th century, the BBC was the preeminent provider of outside broadcast coverage. BBC crews worked on almost every major event, including Royal weddings and funerals, major political and sporting events, and even drama programs. Once principal photography is complete, producers coordinate tasks to begin the video editing. Visual and digital video effects are added to the film; this is often outsourced to companies specializing in these areas. Often music is performed with the conductor using the film as a time reference (other musical elements may be previously recorded). An editor cuts the various pieces of film together, adds the musical score and effects, determines scene transitions, and assembles the completed show. Budgets and revenues Most television networks throughout the world are 'commercial', dependent on selling advertising time or acquiring sponsors.[citation needed] Broadcasting executives' main concern over their programming is audience size.[citation needed] In the past, the number of 'free to air' stations was restricted by the availability of channel frequencies, but cable TV (outside the United States, satellite television) technology has allowed an expansion in the number of channels available to viewers (sometimes at premium rates) in a much more competitive environment.[citation needed] In the United States, the average broadcast network drama costs $3 million an episode to produce, while cable dramas cost $2 million on average. The pilot episode may be more expensive than a regular episode.[citation needed] In 2004, Lost's two-hour pilot cost $10 to $14 million, in 2008, Fringe's two-hour pilot cost $10 million, and in 2010, Boardwalk Empire was $18 million for the first episode. In 2011, Game of Thrones was $5 to $10 million, Pan Am cost an estimated $10 million, while Terra Nova's two-hour pilot was between $10 and $20 million. Many scripted network television shows in the United States are financed through deficit financing: a studio finances the production cost of a show and a network pays a license fee to the studio for the right to air the show. This license fee does not cover the show's production costs, leading to the deficit. Although the studio does not make its money back in the original airing of the show, it retains ownership of the show. This allows the studio to make its money back and earn a profit through syndication and sales of DVDs and Blu-rays. This system places most of the financial risk on the studios; however, a hit show in the syndication and home video markets can more than make up for the misses. Although deficit financing places minimal financial risk on the networks, they lose out on the future profits of big hits since they are only licensing the shows. Costs are recouped mainly by advertising revenues for broadcast networks and some cable channels, while other cable channels depend on subscriptions. In general, advertisers, and consequently networks that depend on advertising, are more interested in the number of viewers within the 18–49 age range than in the total number of viewers. Advertisers are willing to pay more to advertise on shows successful with young adults because they watch less television and are harder to reach. According to Advertising Age, during the 2007–08 season, Grey's Anatomy was able to charge $419,000 per commercial, compared to only $248,000 for a commercial during CSI, despite CSI having almost five million more viewers on average. Due to its strength with younger viewers, Friends was able to charge almost three times as much for a commercial as Murder, She Wrote, even though the two series had similar total viewer numbers at that time. Glee and The Office drew fewer total viewers than NCIS during the 2009–10 season, but earned an average of $272,694 and $213,617 respectively, compared to $150,708 for NCIS. Distribution After production, the show is handed over to the television network, which sends it out to its affiliate stations, which broadcast it in the specified broadcast programming time slot. If the Nielsen ratings are good, the show is kept alive as long as possible. If not, the show is usually canceled. The show's creators are then left to shop around for remaining episodes, and the possibility of future episodes, on other networks. On especially successful series, the producers sometimes call a halt to a series on their own like Seinfeld, The Cosby Show, Corner Gas, and M*A*S*H and end it with a concluding episode, which sometimes is a big series finale. On rare occasions, a series that has not attracted particularly high ratings and has been canceled can be given a reprieve if home video viewership has been particularly strong. This has happened in the cases of Family Guy in the US and Peep Show in the UK. In the United States, if the show is popular or lucrative, and a minimum number of episodes (usually 100) have been made, it can go into broadcast syndication, where rights to broadcast the program are then resold for cash or put into a barter exchange (offered to an outlet for free in exchange for airing additional commercials elsewhere in the station's broadcast day). Seasons/series/strand The terminology used to define a set of episodes produced for a television series varies from country to country. In North American television, a series is a connected set of television program episodes that run under the same title, possibly spanning many seasons. During the 1950s, it was common for television seasons to consist of more than 30 episodes—however, the average length has been declining since. Until the 1980s, most new programs for the US broadcast networks debuted in the "fall season", which ran from September through March and nominally contained 24 to 26 episodes. These episodes were rebroadcast during the spring (or summer) season, from April through August. Because of cable television and the Nielsen sweeps, the "fall" season now normally extends to May. Thus, a "full season" on a broadcast network now usually runs from September through May for at least 22 episodes. A full season is sometimes split into two separate units with a hiatus around the end of the calendar year, such as the first season of Jericho on CBS. When this split occurs, the last half of the episodes are sometimes referred to with the letter B as in "The last nine episodes (of The Sopranos) will be part of what is being called either 'Season 6, Part 2' or 'Season 6B'", or "Futurama is splitting its seasons similar to how South Park does, doing half a season at a time, so this is season 6B for them." Since the 1990s, these shorter seasons also have been referred to as "split" or "half" seasons, which is done to increase profits, as seen with shows such as The Witcher. Since at least the 2000s, new broadcast television series are often ordered (funded) for just the first 10 to 13 episodes, to gauge audience interest. If a series is popular, the network places a "back nine order" and the season is completed to the regular 20 to 26 episodes. An established series that is already popular, however, will typically receive an immediate full-season order at the outset of the season. A midseason replacement is a less-expensive short-run show of generally 10 to 13 episodes designed to take the place of an original series that failed to garner an audience and has not been picked up. A "series finale" is the last show of the series before the show is no longer produced. (In the UK, it means the end of a season, what is known in the United States as a "season finale".) Streaming services time finales to the next quarter to induce consumers to renew at least one more quarter. A standard television season in the United States runs predominantly during autumn. During the summer months of June through roughly mid-September, network schedules typically feature reruns of their flagship programs, first-run series with lower rating expectations, and other specials. First-run scripted series are typically shorter and of a lower profile than those aired during the main season and can also include limited series events. Reality and game shows have also been fixtures of the schedule. In Canada, the commercial networks air most US programming in tandem with the US television season, but their original Canadian shows follow a model closer to British than US television production. Due to the smaller production budgets available in Canada, a Canadian show's season normally runs to a maximum of 13 episodes rather than 20 or more, although an exceptionally popular series such as Corner Gas or Murdoch Mysteries might receive 20-episode orders in later seasons. Canadian shows do not normally receive "back nine" extensions within the same season, however; even a popular series simply ends for the year when the original production order has finished airing, and an expanded order of more than 13 episodes is applied to the next season's renewal order rather than an extension of the current season. Only the public CBC Television normally schedules Canadian-produced programming throughout the year; the commercial networks typically now avoid scheduling Canadian productions to air in the fall, as such shows commonly get lost amid the publicity onslaught of the US fall season. Instead, Canadian-produced shows on the commercial networks typically air either in the winter as mid-season replacements for canceled US shows or in the summer (which may also improve their chances of being picked up by a US network for a summer run). While network orders for 13- or 22-episode seasons are still pervasive in the television industry, several shows have deviated from this traditional trend. Written to be closed-ended and of shorter length than other shows, they are marketed with a variety of terms. In the United Kingdom and other countries, these sets of episodes are referred to as a "series". In Australia, the broadcasting may be different from North American usage. The terms series and season are both used and are the same. For example, Battlestar Galactica has an original series as well as a remake, both are considered a different series, each with their own number of individual seasons. Australian television does not follow "seasons" in the way that US television does; for example, there is no "fall season" or "fall schedule". For many years, popular night-time dramas in Australia would run for much of the year, and would only go into recess during the summer period (December to February, as Australia is in the Southern Hemisphere), when ratings are not taken. Therefore, popular dramas would usually run from February through November each year. This schedule was used in the 1970s for popular dramas, including Number 96. Many drama series, such as McLeod's Daughters, have received between 22 and 32 episodes per season. Typically, soap operas, which have always run in season format in Australia, such as Home and Away, would usually begin a new season in late January, while the season finale would air in late November, as the show is off air for two months, or sometimes longer, depending on the schedule. In recent years,[when?] a new season would begin in early February, and the season finale would broadcast in early December. Since Home and Away's inception, it normally receives 230 episodes per season. Some seasons have seen between 205 and 235 episodes commissioned. During the Olympics, Home and Away would often go on hiatus, which was referred to as an "Olympic cliffhanger". Therefore, the number of episodes would decrease. Australian situation comedy series' seasons are approximately 13 episodes long and premiere any time between February and November. British television programmes have tended toward shorter series in recent years. For example, the first series of long-running science fiction show Doctor Who in 1963 featured forty-two 25‑minute episodes, and continued with a similar number each year until it was reduced to twenty-five for 1970 to accommodate changes in production and significantly reducing the actors' workload) and continued to 1984. For 1985 fewer but longer episodes were shown, but even after a return to shorter episodes in 1986, lack of support within the BBC meant fewer episodes were commissioned leading to only fourteen 25‑minute episodes up to those in 1989 after which it was cancelled. The revival of Doctor Who from 2005 has comprised thirteen 45‑minute installments. There are some series in the UK that have a larger number of episodes, for example Waterloo Road started with 8 to 12 episodes, but from series three onward it increased to twenty episodes and series seven will contain 30 episodes. Recently, US non-cable networks have also begun to experiment with shorter series for some programs, particularly reality shows, such as Survivor. They often air two series per year, resulting in roughly the same number of episodes per year as a drama. This is a reduction from the 1950s, in which many US shows (e.g. Gunsmoke) had between 29 and 39 episodes per season. Actual storytelling time within a commercial television hour has also gradually reduced over the years, from 50 minutes out of every 60 to the current 44 (and even less on some networks), beginning in the early 21st century. The usage of "season" and "series" differ for DVD and Blu-ray releases in both Australia and the UK. In Australia, many locally produced shows are termed differently on home video releases. For example, a set of the television drama series Packed to the Rafters or Wentworth is referred to as "season" ("The Complete First Season", etc.), whereas drama series such as Tangle are known as a "series" ("Series 1", etc.). British-produced programmes such as Mrs. Brown's Boys are referred to as "season" in Australia for the DVD and Blu-ray releases. In the UK and Ireland, most programmes are referred to as 'series' while 'season' is starting to be used for some US and international releases. The 1980s and 1990s was the golden age of television miniseries attracting millions of Egyptians. For example, The Family of Mr Shalash miniseries, starring Salah Zulfikar and Laila Taher, was the highest rated at the time. Running time In the United States, dramas produced for hour-long time slots typically are 37–42 minutes in length (excluding advertisements), while sitcoms produced for 30-minute time slots typically are 18–21 minutes long. There are exceptions: subscription-based cable TV channels, such as HBO, Starz, Cinemax, and Showtime, have episodes that are 45–48 minutes long, similar to the UK. Audience opinions of length have varied due to factors such as content overload. In Britain, dramas typically run from 46–48 minutes on commercial channels, and 57–59 minutes on the BBC. Half-hour programs are around 22 minutes on commercial channels and around 28 minutes on the BBC. The longer duration on the BBC is due to the lack of advertising breaks. In France, most television shows (whether dramas, game shows or documentaries) have a duration of 52 minutes. This is the same on nearly all French networks (TF1, France 2, France 5, M6, Canal+, etc.). The episode runtime of television shows produced for streaming platforms, such as Netflix and Hulu, can vary from just under 30 minutes to over one hour long. Internet-based series with episode runtimes of less than 25 minutes are considered web series. See also Notes References External links |
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Contents Georges Méliès Marie-Georges-Jean Méliès (/meɪlˈjɛs/ mayl-YES, French: [maʁi ʒɔʁʒ ʒɑ̃ meljɛs]; 8 December 1861 – 21 January 1938) was a French filmmaker, actor, magician, and toymaker. He led many technical and narrative developments in the early days of cinema, primarily in the fantasy and science fiction genres. Méliès rose to prominence creating "trick films" and became well known for his innovative use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography, dissolves, and hand-painted colour. He was also one of the first filmmakers to use storyboards in his work. His most important films include A Trip to the Moon (1902) and The Impossible Voyage (1904). Early life and education Marie-Georges-Jean Méliès was born 8 December 1861 in Paris, son of Jean-Louis Méliès and his Dutch wife Johannah-Catherine Schuering. His father had moved to Paris in 1843 as a shoemaker and began working at a boot factory, where he met Méliès's mother. Johannah-Catherine's father had been the official bootmaker of the Dutch court before a fire ruined his business. Eventually the two married, founded a high-quality boot factory on the Boulevard Saint-Martin [de; es; fr; it; pt], and had sons Henri and Gaston; by the time their third son Georges, had been born, the family had become wealthy. Georges Méliès attended the Lycée Michelet from age seven until it was bombed during the Franco-Prussian War; he was then sent to the prestigious Lycée Louis-le-Grand. In his memoirs, Méliès emphasised his formal, classical education, in contrast to accusations early in his career that most filmmakers had been "illiterates incapable of producing anything artistic." However, he acknowledged that his creative instincts usually outweighed intellectual ones: "The artistic passion was too strong for him, and while he pondered a French composition or Latin verse, his pen mechanically sketched portraits or caricatures of his professors or classmates, if not some fantasy palace or an original landscape that already had the look of a theatre set." Often disciplined by teachers for covering his notebooks and textbooks with drawings, young Georges began building cardboard puppet theatres at age 10 and crafted sophisticated marionettes as a teenager. Méliès graduated from the Lycée with a baccalauréat in 1880. Stage career After completing his education, Méliès joined his brothers in the family shoe business, where he learned how to sew. After three years' mandatory military service,[citation needed] his father sent him to London to work as a clerk for a family friend and to improve his English. While in London, he began to visit the Egyptian Hall, run by the London illusionist John Nevil Maskelyne, and he developed a lifelong passion for stage magic. Méliès returned to Paris in 1885 with a new desire: to study painting at the École des Beaux-Arts. His father, however, refused to support him financially as an artist, so Georges settled with supervising the machinery at the family factory. That same year, he avoided his family's desire for him to marry his brother's sister-in-law and instead married Eugénie Génin, a family friend's daughter whose guardians had left her a sizable dowry. They had two children: Georgette, born in 1888, and André, born in 1901. While working at the family factory, Méliès continued to cultivate his interest in stage magic, attending performances at the Théâtre Robert-Houdin, which had been founded by the magician Jean Eugène Robert-Houdin. He also began taking magic lessons from Emile Voisin, who gave him the opportunity to perform his first public shows, at the Cabinet Fantastique of the Grévin Wax Museum and, later, at the Galerie Vivienne. Over the next nine years, Méliès personally created over 30 new illusions that brought more comedy and melodramatic pageantry to performances, much like those Méliès had seen in London, and attendance greatly improved. One of his best-known illusions was the Recalcitrant Decapitated Man, in which a professor's head is cut off in the middle of a speech and continues talking until it is returned to his body. When he purchased the Théâtre Robert-Houdin, Méliès also inherited its chief mechanic Eugène Calmels and such performers as Jehanne D'Alcy, who became his mistress and later his second wife. While running the theatre, Méliès also worked as a political cartoonist for the liberal newspaper La Griffe, which was edited by his cousin Adolphe Méliès. Early film career On 27 December 1895, Méliès attended a special private demonstration of the Lumière brothers' cinematograph, given for owners of Parisian houses of spectacle.[a] Méliès immediately offered the Lumières 10,000 francs for one of their machines; the Lumières refused, anxious to keep a close control on their invention and to emphasize the scientific nature of the device. (For the same reasons, they refused the Musée Grévin's 20,000 francs bid and the Folies Bergère's 50,000 francs bid the same night.) Méliès, intent on finding a film projector for the Théâtre Robert-Houdin, turned elsewhere; numerous other inventors in Europe and America were experimenting with machines similar to the Lumières' invention, albeit at a less technically sophisticated level. Possibly acting on a tip from Jehanne d'Alcy, who may have seen Robert W. Paul's Animatograph film projector while on tour in England, Méliès traveled to London. He bought an Animatograph from Paul, as well as several short films sold by Paul and by the Edison Manufacturing Company. By April 1896, the Théâtre Robert-Houdin was showing films as part of its daily performances. Méliès, after studying the design of the Animatograph, modified the machine so that it served as a film camera. As raw film stock and film processing labs were not yet available in Paris, Méliès purchased unperforated film in London, and personally developed and printed his films through trial and error. In September 1896, Méliès, Lucien Korsten, and Lucien Reulos patented the Kinétographe Robert-Houdin, a cast iron camera-projector, which Méliès referred to as his "coffee grinder" and "machine gun" because of the noise that it made. By 1897 technology had caught up and better cameras were put on sale in Paris, leading Méliès to discard his own camera and purchase several better cameras made by Gaumont, the Lumières, and Pathé. Méliès directed over 500 films from 1896 to 1913, ranging in length from 1 minute to 40 minutes. In subject matter, these films are often similar to the magic theatre shows that Méliès had been doing, containing "tricks" and impossible events, such as objects disappearing or changing size. These early special effects films were essentially devoid of plot. The special effects were used only to show what was possible, rather than enhance the overall narrative. Méliès's early films were mostly composed of single in-camera effects, used for the entirety of the film. For example, after experimenting with multiple exposure, Méliès created his film The One-Man Band in which he played seven different characters simultaneously. Méliès began shooting his first films in May 1896, and screening them at the Théâtre Robert-Houdin by that August. At the end of 1896 he and Reulos founded the Star Film Company, with Korsten acting as his primary camera operator. Many of his early films were copies and remakes of the Lumière brothers' films, made to compete with the 2000 daily customers of the Grand Café. This included his first film Playing Cards, which is similar to an early Lumière film. However, many of his other early films reflected Méliès's knack for theatricality and spectacle, such as A Terrible Night, in which a hotel guest is attacked by a giant bedbug. But more importantly, the Lumière brothers had dispatched camera operators across the world to document it as ethnographic documentarians, intending their invention to be highly important in scientific and historical study. Méliès's Star Film Company, on the other hand, was geared more towards the "fairground clientele" who wanted his specific brand of magic and illusion: art. In these earliest films, Méliès began to experiment with (and often invent) special effects that were unique to filmmaking. This began, according to Méliès's memoirs, by accident when his camera jammed in the middle of a take and "a Madeleine-Bastille bus changed into a hearse and women changed into men. The substitution trick, called the stop trick, had been discovered." This same stop trick effect had already been used by Thomas Edison when depicting a decapitation in The Execution of Mary Stuart; however, Méliès's film effects and unique style of film magic were his own. He first used these effects in The Vanishing Lady, in which the by then cliché magic trick of a person vanishing from the stage by means of a trap door is enhanced by the person turning into a skeleton until finally reappearing on the stage. In September 1896, Méliès began to build a film studio on his property in Montreuil, just outside Paris. The main stage building was made entirely of glass walls and ceilings so as to allow in sunlight for film exposure and its dimensions were identical to the Théâtre Robert-Houdin. The property also included a shed for dressing rooms and a hangar for set construction. Because colours often photograph in unexpected ways on black-and-white film, all sets, costumes and actors' makeup were coloured in different tones of gray. Méliès described the studio as "the union of the photography workshop (in its gigantic proportions) and the theatre stage." Actors performed in front of a painted set as inspired by the conventions of magic and musical theatre. For the remainder of his film career, he divided his time between Montreuil and the Théâtre Robert-Houdin, where he "arrived at the studio at seven a.m. to put in a 10-hour day building sets and props. At five, he would change his clothes and set out for Paris in order to be at the theatre office by six to receive callers. After a quick dinner, he was back to the theatre for the eight o'clock show, during which he sketched his set designs, and then returned to Montreuil to sleep. On Fridays and Saturdays, he shot scenes prepared during the week, and Sundays and holidays were taken up with a theatre matinee, three film screenings, and an evening presentation that lasted until eleven-thirty." In total, Méliès made 78 films in 1896 and 52 in 1897. By this time, he had covered every genre of film that he would continue to film for the rest of his career. These included the Lumière-like documentaries, comedies, historical reconstructions, dramas, magic tricks, and féeries (fairy stories), which became his most well-known genre. In 1897, Méliès was commissioned by the popular singer Paulus to make films of his performances. Because Paulus refused to perform outdoor, some thirty arc and mercury lamps had to be used in Méliès studio, one of the first times artificial light was used for cinematography. That same year, Georges Brunel wrote that "MM. Méliès and Reulos have, above all, made a speciality of fantastic or artistic scenes, reproductions of theatre scenes, etc., so as to create a special genre, entirely distinct from the ordinary cinematographic views consisting of street scenes or genre subjects." Like the Lumière brothers and Pathé, Star Films also made "stag films" such as Peeping Tom at the Seaside, A Hypnotist at Work and After the Ball, which is the only one of these films that has survived, and stars Jeanne d'Alcy stripping down to a flesh-coloured leotard and being bathed by her maid. From 1896 to 1900, Méliès made 10 advertisements for products such as whiskey, chocolate, and baby cereal. In September 1897, Méliès attempted to turn the Théâtre Robert-Houdin into a movie theatre with fewer magic shows and film screenings every night. But by late December 1897, film screenings were limited to Sunday nights only. He continued to experiment with his in-camera special effects, such as a reverse shot in A Dinner Under Difficulties, where he hand cranked a strip of film backwards through his camera to achieve the effect. He also experimented with superimposition, where he filmed actors in a black background, then rewinded the film through the camera and exposed the footage again to create a double exposure. These films included The Cave of the Demons, in which transparent ghosts haunt a cave, and The Four Troublesome Heads, in which Méliès removes his own head three times and creates a musical chorus. Achieving these effects was extremely difficult, requiring considerable skill. In a 1907 article, Méliès noted: "Every second the actor playing different scenes ten times has to remember, while the film is rolling, exactly what he did at the same point in the preceding scenes and the exact place where he was on the stage." Méliès made 48 films in 1899 as he continued to experiment with special effects, for example in the early horror film Robbing Cleopatra's Tomb. The film is not a historical reconstruction of the Egyptian Queen Cleopatra, and instead depicts her mummy being resurrected in the modern era. Robbing Cleopatra's Tomb was believed to be a lost film until a copy was discovered in 2005 in Paris. That year, Méliès also made two of his most ambitious and well-known films. In the summer he made the historical reconstruction The Dreyfus Affair, a film based on the then-ongoing and controversial political scandal, in which the Jewish French Army Captain Alfred Dreyfus was falsely accused and framed for treason by his commanders. Méliès was pro-Dreyfus and the film depicts Dreyfus sympathetically as falsely accused and unjustly incarcerated on the Devil's Island prison. At screenings of the film, fights broke out between people on different sides of the debate and the police eventually banned the final part of the film where Dreyfus returns to prison. Later that year, Méliès made the féerie Cinderella, based on Charles Perrault's fairy tale. The film was six minutes long and had a cast of over 35 people, including Bleuette Bernon in the title role. It was also Méliès's first film with multiple scenes, known as tableaux. The film was very successful across Europe and in the United States, playing mostly in fairgrounds and music halls. American film distributors such as Siegmund Lubin were especially in need of new material, both to attract their audience with new films and to counter Edison's growing monopoly. Méliès's films were particularly popular, and Cinderella was often screened as a featured attraction even years after its U.S. release in December 1899. Such U.S. filmmakers as Thomas Edison were resentful of the competition from foreign companies and after the success of Cinderella, attempted to block Méliès from screening most films in the U.S.; but they soon discovered the process of creating film dupes (duplicate negatives). Méliès and others then established in 1900 the trade union Chambre Syndicale des Editeurs Cinématographiques as a way to defend themselves in foreign markets.[citation needed] International success In 1900, Méliès made numerous films, including the 13-minute-long Joan of Arc. He also made The One-Man Band, in which Méliès continued to fine-tune his special effects by multiplying himself on camera to play seven instruments simultaneously. Another notable film was The Christmas Dream, which merged cinematic effects with traditional Christmas pantomime scenes. In 1901, Méliès continued producing successful films and was at the peak of his popularity. His films that year included The Brahmin and the Butterfly, in which Méliès portrays a Brahmin who transforms a caterpillar into a beautiful woman with wings, but is himself turned into a caterpillar. He also made the féerie Red Riding Hood and Blue Beard, both based on stories from Charles Perrault. In Blue Beard, Méliès plays the eponymous wife-murderer and co-stars with Jeanne d'Alcy and Bleuette Bernon. The film is an early example of parallel cross-cutting and match cuts of characters moving from one room to the next. The Edison Company's 1902 film Jack and the Beanstalk, directed by Edwin S. Porter, was considered a less successful American version of several Méliès films, particularly Blue Beard. That year, Méliès also made L'Omnibus des toqués ou Blancs et Noirs (The Omnibus of Crazy People or Whites and Blacks, entitled Off to Bloomingdale Asylum in the US), a blackface burlesque that includes four white bus passengers transforming into one large black passenger, who is then shot by the bus driver. In 1902, Méliès began to experiment with camera movement to create the illusion of a character changing size. He achieved this effect by "advancing the camera forward" on a pulley-drawn chair system, which was perfected to allow the camera operator to accurately adjust focus and for the actor to adjust his or her position in the frame as needed. This effect began with The Devil and the Statue, in which Méliès plays Satan and grows to the size of a giant to terrorize William Shakespeare's Juliet, but then shrinks when the Virgin Mary comes to the rescue of the damsel in distress. This effect was used again in The Man with the Rubber Head, in which Méliès plays a scientist who expands his own head to enormous proportions. This experiment, along with the others that he had perfected over the years, was used in his most well-known and beloved film later that year. In May 1902, Méliès made the film A Trip to the Moon which was loosely based on Jules Verne's 1865 novel From the Earth to the Moon, its 1870 sequel Around the Moon, and H. G. Wells's 1901 novel The First Men in the Moon. In the film, Méliès stars as Professor Barbenfouillis, a character similar to the astronomer he played in The Astronomer's Dream in 1898. Professor Barbenfouillis is the President of the Astronomer's Club and proposes an expedition to the Moon. A space vehicle in the form of a large artillery shell is built in his laboratory, and he uses it to launch six men (including himself) on a voyage to the Moon. The vehicle is shot out of a large cannon into space and hits the Man in the Moon in the eye. The group explores the Moon's surface before going to sleep. As they dream, they are observed by the Moon goddess Phoebe, played by Bleuette Bernon, who causes it to snow. Later, while underground, they are attacked and captured by a group of Moon aliens, played by acrobats from the Folies Bergère. Taken before the alien king, they manage to escape and are chased back to their spaceship. Then, with the aid of a rope attached to the spaceship, the men, along with an alien, fall from the Moon back to Earth, landing in the ocean (where a superimposed fish tank creates the illusion of the deep ocean). Eventually the spaceship is towed ashore and the returning adventurers are celebrated by the townspeople. The film was an enormous success in France and around the world, and Méliès sold both black-and-white and hand-coloured versions to exhibitors. The film made Méliès famous in the United States, where such producers as Thomas Edison, Siegmund Lubin and William Selig had produced illegal copies and made large amounts of money from them. As Charles Musser noted, "Lubin, Selig, and Edison catalogs from 1903–04 listed many dupes … and gave particular prominence to Méliès films such as … A Trip to the Moon. Consequently, Méliès received but a small fraction of the considerable profits earned by the film through sales of prints and theater admissions. This copyright violation caused Méliès to open a Star Films office in New York City, with his brother Gaston Méliès in charge. Gaston had been unsuccessful in the shoe business and agreed to join his more successful brother in the film industry. He travelled to New York in November 1902 and discovered the extent of the infringement in the U.S., such as Biograph having paid royalties on Méliès's film to film promoter Charles Urban. When Gaston opened the branch office in New York, it included a charter that partly read "In opening a factory and office in New York we are prepared and determined energetically to pursue all counterfeiters and pirates. We will not speak twice, we will act!" Gaston was assisted in the U.S. by Lucien Reulos, who was the husband of Gaston's sister-in-law, Louise de Mirmont. Méliès's great success in 1902 continued with his three other major productions of that year. In The Coronation of Edward VII, Méliès reenacts the real-life coronation of Edward VII. The film was shot prior to the actual event (since he was denied access to the coronation) and was commissioned by Charles Urban, head of the Warwick Trading Company and the Star Films representative in London. The film was ready to be released on the day of the coronation; however, the event was postponed for six weeks due to Edward's health. This allowed Méliès to add actual footage of the carriage procession in the film. The film was financially successful and Edward VII himself was said to have enjoyed it. Next, Méliès made the féeries Gulliver's Travels Among the Lilliputians and the Giants, based on the novel by Jonathan Swift, and Robinson Crusoe, based on the novel by Daniel Defoe. In 1903, Méliès made The Kingdom of the Fairies, which film critic Jean Mitry has called "undoubtedly Méliès's best film, and in any case the most intensely poetic". The Los Angeles Times called the film "an interesting exhibit of the limits to which moving picture making can be carried in the hands of experts equipped with time and money to carry out their devices". Prints of the film survive in the film archives of the British Film Institute and the U.S. Library of Congress. Méliès continued the year by perfecting many of his camera effects, such as more fast-paced transformations in Ten Ladies in One Umbrella and the seven superimpositions that he used in The Melomaniac. He finished the year with The Damnation of Faust, based on the Faust legend. The film is loosely based on an opera by Hector Berlioz, but it pays less attention to the story and more to the special effects that represent a tour of hell. These include underground gardens, walls of fire and walls of water. In 1904, he made the sequel Faust and Marguerite. This time, the film was based on an opera by Charles Gounod. Méliès also created a combined version of the two films that aligned with the main arias of the operas. He continued making "high art" films later in 1904 such as The Barber of Seville. These films were popular with both audiences and critics at the time of their release, and helped Méliès establish more prestige. His major production of 1904 was The Impossible Voyage, a film similar to A Trip to the Moon about an expedition around the world, into the oceans and even to the Sun. In the film, Méliès plays Engineer Mabouloff of the Institute of Incoherent Geography, who is similar to the previous Professor Barbenfouillis. Mabouloff leads a group on the trip on the many Automobouloffs, the vehicles that they use of their travels. As the men are traveling up to the highest peaks of the Alps, their vehicle continues moving upwards and takes them unexpectedly to the Sun, which has a face much like the man in the moon and swallows the vehicle. Eventually the men use a submarine to launch back to planet Earth and into the ocean. They are greeted back home by adoring admirers. The film was 24 minutes long and was a success. Film critic Lewis Jacobs has said that "the film expressed all of Méliès talents ... The complexity of his tricks, his resourcefulness with mechanical contrivances, the imaginativeness of the settings and the sumptuous tableaux made the film a masterpiece for its day." Later in 1904, Folies Bergère director Victor de Cottens invited Méliès to create a special effects film to be included in his theatre's revue. The result was An Adventurous Automobile Trip, a satire of Leopold II of Belgium. The film was screened at the Folies Bergère before Méliès began to sell it as a Star Films production. In late 1904, Thomas Edison sued the American production company Paley & Steiner over copyright infringement for films that had stories, characters and even shot set-ups exactly like films that Edison had made. Edison also included Pathé Frères, Eberhard Schneider and Star Films in this lawsuit for unspecified reasons. Paley & Steiner settled with Edison out of court (and were later bought out by Edison) and the case never went to trial. In 1905, Victor de Cottens asked Méliès to collaborate with him on The Merry Deeds of Satan, a theatrical revue for the Théâtre du Châtelet. Méliès contributed two short films for the performances, Le Voyage dans l'espace (The Space Trip) and Le Cyclone (The Cyclone), and co-wrote the scenario with de Cottens for the entire revue. 1905 was also the 100th birthday of Jean Eugène Robert-Houdin, and the Théâtre Robert-Houdin created a special celebration performance, including Méliès's first new stage trick in several years, Les Phénomènes du Spiritisme. At the same time, he was again remodeling and expanding his studio at Montreuil by installing electric lights, adding a second stage and buying costumes from other sources. Méliès's films for 1905 include the adventure The Palace of the Arabian Nights and the féerie Rip's Dream, based on the Rip Van Winkle legend and the opera by Robert Planquette. In 1906, his output included an updated, comedic adaptation of the Faust legend The Merry Frolics of Satan and The Witch. The féerie style that Méliès was best known began to lose popularity, and he began to make films in other genres, such as crime films and family films. In the U.S., Gaston Méliès had to reduce the sale prices of three of Méliès's earlier, popular féeries, Cinderella, Bluebeard and Robinson Crusoe. By the end of 1905, Gaston had cut the prices of all films on the Star Films catalog by 20%, which did improve sales. Later film career and decline In 1907, Méliès created three new illusions for the stage and performed them at the Théâtre Robert-Houdin, while he continued producing a steady stream of films, including Under the Seas, and a short version of Shakespeare's Hamlet. Yet such film critics as Jean Mitry, Georges Sadoul, and others have declared that Méliès's work began to decline, and film scholar Miriam Rosen wrote the works started to "lapse into the repetition of old formulas on the one hand and an uneasy imitation of new trends on the other." In 1908, Thomas Edison created the Motion Picture Patents Company as a way to control the film industry in the United States and Europe. The companies that joined the conglomerate were Edison, Biograph, Vitagraph, Essanay, Selig, Lubin, Kalem, American Pathé and Méliès's Star Film Company, with Edison acting as president of the collective. Star Films was obligated to supply the MPPC with one thousand feet of film per week, and Méliès made 58 films that year in fulfillment of the obligation. Gaston Méliès established his own studio in Chicago, the Méliès Manufacturing Company, which helped his brother fulfill the obligation to Edison, although Gaston produced no films in 1908. That year, Méliès made the ambitious film Humanity Through the Ages. This pessimistic film retells the history of humans from Cain and Abel to the Hague Peace Conference of 1907. The film was unsuccessful, yet Méliès was proud of it throughout his life. Early in 1909, Méliès presided over the "Congrès International des éditeurs de films" in Paris. Under Méliès's chairmanship, the European congress took place from 2 to 4 February 1909. In his mémoires, Méliès says that this congress was the second one, following the 1908 congress. In 1909, the congress made important decisions regarding film leasing, and adoption of a single type of film perforation, in order to thwart Edison and the MPPC. Like others, Méliès was unhappy with the monopoly that Edison had created and wanted to fight back. The members of the congress agreed to no longer sell films, but to lease them for four-month periods only to members of their own organization, and to adopt a standardized film perforation count on all films. Méliès was unhappy about the second of the three conditions, because his principal clients were owners of fairgrounds and music halls. A fairground trade journal quoted Méliès as saying "I am not a corporation; I am an independent producer." Méliès resumed filmmaking in the autumn of 1909 and produced nine films, including Whimsical Illusions, in which he presents a magical effect on stage. At the same time, Gaston Méliès had moved the Méliès Manufacturing Company to Fort Lee, New Jersey. In 1910, Gaston established the Star Film Ranch, a studio in San Antonio, Texas, where he began to produce Westerns. By 1911, Gaston had renamed his branch of Star Films American Wildwest Productions, and opened a studio in Southern California. He produced over 130 films from 1910 to 1912, and he was the primary source for fulfilling Star Films' obligation to Thomas Edison's company. From 1910 to 1912, Georges Méliès produced very few films. In 1910, Méliès temporarily stopped making films because he preferred to create a big magic show Les Fantômes du Nil, and he went on an expansive tour in Europe and North Africa. Later that year, Star Films signed an agreement with the Gaumont Film Company to distribute all of its films. In the autumn of 1910, Méliès made a deal with Charles Pathé that destroyed his film career. Méliès accepted a large amount of money to produce films, and in exchange, Pathé Frères distributed and reserved the right to edit these films. Pathé also held the deed to both Méliès's home and his Montreuil studio as part of the deal. Méliès immediately began production on more elaborate films, and the two that he produced in 1911 were Baron Munchausen's Dream and The Diabolical Church Window. Despite the extravagance of these féeries that had been extremely popular just a decade before, both films failed financially. One of Méliès's later féeries was Cinderella or the Glass Slipper, a 54-minute retelling of the Cinderella legend, shot with new deep focus lenses, outdoors instead of against theatrical backdrops. Pathé hired Méliès's longtime rival Ferdinand Zecca to trim the film to 33 minutes, and it too was unprofitable. After similar experiences with The Knight of the Snows and The Voyage of the Bourrichon Family in late 1912, Méliès broke his contract with Pathé. Meanwhile, Gaston Méliès had taken his family and a film crew of over twenty people to Tahiti in the summer of 1912. For the rest of that year and well into 1913, he traveled throughout the South Pacific and Asia, and sent film footage back to his son in New York City. The footage was often damaged or otherwise unusable, and Gaston was no longer able to fulfill Star Films' obligation to Thomas Edison's company. By the end of his travels, Gaston Méliès had lost $50,000 and had to sell the American branch of Star Films to Vitagraph Studios. Gaston eventually returned to Europe and died in 1915. He and Georges Méliès were not on speaking terms following his return to Europe. When Méliès broke his contract with Pathé in 1913, he had nothing with which to cover his indebtedness to that company. Although a moratorium declared at the onset of World War I prevented Pathé from taking possession of his home and the Montreuil studio, Méliès was bankrupt and unable to continue making films. In his memoirs, he attributes what Miriam Rosen describes as "his own inability to adapt to the rental system" with Pathé and other companies, his brother Gaston's poor financial decisions, and the horrors of World War I as the main reasons that he stopped making movies. The final crisis was the death of Méliès's first wife, Eugénie Génin, in May 1913, leaving him alone to raise their twelve-year-old son, André. The war shut the Théâtre Robert-Houdin for a year, and Méliès left Paris with his two children for several years. In 1917, the French Army turned the main studio building at his Montreuil property into a hospital for wounded soldiers. Méliès and his family then turned the second studio set into a theatrical stage and performed over 24 revues there until 1923. During the war, the French Army confiscated over four hundred of Star Films' original prints and melted them down to recover silver and celluloid, the latter of which the army used to make shoe heels. Rediscovery and final years Méliès was largely forgotten and financially ruined by December 1925, when he married his long-time mistress, the actress Jehanne d'Alcy. The couple scraped together a living by working at a small candy and toy stand d'Alcy owned in the main hall of the Gare Montparnasse. Around the same time, the gradual rediscovery of Méliès's career began. In 1924, the journalist Georges-Michel Coissac tracked him down and interviewed him for a book on cinema history. Coissac, who hoped to underline the importance of French pioneers to early film, was the first film historian to demonstrate Méliès's importance to the industry. In 1926, spurred on by Coissac's book, the magazine Ciné-Journal located Méliès, now working at the Gare Montparnasse, and commissioned a memoir from him. By the late 1920s, several journalists had begun to research Méliès and his life's work, creating new interest in him. As his prestige began to grow in the film world, he was given more recognition, and in December 1929, a gala retrospective of his work was held at the Salle Pleyel. In his memoirs, Méliès said that at the event he "experienced one of the most brilliant moments of his life." Eventually Méliès was made a Chevalier de la Légion d'honneur, the medal of which was presented to him in October 1931 by Louis Lumière. Lumière himself said that Méliès was the "creator of the cinematic spectacle." However, the enormous amount of praise that he was receiving did not help his livelihood or ameliorate his poverty. In a letter written to French filmmaker Eugène Lauste, Méliès wrote that "luckily enough, I am strong and in good health. But it is hard to work 14 hours a day without getting my Sundays or holidays, in an icebox in winter and a furnace in summer." In 1932, the Cinema Society arranged a place for Méliès, his granddaughter Madeleine, and Jeanne d'Alcy at La Maison de Retraite du Cinéma, the film industry's retirement home in Orly. Méliès was greatly relieved to be admitted to the home and wrote to an American journalist: "My best satisfaction in all is to be sure not to be one day without bread and home!" In Orly, Méliès worked with several younger directors on scripts for films that never came to be made. These included a new version of Baron Munchausen with Hans Richter and a film that was to be titled Le Fantôme du métro (Phantom of the Metro) with Henri Langlois, Georges Franju, Marcel Carné, and Jacques Prévert. Langlois and Franju had met Méliès in 1935 with René Clair, and in 1936, they rented an abandoned building on the property of the Orly retirement home to store their collection of film prints. They then entrusted the key to the building to Méliès, and he became the first conservator of what became the Cinémathèque Française. Although he never made another film after 1912 or staged another theatrical performance after 1923, he drew and both wrote to and advised younger film and theatrical admirers until the end of his life. By late 1937, Méliès had become very ill and Langlois arranged for him to be admitted to the Léopold Bellan Hospital in Paris. Langlois had become close to him, and he and Franju visited him shortly before his death. When they arrived, Méliès showed them one of his last drawings of a champagne bottle with the cork popped and bubbling over. He then told them: "Laugh, my friends. Laugh with me, laugh for me, because I dream for you." Georges Méliès died on 21 January 1938 of cancer, just hours after the death of Émile Cohl, another great French film pioneer. He was buried in the Père Lachaise Cemetery.[citation needed] Tributes Walt Disney, on being presented with the Legion of Honour in 1936, expressed gratitude to Méliès and his fellow pioneer Émile Cohl, saying they "discovered the means of placing poetry within the reach of the man in the street." The music video for Queen's 1995 single "Heaven for Everyone" incorporated portions of Méliès's A Trip to the Moon (1902). Music videos for The Smashing Pumpkins 1996 single "Tonight, Tonight" and Carly Rae Jepsen's 2022 single "The Loneliest Time" were highly inspired by Georges Méliès's films A Trip to the Moon (1902) and The Impossible Voyage (1904).[citation needed] Terry Gilliam has called Méliès "the first great film magician," adding: "His joyous sense of fun and ability to astound were a big influence on both my early animations and then my live-action films ... Of course, Méliès still has a tight creative grip on me." Méliès was inducted into the Science Fiction and Fantasy Hall of Fame in 2015. He was inducted into the Visual Effects Society (VES) Hall of Fame in 2017. Méliès's A Trip to the Moon also inspired the VES logo. On 3 May 2018, the first ever virtual reality interactive Google doodle honoured Méliès, which contains themes of his many films and was nominated for a Emmy for Outstanding Original Interactive Program. A picture of Méliès flew on board Artemis 1 which orbited the Moon in 2022. In 2025, Christian Clavier linked Méliès's special effects to modern uses of AI in an interview with Brut, an idea echoed by duanju.news. The Invention of Hugo Cabret The 2007 novel The Invention of Hugo Cabret by Brian Selznick centres on the later life of Méliès. It was adapted into the 2011 film Hugo by Martin Scorsese, where Méliès is played by Sir Ben Kingsley. The film version includes reconstructions of some of the fantastical stage sets which appeared in Méliès's early films. Filmography Due to a variety of factors, only roughly 200 out of over 500 Méliès's films remain in existence today. These factors include Méliès's destruction of his original negatives, the French army's confiscation of his prints and the typical deterioration of the majority of films made in the silent era. Occasionally a lost Méliès film will be discovered, but the majority that were preserved come from the U.S. Library of Congress, due to Gaston Méliès submitting paper prints of each frame of all new Star Films in order to preserve copyright when he set up the American branch of Star Films in 1902. See also Notes References Further reading External links |
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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. 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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/Th%C3%A9%C3%A2tre_Robert-Houdin] | [TOKENS: 4439] |
Contents Théâtre Robert-Houdin The Théâtre Robert-Houdin, initially advertised as the Théâtre des Soirées Fantastiques de Robert-Houdin, was a Paris theatre dedicated primarily to the performance of stage illusions. Founded by the famous magician Jean-Eugène Robert-Houdin in 1845 at No. 164 Galerie Valois as part of the Palais-Royal, it moved in 1852 to a permanent home at No. 8, Boulevard des Italiens. The theatre's later directors, before its demolition in 1924, included Robert-Houdin's protégé Hamilton and the illusionist and film innovator Georges Méliès. When he first founded the theatre, Robert-Houdin was known primarily for his guest appearances as a magician and his clever mechanical inventions. Eager to solidify his work as a stage performer, he leased assembly rooms in the Palais-Royal and had them converted into a small but elegant proscenium theatre auditorium. In setting his stage, Robert-Houdin deliberately set himself apart from conventional stage-magic traditions; he eschewed the usual emphasis on dazzling visual confusion, replacing it with a simple drawing-room look with light furniture in the Style Louis XV. After a rocky start, his theatre gained critical respect, and boomed in popularity with the introduction of Robert-Houdin's mind-reading illusion "Second Sight". In early 1852, Robert-Houdin transferred the theatre's directorship to his former pupil Hamilton (born Pierre Etienne Chocat), who continued its success. At the end of that year, when the lease on the Palais-Royal location ran out, Hamilton moved his operation to a boulevard theatre venue on the Boulevard des Italiens. In its new permanent location, the theatre continued to run for the next few decades, under directors including Cleverman (born François Lahire), Pierre Edouard Brunnet, and Émile Voisin. A drastic refreshing of the theatre's repertoire in the mid-1870s gave it a major financial boost, with the added box-office takings allowing it to start hosting guest artists. However, the boom did not last long, and the theatre was physically run-down and in a serious financial slump by the mid-1880s. In 1888, Georges Méliès took over the lease on the venue. He retained its existing staff but began a thorough revamping, aiming to restore both the theatre's architecture and its repertoire to their former quality. His first major innovation was to conclude each evening's entertainment with a spectacularly staged, lavishly advertised illusion, telling a miniature story complete with original scenery and costumed characters. Méliès's restorations and innovations were a marked success. In 1896, when moving pictures were an emerging novelty, he added film projection to the theatre's repertoire, and even began making his own films to show there and sell elsewhere. Over the next fifteen years, filmmaking became a major part of his career, on top of and overlapping with his work at the theatre. A 1901 fire destroyed most of the venue, but the theatre was rebuilt the same year and continued to present performances with success. At the onset of the First World War, the theatre was closed; Méliès, now severely in debt from a series of filmmaking-related troubles, was unable to keep it going, and sublet it as a full-time cinema. He shut down the venue in 1923, when he sold all his property in an attempt to pay his debts. Paris city planners demolished the theatre the following year to allow for an extension of the Boulevard Haussmann. The Palais-Royal years, 1845–1852 In the early 1840s, the innovative magician Jean-Eugène Robert-Houdin was well-regarded, particularly for the mechanical curiosities he exhibited to audiences and sold to rich patrons. He performed with a trick automaton at the French Industrial Exposition of 1844, drawing guests including King Louis Philippe I, and winning a silver medal from the exposition judges. He was keen to expand his magical performances by opening his own venue, and a nobleman who had hired him for private parties, the Count de L'Escalopier, invested fifteen thousand francs into the project. In 1845, the theatre was launched inside the Palais-Royal. This building, once home to Cardinal Richelieu, had been converted into a lavish shopping arcade, with shops and cafés on the ground floor and assembly rooms above them. Robert-Houdin and de L'Escalopier leased assembly rooms at No. 164 Galerie Valois, and had carpenters knock down interior walls to create an auditorium, with a seating capacity of about two hundred. The decorations were in the Style Louis XV, with white walls and gold trim, and Robert-Houdin's proscenium stage was set up as an elegant drawing-room, complete with candelabras and drapery. Robert-Houdin set himself apart from previous magic acts in his stage setting; while some other magicians had tried to dazzle with elaborate, purely ornamental props and lighting effects, and abundant use of tables covered with cloth to the floor, Robert-Houdin hoped to impress by sticking to the relatively simple Style Louis XV and limiting the furniture to the minimum needed for his act. Folding doors on both sides of the stage allowed Robert-Houdin to bring his elaborate mechanical devices on and offstage; the door at the right led to a room looking out over the Palais-Royal's garden. He used this room as a green room when preparing in the evening, and as a workshop during the day. Robert-Houdin initially advertised the venue as the "Théâtre des Soirées Fantastiques de Robert-Houdin", but this name was soon abridged to "Théâtre Robert-Houdin". Ticket prices were set relatively high to make up for the auditorium's small capacity, with prices between two and five francs depending on the position of the seat. The theatre opened on 3 July 1845, competing directly with the gala opening of a major Paris amphitheatre, the Hippodrome de l'Étoile. No critics covered Robert-Houdin's first performance, and his memoirs describe it as an artistic failure wrecked by stage fright. However, Robert-Houdin persevered, and slowly began to regain his cool and win critical attention for the theatre. His performances were varied, including mechanically assisted acts like "The Fantastic Orange Tree" and trick automatons like "The Pastrycook of the Palais-Royal". Reviews in Le Charivari and L'Illustration were favourable, comparing the theatre's offerings to those of famous magicians like Bartolomeo Bosco and Philippe Talon. On 12 February 1846, Robert-Houdin added a fresh act to the repertoire: "Second Sight", adapted and expanded from earlier magicians' routines. In this act, Robert-Houdin's son Émile, though blindfolded, contrived to answer questions about objects volunteered by audience members. "Second Sight" rocketed Robert-Houdin and his theatre to immense success and packed houses. Once the theatre had won good business, Robert-Houdin closed it for the summer of 1846 to go on tour, bringing in new tricks for the fall season, including a levitation act, "Ethereal Suspension". Over the next few years, Robert-Houdin continued the pattern of performing at his own theatre in between extended bouts of touring and tinkering. In 1851, Robert-Houdin announced publicly that he was entrusting to the theatre to a successor and former pupil, Pierre Etienne Chocat, who performed under the name Hamilton. The transferral, effected in January 1852, went smoothly, with the Theatre Robert-Houdin still doing good business under its new management. The move to the Boulevard, 1852–1888 The lease on the Palais-Royal rooms ran out in December 1852. Rather than renewing it, Hamilton moved his operation to a building at No. 8, Boulevard des Italiens. To inaugurate the new theatre in January 1853, Jean-Eugène Robert-Houdin gave the first performance, along with good wishes to his successor Hamilton. The new location turned the Théâtre Robert-Houdin into a boulevard theatre, one of the entertainment venues that flourished in Paris during and after the city's 1853–1870 urban renewal. The rebuilding of Paris during this period, led by Georges-Eugène Haussmann, created a "boulevard culture" that lasted throughout the second half of the nineteenth century. Boulevard theatres were smaller than established venues like the Comédie-Française, and produced more varied and experimental shows. The Boulevard des Italiens was a locus of entertainment technology during this period; numerous photographic studios operated near the Théâtre Robert-Houdin, and from 1899 onward the Pathé brothers ran a phonograph salon on the boulevard. After a performing career of eleven years, Jean-Eugène Robert-Houdin moved on to writing and retirement; he died in June 1871. The Théatre Robert-Houdin continued, with Hamilton being replaced first by François Lahire, who performed as Cleverman, and then by Pierre Edouard Brunnet, whose innovations included the locked-trunk escape artist act "Malle des Indes". In the mid-1870s, the theatre's repertoire received a thorough refreshing and revamping, to considerable popular success; box-office takings were reported to have jumped up 42% between 1876 and 1878. The additional funds allowed the theatre to begin hosting a wide variety of guest artists, including mimics, marionette puppeteers, and mental calculator acts. After the popularity boom of the mid-1870s, the Robert-Houdin became immersed in grave financial difficulties. By 1878, complaints were being raised that the theatre was not adequately advertising its guest artists, a problem that appears to have diminished its reputation among Parisian theatres. By the mid-1880s the theatre had fallen into a state of disrepair, and its acts were seen as falling off in quality. The theatre eventually landed under the directorship of Émile Voisin, otherwise a manufacturer of props for magic acts. In 1887, Voisin hired Stéphanie Faës, an actor who performed under the name Jehanne d'Alcy. In part because she was small and agile, d'Alcy proved a valuable performer for magic illusions, and appeared in them regularly. The Méliès refurbishment, 1888–1896 In July 1888, the theatre came under the directorship of Georges Méliès. Méliès was a rising young magician who had performed at salons, at the Galerie Vivienne, and at the Musée Grévin; his father was a shoe manufacturer who had retired earlier in 1888, splitting up his fortune between his three sons. While his brothers Henri and Gaston took over the shoe business, Georges Méliès used his share of the money to rent the Théâtre Robert-Houdin from the site's owner, the Count de Rohan-Chabot. Méliès also bought up the theatre's properties from the widow of Émile Robert-Houdin, the magician's son, and retained the whole staff, including performers like d'Alcy, from Voisin's directorship. Méliès, who had been a frequent and enthusiastic audience member at the Robert-Houdin, was keen to refurbish the aging venue and bring its acts back to the standard of quality set by Robert-Houdin himself. He designed new scenery, had the walls repainted and the draperies replaced, and worked with another magician, Duperrey, to plan a performance repertoire with original material. Though Méliès continued the theatre's tradition of straightforward magic acts and trick automaton exhibits, his plan also included a major innovation: every evening's entertainment would conclude with one of his "grand tricks" ("grands trucs"), large-scale illusions that were staged lavishly and advertised to match, with detailed press announcements and separate posters. In December 1888, Méliès reopened the theatre, complete with his first grand trick, "The Persian Stroubaika" ("La Stroubaïka persane"). Under Méliès's directorship, the struggling theatre returned to public prominence, and its box office flourished. In 1889 he premiered three new illusions: "The Mysterious Page" ("Le Page mystérieux"), with d'Alcy in the title role; "The Flower Fairy, or Cagliostro's Mirror" ("La Fée des fleurs ou le Miroir de Cagliostro"); and "The Enchanter Alcofrisbas" ("L'Enchanteur Alcofrisbas"). In all, Méliès would create some thirty illusions for the theatre between 1888 and 1910. Although he played roles in the illusions he created, Méliès rarely appeared "as himself" in a straightforward conjuring role, unless one of the featured magicians became suddenly unavailable and Méliès needed to fill in. Illusions were accompanied by piano improvisation; he mentions nine Robert-Houdin pianists in his written recollections, including the composer Caroline Chelu. Stage and film combinations, 1896–1901 In April 1896, films were projected at the theatre for the first time, using a Theatrograph projector that Méliès had obtained from the film pioneer Robert W. Paul. Méliès would convert the projector into a makeshift camera and begin making his own films in May of that same year. Previously, performances at the theatre had often concluded with a magic lantern show, with hand-coloured slides of photographic views; with the coming of the film projector, Méliès replaced these still images with moving film. Méliès noted later that his first choice would have been to film inside the Robert-Houdin, but he was foiled by his camera's need for much stronger light sources, preferably natural light. According to one recollection, Méliès did attempt on one occasion to film inside the theatre, setting up fifteen arc lamps and fifteen mercury-vapor lamps to make the 1897 series Comedian Paulus Singing, the first known use of artificial light in film. However, the experiment with artificial light was not repeated. In early 1897, Méliès constructed a purpose-built glass studio on his family's property in Montreuil-sous-Bois, exactly reproducing the dimensions of the Robert-Houdin. With the building of the studio, he became more and more occupied with filmmaking, drastically reducing his output of new stage illusions; he premiered only four new illusions at the theatre between 1897 and 1910. Although Méliès's stage output was reduced, his films were regularly projected as part of the entertainment at the Robert-Houdin. From September through December 1902, a hand-colored print of A Trip to the Moon was screened at the theatre after Saturday and Thursday matinee performances. It was presented there by Méliès's colleague and fellow magician, Jules-Eugène Legris, who also appeared in the film's final scenes as the leader of a parade. In addition, Méliès's films were often conceived as filmed equivalents of the illusions staged at the Robert-Houdin. One of his first important films, The Vanishing Lady, has as its full French title Escomotage d'une dame chez Robert-Houdin ("Disappearance of a Lady at the Robert-Houdin"); film historian André Gaudreault argues that the same ending could be added to Méliès's other titles, turning, for example, Le Bourreau turc into Le Bourreau turc chez Robert-Houdin ("The Turkish Executioner at the Robert-Houdin") or L'Omnibus des toqués into L'Omnibus des toqués chez Robert-Houdin ("The Omnibus of Loonies at the Robert-Houdin"). Méliès himself declared: "My cinematographic career was connected so closely to the career of the Théâtre Robert-Houdin, that one can hardly separate them."[a] Méliès's second film, Conjuring (1896), is derived from one of his magic acts at the Robert-Houdin, as is The Miracles of the Brahmin (1900) and Coppelia, the Animated Doll (also 1900). Tom Old Boot (1896) captures a performance by a small entertainer of the same name, who was playing at the Robert-Houdin at the time as a "nain americain" ("American dwarf"). The Living Playing Cards (1905) was inspired by an act performed at the Robert-Houdin by Gaston Velle, who would himself later become a director of Méliès-like trick films for Pathé Frères. Under Méliès, the theatre's offerings included an annual revue, Passez Muscade. The 1899 edition mixed stage performances with filmed attractions, and included two topical parodies of the rival magician Buatier de Kolta, caricaturing him as a pompous magician with the similar-sounding name "Moitié de Polka", and spoofing his illusion "Le Miracle". (A 1908 Méliès film, also titled Moitié de polka, may have adapted this parody, but the film is currently presumed lost.) Méliès kept the Théâtre running continuously for most of the year, with an annual brief closing for summer vacation (for example, 14 July to 31 July in 1896, during which Méliès took his family to the coast of Normandy and made numerous actuality films). Rebuilding after fire, 1901–1908 The Théâtre Robert-Houdin was partly destroyed by a fire on 30 January 1901. The Count de Rohan-Chabot applied for municipal approval to have it rebuilt, and authorization was granted in May–June 1901, though the authorities noted that the building would be affected should plans for extending the Boulevard Haussmann go through. The rebuilt theatre opened on 22 September. Charles Claudel, an artist who had painted scenery for many of Méliès's films, contributed three large paintings of a sorcerer, a conjurer, and a Louis XV-era magician, as well as a ceiling mural depicting some of Robert-Houdin's famous automatons. The rebuilt interior maintained the original white-and-gold colour scheme, with drapery and upholstery in pale green. Méliès was present for the grand re-opening, but later recalled that he was on crutches, from an accident he sustained while filming Blue Beard. On 6 December 1905, the theatre hosted the French Society of Magicians celebrating Robert-Houdin's hundredth birthday. Several prominent Paris magicians presented illusions, and Méliès performed with one of Robert-Houdin's original automatons, "Antonio Diavolo". In 1910, Méliès had the theatre present a benefit performance for victims of the 1910 Great Flood of Paris. A 1903 guidebook reported: The successor of the famous Robert-Houdin, the prestidigitateur, in his small but well-appointed theatre, caters chiefly for children and young people of both sexes, but so skilful is he at his performances, that children of larger growth are delighted to be numbered amongst his audiences. The tricks performed are really marvellous and amusing—often of real dramatic interest, and ever and anon finished comedy. Harry Houdini, in his 1908 book The Unmasking of Robert-Houdin, acknowledged that the Théâtre Robert-Houdin was a "historic temple of magic". He reported that some Parisians assumed that Jean-Eugène Robert-Houdin himself "was still alive and giving performances at the theatre which bears his name." Final years, 1914–1924 At the beginning of the First World War in August 1914, Méliès closed and sublet the theatre. It reopened nine months later as a full-time cinema house, the Ciné-Salon Robert-Houdin, no longer under Méliès's directorship. In the ensuing years, Méliès's debts grew worse, including those to Pathé regarding funds for making his last films. He sold his land, including his film studios, and shut down the Théatre Robert-Houdin completely in 1923. Méliès destroyed his entire collection of his films, more than 500 in all, the same year. In 1924, Numbers 2 through 18 on the Boulevard des Italiens, including the Théâtre Robert-Houdin at No. 8 and the Passage de l'Opéra at No. 10, were demolished to make room for an extension of the Boulevard Haussmann. Notes External links 48°52′19″N 2°20′19″E / 48.8719°N 2.3386°E / 48.8719; 2.3386 |
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Contents Long Beach, California Long Beach is a coastal city in southeastern Los Angeles County, California, United States. It is the 44th-most populous city in the United States, with a population of 451,307 as of 2022. A charter city, Long Beach is the 7th-most populous city in California, the 2nd-most populous city in Los Angeles County, and the largest city in California that is not a county seat. Incorporated in 1897, Long Beach is in Southern California, in the southern part of Los Angeles County. Long Beach is approximately 20 miles (32 km) south of downtown Los Angeles, and is part of the Gateway Cities region. The Port of Long Beach is the second busiest container port in the United States and is among the world's largest shipping ports. The city is over an oilfield with minor wells both directly beneath the city as well as offshore. The city is known for its waterfront attractions, including the permanently docked RMS Queen Mary and the Aquarium of the Pacific. Long Beach also hosts the Grand Prix of Long Beach, an IndyCar race and the Long Beach Pride Festival and Parade. California State University, Long Beach, one of the largest universities in California by enrollment, is within the city. History Indigenous people have lived in coastal Southern California for over 10,000 years, and several successive cultures have inhabited the present-day area of Long Beach. By the 16th-century arrival of Spanish explorers, the dominant group was the Tongva, who had established at least three major settlements within the present-day city. Tevaaxa'anga was an inland settlement near the Los Angeles River, while Ahwaanga and Povuu'nga were coastal villages. Povuu'nga was particularly important to the Tongva, not only as a regional trading center and hub for fishermen, but for its deep ceremonial significance, being understood as their place of emergence as a people from which their lives began. In 1784, the Spanish Empire's King Carlos III granted Rancho Los Nietos to Spanish soldier Manuel Nieto. The Rancho Los Cerritos and Rancho Los Alamitos were divided from this territory. The boundary between the two ranchos ran through the center of Signal Hill on a southwest to northeast diagonal. A portion of western Long Beach was originally part of the Rancho San Pedro. Its boundaries were in dispute for years, due to flooding changing the Los Angeles River boundary between Rancho San Pedro and Rancho Los Nietos. By 1805, what had been the major Tongva village of Puvunga was thoroughly depleted of villagers, most of whom were brought to Mission San Gabriel for conversion and as a labor force. Many villagers died at the mission, which had a high rate of death, particularly among children, attributed to many factors like diseases that spread quickly in the close quarters of the mission's walls, as well as torture, malnourishment, and overworking. In 1843, Juan Temple bought Rancho Los Cerritos, having arrived in California in 1827 from New England. He built what is now known as the "Los Cerritos Ranch House", a still-standing adobe which is a National Historic Landmark. Temple created a thriving cattle ranch and prospered, becoming the wealthiest man in Los Angeles County. Both Temple and his ranch house played important local roles in the Mexican–American War. On an island in the San Pedro Bay, Mormon pioneers made an abortive attempt to establish a colony (as part of Brigham Young's plan to establish a continuous chain of settlements from the Pacific to Salt Lake). Following the U.S. Conquest of California, Temple had his Rancho Los Cerritos deeded to him by the Public Land Commission. In 1866, Temple sold Rancho Los Cerritos for $20,000 to the Northern California sheep-raising firm of Flint, Bixby & Company, which consisted of brothers Thomas and Benjamin Flint and their cousin Llewellyn Bixby. Two years previous Flint, Bixby & Co had also purchased along with Northern California associate James Irvine, three ranchos which would later become the city that bears Irvine's name. To manage Rancho Los Cerritos, the company selected Llewellyn's brother Jotham Bixby, the "Father of Long Beach". Three years later, Bixby bought into the property and would later form the Bixby Land Company. In the 1870s, as many as 30,000 sheep were kept at the ranch and sheared twice yearly to provide wool for trade. In 1880, Bixby sold 4,000 acres (16 km2) of the Rancho Los Cerritos to William E. Willmore, who subdivided it in hopes of creating a farm community, Willmore City. He failed and was bought out by a Los Angeles syndicate that called itself the "Long Beach Land and Water Company". They changed the name of the community to Long Beach at that time. The City of Long Beach was officially incorporated in 1897. The town grew as a seaside resort with light agricultural uses. The Pike was the most famous beachside amusement zone on the West Coast from 1902 until 1969; it offered bathers food, games and rides, such at the Sky Wheel dual Ferris wheel and Cyclone Racer roller coaster. Gradually the oil industry, Navy shipyard and facilities and port became the mainstays of the city. Another Bixby cousin, John W. Bixby, was influential in the city. After first working for his cousins at Los Cerritos, J.W. Bixby leased land at Rancho Los Alamitos. He put together a group: banker I.W. Hellman, Llewellyn and Jotham Bixby, and him, to purchase the rancho. In addition to bringing innovative farming methods to the Alamitos (which under Abel Stearns in the late 1850s and early 1860s was once the largest cattle ranch in the US), J.W. Bixby began the development of the oceanfront property near the city's picturesque bluffs. Under the name Alamitos Land Company, J.W. Bixby named the streets and laid out the parks of his new city. This area would include Belmont Heights, Belmont Shore and Naples; it soon became a thriving community of its own. J.W. Bixby died in 1888 of apparent appendicitis. The Rancho Los Alamitos property was split up, with Hellman getting the southern third, Jotham and Llewellyn, the northern third, and J.W. Bixby's widow and heirs keeping the central third. The Alamitos townsite was kept as a separate entity, but at first, it was primarily run by Llewellyn and Jotham Bixby, although I.W, Hellman (who had the largest single share) had a significant veto power, an influence made even stronger as the J.W. Bixby heirs began to side with Hellman more and more. When Jotham Bixby died in 1916, the remaining 3,500 acres (14 km2) of Rancho Los Cerritos was subdivided into the neighborhoods of Bixby Knolls, California Heights, Los Cerritos, North Long Beach and part of the city of Signal Hill. Pine Avenue near 4th became the center of a large shopping district. Besides upscale Buffums (1912; expanded 1926), in 1929 alone Barker Brothers, the Hugh A. Marti Co., and Wise Company and Famous department stores built large new stores, Walker's (1933), and nearby at American and 5th, Sears (1928) and Montgomery Ward (1929). It would remain popular until suburban malls sprung up starting in the 1950s. (see also: History of Retail in Southern California) Oil was discovered in 1921 on Signal Hill, which split off as a separately incorporated city shortly afterward. The discovery of the Long Beach Oil Field, brought in by the gusher at the Alamitos oil well#1, made Long Beach a major oil producer; in the 1920s the field was the most productive in the world. In 1932, the even larger Wilmington Oil Field, fourth-largest in the United States, and which is mostly in Long Beach, was developed, contributing to the city's fame in the 1930s as an oil town. The M6.4 1933 Long Beach earthquake caused significant damage to the city and surrounding areas, killing a total of 120 people. Most of the damage occurred in unreinforced masonry buildings, especially schools. Pacific Bible Seminary (now known as Hope International University) was forced to move classes out of First Christian Church of Long Beach and into a small local home due to damage. The Ford Motor Company built a factory called Long Beach Assembly at the then address in 1929 as "700 Henry Ford Avenue, Long Beach" where the factory began building the Ford Model A. Production of Ford vehicles continued after the war until 1960, when the plant was closed due to a fire, and January 1991 when the factory was demolished partially due to air quality remediation efforts. Ford had earlier opened a factory in Los Angeles at 12th Street and Olive, with a later factory built at East Seventh Street and Santa Fe Avenue after 1914. Come 1938, the creation of Housing Authorities for both the City and County of Los Angeles were complete — and North Long Beach was to be home to the County Authority's first order of business: the Carmelitos Housing Project, Southern California's first affordable housing complex. Long Beach, as a port city, had a relationship with the U.S. Navy even before the war. The city was part of the Battle of Los Angeles during World War II when observers for the United States Army Air Forces reported shells being fired from the sea. Anti-aircraft batteries fired into the night sky, although no planes were ever sighted. Long Beach's population grew substantially during and after the war, with workers being needed for wartime manufacturing and G.I. bill recipients seeking out homes in California. Suburbs were built by the Bixby land companies and others. In the 1950s it was referred to as "Iowa by the sea", due to a large influx of people from that and other Midwestern states. Huge picnics for migrants from each state were a popular annual event in Long Beach until the 1960s. Douglas Aircraft Company's largest facility was its Long Beach plant, totaling 1,422,350 square feet (132,141 m2). The first plane rolled out the door on December 23, 1941. The plant produced C-47 Skytrain transports, B-17 Flying Fortress bombers, and A-20 Havoc attack bombers simultaneously. Douglas merged with the McDonnell Aircraft Company in 1967 where the Douglas DC-8 and the McDonnell Douglas DC-9 were built. In 1997 McDonnell Douglas merged with Boeing, which made C-17 Globemaster transport planes in Long Beach until the closure of the manufacturing facility in 2015. Long Beach also saw an instance of the Chicano(a) movement in 1968. Geography Long Beach is about 21 miles (34 km) south of downtown Los Angeles. According to the United States Census Bureau, the city has a total area of 77.84 square miles (201.6 km2), of which 50.71 square miles (131.3 km2) is land and 27.13 square miles (70.3 km2) (34.9%) is water. Long Beach completely surrounds the city of Signal Hill. Long Beach has a climate that can either be described as a hot semi-arid climate (BSh) or a hot-summer Mediterranean climate (Csa). In general, the city features hot summers and mild to warm winters with occasional rainfall. Days in Long Beach are mostly sunny, as in Southern California in general. Temperatures recorded at the weather station at the Long Beach Airport, 4.0 miles (6.4 km) inland from the ocean, range more greatly than those along the immediate coast. During the summer months, low clouds and fog occur frequently, developing overnight and blanketing the area on many mornings. This fog usually clears by the afternoon, and a westerly sea breeze often develops, keeping temperatures mild. Heat and high humidity can sometimes coincide in summer, which may cause discomfort due to the heat index. According to data analysis provided by the NWS, The annual average temperature of Long Beach is 64.9 °F (18.3 °C), of which August is the hottest month with an average temperature of 74.3 °F (23.5 °C), while December is the coldest month with an average temperature of 56.7 °F (13.7 °C). In terms of temperature, Long Beach and other California cities such as Los Angeles and San Francisco have the hottest month of the year usually in August and the coolest month in December. Long Beach has 23 days of afternoon temperatures above 90 °F (32.2 °C) each year, and about two days a year are above 100 °F (37.8 °C). Long Beach's location directly east of the Palos Verdes Peninsula, paired with its south facing coastline, results in the city sometimes experiencing different weather patterns than the Los Angeles metropolitan area coastal communities to the northwest and southeast of Long Beach, which largely have west facing coastlines. The 1200 ft Palos Verdes hills block west to east airflow and a significant amount of the coastal moisture that marks other coastal cities, such as Manhattan Beach, Santa Monica, and Newport Beach. As in most locations in Southern California, most rainfall in Long Beach occurs during the winter months. Storms can bring heavy rainfall. The annual precipitation in Long Beach is 12.02 inches (305.3 mm), of which the precipitation from December to March of the following year accounts for 81% of the whole year. June to September is usually rainless, especially August. See or edit raw graph data. Long Beach is composed of many different neighborhoods. Some neighborhoods are named after thoroughfares, while others are named for nearby parks, schools, or city features. Long Beach suffers from some of the worst air pollution in the entire United States. Most of the city is in proximity to the twin ports of Los Angeles and Long Beach, and the prevailing westerly-to-west-south-westerly winds bring a large portion of the twin ports' air pollution directly into Long Beach before dispersing it northward then eastward. Heavy pollution sources at the ports include the ships themselves, which burn high-sulfur, high-soot-producing bunker fuel to maintain internal electrical power while docked, as well as heavy diesel pollution from drayage trucks at the ports, and short-haul tractor-trailer trucks ferrying cargo from the ports to inland warehousing, rail yards, and shipping centers. Long-term average levels of toxic air pollutants (and the corresponding carcinogenic risk they create) can be two to three times higher in and around Long Beach, and in downwind areas to the east, than in other parts of the Los Angeles metropolitan area, such as the Westside, San Fernando Valley, or San Gabriel Valley. While overall regional pollution in the Los Angeles metropolitan area has declined in the last decade, pollution levels remain dangerously high in much of Long Beach due to the port pollution, with diesel exhaust from ships, trains, and trucks as the largest sources. Additionally, Long Beach is directly downwind of several of the South Bay oil refineries. Any refinery process or chemical upset that results in the atmospheric release of refinery by-products (commonly sulfur dioxide) will usually impact air quality in Long Beach due to the west-south-westerly prevailing wind. Similarly, the water quality in the Long Beach portion of San Pedro Bay, which is enclosed by the Federal Breakwater, commonly ranks among the poorest on the entire West Coast during rainy periods. Long Beach beaches average a D or F grade on beach water quality during rainy periods in the Beach Report Card published by Heal the Bay. However, during dry periods the water may have an A or B rating in the same reports. The Los Angeles River discharges directly into the Long Beach side of San Pedro Bay, meaning a large portion of all the urban runoff from the entire Los Angeles metropolitan area pours directly into the harbor water. This runoff contains most of the debris, garbage, chemical pollutants, and biological pathogens washed into storm drains in every upstream city each time it rains. Because the breakwater prevents tidal flushing and wave action, these pollutants build up in the harbor. The water enclosed by the breakwater, along most of the city's beaches, can be subject to red tides due to this stagnation as well. Because of these factors, the water in Long Beach is sometimes unsafe for swimming, up to weeks each year. The area has historically included several ecological communities, with coastal scrub dominating. Demographics The top five countries of origin for Long Beach's immigrants are Mexico, the Philippines, Cambodia, El Salvador and Vietnam. The most common foreign languages spoken in Long Beach are Spanish, Khmer and Tagalog. There is a Mexican American/Chicano community in Long Beach. Cambodian people and Filipino Americans also settled in Long Beach. There is a Buddhist community in Long Beach. Christianity is the most common religion. As of the 2022[update] American Community Survey estimates, there were 451,319 people and 170,965 households. The population density was 8,906.7 inhabitants per square mile (3,438.9/km2). There were 181,251 housing units at an average density of 3,576.9 per square mile (1,381.0/km2). The racial makeup of the city was 34.6% White, 20.1% some other race, 12.5% Asian, 11.8% Black or African American, 1.8% Native American or Alaskan Native, and 1.0% Native Hawaiian or Other Pacific Islander, with 18.2% from two or more races. Hispanics or Latinos of any race were 44.0% of the population. Of the 170,965 households, 27.2% had children under the age of 18 living with them, 25.9% had seniors 65 years or older living with them, 35.6% were married couples living together, 9.7% were couples cohabitating, 22.3% had a male householder with no partner present, and 32.5% had a female householder with no partner present. The median household size was 2.57 and the median family size was 3.34. The age distribution was 20.0% under 18, 10.2% from 18 to 24, 30.7% from 25 to 44, 25.6% from 45 to 64, and 13.6% who were 65 or older. The median age was 36.7 years. For every 100 females, there were 97.5 males. The median income for a household was $80,493, with family households having a median income of $96,970 and non-family households $56,245. The per capita income was $41,896. Out of the 443,634 people with a determined poverty status, 13.8% were below the poverty line. Further, 17.9% of minors and 16.2% of seniors were below the poverty line. In the survey, residents self-identified with various ethnic ancestries. People of German descent made up 6.0% of the population of the town, followed by English at 5.2%, Irish at 5.0%, Italian at 3.1%, American at 1.8%, Polish at 1.3%, French at 1.1%, Scottish at 1.1%, Sub-Saharan African at 0.8%, Swedish at 0.7%, Greek at 0.6%, Scotch-Irish at 0.6%, Caribbean (excluding Hispanics) at 0.6%, Russian at 0.5%, Dutch at 0.5%, Danish at 0.5%, and Norwegian at 0.5%. The 2010 United States census reported that Long Beach had a population of 462,257. The population density was . The racial makeup of Long Beach was 213,066 (46.1%) White, 62,603 (13.5%) Black or African American, 3,458 (0.7%) Native American, 59,496 (12.9%) Asian (4.5% Filipino, 3.9% Cambodian, 0.9% Vietnamese, 0.6% Chinese, 0.6% Japanese, 0.4% Indian, 0.4% Korean, 0.2% Thai, 0.1% Laotian, 0.1% Hmong), 5,253 (1.1%) Pacific Islander (0.8% Samoan, 0.1% Guamanian, 0.1% Tongan), 93,930 (20.3%) from other races, and 24,451 (5.3%) from two or more races. Hispanic or Latino of any race were 188,412 persons (40.8%). 32.9% of the city's population was of Mexican heritage. Non-Hispanic Whites were 29.4% of the population in 2010, down from 86.2% in 1970. The ethnic Cambodian population of approximately 20,000 is the largest outside of Asia. The Census reported 453,980 people (98.2% of the population) lived in households, 5,321 (1.2%) lived in non-institutionalized group quarters, and 2,956 (0.6%) were institutionalized. There were 163,531 households, out of which 58,073 (35.5%) had children under the age of 18 living in them, 61,850 (37.8%) were opposite-sex married couples living together, 26,781 (16.4%) had a female householder with no husband present, 10,598 (6.5%) had a male householder with no wife present. There were 12,106 (7.4%) unmarried opposite-sex partnerships, and 3,277 (2.0%) same-sex married couples or partnerships. Of the households, 46,536 (28.5%) were made up of individuals, and 11,775 (7.2%) had someone living alone who was 65 years of age or older. The average household size was 2.78. There were 99,229 families (60.7% of all households); the average family size was 3.52. The age distribution of the city was as follows: 115,143 people (24.9%) were under the age of 18, 54,163 people (11.7%) aged 18 to 24, 140,910 people (30.5%) aged 25 to 44, 109,206 people (23.6%) aged 45 to 64, and 42,835 people (9.3%) who were 65 years of age or older. The median age was 33.2 years. For every 100 females, there were 96.1 males. For every 100 females age 18 and over, there were 93.8 males. There were 176,032 dwelling units at an average density of 3,422.2 per square mile (1,321.3/km2), of which 67,949 (41.6%) were owner-occupied, and 95,582 (58.4%) were occupied by renters. The homeowner vacancy rate was 2.0%; the rental vacancy rate was 7.2%. 195,254 people (42.2% of the population) lived in owner-occupied housing units and 258,726 people (56.0%) lived in rental housing units. During 2009–2013, Long Beach had a median household income of $52,711, with 20.2% of the population living below the federal poverty line. As of 2014, the population of Long Beach was 473,577. As of the census of 2000, there were 461,522 people, 163,088 households, and 99,646 families residing in the city. The population density was 9,149.8 inhabitants per square mile (3,532.8 inhabitants/km2). There were 171,632 dwelling units at an average density of 3,402.6 per square mile (1,313.8/km2). The racial makeup of the city was 45.2% White, 14.9% Black or African American (U.S. Census), 0.8% Native American, 12.1% Asian, 1.2% Pacific Islander, 20.6% from other races, and 5.3% from two or more races. Hispanic or Latino people of any race were 35.8% of the population. The city has changed since the 1950s, when its population was predominantly European-American and the city was nicknamed "Iowa by the Sea" or "Iowa under Palm Trees" as it had a slower pace than neighboring Los Angeles. In 1950, whites represented 97.4% of Long Beach's population. Since the second half of the 20th century, the city has been a major port of entry for Asian and Latin American immigrants headed to Los Angeles. The Harbor section of downtown Long Beach was once home to people of Dutch, Greek, Italian, Maltese, Portuguese and Spanish ancestry, most of them employed in manufacturing and fish canneries until the 1960s. According to a report by USA Today in 2000, Long Beach is the most ethnically diverse large city in the United States. It has a relatively high proportion of Pacific Islanders (over 1% as of the 2000 Census), from Samoa and Tonga. Most American Indians, about 0.8% of the city's population, arrived during the Department of the Interior's Bureau of Indian Affairs urban relocation programs in the 1950s. Long Beach once had a sizable Japanese American population, which largely worked in the fish canneries on Terminal Island and on small truck farms in the area. In 1942, not long after the Attack on Pearl Harbor and subsequent Japanese declaration of war on the United States and the British Empire, President Franklin D. Roosevelt issued United States Executive Order 9066 which allowed military commanders to designate areas "from which any or all persons may be excluded". Under this order, all Japanese and Americans of Japanese ancestry were categorically removed from Western coastal regions and sent to internment camps, without regard for due process. 24,000 Jews live in Long Beach. Jews are concentrated in Rossmor, Los Alamitos, Seal Beach, and Lakewood in the Greater Long Beach area. As of the 2000 census, there were 163,088 households, out of which 35.0% had children under the age of 18 living with them, 39.2% were married couples living together, 16.1% had a female householder with no husband present, and 38.9% were non-families. Of all households, 29.6% were made up of individuals, and 7.4% had someone living alone who was 65 years of age or older. The average household size was 2.77 and the average family size was 3.55. In the city, 29.2% of the population was under the age of 18, 10.9% from 18 to 24, 32.9% from 25 to 44, 18.0% from 45 to 64, and 9.1% was 65 years of age or older. The median age was 31 years. For every 100 females, there were 96.6 males. For every 100 females age 18 and over, there were 93.5 males. The median income for a household in the city was $37,270, and the median income for a family was $40,002. Males had a median income of $36,807 versus $31,975 for females. The per capita income for the city was $19,040. About 19.3% of families and 22.8% of the population were below the poverty line, including 32.7% of those under age 18 and 11.0% of those age 65 or over. In 2008, the Census Bureau showed the number of people living below the poverty line had dropped to 18.2%. The most commonly reported ancestries of Long Beach residents were Mexican (28.1%) and German (5.5%), according to the 2000 census. Mexico (51.0%) and the Philippines (10.3%) were the most common foreign places of birth. In 2022, the Long Beach's point-in-time Homeless Count counted 3,296 homeless individuals in the city. Economy The economic base has changed over the years. Oil extraction created a boom and continues to fund portions of the city budget. Long Beach was a Navy town for many years before the base closed. The aerospace industry played an important role. Douglas Aircraft Company (later McDonnell Douglas and now part of Boeing) had plants at the Long Beach Airport where they built aircraft for World War II, and later built DC-8s, DC-9s, DC-10s, and MD-11s. Boeing built the Boeing 717 until 2006 and the C-17 Globemaster III strategic airlifter until 2015, the plants were leased by Mercedes-Benz and Relativity Space. Even after greatly reducing the number of local employees in recent years, Boeing is still the largest private employer in the city. Polar Air Cargo, an international cargo airline, was formerly based in Long Beach. TABC, Inc., a part of Toyota, makes a variety of car parts, including steering columns and catalytic converters, in Long Beach. Epson America, Inc. the U.S. affiliate of Japan-based Seiko Epson Corporation, is headquartered in Long Beach. Pioneer Electronics, the U.S. affiliate of Japan-based Pioneer Corporation, is also headquartered in Long Beach along with SCAN Health Plan, a non-profit "Medicare Advantage" HMO for seniors. Molina Healthcare, Inc., a Medicaid management healthcare program, is headquartered in Long Beach. The real estate company HCP is based in Long Beach. Jesse James' West Coast Choppers custom motorcycle shop was in Long Beach, and much of the Monster Garage cable TV show was shot in Long Beach. Long Beach Green Business Association is an organization working to create economic growth through the promotion of green business and promoting a buy local program for Long Beach. The North American subsidiary of video game developer and publisher Spike Chunsoft is headquartered in a building adjacent to the Long Beach Airport. The Long Beach Accelerator was founded in 2019 as a public-private partnership between the city of Long Beach, Sunstone Management, and California State University, Long Beach, with the aim of growing the presence of diverse technology entrepreneurs in the city. Trade valued annually at more than $140 billion moves through Long Beach, making it the second busiest seaport in the United States. The Port supports more than 30,000 jobs in Long Beach, 316,000 jobs throughout Southern California and 1.4 million jobs throughout the United States. It generates about $16 billion in annual trade-related wages statewide. Los Altos Center is the only mall anchored by major department stores within city limits, while Lakewood Center mall is adjacent to Long Beach. Until the 1950s, Long Beach was the major retail hub between Los Angeles and Santa Ana. Buffum's, Walker's and Robert's all had their flagship stores in the city. Later the Long Beach Plaza and Marina Pacifica malls were built, since repurposed as retail power centers. The largest shopping center within the city is the Long Beach Towne Center, a power center opened in 1999 on the site of the Long Beach Naval Hospital. The Pike Outlets and 2nd & PCH are new retail centers. Arts and culture The Long Beach Museum of Art, sited in the historic Elizabeth Milbank Anderson residence, is owned by the City of Long Beach, and operated by the Long Beach Museum of Art Foundation. Long Beach also features the Museum of Latin American Art (MOLAA), founded in 1996 by Dr. Robert Gumbiner. It is the only museum in the western United States that exclusively features modern and contemporary Latin American art. Long Beach's newest museum is The Pacific Island Ethnic Art Museum (PieAM). This museum was a project of Robert Gumbiner at the time of his death. The museum opened October 15, 2010. In 1965, Long Beach State hosted the first International Sculpture Symposium to be held in the United States and the first at a college or university. Six sculptors from around the world and two from the United States created many of the monumental sculptures seen on the campus. There are now over 20 sculptures on the campus. Long Beach is known for its street art. Some of the murals were created in conjunction with the city's Mural and Cultural Arts Program, but many others were not. On the exterior of the Long Beach Sports Arena is one of the artist Wyland's Whaling Walls. At 116,000 square feet (10,800 square metres), it is the world's largest mural (according to the Guinness Book of Records). Adjacent to the Museums of Latin American Art (MOLAA) and the Pacific Island Ethnic Art Museum (PieAM), in Gumbiner Park, stands the Long Beach High Five, created by sculptor Jorge Mujica. This interactive aluminium sculpture is intended to engage the public. Shops and galleries in the East Village Arts District, in downtown Long Beach hold their monthly art openings and artists exhibit in street galleries on the second Saturday of the month during the Artwalk. Long Beach has a percent for art program administered through the Arts Council of Long Beach and the Redevelopment Agency which ensures new private developments contribute to the arts fund or commission artworks for their new projects. The Bob Cole Conservatory of Music, the recently renamed school of music at CSULB, presents a wide variety of classical, jazz, and world music concerts each year. The Conservatory is part of CSULB's renowned College of the Arts. The Long Beach Symphony plays numerous classical and pop music concerts throughout the year. The symphony plays at the Terrace Theater in the Long Beach Convention and Entertainment Center. Long Beach Opera, founded in 1979, is the oldest professional opera company serving the Los Angeles and Orange County regions. It presents performances of standard and non-standard opera repertoire at various locations, including the Terrace Theater and Center Theater of the Long Beach Convention and Entertainment Center and the Richard and Karen Carpenter Performing Arts Center at CSULB. Long Beach Community Concert Association is a volunteer organization that provides musical entertainment appealing to seniors and others, four Sunday afternoons a year at the Carpenter Performing Arts Center at CSULB. LBCCA also has an outreach program taking musical entertainment to senior care and senior housing facilities around the greater Long Beach area. KJAZZ 88.1 FM (KKJZ) broadcasts from California State University, Long Beach. The station originally featured jazz and blues music exclusively but now plays a broader range of music including Rhythm and Blues (R&b). KKJZ can also be listened to over the Internet. Kbeach is the student owned and operated web-only radio at CSULB. Long Beach City College operates two internet student-run radio stations, KCTY FM and KLBC AM. Long Beach is the host to a number of long-running music festivals. They include the Bob Marley Reggae Festival (February), the Cajun & Zydeco Festival (May), the El Dia De San Juan Puerto Rican Festival (Salsa music, June) the Aloha Concert Jam (Hawaiian music, June), the Long Beach Jazz Festival (August), the Long Beach Blues Festival (September, since 1980), and the Brazilian Street Carnaval (Brazilian music, September). The Long Beach Municipal Band, founded in 1909, is the longest running, municipally supported band in the country. In 2005, the band played 24 concerts in various parks around Long Beach. Huntington Beach-based Heavy Metal band Avenged Sevenfold performed their 'Live in the LBC' show on April 10, 2008, closing out the Taste of Chaos tour for the year. This show was recorded and has become one of the 2000s' most iconic live metal albums. Long Beach is also the point of origin for bands and musicians such as Daz Dillinger, the Pussycat Dolls, the Nitty Gritty Dirt Band, Jenni Rivera, T.S.O.L., Frank Ocean, Sublime, Snoop Dogg, Tha Mexakinz, Nate Dogg, Warren G, Tha Dogg Pound, Knoc-Turn'al, the Long Beach Dub Allstars, Avi Buffalo, Crystal Antlers, the Emperors, the Pyramids, Crooked I, Stick to Your Guns, War and Vince Staples. Long Beach has several resident professional and semi-professional theater companies. Musical Theatre West, one of the largest regional theatrical producers in Southern California, performs at the Carpenter Performing Arts Center on the campus of CSU Long Beach. International City Theatre produces plays and musicals at the Beverly O'Neill Theatre (part of the Long Beach Convention and Entertainment Center). The Long Beach Playhouse, in continuous operation for over 75 years, has shows running 50 weeks out of the year on two stages. Long Beach Shakespeare Company for over 20 years has provided free outdoor Shakespeare Festivals in the Summer. Additionally, Long Beach is home to a number of smaller and "black-box" theaters, including the Alive Theatre, the Garage Theatre and California Repertory Company (part of the graduate theater program at CSULB) that performs at the Royal Theater aboard the Queen Mary in downtown Long Beach. Numerous tours and other stage events come through Long Beach, particularly at the Terrace Theater and the Carpenter Center, and both CSU Long Beach and Long Beach City College maintain active theater departments. The Art Theatre on the 4th Street Corridor is one of few remaining historic movie theaters of its era in Southern California. In October, Long Beach State hosts the CSULB Wide Screen Film Festival, at the Carpenter Performing Arts Center. The festival started in 1992 as a showcase for movies shot in the widescreen format, but has since been transformed into an artist-in-residence event. A major video and film artist (such as former CSULB student Steven Spielberg) screens and discusses their own work as well as the ten productions that most influenced their cinematic vision. The "Naples Island Christmas Parade" has been held since 1946, and passes through the canals of Naples and around Alamitos Bay past Belmont Shore. The "Parade of A Thousand Lights" is in the Shoreline Village area (near downtown Long Beach and the RMS Queen Mary). There is also a Christmas boat parade in the nearby Port of Los Angeles/San Pedro area, and another in the Huntington Harbour community of nearby Huntington Beach. The Long Beach Lesbian and Gay Pride Parade and Festival has been held in May or June since 1984. It is the second largest event in Long Beach, attracting over 125,000 participants over the two-day celebration. It is the third largest Gay Pride Parade in the United States. The Long Beach Sea Festival is held during the summer months (June through August). It features events centered on the ocean and the beach. These events include beach volleyball, movies on the beach, and a tiki festival. The RMS Queen Mary is a 1936 Art Deco ocean liner permanently docked at Long Beach. It was purchased by the city in 1967 for conversion to a hotel and maritime museum. The nonprofit Aquarium of the Pacific is on a 5-acre (20,000 m2) site on Rainbow Harbor in Long Beach, across the water from the Long Beach Convention Center, Shoreline Village, and the Queen Mary Hotel and Attraction. Lions Lighthouse is a decorative lighthouse built by the Lions Club to advertise their services for the blind. It is popular for scenic viewing. Rancho Los Alamitos is a 7.5-acre (30,000 m2) historical site owned by the City of Long Beach and is near the Long Beach campus of the California State University system. The site includes five agricultural buildings, including a working blacksmith's shop, 4 acres (16,000 m2) of gardens, and an adobe ranch house dating from around 1800. The Rancho is within a gated community; visitors must pass through security gates to get to it. Rancho Los Cerritos is a 4.7-acre (19,000 m2) historical site owned by Long Beach in the Bixby Knolls area near the Virginia Country Club. The adobe buildings date from the 1880s. The site also includes a California history research library. Bembridge House, a Queen Anne Victorian house, is open for tours. Long Beach is also home to the Skinny House. The Earl Burns Miller Japanese Garden is on the campus of California State University, Long Beach. Long Beach offers singing gondolier trips through the canals of Naples. Parks and recreation Long Beach led Southern California in parks access, size and spending, ranking 16th among a survey of 75 large U.S. cities, with Los Angeles and Anaheim tied for 51st and Santa Ana 69th, according to a study released by a national conservation group. The Long Beach Department of Parks, Recreation and Marine received a Gold Medal award from the National Recreation and Park Association in 2002, 2003, and 2004, recognizing the Department's "outstanding management practices and programs". The department manages 92 parks covering over 3,100 acres (13 km2) throughout the city. The department also operates four public swimming pools, and four launch ramps for boaters to access the Pacific Ocean. The 815 acres (3.30 km2) El Dorado Regional Park, which features fishing lakes, an archery range, youth campground, bike trails, and picnic areas. The 102.5-acre (0.4 km2) El Dorado Nature Center is part of the El Dorado Regional Park. The center features lakes, a stream, and trails, with meadows and forested areas. After an original hands-off approach, the center has begun to actively introduce indigenous species. Willow Springs Park was founded as a part of the Willow Springs Wetlands Restoration Project which opened in October 2017. The project restored 11 acres of a 48-acre degraded oil well site into wetlands. These highlight the pivotal role the ecosystem played in the City of Long Beach's establishment in the late 1800s and helps preserve the site's history and unique topography. It is now at about 16 acres restored and, in August 2024, it began the process of being dedicated as an open space by the city council, which will make it the largest green space in Central Long Beach once done. It is run in collaboration with the city's office of Climate Action and Sustainability which was established in 2008 to support and advance environmental stewardship and equity in the City of Long Beach. The Long Beach Green Belt path is a section of the old Pacific Electric right-of-way, restored by community activists as native habitat. The right-of-way was cleared of nonnatives, planted with indigenous plants, and made accessible with foot and bike paths. It supports approximately 40 species of California native plants as well as urban wildlife. The city and its residents have initiatives underway to revegetate the Long Beach stretch of the Los Angeles River with indigenous plants. The Los Cerritos Wetlands Study Group, state government agencies, and grassroots groups are collaborating on a plan to preserve Long Beach's last remaining wetlands. Long Beach is the first city in California to join the 'EcoZone' Program, intended to measurably improve environmental conditions through public-private partnerships. Other places in Long Beach to see natural areas include Bluff Park (coastal bluffs), Colorado Lagoon, the Golden Shore Marine Biological Reserve, the Jack Dunster Marine Reserve, Shoreline Park, and DeForest Park. The Municipal Fly Casting Pool at Recreation Park in East Long Beach is a 260-by-135-foot clear water, fishless pond built and operated since 1925 by the Long Beach Casting Club as only one of two Southern California city operated casting ponds (the other being in Pasadena). Described recently as a serene pond "surrounded by a seemingly endless stretch of green grass against a backdrop of mountains and palm trees", several movie stars from the 1940s were taught to fly cast at the pond, including Robert Taylor, Clark Gable, Jimmy Durante, and Barbara Stanwyck. In 1932, the fly fishing clubhouse adjacent to the fly fishing pond was used for the Summer Olympic Games and housed military personnel during World War II. Rosie's Dog Beach in Belmont Shore is the only legal off-leash beach area for dogs in Los Angeles County. This 3-acre (12,000 m2) area is situated between Roycroft and Argonne Avenues. Sports The Grand Prix of Long Beach in April is the single largest event in Long Beach. It started in 1975 as a Formula 5000 race on the streets of downtown, and became a Formula One race, the United States Grand Prix West, the following year. From 1984 to 2008 it was a Champ Car event, and is now an IndyCar race. During the same weekend as the Grand Prix, there is also an IMSA SportsCar Championship race, a Formula D round and the Pirelli World Challenge. The Long Beach Motorsports Walk of Fame is on South Pine Avenue in front of the Long Beach Convention Center adjacent to the Long Beach Grand Prix circuit. The Walk of Fame was created in 2006 to honor key contributors to motorsports and annually inducts new members in conjunction with the Long Beach Grand Prix. A 22-inch (560 mm) bronze medallion is placed in the sidewalk for each new inductee. The medallion includes a rendition of the racer's car and lists top achievements in motor sports. The Long Beach Marathon is run every year in October throughout the City of Long Beach. The annual event includes a variety of races including a Kids Fun Run, a Bike Tour, 5K, Half Marathon and Full Marathon. All races begin and end around the Shoreline Village area of downtown Long Beach. 25,000 runners and cyclists participated in the 2013 festivities drawing nearly 50,000 people attending the event overall. The full marathon is a fast Boston qualifying course passing through sandy beaches, Belmont Shore, and the Cal State Long Beach campus. The Long Beach State Dirtbags baseball team has been playing since 1954. They play at Blair Field, across the street from Wilson High School. They are called the Dirtbags by many fans and is the team's official nickname. Long Beach was the home of the American Basketball League team Long Beach Chiefs during the 1962/1963 season. They played in the newly opened Long Beach Arena. The minor league American Basketball Association team, the Long Beach Jam, played in the Walter Pyramid (a pyramid-shaped gym) on the Long Beach State campus) from 2003 to 2005. The Southern California Summer Pro League is a showcase for current and prospective NBA basketball players, including recent draft picks, NBA players working on their skills and conditioning, and international professionals hoping to become NBA players. The league plays in the Pyramid-on the Long Beach State campus during July. The Long Beach Blue Waves of The Basketball League (TBL) have played at Santiago High School since 2022. Since its inception in August 1964, the Congressional Cup has grown into one of the major international sailing events. Now held in April, it is the only grade 1 match race regatta held in the United States. The one-on-one race format is the same as the America's Cup, and many of the winners of the Congressional Cup have gone on to win the America's Cup as well. The Leeway Sailing and Aquatics Center on Alamitos Bay in Belmont Shore is a youth sailing program founded in 1929. In July, there is the annual Catalina Ski Race, which starts from Long Beach Harbor and goes to Catalina Island and back to complete a 100-kilometer (62 mi) circuit. This race has been held annually since 1948 and features skiers from up to seventy teams from around the world. Although California's surfing scene is said to have gotten its start in Long Beach when in 1911 two surfers returned from Hawaii and the city hosted the first National Surfing and Paddleboard Championships in 1938, surfing is now uncommon in Long Beach due to a 2.2-mile (3.5 km) long breakwater built in 1949 to protect the United States Pacific Fleet. The breakwater reduces "mighty waves to mere lake-like lapping along the city's beaches". The fleet left in the 1990s, and now some residents are calling for it to be lowered or eliminated and the city has commissioned a $100,000 study for this purpose. In November 2019, the study concluded that any changes to the breakwater would be far too costly and could have potential impacts on the port of Long Beach, the port of Los Angeles, the oil islands, U.S. Naval Operations, Shoreline Marina, and the Peninsula. The Belmont Shore rugby team plays in the US Rugby Super League. They have been in seven league finals, and have been champions three times. Long Beach State's team mascot are the Beach. The school has participated in national championships in women's volleyball (5), men's volleyball (1), track and field (1), men's tennis (1; Division II), swimming (1; Division II), women's badminton (2), and women's field hockey (1). The school also has regularly appeared in NCAA tournaments in men's baseball, men's softball, men's basketball, women's basketball, men's golf, women's tennis, men's water polo, and women's water polo. Their cheer team were national champions in 2003, 2004 and 2006. The D1 roller hockey team were the 2011 national champions after defeating Lindenwood University. The other collegiate sports team in the city is that of Long Beach City College. The school has appeared in national championships in men's gymnastics (6), football (5), women's soccer (3), and men's doubles and singles tennis (1 each). They have also had state championships in numerous sports, including 2006–7 championships in men's and women's water polo. The archery field in El Dorado Regional Park was the site for the 1984 Los Angeles Olympics archery competition. CSU Long Beach has one of the few remaining university varsity archery teams in California. Multiple sports will be held in Long Beach during the 2028 Summer Olympics, including BMX racing, water polo, triathlon, open water swimming, sailing, rowing, canoeing and handball. Government Long Beach is a California charter city using the mayor–council form of government. It is governed by nine City Council members, who are elected by district, and the Mayor, who is elected at-large since a citywide initiative passed in 1988. The City Attorney, City Auditor, and City Prosecutor are also elected positions. The city is supported by a budget of $2.3 billion, and has more than 5,500 employees. Long Beach was first incorporated in 1888 with 59 buildings and a new school. Nine years later, dissatisfaction with prohibition and high taxes led to an abortive and short-lived disincorporation. Before the year 1897 was out, the citizens voted to reincorporate, and the 1897 date of incorporation is shown on the city seal. Long Beach is a full-service city that provides nearly all of its own municipal services, in contrast with a contract city. City hall provides a full range of traditional municipal services through the various departments that make up its staff of civil servants. In addition to its own police and fire departments, Long Beach provides: Long Beach held its elections for City Council on April (primary) and June (runoff) until the 2018 election. Starting with the 2020 election, primary election is being held in March and runoff election is being held in November. The major exception to the full range of municipal services is electricity, which is provided by Southern California Edison. In the California State Senate, Long Beach is represented by Democrat Lena Gonzalez who represents the 33rd district. In the California State Assembly, it is split between the 65th district, represented by Democrat Mike Gipson, and the 69th district represented by Democrat Josh Lowenthal. In the United States House of Representatives, Long Beach is split between California's 42nd congressional district (Rep. Robert Garcia) and 44th district (Rep. Nanette Barragán). According to the California Secretary of State, as of October 19, 2020, Long Beach has 279,735 registered voters. Of those, 147,276 (52.65%) are registered Democrats, 47,615 (17.02%) are registered Republicans, and 66,857 (23.90%) have declined to state a political party/are independents. Infrastructure The Long Beach Police Department provides law enforcement for the City of Long Beach. On March 18, 2008, Long Beach became the first city in California to heavily restrict residency and visitation rights for California registered sex offenders. Triggered by a local protest of a multi-apartment dwelling which tenanted several paroled registered sex offenders, and fueled by local radio hosts John Kobylt and Ken Chiampou of KFI's John and Ken show, city council members voted 7–0 to enact 18 ordinances, of which the most restrictive prohibits residency by all registered sex offenders, whether they are on parole or not, within 2,000 feet (610 m) of any child care center, public or private school, or park. Google Maps measurements indicate the total exclusion area encompasses over 96% of the area of Long Beach that is zoned for residential use. Registered sex offenders residing within the exclusion zone were given until September 2008 to vacate the restricted area. Once this happens, no sex offender will legally be able to live in the vast majority of Long Beach. While several other ordinances restrict the number of registered sex offenders who may reside in an apartment complex, there are no apartment complexes within city limits that are outside of the exclusion zone. In addition, the ordinances prohibit all registered sex offenders from using any park, beach, or facility that caters to children, such as amusement parks and restaurants with children's playgrounds, or even travel within 500 feet (150 m) of such places. The Long Beach Fire Department (LBFD), ISO Class 1, provides fire protection and emergency medical services to the City of Long Beach. The Long Beach Fire Department operates out of 23 Fire Stations throughout the city. In addition to serving 55 square miles (140 km2) with over 500,000 residents, the department's Marine Safety Division patrols the waterways and beach front areas. Education Long Beach Unified School District serves most of the City of Long Beach. LBUSD high schools in the Long Beach city limits: Other school districts that serve sections of Long Beach include: Long Beach, California has two public institutions dedicated to higher education: California State University, Long Beach and Long Beach City College. Founded in 1949, California State University, Long Beach is a comprehensive public university in the tree-filled Los Altos neighborhood. Long Beach State is three miles away from the Pacific Ocean and is known for their resources of the arts, such as the Carpenter Performing Arts Center. Long Beach City College is a community college established in 1927. LBCC is composed of two separate campuses; the Liberal Arts Campus is on the residential area of Lakewood Village, while the Pacific Coast Campus is adjacent to the Eastside neighborhood. Also, Pacific Coast University, a private non-profit law school, is in Long Beach. Transportation As of 2005, the Port of Long Beach was the second busiest seaport in the United States and the tenth busiest in the world, shipping some 66 million metric tons of cargo worth $95 billion in 2001. The port serves shipping between the United States and the Pacific Rim. The combined operations of the Port of Long Beach and the Port of Los Angeles are the busiest in the US. Rail shipping is provided by Union Pacific Railroad and BNSF Railway, which carry about half of the trans-shipments from the port. Long Beach has contributed to the Alameda Corridor project to increase the capacity of the rail lines, roads, and highways connecting the port to the Los Angeles rail hub. The project, completed in 2002, created a trench 20 miles (32 km) long and 33 feet (10 m) deep in order to eliminate 200 grade crossings and cost about US$2.4 billion. Operated by Carnival Corporation, the Long Beach Cruise Terminal is the year-round home of three cruise ships carrying over 600,000 passengers annually. Passengers are processed in the domed structure that housed the Spruce Goose. Catalina Express operates scheduled trips from the Catalina Landing. Long Beach Transit provides local public transportation services within Long Beach, Lakewood, and Signal Hill. Long Beach Transit regularly operates 38 bus routes. Most regular service bus routes begin or end at the Long Beach Transit Mall in downtown Long Beach. Long Beach Transit also operates the Passport shuttle within downtown Long Beach. The free shuttle carries passengers to the Aquarium of the Pacific, Pine Avenue, Shoreline Village, the Long Beach Convention Center, the Queen Mary, Catalina Landing, various hotels, and other points of interest. During the summer, Long Beach Transit operates the AquaLink, a 68-foot (21 m) catamaran that carries passengers between the downtown Long Beach waterfront and the Alamitos Bay Landing. In addition, during the summer, a 49-passenger water taxis called the AquaBus is provided. With $1 fares, the AquaBus serves six different locations within the downtown Long Beach waterfront. Several transit operators offer services from the Long Beach Transit Mall. Torrance Transit offers bus service to the South Bay. The Los Angeles Department of Transportation (LADOT) offers bus service to San Pedro. LA Metro operates other regional bus lines. Orange County Transportation Authority offers limited bus service to Orange County. Route 1, from Long Beach to San Clemente is the longest bus route in the OCTA system. Amtrak Thruway offers bus shuttles starting in San Pedro, with stops at the Queen Mary and downtown Long Beach, that then goes to Union Station in downtown Los Angeles, and ends in Bakersfield. Greyhound Lines operates the Long Beach Station in Long Beach. A FlyAway bus route to LAX began service on December 30, 2015. The Los Angeles County Metropolitan Transportation Authority (LA Metro) operates the Metro A Line, a light rail service that runs between the Downtown Long Beach Station (known as the Transit Mall Station until July 2013) and the APU/Citrus College station in Azusa (extension to Pomona–North Metrolink station in 2025) via Los Angeles Union Station and Del Mar station in Pasadena. From the 7th Street/Metro Center Station, passengers can make connections to Hollywood, Universal Studios, and other points of interest along the Los Angeles Metro Rail subway (B and D lines) network. From Union Station in downtown L.A., transit users can access the regional Metrolink rail system to access a vast area of urban Southern California, and connect to nationwide Amtrak trains as well. The Metro A Line also offers connections to the Metro E Line at the 7th Street/Metro Center Station, Pico Station, Grand Avenue Arts/Bunker Hill station, Historic Broadway station, and Little Tokyo/Arts District station with service to Santa Monica and East Los Angeles. In addition, at Willowbrook Station, passengers can transfer to the Metro C Line with service to Redondo Beach, Norwalk, and LAX via an additional shuttle connection. The Metro A Line Maintenance Shops are also in Long Beach just south of the Del Amo Blue Line station. Historically, the city was served by Pacific Electric trains, including the Long Beach Line and several local streetcars. Taxicabs in Long Beach serve the tourism and convention industry and local services such as for elderly and disabled residents. Yellow Long Beach is the city's only licensed taxi franchise, with 199 taxicabs in service. Long Beach was the nation's first large city to relax restrictions on cabs by allowing them to offer variable, discounted fares, free rides and other price promotions to lure customers while keeping maximum fares in place. Many other cities have responded to Uber and Lyft by increasing regulation of these new competitors. Long Beach Airport serves the Long Beach, South Bay and northern Orange County areas. It was also the site of a major Boeing (formerly Douglas, then McDonnell Douglas) aircraft production facility, which is the city's largest non-government employer. Los Angeles International Airport (LAX) is the nearest airport with international service. John Wayne Airport in Santa Ana is another alternative to the airport. However, its only international services are to Canada and Mexico. Other airports with scheduled service are Bob Hope Airport in Burbank and Ontario International Airport in Ontario. Several freeways run through Long Beach, connecting it with the Greater Los Angeles area and Orange County areas. The San Diego Freeway (I-405) bisects the northern and southern portions of the city and takes commuters northwest or southeast to the Golden State/Santa Ana Freeways (I-5). The San Diego Freeway also provides regional access to Long Beach Airport, which is on the north side of the freeway near Signal Hill. The Long Beach Freeway (I-710) runs north–south on the city's western border, with its southern terminus adjacent to the Port of Long Beach on Terminal Island at the intersection of the Terminal Island Freeway (SR 103) and State Route 47. The Long Beach Freeway is the major spur route serving Long Beach from downtown Los Angeles, with its northern terminus near downtown Los Angeles in Alhambra. Along with the Harbor Freeway (I-110) to the west, the Long Beach Freeway is one of the major routes for trucks transporting goods from the Ports of Long Beach and Los Angeles to railyards and distribution centers in downtown Los Angeles and the Inland Empire. The southern end of the Long Beach Freeway joins Long Beach with Terminal Island via the Gerald Desmond Bridge. Southeast Long Beach is served by the San Gabriel River Freeway (I-605), which joins the San Diego Freeway at the Long Beach/Los Alamitos border. The Artesia Freeway (SR 91) runs east–west near the northern border of Long Beach. The western portion of the Garden Grove Freeway (SR 22) provides a spur off of the San Diego and 605 Freeways to 7th Street in southeast Long Beach for access to the VA Long Beach Healthcare System, California State University, Long Beach, and the Alamitos Bay. Pacific Coast Highway (SR 1) takes an east to southwest route through the southern portion of Long Beach. Its intersection with Lakewood Boulevard (SR 19) and Los Coyotes Diagonal is the Los Alamitos Traffic Circle. The city of Long Beach has five major Class 1 bike paths (separate off-road bike paths) within its boundaries, encompassing over 60 miles (97 km). The city also has many Class 2 (painted lanes on roadway) and Class 3 paths (connecting bike routes with shared use of road with cars). In 2019, Walk Score ranked Long Beach the tenth most walkable of over 100 cities in the US and Canada. According to the 2016 American Community Survey, 73.6 percent of working residents of Long Beach commuted by driving alone, 10.2 percent carpooled, 6.2 percent used public transportation, and 3.4 percent walked. About 2 percent commuted by all other means of transportation, including taxi, bicycle, and motorcycle. About 4.6 worked at home. In 2015, 10.4 percent of city of Long Beach households were without a car, which decreased slightly to 10.0 percent in 2016. The national average was 8.7 percent in 2016. Long Beach averaged 1.69 cars per household in 2016, compared to a national average of 1.8 per household. Media Long Beach's daily newspaper is the Long Beach Press-Telegram, which is distributed throughout most of the Gateway Cities and South Bay areas of southwest Los Angeles County. The Press-Telegram is owned by Digital First Media and is part of the Los Angeles Newspaper Group, which has several newspapers in the Southern California area which share resources and reporters. On September 30, 1933, the Press-Telegram published what David Dayen called "One of the more influential letters to the editor in American history": Francis Townsend's letter outlining the Townsend Plan, a proposal that sparked a national campaign which influenced the establishment of the Roosevelt administration's Social Security system. California State University, Long Beach also has a student newspaper published four times a week during the fall and spring semesters, the Daily Forty-Niner. The Gazette newspapers called The Grunion Gazette, The Downtown Gazette, and The Uptown Gazette are free, weekly newspapers that focus on various parts of the city. The Gazettes were sold to MediaNews (now Digital First Media), owner of the Press-Telegram, in 2004. Palacio Magazine (formerly Palacio de Long Beach) is a free quarterly, bilingual magazine which runs stories focusing on community, education, art, health and wellness side by side in English and Spanish. Although not based in Long Beach, the alternative weeklies OC Weekly and LA Weekly are distributed widely in Long Beach. Starting in 2007, Long Beach was served by its own The District Weekly, an alternative weekly that covered news, the arts, restaurants, and the local music scene. The District Weekly ceased publication in March 2010, citing lack of advertiser support. In 2013 Freedom Communications, owner of the Orange County Register, launched a five-day daily newspaper, the Long Beach Register, aimed at competing with the Press-Telegram. In September 2014, the Long Beach Register was reduced to Sundays only, and was distributed as an insert in the Orange County Register. In August of the same year, just sixteen months after its much-publicized launch, Freedom Communications announced it would cease publication of the Long Beach Register completely, citing lack of reader and advertiser interest. Long Beach is part of the Los Angeles DMA radio and television markets. Although a few radio stations have had studios in Long Beach over the years, including the 1980s alternative music and later hard rock station KNAC, the only remaining radio stations in Long Beach are the jazz and blues station KKJZ on the Cal State Long Beach campus, and the Christian radio broadcaster KFRN. The most recent radio station to grace the Long Beach airways is public radio station KLBP, 99.1, a low-power station, which started broadcasting in December 2018. Long Beach has a number of online news outlets, including the Long Beach Post, Long Beach Local News, The Modern Times of Long Beach, FORTHE, and LBReport.com. In popular culture Balboa Amusement Producing Company, also known as Balboa Studios, was at Sixth Street and Alamitos Avenue; they used 11 acres (45,000 m2) on Signal Hill for outdoor locations. Silent film stars who lived in Long Beach included Fatty Arbuckle and Theda Bara. The 1917 film Cleopatra, starring Theda Bara, was shot at the Dominguez Slough just west of Long Beach, and Moses parted the Red Sea for Cecil B. DeMille's 1923 version of The Ten Commandments on the flat seashore of Seal Beach, southeast of Long Beach. Long Beach was the famous location of Paramount newsreel footage of the 1933 Long Beach earthquake, out-takes from the W.C. Fields 1933 featurette International House was possibly the first earthquake to be captured in action on film. Because of its proximity to LA-area studios and its variety of locations, today Long Beach is regularly used for movies, television shows, and advertisements. The city has filled in for locations across the nation and around the globe. One advantage for Long Beach is that the video and film industry uses a zone that extends 30 miles (48 km) from Beverly Blvd. and La Cienega Blvd. in the West Hollywood area. It is cheaper to shoot within that zone, so Long Beach and other South Bay cities often stand in for areas of Orange County (such as for The O.C. TV show) because almost all of Orange County is outside of the zone. One of the most famous Long Beach film locations is the home of Ferris Bueller in Ferris Bueller's Day Off. Though the film was set in the North Shore suburbs of Chicago the house is at 4160 Country Club Dr. Long Beach Polytechnic High School has played host to numerous films, featuring its outdoor grounds in movies such as Coach Carter, among others. Robert A. Millikan High School has also lent its classrooms and hallways to films such as American Pie, among others. Juan Rodriguez Cabrillo High School has been a very popular place to shoot movies as well, with 2–4 films shot per year, and is being used to shoot 20th Century Fox's musical comedy-drama, Glee. St. Anthony High School's, Jack Errion Memorial Gymnasium has also been featured in a few movies and television shows, including Sunset Park, American Wedding, Coach Carter and Joan of Arcadia. Long Beach Woodrow Wilson High School was used to shoot Alvin and the Chipmunks: The Squeakquel and has been used for commercials for Nike and Adidas, particularly one with Los Angeles Sparks basketball star Candace Parker. The film Freedom Writers, although not shot there, was based on Long Beach Woodrow Wilson High School. Other locations in Long Beach have been used frequently as well. An episode of The Lone Wolf, "The Long Beach Story", features the Wilton Hotel. Shoreline Drive visually approximates a freeway but is a municipal roadway and permits are accepted for its closure for shooting video and film – it has become a frequent movie and television freeway stand-in. Many car chase and crash scenes have been shot on stretches of road near the Long Beach harbor and along the city's Shoreline Drive. Among these are the 1963 movie It's a Mad, Mad, Mad, Mad World and numerous episodes of the 1970s TV drama CHiPs (as well as the 2017 film CHiPs). Long Beach's downtown neighborhood has stood in for various urban areas in a variety of movies. Gone in 60 Seconds (1974 film), Gone in 60 Seconds (2000 film), and Speed were shot in Long Beach. Transformers: Revenge of the Fallen was also shot in Long Beach as was Big Momma's House 2. CSI: Miami, Dexter, and Jane the Virgin, although set in Miami, Florida, regularly get shot in Long Beach. Much of Tenacious D: The Pick of Destiny was shot in Long Beach. Although there was a chase scene downtown, most of Tenacious D was shot at Alex's Bar at 2913 E. Anaheim St., a punk rock/alternative rock venue. Most of the viral hit Mega Shark Versus Giant Octopus was also shot by the Belmont Veterans Memorial Pier and Alamitos Energy Center in Long Beach. The Long Beach Terrace Theatre has also been used for various commercials, an episode of Glee, as well as the film Last Action Hero. Several scenes from this David Spade comedy, Lost & Found, were shot around the Belmont Park area. The final scene from the Jim Carrey comedy remake Fun with Dick and Jane features Long Beach's scenic E. Ocean Blvd. route. La La Land features both a Long Beach apartment house and bar. The Long Beach Naval Station and Naval Shipyard were featured in episodes of Visiting... with Huell Howser. The Pike and SoundWalk art show have also been featured. The city was used as a filming location for the MSNBC reality television series To Catch a Predator. Notable people Sister cities Long Beach's sister cities are: Long Beach's friendship cities are: See also References Bibliography External links |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:Edit_requests] | [TOKENS: 2060] |
Contents Wikipedia:Edit requests Edit requests allow editors to propose changes to a page when they cannot or should not make the edits themselves. To ensure efficiency, each request should provide a clear and specific description of the proposed edit. If the change is potentially controversial, obtain consensus before submitting the request. Using the Edit Request Wizard or adding an appropriate talk page request template can help facilitate the process (see § Making requests below). Including the exact text of the suggested edit, or when possible linking to a sandbox version of the requested change, helps expedite review and implementation. Once an edit request is approved and implemented, the responding editor must include copyright attribution in the edit summary, as outlined in § Responding to requests. Certain types of edit requests require special handling. Errors on Wikipedia's Main Page or tomorrow's main page should not be submitted as standard edit requests; instead, they should be reported at Wikipedia:Main Page/Errors. Similarly, requests to move (rename) an article should be made through Wikipedia:Requested moves. Planning a request In general, if you want to make an edit request: Consensus isn't needed if a change is not controversial. Many uncontroversial changes don't require sourcing, such as correcting typographical errors or disambiguating links. If this is the case, you don't need to establish consensus, but instead propose the change as stated above. Edit requests for articles or templates should meet the same four basic requirements. Note, however, that edit requests for templates should meet the additional requirement of adequate testing—see § Requests for templates below. Before requesting an edit, please consider the following requirements (SUNS—Specific, Uncontroversial, Necessary, Sensible): Responding editors may decline to make any edit, and are especially likely to reject edits that are controversial, violate Wikipedia policy, or do not have evidence of consensus. There is a forum at WP:Requests for page protection § Current requests for edits to a protected page for requesting or discussing edits to protected pages, including edits to locked discussion pages, and edits that may be significant or controversial. The direct shortcut to the section is WP:RFED, (in Wikipedia's namespace, the Requests For Editing). If you are requesting a complex change to a template, place the required code on the template's sandbox page. This gives the opportunity to test the code before changing the live template. Instead of pasting the code on the talk page, which can affect its readability, just place a link to the /sandbox along with the request and rationale. Making requests If you are a newer user, it is recommended that you use the edit request wizard, which guides you through the process of making the edit request. Please use the article's talk page to establish a consensus with editors engaged in the subject area before using the relevant edit request template for your proposed change. If you think your proposal is uncontroversial and won't face debate or opposition, then make the request. The ideal situation is that after you make an uncontroversial edit request, an editor would simply apply your desired changes. In a limited number of cases, you may make the edit yourself without asking others and without getting reverted. For example, if you have a conflict of interest and are not prevented by the page from making edits, and you just want to fix a typo or small grammar mistake. Make requests as short, well formatted, and simple as possible. If you want several different edits, then the best thing to do may be making one edit request for each one—after the previous one you make gets resolved. You may use the {{textdiff}} template to format the "before" and "after" to make the differences between them clearer. Example: {{textdiff|Slithy toves are green and yellow. They are scaly and have an orange crest.|Slithy toves are green, speckled with yellow spots. They are scaly and have a crest consisting of two parallel rows of horny orange bumps that run from the top of their skulls to the base of their necks.}} → If you submit a request that editors might quickly lose interest or be unable to help. This may delay any response to your request or cause it to be declined or to go unanswered. The simplest approach for edit requests for fully protected, template-protected, or semi-protected pages is to use the View source tab on that page and use the "Submit an edit request" link at the bottom right; this automatically loads the correct talk page tag. If you are making a request because of a conflict of interest (COI; see Wikipedia:Suggestions for COI compliance), use {{Edit COI}}, which is specifically made for the reason of COI; it must be added manually to the relevant page's talkpage. Alternatively, you can use a tag directly, adding it manually to the relevant page's talkpage: Remember that all editors are volunteers, and a polite request (rather than a demand) is more likely to be acted on promptly. Sometimes, the same or similar edits are needed on several pages, such as adding the same category to many pages. In this case, add the tag to only one talk page, with a list of all the pages that need updating and a clear description of what needs to be done (see § Making requests). This saves work both for the editor making the request and for the editor responding to the request. Consider making requests for large-scale edits that require administrator privileges on the administrator's noticeboard. However, this should only be for significant edits, as edit request templates automatically categorize the page into the appropriate administrative category. Response Please be patient: it can take anywhere from a day to several months for an edit request to be acted upon. If you want more editors to be willing to respond to your request, try heeding advice on how to properly make the requests. Edit request templates automatically add the name of the relevant page into an appropriate administrative category, such as Category:Wikipedia fully protected edit requests (from {{edit fully-protected}}) for edits to fully protected pages. Administrators routinely check this category for protected edit requests to process. Other relevant categories, such as those for semi-protected, extended-confirmed-protected, template-protected, interface-protected, and conflict of interest edit requests, are also monitored by other editors. Sometimes, responding editors may request further information, and disable the template by changing the |answered= parameter to "yes" — e.g. {{edit fully-protected|answered=yes}}. Feel free to re-enable the template when the additional information has been provided or additional consensus has been obtained by changing the "yes" in the template to "no". If you're unable to do this, you can simply respond on the talk page. If you do not receive a response in a day or two, then submit a new edit request. If your request is denied, analyze the discussion or the reason why it was declined and make the relevant changes to the request or follow the advice in the thread if any and if appropriate. You may be directed to seek consensus, which means that your request is probably unclear or needs more discussion. In this case, simply open a new thread (not a new request) to discuss the edit you want and try to reach consensus. If you disagree with the response of the edit request or the discussion, you can follow the dispute resolution process. Responding to requests and mandatory copyright attribution In responding to requests, consider the four points listed under § General considerations. In particular, potentially controversial edits should have prior consensus and edits to templates should be appropriately tested beforehand. Responding editors should use their judgement to respond appropriately to requests, and take into account relevant Wikipedia policies such as neutral point of view, verifiability, and reliable sourcing. The following are standard templates for responding to edit requests, and their usage: Adjust response according to the template documentation, then depending on the context you may add the reason for implementing or not implementing the request. These templates should be subst:ed and added at the beginning of the editor's description of the request. For example, for the request "Under the title, add the word Malumba." The template {{subst:ESp|?}} can be used, which renders: Not done: it's not clear what changes you want made. Please detail the specific changes in a "change X to Y" format and provide a reliable source if appropriate. It is acceptable to remove a request without a description of the requested change (an "empty edit request") from a Talk page. Consider using {{Empty edit request}} on the User Talk page of a user who has posted an empty edit request. Once the request has been responded to, the responding editor should disable the protected edit request template by changing the |answered= parameter to "yes" — e.g. {{edit fully-protected|answered=yes}}. Copy and paste edits made on behalf of other editors must be appropriately attributed. You may use the edit summary to add this to the page history. An example copyright attribution edit summary is: Implementing edit requested by [[Special:Contributions/NAME|NAME]] on the talk page – short description of changes made You can purge this page to update the number of requests in this section. Editors may wish to use the following lists to keep track of new edit requests (for an overview of the tables below, click here): For a directory of current requests, see WP:Dashboard § Requested edits. These pages are automatically updated by AnomieBOT. Because they are regular Wikipedia pages and not categories, it is possible to inspect the page histories to see edit requests that have previously been closed. AnomieBOT also includes the number of pending requests in its edit summary when it updates the list, making it possible to monitor new edit requests directly from the watchlist. If the article talk page has archiving enabled, edit requests may occasionally be archived before being answered. If the request might still be considered, move the edit request back to the Talk page. Otherwise, if you believe the archiving shows there was no consensus, simply close the request by changing the |answered= parameter to "yes". Notes |
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[SOURCE: https://en.wikipedia.org/wiki/Time-lapse_photography] | [TOKENS: 3426] |
Contents Time-lapse photography Time-lapse photography is a technique that causes the time of videos to appear to be moving faster than normal and thus lapsing. To achieve the effect, the frequency at which film frames are captured (the frame rate) is much lower than the frequency used to view the sequence. For example, an image of a scene may be captured at 1 frame per second but then played back at 30 frames per second; the result is an apparent 30 times speed increase. Processes that would normally appear subtle and slow to the human eye, such as the motion of the sun and stars in the sky or the growth of a plant, become very pronounced. Time-lapse is the extreme version of the cinematography technique of undercranking. Stop motion animation is a comparable technique; a subject that does not actually move, such as a puppet, can repeatedly be moved manually by a small distance and photographed. Then, the photographs can be played back as a film at a speed that shows the subject appearing to move. Conversely, film can be played at a much lower rate than at which it was captured, which slows down an otherwise fast action, as in slow motion or high-speed photography. History Some classic subjects of time-lapse photography include: The technique has been used to photograph crowds, traffic, and even television. The effect of photographing a subject that changes imperceptibly slowly creates a smooth impression of motion. A subject that changes quickly is transformed into an onslaught of activity. The inception of time-lapse photography occurred in 1872 when Leland Stanford hired Eadweard Muybridge to prove whether or not race horses hooves ever are simultaneously in the air when running. The experiments progressed for 6 years until 1878 when Muybridge set up a series of cameras for every few feet of a track which had tripwires the horses triggered as they ran. The photos taken from the multiple cameras were then compiled into a collection of images that recorded the horses running. The first use of time-lapse photography in a feature film was in Georges Méliès' motion picture Carrefour De L'Opera (1897). F. Percy Smith pioneered the use of time-lapse in nature photography with his 1910 silent film The Birth of a Flower. Time-lapse photography of biological phenomena was pioneered by Jean Comandon in collaboration with Pathé Frères from 1909, by F. Percy Smith in 1910 and Roman Vishniac from 1915 to 1918. Time-lapse photography was further pioneered in the 1920s via a series of feature films called Bergfilme (mountain films) by Arnold Fanck, including Das Wolkenphänomen in Maloja (1924) and The Holy Mountain (1926). From 1929 to 1931, R. R. Rife astonished journalists with early demonstrations of high magnification time-lapse cine-micrography, but no filmmaker can be credited for popularizing time-lapse techniques more than John Ott,[citation needed] whose life work is documented in the film Exploring the Spectrum. Ott's initial "day-job" career was that of a banker, with time-lapse movie photography, mostly of plants, initially just a hobby. Starting in the 1930s, Ott bought and built more and more time-lapse equipment, eventually building a large greenhouse full of plants, cameras, and even self-built automated electric motion control systems for moving the cameras to follow the growth of plants as they developed. He time-lapsed his entire greenhouse of plants and cameras as they worked—a virtual symphony of time-lapse movement. His work was featured on a late 1950s episode of the request TV show You Asked for It. Ott discovered that the movement of plants could be manipulated by varying the amount of water the plants were given, and varying the color temperature of the lights in the studio. Some colors caused the plants to flower, and other colors caused the plants to bear fruit. Ott discovered ways to change the sex of plants merely by varying the light source's color temperature. By using these techniques, Ott time-lapse animated plants "dancing" up and down synchronized to pre-recorded music tracks. His cinematography of flowers blooming in such classic documentaries as Walt Disney's Secrets of Life (1956), pioneered the modern use of time-lapse on film and television.[citation needed] Ott wrote several books on the history of his time-lapse adventures including My Ivory Cellar (1958) and Health and Light (1979), and produced the 1975 documentary film Exploring the Spectrum. The Oxford Scientific Film Institute in Oxford, United Kingdom, specializes in time-lapse and slow-motion systems, and has developed camera systems that can go into (and move through) small places.[citation needed] Their footage has appeared in TV documentaries and movies. PBS's NOVA series aired a full episode on time-lapse (and slow motion) photography and systems in 1981 titled Moving Still. Highlights of Oxford's work are slow-motion shots of a dog shaking water off himself, with close ups of drops knocking a bee off a flower, as well as a time-lapse sequence of the decay of a dead mouse. The non-narrative feature film Koyaanisqatsi (1983) contained time-lapse images of clouds, crowds, and cities filmed by cinematographer Ron Fricke. Years later, Ron Fricke produced a solo project called Chronos shot using IMAX cameras. Fricke used the technique extensively in the documentary Baraka (1992) which he photographed on Todd-AO (70 mm) film. Countless other films, commercials, TV shows and presentations have included time-lapse material. For example, Peter Greenaway's film A Zed & Two Noughts features a sub-plot involving time-lapse photography of decomposing animals and includes a composition called "Time Lapse" written for the film by Michael Nyman. In the late 1990s, Adam Zoghlin's time-lapse cinematography was featured in the CBS television series Early Edition, depicting the adventures of a character that receives tomorrow's newspaper today. David Attenborough's 1995 series The Private Life of Plants also utilised the technique extensively. Terminology The frame rate of time-lapse movie photography can be varied to virtually any degree, from a rate approaching a normal frame rate (between 24 and 30 frames per second) to only one frame a day, a week, or longer, depending on the subject. The term time-lapse can also apply to how long the shutter of the camera is open during the exposure of each frame of film (or video), and has also been applied to the use of long-shutter openings used in still photography in some older photography circles. In movies, both kinds of time-lapse can be used together, depending on the sophistication of the camera system being used. A night shot of stars moving as the Earth rotates requires both forms. A long exposure of each frame is necessary to enable the dim light of the stars to register on the film. Lapses in time between frames provide the rapid movement when the film is viewed at normal speed. As the frame rate of time-lapse photography approaches normal frame rates, these "mild" forms are sometimes referred to simply as fast motion or (in video) fast forward. This type of borderline time-lapse technique resembles a VCR in a fast forward ("scan") mode. A man riding a bicycle will display legs pumping furiously while he flashes through city streets at the speed of a racing car. Longer exposure rates for each frame can also produce blurs in the man's leg movements, heightening the illusion of speed. Two examples of both techniques are the running sequence in Terry Gilliam's The Adventures of Baron Munchausen (1989), in which a character outraces a speeding bullet, and Los Angeles animator Mike Jittlov's 1980s short and feature-length films, both titled The Wizard of Speed and Time. When used in motion pictures and on television, fast motion can serve one of several purposes. One popular usage is for comic effect. A slapstick comic scene might be played in fast motion with accompanying music. (This form of special effect was often used in silent film comedies in the early days of cinema.) Another use of fast motion is to speed up slow segments of a TV program that would otherwise take up too much of the time allotted a TV show. This allows, for example, a slow scene in a house redecorating show of furniture being moved around (or replaced with other furniture) to be compressed in a smaller allotment of time while still allowing the viewer to see what took place. The opposite of fast motion is slow motion. Cinematographers refer to fast motion as undercranking since it was originally achieved by cranking a handcranked camera slower than normal. Overcranking produces slow motion effects. Methodology Film is often projected at 24 frame/s, meaning 24 images appear on the screen every second. Under normal circumstances, a film camera will record images at 24 frame/s since the projection speed and the recording speed are the same. Even if the film camera is set to record at a slower speed, it will still be projected at 24 frame/s. Thus the image on screen will appear to move faster. The change in speed of the onscreen image can be calculated by dividing the projection speed by the camera speed. So a film recorded at 12 frames per second will appear to move twice as fast. Shooting at camera speeds between 8 and 22 frames per second usually falls into the undercranked fast motion category, with images shot at slower speeds more closely falling into the realm of time-lapse, although these distinctions of terminology have not been entirely established in all movie production circles. The same principles apply to video and other digital photography techniques. However, until very recently [when?], video cameras have not been capable of recording at variable frame rates. Time-lapse can be achieved with some normal movie cameras by simply shooting individual frames manually. But greater accuracy in time-increments and consistency in exposure rates of successive frames are better achieved through a device that connects to the camera's shutter system (camera design permitting) called an intervalometer. The intervalometer regulates the motion of the camera according to a specific interval of time between frames. Today, many consumer grade digital cameras, including even some point-and-shoot cameras have hardware or software intervalometers available. Some intervalometers can be connected to motion control systems that move the camera on any number of axes as the time-lapse photography is achieved, creating tilts, pans, tracks, and trucking shots when the movie is played at normal frame rate. Ron Fricke is the primary developer of such systems, which can be seen in his short film Chronos (1985) and his feature films Baraka (1992, released to video in 2001) and Samsara (2011). Short and long exposure As mentioned above, in addition to modifying the speed of the camera, it is important to consider the relationship between the frame interval and the exposure time. This relationship controls the amount of motion blur present in each frame and is, in principle, exactly the same as adjusting the shutter angle on a movie camera. This is known as "dragging the shutter". A film camera normally records images at 24 frames per second (fps). During each 1⁄24 second, the film is actually exposed to light for roughly half the time. The rest of the time, it is hidden behind the shutter. Thus exposure time for motion picture film is normally calculated to be 1⁄48 second (often rounded to 1⁄50 second). Adjusting the shutter angle on a film camera (if its design allows), can add or reduce the amount of motion blur by changing the amount of time that the film frame is actually exposed to light. In time-lapse photography, the camera records images at a specific slow interval such as one frame every thirty seconds (1⁄30 fps). The shutter will be open for some portion of that time. In short exposure time-lapse the film is exposed to light for a normal exposure time over an abnormal frame interval. For example, the camera will be set up to expose a frame for 1⁄50 second every 30 seconds. Such a setup will create the effect of an extremely tight shutter angle giving the resulting film a stop-motion animation quality. In long exposure time-lapse, the exposure time will approximate the effects of a normal shutter angle. Normally, this means the exposure time should be half of the frame interval. Thus a 30-second frame interval should be accompanied by a 15-second exposure time to simulate a normal shutter. The resulting film will appear smooth. The exposure time can be calculated based on the desired shutter angle effect and the frame interval with the equation: Long exposure time-lapse is less common because it is often difficult to properly expose film at such a long period, especially in daylight situations. A film frame that is exposed for 15 seconds will receive 750 times more light than its 1⁄50 second counterpart. (Thus it will be more than 9 stops over normal exposure.) A scientific grade neutral density filter can be used to compensate for the over-exposure. Camera movement Some of the most stunning time-lapse images are created by moving the camera during the shot. A time-lapse camera can be mounted to a moving car for example to create a notion of extreme speed. However, to achieve the effect of a simple tracking shot, it is necessary to use motion control to move the camera. A motion control rig can be set to dolly or pan the camera at a glacially slow pace. When the image is projected it could appear that the camera is moving at a normal speed while the world around it is in time-lapse. This juxtaposition can greatly heighten the time-lapse illusion. The speed that the camera must move to create a perceived normal camera motion can be calculated by inverting the time-lapse equation: Baraka was one of the first films to use this effect to its extreme. Director and cinematographer Ron Fricke designed his own motion control equipment that utilized stepper motors to pan, tilt and dolly the camera. The short film A Year Along the Abandoned Road shows a whole year passing by in Norway's Børfjord (in Hasvik Municipality) at 50,000 times the normal speed in just 12 minutes. The camera was moved, manually, slightly each day, and so the film gives the viewer the impression of seamlessly travelling around the fjord as the year goes along, each day compressed into a few seconds. A panning time-lapse image can be easily and inexpensively achieved by using a widely available equatorial telescope mount with a right ascension motor. Two axis pans can be achieved as well, with contemporary motorized telescope mounts. A variation of these are rigs that move the camera during exposures of each frame of film, blurring the entire image. Under controlled conditions, usually with computers carefully making the movements during and between each frame, some exciting blurred artistic and visual effects can be achieved, especially when the camera is mounted on a tracking system that enables its own movement through space. The most classic example of this is the "slit-scan" opening of the "stargate" sequence toward the end of Stanley Kubrick's 2001: A Space Odyssey (1968), created by Douglas Trumbull. High-dynamic-range (HDR) Time-lapse can be combined with techniques such as high-dynamic-range imaging. One method to achieve HDR involves bracketing for each frame. Three photographs are taken at separate exposure values (capturing the three in immediate succession) to produce a group of pictures for each frame representing the highlights, mid-tones, and shadows. The bracketed groups are consolidated into individual frames. Those frames are then sequenced into video. Day-to-night transitions Day-to-night transitions are among the most demanding scenes in time-lapse photography and the method used to deal with those transitions is commonly referred to as the "Holy Grail" technique. In a remote area not affected by light pollution the night sky is about ten million times darker than the sky on a sunny day, which corresponds to 23 exposure values. In the analog age, blending techniques have been used in order to handle this difference: One shot has been taken in daytime and the other one in the night from exactly the same camera angle. Digital photography provides many ways to handle day-to-night transitions, such as automatic exposure and ISO, bulb ramping and several software solutions to operate the camera from a computer or smartphone. See also References Further reading External links |
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[SOURCE: https://en.wikipedia.org/wiki/G1_(website)#cite_ref-1] | [TOKENS: 301] |
Contents G1 (website) G1, stylized as g1, is a Brazilian news portal maintained by Grupo Globo and under the guidance of Central Globo de Jornalismo. It was released on 18 September 2006, the same date as Rede Globo's anniversary. The portal provides journalistic content from various companies of Grupo Globo – TV Globo, Globo News, Radios CBN and Globo, the newspapers O Globo, Extra, Expresso and Valor Econômico, Época and Globo Rural magazines, among others – besides its own reports in the form of text, photographs, audio and video. In addition to five editorial offices in Rio de Janeiro, São Paulo, Brasília, Belo Horizonte and Recife, affiliates of Rede Globo, newspapers, magazines, radio stations and news agencies Agência Estado, Agence France Presse, Associated Press, EFE, The New York Times, Lusa and Reuters feed the news portal, which is updated 24 hours a day. Versions in English and Spanish were released on 11 June 2010, and had videos subtitled in both languages, but both have since been discontinued. The portal also has the mobile version and applications for Android and iOS. In September 2021, to celebrate its 15th anniversary, the portal changed its logo to a new style, also changing the stylizing of the name, changing the G to be lowercase. References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Guinness_World_Records#cite_note-4] | [TOKENS: 3908] |
Contents Guinness World Records Page version status This is an accepted version of this page Guinness World Records, known from its inception in 1955 until 1999 as The Guinness Book of Records and in previous United States editions as The Guinness Book of World Records, is a British reference book published annually, listing world records both of human achievements and the extremes of the natural world. Sir Hugh Beaver created the concept in order to settle arguments debated in pubs, and twin brothers Norris and Ross McWhirter co-founded the book in London in late August 1955. The first edition topped the bestseller list in the United Kingdom by Christmas 1955. The following year the book was launched internationally, and as of the 2026 edition, it is now in its 71st year of publication, published in 100 countries and 40 languages, and maintains over 53,000 records in its database. The international franchise has extended beyond print to include television series and museums. The popularity of the franchise has resulted in Guinness World Records becoming the primary international source for cataloguing and verification of a huge number of world records. The organization employs record adjudicators to verify the authenticity of the setting and breaking of records. Following a series of owners, the franchise has been owned by the Jim Pattison Group since 2008, with its headquarters moved to South Quay Plaza, Canary Wharf, London, in 2017. Since 2008, Guinness World Records has orientated its business model away from selling books, and towards creating new world records as publicity exercises for individuals and organizations, which has attracted criticism. History On 10 November 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford, Ireland. After missing a shot at a golden plover, he became involved in an argument over whether the golden plover or the red grouse was the fastest game bird in Europe (the plover is faster, but neither is the fastest game bird in Europe). That evening at Castlebridge House, he realized that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird. Beaver knew that there must have been numerous other questions debated nightly among the public, but there was no book in the world with which to settle arguments about records. He realized then that a book supplying the answers to this sort of question might prove successful. Beaver's idea became a reality when Guinness employee Christopher Chataway recommended university friends Norris and Ross McWhirter, who had been running a fact-finding agency in London. The twin brothers were commissioned in August 1954 to compile what became The Guinness Book of (Superlatives and now) Records.[clarification needed] A thousand copies were distributed for free to pubs across Britain and Ireland as a promotional asset for the Guinness brand, and they became immensely popular with customers. After the founding of The Guinness Book of Records office at the top of Ludgate House, 107 Fleet Street, London, the first 198-page edition was bound on 27 August 1955 and went to the top of the British bestseller list by Christmas. The following year, it was introduced into the United States by New York publisher David Boehm and sold 70,000 copies. Since then, Guinness World Records has sold more than 150 million copies in 100 countries and 40 languages. Due to the book's surprise success, many further editions were printed, eventually settling into a pattern of one revision a year, published in September/October, in time for Christmas. The McWhirters continued to compile it for many years. Both brothers had an encyclopedic memory; on the British children's television series Record Breakers (based upon the book), which was broadcast on the BBC from 1972 to 2001, they would take questions posed by children in the audience on various world records and were able to give the correct answer. Ross McWhirter was assassinated by two members of the Provisional Irish Republican Army in 1975, in response to offering a £50,000 reward for information that would lead to the capture of members of the organization. Following Ross's assassination, the feature on the show where questions about records posed by children were answered was called Norris on the Spot. Norris carried on as the book's sole editor. Guinness Superlatives, later Guinness World Records Limited, was incorporated in London in 1954 to publish the first book. Sterling Publishing owned the rights to the Guinness book in the US for decades until it was repurchased by Guinness in 1989 after an 18-month long lawsuit. The group was owned by Guinness PLC and subsequently Diageo until 2001, when it was purchased by Gullane Entertainment for £45.5 million ($65 million). Gullane was itself purchased by HIT Entertainment in 2002. In 2006, Apax Partners purchased HIT and subsequently sold Guinness World Records in early 2008 to the Jim Pattison Group, the parent company of Ripley Entertainment, which is licensed to operate Guinness World Records' Attractions. With offices in New York City and Tokyo, Guinness World Records' global headquarters remain in South Quay Plaza in Canary Wharf, London, while its museum attractions are based at Ripley headquarters in Orlando, Florida. Recent editions have focused on record feats by individuals. Competitions range from obvious ones such as Olympic weightlifting to the longest egg tossing distances, or for the longest time spent playing Grand Theft Auto IV or the largest number of hot dogs consumed in three minutes. Besides records about competitions, it contains such facts such as the heaviest tumor, the most poisonous fungus, the longest-running soap opera and the most valuable life-insurance policy, among others. Many records also relate to the youngest people to have achieved something, such as the youngest person to visit all nations of the world, currently held by Maurizio Giuliano. Each edition contains a selection of the records from the Guinness World Records database, as well as select new records, with the criteria for inclusion changing from year to year. The latest edition is the 72nd, published in August 2025. The retirement of Norris McWhirter from his consulting role in 1995 and the subsequent decision by Diageo Plc to sell The Guinness Book of Records brand have shifted the focus of the books from text-oriented to illustrated reference. A selection of records are curated for the book from the full archive but all existing Guinness World Records titles can be accessed by creating a login on the company's website. Applications made by individuals for existing record categories are free of charge. There is an administration fee of £5 (or $5) to propose a new record title. A number of spin-off books and television series have also been produced. Guinness World Records bestowed the record of "Person with the most records" on Ashrita Furman of Queens, New York, in April 2009; at that time, he held 100 records. In 2005, Guinness designated 9 November as International Guinness World Records Day to encourage breaking of world records. In 2006, an estimated 100,000 people participated in over 10 countries. Guinness reported 2,244 new records in 12 months, which was a 173% increase over the previous year. In February 2008, NBC aired The Top 100 Guinness World Records of All Time and Guinness World Records made the complete list available on their website. The popularity of the franchise has resulted in Guinness World Records becoming the primary international authority on the cataloguing and verification of a huge number of world records. Over its history, numerous world record categories have been discontinued. This list may include that the record poses a threat to health or the environment. Defining records For many records, Guinness World Records is the effective authority on the exact requirements for them and with whom records reside, the company providing adjudicators to events to determine the veracity of record attempts. The list of records which the Guinness World Records covers is not fixed, records may be added and also removed for various reasons. The public is invited to submit applications for records, which can be either the bettering of existing records or substantial achievements which could constitute a new record. The company also provides corporate services for companies to "harness the power of record-breaking to deliver tangible success for their businesses." Guinness World Records states several types of records it will not accept for ethical reasons, such as those related to the killing or harming of animals. In the 2006 Guinness Book of World Records, Colombian serial killer Pedro López was listed as the "most prolific serial killer", having murdered at least 110 people (with Lopez himself claiming he murdered over 300 people) in Colombia, Ecuador and Peru in the late 1960s to 1980s. This was later removed after complaints that it made a competition out of murder, however the record was reinstated in the 2026 edition. Several world records that were once included in the book have been removed for ethical reasons, including concerns for the well-being of potential record breakers. For example, following publication of the "heaviest pet" record, many owners overfed their pets beyond the bounds of what was healthy, and therefore such entries were removed. The Guinness Book also dropped records within their "eating and drinking records" section of Human Achievements in 1991 over concerns that potential competitors could harm themselves and expose the publisher to potential litigation. These changes included the removal of all spirit, wine and beer drinking records, along with other unusual records for consuming such unlikely things as bicycles and trees. Other records, such as sword swallowing and rally driving (on public roads), were closed from further entry as the current holders had performed beyond what are considered safe human tolerance levels. There have been instances of closed categories being reopened. For example, the sword swallowing category was listed as closed in the 1990 Guinness Book of World Records, but has since been reopened with Johnny Strange breaking a sword swallowing record on Guinness World Records Live. Similarly, the speed beer drinking records which were dropped from the book in 1991, reappeared 17 years later in the 2008 edition, but were moved from the "Human Achievements" section of the older book to the "Modern Society" section of the newer edition. As of 2011[update], it is required in the guidelines of all "large food" type records that the item be fully edible, and distributed to the public for consumption, to prevent food wastage. Chain letters are also not allowed: "Guinness World Records does not accept any records relating to chain letters, sent by post or e-mail." After Roger Guy English set the record for sleeplessness in 1974, the category was discontinued for being too dangerous. At the request of the U.S. Mint, in 1984, the book stopped accepting claims of large hoardings of pennies or other currency. Environmentally unfriendly records (such as the releasing of sky lanterns and party balloons) are no longer accepted or monitored, in addition to records relating to tobacco or cannabis consumption or preparation. In 2024, Guinness World Records was accused of laundering the reputation of the oppressive governments as it set world records for the UAE's police forces and Egypt's military. By 2024, the UAE achieved 526 records, of which 21 were credited to the Emirates' police force. Matthew Hedges, a British academic who was forced to sign a false confession, asked the records body to take down the Abu Dhabi police department's certificate for "most signatures on a scroll", along with other such titles. Concerns were also raised around the activities around Egypt, which moved from 22 records to 110 within a decade until 2024. James Lynch, co-founder of FairSquare, said the records were legitimizing Abdel Fattah el-Sisi's regime. The Guinness World Records stated that its record titles "cannot be purchased". Guinness World Records has been accused of romanticizing diseases, such as Graves' Disease and Pica. For some potential categories, Guinness World Records has declined to list some records that are too difficult or impossible to determine. For example, its website states: "We do not accept any claims for beauty as it is not objectively measurable." On 10 December 2010, Guinness World Records stopped accepting submissions for the "dreadlock" category after an investigation of its first and only female title holder, Asha Mandela, determining it was impossible to judge this record accurately. Change in business model Traditionally, the company made a large amount of its revenue via book sales to interested readers, especially children. The rise of the Internet began to cut into book sales starting in the 2000s, part of a general decline in the book industry. According to a 2017 story by Planet Money of NPR, Guinness began to realize that a lucrative new revenue source to replace falling book sales was the would-be record-holders themselves. While any person can theoretically send in a record to be verified for free, the approval process is slow. Would-be record breakers that paid fees ranging from US$12,000 to US$500,000 would be given advisors, adjudicators, help in finding good records to break as well as suggestions for how to do it, prompt service, and so on. In particular, corporations and celebrities seeking a publicity stunt to launch a new product or draw attention to themselves began to hire Guinness World Records, paying them for finding a record to break or to create a new category just for them. As such, they have been described as a native advertising company, with no clear distinction between content and advertisement. Television talk show host John Oliver criticized Guinness World Records on the programme Last Week Tonight with John Oliver in August 2019, during an episode about President of Turkmenistan Gurbanguly Berdimuhamedow. Oliver said Guinness took money from authoritarian governments for pointless vanity projects such as Berdimuhamedow's. Oliver asked Guinness to work with Last Week Tonight to adjudicate a record for "Largest cake featuring a picture of someone falling off a horse", but according to Oliver, the offer did not work out after Guinness insisted on a non-disparagement clause. Guinness World Records denied the accusations and stated that they declined Oliver's offer to participate because "it was merely an opportunity to mock one of our record-holders," and that Oliver did not specifically request the record for the largest marble cake. As of 2021, the Guinness World Record for "Largest marble cake" remains with Betty Crocker Middle East in Saudi Arabia. Following Oliver's episode, Guinness World Records' ethics were called into question by human rights groups. Museums In 1976, a Guinness Book of World Records museum opened in the Empire State Building. Speed shooter Bob Munden then went on tour promoting The Guinness Book of World Records by performing his record fast draws with a standard weight single-action revolver from a Western movie-type holster. His fastest time for a draw was 0.02 seconds. Among exhibits were life-size statues of the world's tallest man, Robert Wadlow, and world's largest earthworm, an X-ray photo of a sword swallower, repeated lightning strike victim Roy Sullivan's hat complete with lightning holes and a pair of gem-studded golf shoes on sale for $6,500. The museum closed in 1995. In more recent years, the Guinness company has permitted the franchising of small museums with displays based on the book, all currently (as of 2010[update]) located in towns popular with tourists: Tokyo, Copenhagen, San Antonio. There were once Guinness World Records museums and exhibitions at the London Trocadero, Bangalore, San Francisco, Myrtle Beach, Orlando, Atlantic City, and Las Vegas. The Orlando museum, which closed in 2002, was branded The Guinness Records Experience; the Hollywood, Niagara Falls, Copenhagen, and Gatlinburg museums also previously featured this branding. Retail and merchandise Guinness World Records operates an official online shop, the Guinness World Records Store, which offers items related to record-breaking achievements, including certificates of participation, apparel, and the annual Guinness World Records book. The shop provides record-holders and the general public with access to official Guinness World Records materials. Merchandise is part of the organization's broader engagement efforts beyond its publications and events. Television series Guinness World Records has commissioned various television series documenting world record breaking attempts, including: Rhianna Loren (2025) Specials: Gamer's edition In 2008, Guinness World Records released its gamer's edition, a supplement that keeps records for popular video game high scores, codes and feats in association with Twin Galaxies. The Gamer's Edition used to contain 258 pages, over 1,236 video game related world records and four interviews including one with Twin Galaxies founder Walter Day. Editions were published for the years 2008 through 2020, with the 2009 edition in hardcover. The 2025 edition is the first since 2020, returning after a five-year hiatus. Since 2020, the supplement has had 192 pages. The Guinness Book of British Hit Singles The Guinness Book of British Hit Singles was a music reference book first published in 1977. It was compiled by BBC Radio 1 DJs Paul Gambaccini and Mike Read with brothers Tim Rice and Jonathan Rice. It was the first in a number of music reference books that were to be published by Guinness Publishing with sister publication The Guinness Book of British Hit Albums coming in 1983. After being sold to Hit Entertainment, the data concerning the Official Chart Company's singles and albums charts were combined under the title British Hit Singles & Albums, with Hit Entertainment publishing the book from 2003 to 2006 (under the Guinness World Records brand). After Guinness World Records was sold to The Jim Pattison Group, it was effectively replaced by a series of books published by Ebury Publishing/Random House with the Virgin Book of British Hit Singles first being published in 2007 and with a Hit Albums book following two years later. Other media and products In 1975, Parker Brothers marketed a board game, The Guinness Game of World Records, based on the book. Players compete by setting and breaking records for activities such as the longest streak of rolling dice before rolling doubles, stacking plastic pieces, and bouncing a ball off alternating sides of a card, as well as answering trivia questions based on the listings in the Guinness Book of World Records. A video game, Guinness World Records: The Videogame, was developed by TT Fusion and released for Nintendo DS, Wii and iOS in November 2008. In 2012, Warner Bros. announced the development of a live-action film version of Guinness World Records with Daniel Chun as scriptwriter. The film, however, never entered production. Dr. Sunil Gupta is listed in the Guinness World Records for participating in the largest multi-location diabetic neuropathy screening conducted on World Diabetes Day, 14 November 2013, during which 1,676 screenings were performed across 27 locations in India. References |
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[SOURCE: https://en.wikipedia.org/wiki/North_Slob] | [TOKENS: 432] |
Contents North Slob The North Slob is an area of mud-flats at the estuary of the River Slaney at Wexford Harbour, Ireland. The North Slob is an area of 10 km2 (2,500 acres) that was reclaimed in the mid-19th century by the building of a sea wall. 2 km2 (490 acres) of this reclaimed land is a nature reserve that is jointly owned and managed by BirdWatch Ireland and the National Parks and Wildlife Service (NPWS) as the Wexford Wildfowl Reserve (Irish: Anaclann Éanlaith Fiáin Loch Garman). The reserve is open to the public. Wildlife The North Slob provides the winter home for 10,000 Greenland white-fronted geese (Anser albifrons flavirostris), about one third of the world population of this subspecies, which migrate to Greenland for the summer months. The Wexford Wildfowl Reserve was designated a Ramsar site in 1984. The North Slob is part of the Wexford Harbour Special Protection Area of 27.34 km2 (10.56 sq mi; 6,760 acres). Guinness World Records Guinness World Records, known until 2000 as The Guinness Book of Records, has its origins in the North Slob. On 4 May 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries, was on a shooting party in the North Slob when he became involved in an argument over which was the fastest game bird in Europe, the golden plover or the grouse. That evening at Castlebridge House he realised that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird. He knew that there must be numerous other questions debated nightly in pubs in Britain and Ireland, but there was no book with which to settle arguments about records. He realised then that a book supplying the answers to this sort of question might prove popular. The North Slob featured on the Open University and the BBC's Coast Programme. References External links |
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Contents G1 (website) G1, stylized as g1, is a Brazilian news portal maintained by Grupo Globo and under the guidance of Central Globo de Jornalismo. It was released on 18 September 2006, the same date as Rede Globo's anniversary. The portal provides journalistic content from various companies of Grupo Globo – TV Globo, Globo News, Radios CBN and Globo, the newspapers O Globo, Extra, Expresso and Valor Econômico, Época and Globo Rural magazines, among others – besides its own reports in the form of text, photographs, audio and video. In addition to five editorial offices in Rio de Janeiro, São Paulo, Brasília, Belo Horizonte and Recife, affiliates of Rede Globo, newspapers, magazines, radio stations and news agencies Agência Estado, Agence France Presse, Associated Press, EFE, The New York Times, Lusa and Reuters feed the news portal, which is updated 24 hours a day. Versions in English and Spanish were released on 11 June 2010, and had videos subtitled in both languages, but both have since been discontinued. The portal also has the mobile version and applications for Android and iOS. In September 2021, to celebrate its 15th anniversary, the portal changed its logo to a new style, also changing the stylizing of the name, changing the G to be lowercase. References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Film] | [TOKENS: 9881] |
Contents Film A film, movie, or motion picture[a] is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, emotions, or atmosphere through the use of moving images that are generally, since the 1930s, synchronized with sound and sometimes using other sensory stimuli. Films are produced by recording actual people and objects with cameras or by creating them using animation techniques and special effects. They comprise a series of individual frames, but when these images are shown rapidly in succession, the illusion of motion is given to the viewer. Flickering between frames is not seen due to an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Also of relevance is what causes the perception of motion: a psychological effect identified as beta movement. Films are considered by many to be an important art form; films entertain, educate, enlighten and inspire audiences. The visual elements of cinema need no translation, giving the motion picture a universal power of communication. Any film can become a worldwide attraction, especially with the addition of dubbing or subtitles that translate the dialogue. Films are also artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. History The art of film has drawn on several earlier traditions in fields such as oral storytelling, literature, theatre and visual arts. Forms of art and entertainment that had already featured moving or projected images such as shadowgraphy, camera obscura, shadow puppetry and magic lantern. The stroboscopic animation principle was introduced in 1833 with the stroboscopic disc (better known as the phénakisticope) and later applied in the zoetrope (since 1866), the flip book (since 1868), and the praxinoscope (since 1877), before it became the basic principle for cinematography.[citation needed] Experiments with early phénakisticope-based animation projectors were made at least as early as 1843 and publicly screened in 1847. Jules Duboscq marketed phénakisticope projection systems in France from c. 1853 until the 1890s.[citation needed] Photography was introduced in 1839, but initially photographic emulsions needed such long exposures that the recording of moving subjects seemed impossible. At least as early as 1844, photographic series of subjects posed in different positions were created to either suggest a motion sequence or document a range of different viewing angles. The advent of stereoscopic photography, with early experiments in the 1840s and commercial success since the early 1850s, raised interest in completing the photographic medium with the addition of means to capture color and motion. In 1849, Joseph Plateau published about the idea to combine his invention of the phénakisticope with the stereoscope, as suggested to him by stereoscope inventor Charles Wheatstone, and to use photographs of plaster sculptures in different positions to be animated in the combined device. In 1852, Jules Duboscq patented such an instrument as the "Stéréoscope-fantascope, ou Bïoscope", but he only marketed it very briefly, without success. One Bïoscope disc with stereoscopic photographs of a machine is in the Plateau collection of Ghent University, but no instruments or other discs have yet been found.[citation needed] By the late 1850s, the first examples of instantaneous photography came about and provided hope that motion photography would soon be possible, but it took a few decades before it was successfully combined with a method to record series of sequential images in real-time. In 1878, Eadweard Muybridge eventually managed to take a series of photographs of a running horse with a battery of cameras in a line along the track and published the results as The Horse in Motion on cabinet cards. Muybridge, as well as Étienne-Jules Marey, Ottomar Anschütz and many others, would create many more chronophotography studies. Muybridge had the contours of dozens of his chronophotographic series traced onto glass discs and projected them with his zoopraxiscope in his lectures from 1880 to 1895.[citation needed] Anschütz made his first instantaneous photographs in 1881. He developed a portable camera that allowed shutter speeds as short as 1/1000 of a second in 1882. The quality of his pictures was generally regarded as much higher than that of the chronophotography works of Muybridge and Étienne-Jules Marey. In 1886, Anschütz developed the Electrotachyscope, an early device that displayed short motion picture loops with 24 glass plate photographs on a 1.5 meter wide rotating wheel that was hand-cranked to a speed of circa 30 frames per second. Different versions were shown at many international exhibitions, fairs, conventions, and arcades from 1887 until at least 1894. Starting in 1891, some 152 examples of a coin-operated peep-box Electrotachyscope model were manufactured by Siemens & Halske in Berlin and sold internationally. Nearly 34,000 people paid to see it at the Berlin Exhibition Park in the summer of 1892. Others saw it in London or at the 1893 Chicago World's Fair. On 25 November 1894, Anschütz introduced a Electrotachyscope projector with a 6x8 meter screening in Berlin. Between 22 February and 30 March 1895, a total of circa 7,000 paying customers came to view a 1.5-hour show of some 40 scenes at a 300-seat hall in the old Reichstag building in Berlin. Émile Reynaud already mentioned the possibility of projecting images of the Praxinoscope in his 1877 patent application. He presented a praxinoscope projection device at the Société française de photographie on 4 June 1880, but did not market his praxinoscope a projection before 1882. He then further developed the device into the Théâtre Optique which could project longer sequences with separate backgrounds, patented in 1888. He created several movies for the machine by painting images on hundreds of gelatin plates that were mounted into cardboard frames and attached to a cloth band. From 28 October 1892 to March 1900 Reynaud gave over 12,800 shows to a total of over 500,000 visitors at the Musée Grévin in Paris.[citation needed] By the end of the 1880s, the introduction of lengths of celluloid photographic film and the invention of motion picture cameras, which could photograph a rapid sequence of images using only one lens, allowed action to be captured and stored on a single compact reel of film.[citation needed] Movies were initially shown publicly to one person at a time through "peep show" devices such as the Electrotachyscope, Kinetoscope and the Mutoscope. Not much later, exhibitors managed to project films on large screens for theatre audiences.[citation needed] The first public screenings of films at which admission was charged were made in 1895 by the American Woodville Latham and his sons (using films produced by their Eidoloscope company), by the Skladanowsky brothers, and by French brothers Auguste and Louis Lumière, best known for L'Arrivée d'un train en gare de La Ciotat (1896), with ten of their own productions. Private screenings had preceded these by several months, with Latham's slightly predating the others'.[citation needed] The earliest films were simply one static shot that showed an event or action with no editing or other cinematic techniques. Typical films showed employees leaving a factory gate, people walking in the street, and the view from the front of a trolley as it traveled a city's Main Street. According to legend, when a film showed a locomotive at high speed approaching the audience, the audience panicked and ran from the theater. Around the turn of the 20th century, films started stringing several scenes together to tell a story. (The filmmakers who first put several shots or scenes discovered that, when one shot follows another, that act establishes a relationship between the content in the separate shots in the minds of the viewer. It is this relationship that makes all film storytelling possible. In a simple example, if a person is shown looking out a window, whatever the next shot shows, it will be regarded as the view the person was seeing.) Each scene was a single stationary shot with the action occurring before it. The scenes were later broken up into multiple shots photographed from different distances and angles.[citation needed] Other techniques such as camera movement were developed as effective ways to tell a story with film. Until sound film became commercially practical in the late 1920s, motion pictures were a purely visual art, but these innovative silent films had gained a hold on the public imagination. Rather than leave audiences with only the noise of the projector as an accompaniment, theater owners hired a pianist or organist or, in large urban theaters, a full orchestra to play music that fit the mood of the film at any given moment. By the early 1920s, most films came with a prepared list of sheet music to be used for this purpose, and complete film scores were composed for major productions.[citation needed] The rise of European cinema was interrupted by the outbreak of World War I, while the film industry in the United States flourished with the rise of Hollywood, typified most prominently by the innovative work of D. W. Griffith in The Birth of a Nation (1915) and Intolerance (1916). However, in the 1920s, European filmmakers such as Eisenstein, F. W. Murnau and Fritz Lang, in many ways inspired by the meteoric wartime progress of film through Griffith, along with the contributions of Charles Chaplin, Buster Keaton and others, quickly caught up with American film-making and continued to further advance the medium.[citation needed] In the 1920s, the development of electronic sound recording technologies made it practical to incorporate a soundtrack of speech, music and sound effects synchronized with the action on the screen.[citation needed] The resulting sound films were initially distinguished from the usual silent "moving pictures" or "movies" by calling them "talking pictures" or "talkies." The revolution they wrought was swift. By 1930, silent film was practically extinct in the US and already being referred to as "the old medium."[citation needed] The evolution of sound in cinema began with the idea of combining moving images with existing phonograph sound technology. Early sound-film systems, such as Thomas Edison's Kinetoscope and the Vitaphone used by Warner Bros., laid the groundwork for synchronized sound in film. The Vitaphone system, produced alongside Bell Telephone Company and Western Electric, faced initial resistance due to expensive equipping costs, but sound in cinema gained acceptance with movies like Don Juan (1926) and The Jazz Singer (1927). American film studios, while Europe standardized on Tobis-Klangfilm and Tri-Ergon systems. This new technology allowed for greater fluidity in film, giving rise to more complex and epic movies like King Kong (1933). As the television threat emerged in the 1940s and 1950s, the film industry needed to innovate to attract audiences. In terms of sound technology, this meant the development of surround sound and more sophisticated audio systems, such as Cinerama's seven-channel system. However, these advances required a large number of personnel to operate the equipment and maintain the sound experience in theaters. In 1966, Dolby Laboratories introduced the Dolby A noise reduction system, which became a standard in the recording industry and eliminated the hissing sound associated with earlier standardization efforts. Dolby Stereo, a revolutionary surround sound system, followed and allowed cinema designers to take acoustics into consideration when designing theaters. This innovation enabled audiences in smaller venues to enjoy comparable audio experiences to those in larger city theaters. Today, the future of sound in film remains uncertain, with potential influences from artificial intelligence, remastered audio, and personal viewing experiences shaping its development. However, it is clear that the evolution of sound in cinema has been marked by continuous innovation and a desire to create more immersive and engaging experiences for audiences.[citation needed] A significant technological advancement in film was the introduction of "natural color," where color was captured directly from nature through photography, as opposed to being manually added to black-and-white prints using techniques like hand-coloring or stencil-coloring. Early color processes often produced colors that appeared far from "natural". Unlike the rapid transition from silent films to sound films, color's replacement of black-and-white happened more gradually. The crucial innovation was the three-strip version of the Technicolor process, first used in animated cartoons in 1932. The process was later applied to live-action short films, specific sequences in feature films, and finally, for an entire feature film, Becky Sharp, in 1935. Although the process was expensive, the positive public response, as evidenced by increased box office revenue, generally justified the additional cost. Consequently, the number of films made in color gradually increased year after year. One of the first mainstream films to use color was The Wizard of Oz (1939). In the early 1950s, black-and-white television started receiving criticism with many believing that television failed to reach the lofty intellectual and cultural expectations that accompanied its introduction. In an attempt to lure audiences back into theaters, bigger screens were installed, widescreen processes, polarized 3D projection, and stereophonic sound were introduced, and more films were made in color, which soon became the rule rather than the exception. Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960s, but they marked the end of an era. Color television receivers had been available in the US since the mid-1950s, but at first, they were very expensive and few broadcasts were in color. During the 1960s, prices gradually came down, color broadcasts became common, and sales boomed. The overwhelming public verdict in favor of color was clear. After the final flurry of black-and-white films had been released in mid-decade, all Hollywood studio productions were filmed in color, with the usual exceptions made only at the insistence of "star" filmmakers such as Peter Bogdanovich, Martin Scorsese and Alfred Hitchcock with his film Psycho (1960). The decades following the decline of the studio system in the 1960s saw changes in the production and style of film. Various New Wave movements (including the French New Wave, New German Cinema wave, Indian New Wave, Japanese New Wave, New Hollywood, and Egyptian New Wave) and the rise of film-school-educated independent filmmakers contributed to the changes the medium experienced in the latter half of the 20th century.[citation needed] Digital technology has been the driving force for change throughout the 1990s and into the 2000s. Digital 3D projection largely replaced earlier problem-prone 3D film systems and that became briefly popular in the early 2010s with films like Avatar (2009). Large-screen cinemas systems using 35mm and 70mm film were developed in the late 2010s, with companies like the IMAX corporation. Film theory "Film theory" seeks to develop concise and systematic concepts that apply to the study of film as art. The concept of film as an art-form began in 1911 with Ricciotto Canudo's manifest The Birth of the Sixth Art. The Moscow Film School, the oldest film school in the world, was founded in 1919, in order to teach about and research film theory. Formalist film theory, led by Rudolf Arnheim, Béla Balázs, and Siegfried Kracauer, emphasized how film differed from reality and thus could be considered a valid fine art. André Bazin reacted against this theory by arguing that film's artistic essence lay in its ability to mechanically reproduce reality, not in its differences from reality, and this gave rise to realist theory. More recent analysis spurred by Jacques Lacan's psychoanalysis and Ferdinand de Saussure's semiotics among other things has given rise to psychoanalytic film theory, structuralist film theory, feminist film theory, and others. On the other hand, critics from the analytical philosophy tradition, influenced by Wittgenstein, try to clarify misconceptions used in theoretical studies and produce analysis of a film's vocabulary and its link to a form of life.[citation needed] Film is considered to have its own language.[citation needed] James Monaco wrote a classic text on film theory, titled "How to Read a Film," that addresses this. Director Ingmar Bergman famously said, "Andrei Tarkovsky for me is the greatest director, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream." An example of the language is a sequence of back and forth images of one speaking actor's left profile, followed by another speaking actor's right profile, then a repetition of this, which is a language understood by the audience to indicate a conversation.[citation needed] This describes another theory of film, the 180-degree rule, as a visual story-telling device with an ability to place a viewer in a context of being psychologically present through the use of visual composition and editing.[citation needed] The "Hollywood style" includes this narrative theory, due to the overwhelming practice of the rule by movie studios based in Hollywood, California, during film's classical era. Another example of cinematic language is having a shot that zooms in on the forehead of an actor with an expression of silent reflection that cuts to a shot of a younger actor who vaguely resembles the first actor, indicating that the first person is remembering a past self, an edit of compositions that causes a time transition.[citation needed] Montage is a film editing technique in which separate pieces of film are selected, edited, and assembled to create a new section or sequence within a film. This technique can be used to convey a narrative or to create an emotional or intellectual effect by juxtaposing different shots, often for the purpose of condensing time, space, or information. Montage can involve flashbacks, parallel action, or the interplay of various visual elements to enhance the storytelling or create symbolic meaning. The concept of montage emerged in the 1920s, with pioneering Soviet filmmakers such as Sergei Eisenstein and Lev Kuleshov developing the theory of montage. Eisenstein's film Battleship Potemkin (1925) is a prime example of the innovative use of montage, where he employed complex juxtapositions of images to create a visceral impact on the audience. As the art of montage evolved, filmmakers began incorporating musical and visual counterpoint to create a more dynamic and engaging experience for the viewer. The development of scene construction through mise-en-scène, editing, and special effects led to more sophisticated techniques that can be compared to those utilized in opera and ballet. The French New Wave movement of the late 1950s and 1960s also embraced the montage technique, with filmmakers such as Jean-Luc Godard and François Truffaut using montage to create distinctive and innovative films. This approach continues to be influential in contemporary cinema, with directors employing montage to create memorable sequences in their films. In contemporary cinema, montage continues to play an essential role in shaping narratives and creating emotional resonance. Filmmakers have adapted the traditional montage technique to suit the evolving aesthetics and storytelling styles of modern cinema. As the medium of film continues to evolve, montage remains an integral aspect of visual storytelling, with filmmakers finding new and innovative ways to employ this powerful technique.[citation needed] Film criticism is the analysis and evaluation of films. In general, these works can be divided into two categories: academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media. Film critics working for newspapers, magazines, and broadcast media mainly review new releases. Normally they only see any given film once and have only a day or two to formulate their opinions. Despite this, critics have an important impact on the audience response and attendance at films, especially those of certain genres. Mass marketed action, horror, and comedy films tend not to be greatly affected by a critic's overall judgment of a film. The plot summary and description of a film and the assessment of the director's and screenwriters' work that makes up the majority of most film reviews can still have an important impact on whether people decide to see a film. For prestige films such as most dramas and art films, the influence of reviews is important. Poor reviews from leading critics at major papers and magazines will often reduce audience interest and attendance.[citation needed] If a movie can illuminate the lives of other people who share this planet with us and show us not only how different they are but, how even so, they share the same dreams and hurts, then it deserves to be called great. The impact of a reviewer on a given film's box office performance is a matter of debate. Some observers claim that movie marketing in the 2000s is so intense, well-coordinated and well financed that reviewers cannot prevent a poorly written or filmed blockbuster from attaining market success. However, the cataclysmic failure of some heavily promoted films which were harshly reviewed, as well as the unexpected success of critically praised independent films indicates that extreme critical reactions can have considerable influence. Other observers note that positive film reviews have been shown to spark interest in little-known films. Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film. However, this usually backfires, as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result. Journalist film critics are sometimes called film reviewers. Critics who take a more academic approach to films, through publishing in film journals and writing books about films using film theory or film studies approaches, study how film and filming techniques work, and what effect they have on people. Rather than having their reviews published in newspapers or appearing on television, their articles are published in scholarly journals or up-market magazines. They also tend to be affiliated with colleges or universities as professors or instructors.[citation needed] Industry The making and showing of motion pictures became a source of profit almost as soon as the process was invented. Upon seeing how successful their new invention, and its product, was in their native France, the Lumières quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses. In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import, and screen additional product commercially. The Oberammergau Passion Play of 1898 was the first commercial motion picture ever produced. Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world. Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. By 1917 Charlie Chaplin had a contract that called for an annual salary of one million dollars. From 1931 to 1956, film was also the only image storage and playback system for television programming until the introduction of videotape recorders.[citation needed] In the United States, much of the film industry is centered around Hollywood, California. Other regional centers exist in many parts of the world, such as Mumbai-centered Bollywood, the Indian film industry's Hindi cinema which produces the largest number of films in the world. Though the expense involved in making films has led cinema production to concentrate under the auspices of movie studios, recent advances in affordable film making equipment have allowed independent film productions to flourish.[citation needed] Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns, an example being Kevin Costner's Waterworld. Yet many filmmakers strive to create works of lasting social significance. The Academy Awards (also known as "the Oscars") are the most prominent film awards in the United States, providing recognition each year to films, based on their artistic merits. There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts. Revenue in the industry is sometimes volatile due to the reliance on blockbuster films released in movie theaters. The rise of alternative home entertainment has raised questions about the future of the cinema industry, and Hollywood employment has become less reliable, particularly for medium and low-budget films. Associated fields Derivative academic fields of study may both interact with and develop independently of filmmaking, as in film theory and analysis. Fields of academic study have been created that are derivative or dependent on the existence of film, such as film criticism, film history, divisions of film propaganda in authoritarian governments, or psychological on subliminal effects (e.g., of a flashing soda can during a screening). These fields may further create derivative fields, such as a movie review section in a newspaper or a television guide. Sub-industries can spin off from film, such as popcorn makers, and film-related toys (e.g., Star Wars figures). Sub-industries of pre-existing industries may deal specifically with film, such as product placement and other advertising within films.[citation needed] Terminology The terminology used for describing motion pictures varies considerably between British and American English. In British usage, the name of the medium is film. The word movie is understood but seldom used. Additionally, the pictures (plural) is used somewhat frequently to refer to the place where movies are exhibited; in American English this may be called the movies, but that term is becoming outdated. In other countries, the place where movies are exhibited may be called a cinema or movie theatre.[citation needed] By contrast, in the United States, movie is the predominant term for the medium. Although the words film and movie are sometimes used interchangeably, film is more often used when considering a work's artistic, theoretical, or technical aspects. The term movie more often refers to a work's entertainment or commercial aspects.[citation needed] Further terminology is used to distinguish various forms and media used in the film industry. Motion pictures and moving pictures are frequently used terms for films and movie productions specifically intended for theatrical exhibitions, such as Star Wars. DVD, Blu-ray Disc, and videotape are video formats that can reproduce a photochemical film. A reproduction based on such is called a transfer. After the advent of theatrical film as an industry, the television industry began using videotape as a recording medium. For many decades, tape was solely an analog medium onto which moving images could be either recorded or transferred. Film and filming refer to the photochemical medium that chemically records a visual image and the act of recording respectively. However, the act of shooting images with other visual media, such as with a digital camera, is still called filming, and the resulting works often called films as interchangeable to movies, despite not being shot on film. Silent films need not be utterly silent, but are films and movies without an audible dialogue, including those that have a musical accompaniment. The word talkies refers to the earliest sound films created to have audible dialogue recorded for playback along with the film, regardless of a musical accompaniment. Cinema either broadly encompasses both films and movies, or it is roughly synonymous with film and theatrical exhibition, and both are capitalized when referring to a category of art. The silver screen refers to the projection screen used to exhibit films and, by extension, is also used as a metonym for the entire film industry.[citation needed] Widescreen refers to a larger width to height in the frame, compared to earlier historic aspect ratios. A feature-length film, or feature film, is of a conventional full length, usually 60 minutes or more, and can commercially stand by itself without other films in a ticketed screening. A short is a film that is not as long as a feature-length film, often screened with other shorts, or preceding a feature-length film. An independent is a film made outside the conventional film industry.[citation needed] In US usage, one talks of a screening or projection of a movie or video on a screen at a public or private theater. In British English, a film showing happens at a cinema (never a theatre, which is a different medium and place altogether). Cinema usually refers to an arena designed specifically to exhibit films, where the screen is affixed to a wall, while theatre usually refers to a place where live, non-recorded action or combination thereof occurs from a podium or other type of stage, including the amphitheatre. Theatres can still screen movies in them, though the theatre would be retrofitted to do so. One might propose going to the cinema when referring to the activity, or sometimes to the pictures in British English, whereas the US expression is usually going to the movies. A cinema usually shows a mass-marketed movie using a front-projection screen process with either a film projector or, more recently, with a digital projector. But, cinemas may also show theatrical movies from their home video transfers that include Blu-ray Disc, DVD, and videocassette when they possess sufficient projection quality or based upon need, such as movies that exist only in their transferred state, which may be due to the loss or deterioration of the film master and prints from which the movie originally existed. Due to the advent of digital film production and distribution, physical film might be absent entirely.[citation needed] A double feature is a screening of two independently marketed, stand-alone feature films. A viewing is a watching of a film. Sales and at the box office refer to tickets sold at a theater, or more currently, rights sold for individual showings. A release is the distribution and often simultaneous screening of a film. A preview is a screening in advance of the main release.[citation needed] Any film may also have a sequel, which portrays events following those in the film. Bride of Frankenstein is an early example. When there are more films than one with the same characters, story arcs, or subject themes, these movies become a series, such as the James Bond series. Existing outside a specific story timeline usually does not exclude a film from being part of a series. A film that portrays events occurring earlier in a timeline with those in another film, but is released after that film, is sometimes called a prequel, an example being Butch and Sundance: The Early Days.[citation needed] The credits, or end credits, are a list that gives credit to the people involved in the production of a film. Films from before the 1970s usually start a film with credits, often ending with only a title card, saying "The End" or some equivalent, often an equivalent that depends on the language of the production.[citation needed] From then onward, a film's credits usually appear at the end of most films. However, films with credits that end a film often repeat some credits at or near the start of a film and therefore appear twice, such as that film's acting leads, while less frequently some appearing near or at the beginning only appear there, not at the end, which often happens to the director's credit. The credits appearing at or near the beginning of a film are usually called titles or beginning titles. A post-credits scene is a scene shown after the end of the credits. Ferris Bueller's Day Off has a post-credits scene in which Ferris tells the audience that the film is over and they should go home.[citation needed] A film's cast refers to a collection of the actors and actresses who appear, or star, in a film. A star is an actor or actress, often a popular one, and in many cases, a celebrity who plays a central character in a film. Occasionally the word can also be used to refer to the fame of other members of the crew, such as a director or other personality, such as Martin Scorsese. A crew is usually interpreted as the people involved in a film's physical construction outside cast participation, and it could include directors, film editors, photographers, grips, gaffers, set decorators, prop masters, and costume designers. A person can both be part of a film's cast and crew, such as Woody Allen, who directed and starred in Take the Money and Run.[citation needed] A film goer, movie goer, or film buff is a person who likes or often attends films and movies, and any of these, though more often the latter, could also see oneself as a student to films and movies or the filmic process. Intense interest in films, film theory, and film criticism, is known as cinephilia. A film enthusiast is known as a cinephile or cineaste.[citation needed] Preview performance refers to a showing of a film to a select audience, usually for the purposes of corporate promotions, before the public film premiere itself. Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or even refilming certain sections based on the audience response. One example of a film that was changed after a negative response from the test screening is 1982's First Blood. After the test audience responded very negatively to the death of protagonist John Rambo, a Vietnam veteran, at the end of the film, the company wrote and re-shot a new ending in which the character survives. Trailers or previews are advertisements for films that will be shown in 1 to 3 months at a cinema. Back in the early days of cinema, with theaters that had only one or two screens, only certain trailers were shown for the films that were going to be shown there. Later, when theaters added more screens or new theaters were built with a lot of screens, all different trailers were shown even if they were not going to play that film in that theater. Film studios realized that the more trailers that were shown (even if it was not going to be shown in that particular theater) the more patrons would go to a different theater to see the film when it came out. The term trailer comes from their having originally been shown at the end of a film program.[citation needed] That practice did not last long because patrons tended to leave the theater after the films ended, but the name has stuck. Trailers are now shown before the film (or the "A film" in a double feature program) begins. Film trailers are also common on DVDs and Blu-ray Discs, as well as on the Internet and mobile devices. Trailers are created to be engaging and interesting for viewers. As a result, in the Internet era, viewers often seek out trailers to watch them. Of the ten billion videos watched online annually in 2008, film trailers ranked third, after news and user-created videos. A teaser is a much shorter preview or advertisement that lasts only 10 to 30 seconds. Teasers are used to get patrons excited about a film coming out in the next six to twelve months. Teasers may be produced even before the film production is completed.[citation needed] Culture Films are cultural artifacts created by specific cultures, facilitating intercultural dialogue. It is considered to be an important art form that provides entertainment and historical value, often visually documenting a period of time. The visual basis of the medium gives it a universal power of communication, often stretched further through the use of dubbing or subtitles to translate the dialog into other languages. Just seeing a location in a film is linked to higher tourism to that location, demonstrating how powerful the suggestive nature of the medium can be. Film is used for a range of goals, including education and propaganda due its ability to effectively intercultural dialogue. When the purpose is primarily educational, a film is called an "educational film". Examples are recordings of academic lectures and experiments, or a film based on a classic novel. Film may be propaganda, in whole or in part, such as the films made by Leni Riefenstahl in Nazi Germany, US war film trailers during World War II, or artistic films made under Stalin by Sergei Eisenstein. They may also be works of political protest, as in the films of Andrzej Wajda, or more subtly, the films of Andrei Tarkovsky. The same film may be considered educational by some, and propaganda by others as the categorization of a film can be subjective.[citation needed] Production At its core, the means to produce a film depend on the content the filmmaker wishes to show, and the apparatus for displaying it: the zoetrope merely requires a series of images on a strip of paper. Film production can, therefore, take as little as one person with a camera (or even without a camera, as in Stan Brakhage's 1963 film Mothlight), or thousands of actors, extras, and crew members for a live-action, feature-length epic. The necessary steps for almost any film can be boiled down to conception, planning, execution, revision, and distribution. The more involved the production, the more significant each of the steps becomes. In a typical production cycle of a Hollywood-style film, these main stages are defined as development, pre-production, production, post-production and distribution.[citation needed] This production cycle usually takes three years. The first year is taken up with development. The second year comprises preproduction and production. The third year, post-production and distribution. The bigger the production, the more resources it takes, and the more important financing becomes; most feature films are artistic works from the creators' perspective (e.g., film director, cinematographer, screenwriter) and for-profit business entities for the production companies.[citation needed] A film crew is a group of people hired by a film company, employed during the "production" or "photography" phase, for the purpose of producing a film or motion picture. Crew is distinguished from cast, who are the actors who appear in front of the camera or provide voices for characters in the film. The crew interacts with but is also distinct from the production staff, consisting of producers, managers, company representatives, their assistants, and those whose primary responsibility falls in pre-production or post-production phases, such as screenwriters and film editors. Communication between production and crew generally passes through the director and his/her staff of assistants. Medium-to-large crews are generally divided into departments with well-defined hierarchies and standards for interaction and cooperation between the departments. Other than acting, the crew handles everything in the photography phase: props and costumes, shooting, sound, electrics (i.e., lights), sets, and production special effects. Caterers (known in the film industry as "craft services") are usually not considered part of the crew.[citation needed] Film stock consists of transparent celluloid, acetate, or polyester base coated with an emulsion containing light-sensitive chemicals. Cellulose nitrate was the first type of film base used to record motion pictures, but due to its flammability was eventually replaced by safer materials. Stock widths and the film format for images on the reel have had a rich history, though most large commercial films are still shot on (and distributed to theaters) as 35 mm prints.[citation needed] Originally moving picture film was shot and projected at various speeds using hand-cranked cameras and projectors; though 1000 frames per minute (16+2/3 frame/s) is generally cited as a standard silent speed, research indicates most films were shot between 16 frame/s and 23 frame/s and projected from 18 frame/s on up (often reels included instructions on how fast each scene should be shown). When synchronized sound film was introduced in the late 1920s, a constant speed was required for the sound head. 24 frames per second were chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound quality. The standard was set with Warner Bros.'s The Jazz Singer and their Vitaphone system in 1927. Improvements since the late 19th century include the mechanization of cameras – allowing them to record at a consistent speed, quiet camera design – allowing sound recorded on-set to be usable without requiring large "blimps" to encase the camera, the invention of more sophisticated filmstocks and lenses, allowing directors to film in increasingly dim conditions, and the development of synchronized sound, allowing sound to be recorded at exactly the same speed as its corresponding action. The soundtrack can be recorded separately from shooting the film, but for live-action pictures, many parts of the soundtrack are usually recorded simultaneously.[citation needed] As a medium, film is not limited to motion pictures, since the technology developed as the basis for photography. It can be used to present a progressive sequence of still images in the form of a slideshow. Film has also been incorporated into multimedia presentations and often has importance as primary historical documentation. However, historic films have problems in terms of preservation and storage, and the motion picture industry is exploring many alternatives. Most films on cellulose nitrate base have been copied onto modern safety films. Some studios save color films through the use of separation masters: three B&W negatives each exposed through red, green, or blue filters (essentially a reverse of the Technicolor process). Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation. Film preservation of decaying film stock is a matter of concern to both film historians and archivists and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue). Preservation is generally a higher concern for nitrate and single-strip color films, due to their high decay rates; black-and-white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage.[citation needed] Some films in recent decades have been recorded using analog video technology similar to that used in television production. Modern digital video cameras and digital projectors are gaining ground as well. These approaches are preferred by some film-makers, especially because footage shot with digital cinema can be evaluated and edited with non-linear editing systems (NLE) without waiting for the film stock to be processed. The migration was gradual, and as of 2005, most major motion pictures were still shot on film.[needs update] Independent filmmaking often takes place outside Hollywood, or other major studio systems. An independent film (or indie film) is a film initially produced without financing or distribution from a major film studio. Creative, business and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century. On the business side, the costs of big-budget studio films also lead to conservative choices in cast and crew. There is a trend in Hollywood towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987). A hopeful director is almost never given the opportunity to get a job on a big-budget studio film without significant industry experience in film or television. Also, the studios rarely produce films with unknown actors, particularly in lead roles.[citation needed] Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film. But the advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990s, have lowered the technology barrier to film production significantly. Both production and post-production costs have been significantly lowered; in the 2000s, the hardware and software for post-production can be installed in a commodity-based personal computer. Technologies such as DVDs, FireWire connections and a wide variety of professional and consumer-grade video editing software make film-making relatively affordable.[citation needed] Since the introduction of digital video DV technology, the means of production have become more democratized. Filmmakers can conceivably shoot a film with a digital video camera and edit the film, create and edit the sound and music, and mix the final cut on a high-end home computer. However, while the means of production may be democratized, financing, distribution, and marketing remain difficult to accomplish outside the traditional system. Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution. The arrival of internet-based video websites such as YouTube and Veoh has further changed the filmmaking landscape, enabling indie filmmakers to make their films available to the public.[citation needed] An open content film is much like an independent film, but it is produced through open collaborations; its source material is available under a license which is permissive enough to allow other parties to create fan fiction or derivative works rather than a traditional copyright. Like independent filmmaking, open source filmmaking takes place outside Hollywood and other major studio systems.[citation needed] A fan film is a film or video inspired by a film, television program, comic book or a similar source, created by fans rather than by the source's copyright holders or creators. Fan filmmakers have traditionally been amateurs, but some of the most notable films have actually been produced by professional filmmakers as film school class projects or as demonstration reels. Fan films vary tremendously in length, from short faux-teaser trailers for non-existent motion pictures to rarer full-length motion pictures.[citation needed] Distribution Film distribution is the process through which a film is made available for viewing by an audience. This is normally the task of a professional film distributor, who would determine the marketing strategy of the film, the media by which a film is to be exhibited or made available for viewing, and may set the release date and other matters. The film may be exhibited directly to the public either through a movie theater (historically the main way films were distributed) or television for personal home viewing (including on DVD-Video or Blu-ray Disc, video-on-demand, online downloading, television programs through broadcast syndication etc.). Other ways of distributing a film include rental or personal purchase of the film in a variety of media and formats, such as VHS tape or DVD, or Internet downloading or streaming using a computer.[citation needed] Animation Animation is a technique in which each frame of a film is produced individually, whether generated as a computer graphic, or by photographing a drawn image, or by repeatedly making small changes to a model unit (see claymation and stop motion), and then photographing the result with a special animation camera. When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement (due to the phi phenomenon). Generating such a film is very labor-intensive and tedious, though the development of computer animation has greatly sped up the process. Because animation is very time-consuming and often very expensive to produce, the majority of animation for TV and films comes from professional animation studios. However, the field of independent animation has existed at least since the 1950s, with animation being produced by independent studios (and sometimes by a single person). Several independent animation producers have gone on to enter the professional animation industry.[citation needed] Limited animation is a way of increasing production and decreasing costs of animation by using "short cuts" in the animation process. This method was pioneered by UPA and popularized by Hanna-Barbera in the United States, and by Osamu Tezuka in Japan, and adapted by other studios as cartoons moved from movie theaters to television. Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on film. Camera-less animation, made famous by film-makers like Norman McLaren, Len Lye, and Stan Brakhage, is painted and drawn directly onto pieces of film, and then run through a projector.[citation needed] See also Notes Citations References Further reading External links |
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Contents River Slaney The River Slaney (/ˈsleɪniː/; Irish: An tSláine) is a large river in the southeast of Ireland. It rises on Lugnaquilla Mountain in the western Wicklow Mountains and flows west and then south through counties Wicklow, Carlow and Wexford for 117.5 km (73 mi), before entering St George's Channel in the Irish Sea at Wexford town. The estuary of the Slaney is wide and shallow and is known as Wexford Harbour. The catchment area of the River Slaney is 1,762 km2. The long-term average flow rate of the River Slaney is 37.4m3/s Towns that the Slaney runs through include Stratford-on-Slaney, Baltinglass, Tullow, Bunclody, Enniscorthy and Wexford. The river is crossed by 32 road bridges and one railway bridge. Wildlife Varied and plentiful wildlife can be found in the environs of the river. In Wicklow, herds of deer can be seen, as well as swans, dippers, mallards, herons and kingfishers. At dusk, bats, owls and otters may be seen, while the mudflats of the estuary are favoured by black-headed gulls, redshanks and oystercatchers. The goosander can be seen on the Slaney at Kildavin. In season, salmon and trout and pike are fished. History Ptolemy's Geography (2nd century AD) described a river called Μοδοννος (Modonnos, "mudflats") which may have referred to the River Slaney, though scholarly opinion remains divided on the issue. There is a reference to the Slaney in the Irish ballad Boolavogue, commemorating the Battle of Vinegar Hill in the Irish Rebellion of 1798. "Slaney Valley" was a 1972 Irish number one for Larry Cunningham. Tributaries Tributaries of the Slaney include the River Derreen, the River Derry, the River Clody, the River Bann, the River Urrin, the River Boro, and the River Sow. See also References External links 52°20′N 6°27′W / 52.333°N 6.450°W / 52.333; -6.450 |
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Contents A Trip to the Moon A Trip to the Moon (French: Le Voyage dans la Lune [lə vwajaʒ dɑ̃ la lyn], transl. "The Journey to the Moon")[a] is a 1902 French science-fiction adventure trick film written, directed and produced by Georges Méliès. Inspired by the Jules Verne novel From the Earth to the Moon (1865) and its sequel Around the Moon (1870), the film follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the Moon's surface, escape from an underground group of Selenites (lunar inhabitants), and return to Earth with a captive Selenite. Méliès leads an ensemble cast of French theatrical performers as the main character Professor Barbenfouillis. Although the film disappeared into obscurity (after Méliès's retirement from the film industry) it was rediscovered around 1930, when Méliès's importance to the history of cinema was beginning to be recognised by film devotees. An original hand-colored print was discovered in 1993, and restored in 2011. A Trip to the Moon was ranked 84th among the 100 greatest films of the 20th century by The Village Voice. The film remains Méliès' best-known, and the moment when the capsule lands (in the moon's eye) remains one of the most iconic, and frequently referenced, images in the history of cinema. Plot At a meeting of the Astronomy Club, its president, Professor Barbenfouillis,[b][c] proposes an expedition to the Moon. After addressing some dissent, five other brave astronomers—Nostradamus,[d] Alcofrisbas,[e] Omega, Micromegas,[f] and Parafaragaramus—agree to the plan. A space capsule in the shape of a bullet is built, along with a huge cannon to shoot it into space. The astronomers embark and their capsule is fired from the cannon with the help of "marines", most of whom are played by young women in sailors' outfits. The Man in the Moon watches the capsule as it approaches, and, in an iconic shot, it hits him in the eye.[g] Landing safely on the Moon, the astronomers get out of the capsule (without the need for space suits or breathing apparatus) and watch the Earth rise in the distance. Exhausted by their journey, they unroll their blankets and sleep. As they sleep, a comet passes, the Big Dipper appears with human faces peering out of each star, old Saturn leans out of a window in his ringed planet, and Phoebe, goddess of the Moon, appears seated in a crescent-moon swing. Phoebe causes a snowfall that awakens the astronomers, and they seek shelter in a cavern where they discover giant mushrooms. One astronomer opens his umbrella; it promptly takes root and turns into a giant mushroom itself. At this point, a Selenite (an insectoid alien inhabitant of the Moon, named after one of the Greek moon goddesses, Selene) appears, but it is killed easily by an astronomer, as the creatures explode if they are hit with force. More Selenites appear, and it becomes increasingly difficult for the astronomers to destroy them as they are surrounded. The Selenites capture the astronomers and take them to the palace of their king. An astronomer lifts the Selenite King off his throne and throws him to the ground, causing him to explode. The astronomers run back to their capsule while continuing to hit the pursuing Selenites, and five get inside. The sixth astronomer, Barbenfouillis himself, uses a rope to tip the capsule over a ledge on the Moon and into space. A Selenite tries to seize the capsule at the last minute. Astronomer, capsule, and Selenite fall through space and land in an ocean on Earth, where they are rescued by a ship and towed ashore. The final sequence (missing from some prints of the film) depicts a celebratory parade in honour of the travellers' return, including a display of the captive Selenite and the unveiling of a commemorative statue bearing the motto "Labor omnia vincit".[h] Cast When A Trip to the Moon was made, film actors performed anonymously, and no credits were given; the practice of supplying opening and closing credits in films was a later innovation. The following cast details can be reconstructed from available evidence: Production When asked in 1930 what inspired him for A Trip to the Moon, Méliès credited Jules Verne's novels From the Earth to the Moon (1865) and Around the Moon (1870). Cinema historians, the mid-20th-century French writer Georges Sadoul first among them, have frequently suggested H. G. Wells's The First Men in the Moon (1901), a French translation of which was published a few months before Méliès made the film, as another likely influence. Sadoul argued that the first half of the film (up to the shooting of the projectile) is derived from Verne and that the second half, the travellers' adventures on and in the Moon, is derived from Wells. In addition to these literary sources, various film scholars have suggested that Méliès was heavily influenced by other works, especially Jacques Offenbach's opera-féerie Le voyage dans la lune (an unauthorised parody of Verne's novels) and the A Trip to the Moon attraction at the 1901 Pan-American Exposition in Buffalo, New York. The French film historian Thierry Lefebvre hypothesises that Méliès drew upon both of these works, but in different ways: he appears to have taken the structure of the film—"a trip to the Moon, a Moon landing, an encounter with extraterrestrials with a deformity, an underground trek, an interview with the Man in the Moon, and a brutal return to reality back on Earth"—directly from the 1901 attraction, but also incorporated many plot elements (including the presence of six astronomers with pseudo-scientific names, telescopes that transform into stools, a moonshot cannon mounted above ground, a scene in which the Moon appears to approach the viewer, a lunar snowstorm, an earthrise scene, and umbrella-wielding travellers), not to mention the parodic tone of the film, from the Offenbach opera-féerie. As the science writer Ron Miller notes, A Trip to the Moon was one of the most complex films that Méliès had made, and employed "every trick he had learned or invented". It was his longest film yet;[i] both the budget and filming duration were unusually lavish, costing ₣10,000 to make and taking three months to complete. The camera operators were Théophile Michault and Lucien Tainguy, who worked on a daily basis with Méliès as salaried employees for the Star Film Company. In addition to their work as cameramen, Méliès's operators also did odd jobs for the company such as developing film and helping to set up scenery, and another salaried operator, François Lallement, appeared onscreen as the marine officer. By contrast, Méliès hired his actors on a film-by-film basis, drawing from talented individuals in the Parisian theatrical world, with which he had many connections. They were paid one Louis d'or per day, a considerably higher salary than that offered by competitors, and had a full free meal at noon with Méliès. Méliès's film studio, which he had built in Montreuil, Seine-Saint-Denis in 1897, was a greenhouse-like building with glass walls and a glass ceiling to let in as much sunlight as possible, a concept used by most still photography studios from the 1860s onward; it was built with the same dimensions as Méliès's own Théâtre Robert-Houdin (13.5 × 6.6 m). Throughout his film career, Méliès worked on a strict schedule of planning films in the morning, filming scenes during the brightest hours of the day, tending to the film laboratory and the Théâtre Robert-Houdin in the late afternoon, and attending performances at Parisian theatres in the evening. According to Méliès's recollections, much of the unusual cost of A Trip to the Moon was due to the mechanically operated scenery and the Selenite costumes in particular, which were made for the film using cardboard and canvas. Méliès himself sculpted prototypes for the heads, feet, and kneecap pieces in terracotta, and then created plaster moulds for them. A mask-making specialist, probably from the major Parisian mask- and box-making firm of the Maison Hallé, used these moulds to produce cardboard versions for the actors to wear. Though other details about the film's making are scarce, the film historian Georges Sadoul argued that Méliès most likely collaborated with the painter Claudel on the scenery, and with Jehanne d'Alcy on the costumes. One of the backdrops for the film, showing the inside of the glass-roofed workshop in which the space capsule is built, was painted to look like the actual glass-roofed studio in which the film was made. Many of the special effects in A Trip to the Moon, as in numerous other Méliès films, were created using the substitution splice technique, in which the camera operator stopped filming long enough for something onscreen to be altered, added, or taken away. Méliès carefully spliced the resulting shots together to create apparently magical effects, such as the transformation of the astronomers' telescopes into stools or the disappearance of the exploding Selenites in puffs of smoke. Other effects were created using theatrical means, such as stage machinery and pyrotechnics. The film also features transitional dissolves. The pseudo-tracking shot in which the camera appears to approach the Man in the Moon was accomplished using an effect Méliès had invented the previous year for the film The Man with the Rubber Head. Rather than attempting to move his weighty camera toward an actor, he set a pulley-operated chair upon a rail-fitted ramp, placed the actor (covered up to the neck in black velvet) on the chair, and pulled him toward the camera. In addition to its technical practicality, this technique also allowed Méliès to control the placement of the face within the frame to a much greater degree of specificity than moving his camera allowed. A substitution splice allowed a model capsule to suddenly appear in the eye of the actor playing the Moon, completing the shot. Another notable sequence in the film, the plunge of the capsule into real ocean waves filmed on location, was created through multiple exposure, with a shot of the capsule falling in front of a black background superimposed upon the footage of the ocean. The shot is followed by an underwater glimpse of the capsule floating back to the surface, created by combining a moving cardboard cutout of the capsule with an aquarium containing tadpoles and air jets. The descent of the capsule from the Moon was covered in four shots, taking up about twenty seconds of film time. Color prints were produced for a small percentage of Méliès's films and advertised alongside the black-and-white versions at a higher price. From approximately 1897 to 1912, these prints (for films such as The Kingdom of the Fairies, The Impossible Voyage, The Barber of Seville, and A Trip to the Moon) were hand-colored by Élisabeth and Berthe Thuillier's coloring lab in Paris. The Thuilliers led a studio of two hundred women, painting directly on film stock with brushes in carefully chosen colors. Each worker was assigned a specific color to apply to a frame of film in assembly line style, with more than twenty colors sometimes used for a single film. On average, the Thuilliers' lab produced about sixty hand-colored copies of a film. Although Méliès's films were silent, they were not intended to be seen silently; exhibitors often used a bonimenteur, or narrator, to explain the story as it unfolded on the screen, accompanied by sound effects and live music. Méliès himself took considerable interest in musical accompaniment for his films, and prepared special film scores for several of them, including The Kingdom of the Fairies and The Barber of Seville. He did not require specific music for any film, allowing exhibitors freedom to choose whatever accompaniment they felt most suitable. When the film was screened at the Olympia music hall in Paris in 1902, an original film score was reportedly written for it. In 1903, the English composer Ezra Read published a piano piece called A Trip to the Moon: Comic Descriptive Fantasia, which follows Méliès's film scene by scene and may have been used as a score for the film; it may have been commissioned by Méliès himself, who had likely met Read on one of his trips to England. More recent composers who have recorded scores for A Trip to the Moon include Nicolas Godin and Jean-Benoit Dunckel of Air (for the 2011 restoration; see the Hand-colored version section below), Frederick Hodges, Robert Israel, Eric Le Guen, Lawrence Lehérissey (a great-great-grandson of Méliès), Jeff Mills, Donald Sosin, and Victor Young (for an abridged print featured as a prologue to the 1956 film Around the World in 80 Days). Style The film's style, like that of most of Méliès's other films, is deliberately theatrical. The stage set is highly stylised, recalling the traditions of the 19th-century stage, and is filmed by a stationary camera, placed to evoke the perspective of an audience member sitting in a theatre.[j] This stylistic choice was one of Méliès's first and biggest innovations. Although he had initially followed the popular trend of the time by making mainly actuality films (short "slice of life" documentary films capturing actual scenes and events for the camera), in his first few years of filming Méliès gradually moved into the far less common genre of fictional narrative films, which he called his scènes composées or "artificially arranged scenes". The new genre was extensively influenced by Méliès's experience in theatre and magic, especially his familiarity with the popular French féerie stage tradition, known for their fantasy plots and spectacular visuals, including lavish scenery and mechanically worked stage effects. In an advertisement he proudly described the difference between his innovative films and the actualities still being made by his contemporaries: "these fantastic and artistic films reproduce stage scenes and create a new genre entirely different from the ordinary cinematographic views of real people and real streets." Because A Trip to the Moon preceded the development of narrative film editing by filmmakers such as Edwin S. Porter and D. W. Griffith, it does not use the cinematic vocabulary to which American and European audiences later became accustomed, a vocabulary built on the purposeful use of techniques such as varied camera angles, intercutting, juxtapositions of shots, and other filmic ideas. Rather, each camera setup in Méliès's film is designed as a distinct dramatic scene uninterrupted by visible editing, an approach fitting the theatrical style in which the film was designed.[k] Similarly, film scholars have noted that the most famous moment in A Trip to the Moon plays with temporal continuity by showing an event twice: first the capsule is shown suddenly appearing in the eye of an anthropomorphic moon; then, in a much closer shot, the landing occurs very differently, and much more realistically, with the capsule actually plummeting into believable lunar terrain. This kind of nonlinear storytelling—in which time and space are treated as repeatable and flexible rather than linear and causal—is highly unconventional by the standards of Griffith and his followers, before the development of continuity editing. Other filmmakers performed similar experiments with time. (Porter, for instance, used temporal discontinuity and repetition extensively in his 1903 film Life of an American Fireman.) Later in the 20th century, with sports television's development of the instant replay, temporal repetition again became a familiar device to screen audiences. Because Méliès does not use a modern cinematic vocabulary, some film scholars have created other frameworks of thought with which to assess his films. For example, some recent academicians, while not necessarily denying Méliès's influence on film, have argued that his works are better understood as spectacular theatrical creations rooted in the 19th-century stage tradition of the féerie. Similarly, Tom Gunning has argued that to fault Méliès for not inventing a more intimate and cinematic storytelling style is to misunderstand the purpose of his films; in Gunning's view, the first decade of film history may be considered a "cinema of attractions," in which filmmakers experimented with a presentational style based on spectacle and direct address rather than on intricate editing. Though the attraction style of filmmaking declined in popularity in favour of a more integrated "story film" approach, it remains an important component of certain types of cinema, including science fiction films, musicals, and avant-garde films. Themes With its pioneering use of themes of scientific ambition and discovery, A Trip to the Moon is sometimes described as the first science fiction film.[l] A Short History of Film argues that it codified "many of the basic generic situations that are still used in science fiction films today". Other genre designations are possible; Méliès advertised the film as a pièce à grand spectacle, a term referring to a type of spectacular Parisian stage extravaganza popularised by Jules Verne and Adolphe d'Ennery in the second half of the 19th century. Richard Abel describes the film as belonging to the féerie genre, as does Frank Kessler. It can also be described simply as a trick film, a catch-all term for the popular early film genre of innovative, special effects-filled shorts—a genre Méliès himself had codified and popularised in his earlier works. A Trip to the Moon is highly satirical in tone, poking fun at 19th-century science by exaggerating it in the format of an adventure story. The film makes no pretense whatsoever to be scientifically plausible; the real waves in the splashdown scene are the only concession to realism. The film scholar Alison McMahan calls A Trip to the Moon one of the earliest examples of 'pataphysical film, saying it "aims to show the illogicality of logical thinking" with its satirically portrayed inept scientists, anthropomorphic moon face, and impossible transgressions of laws of physics. The film historian Richard Abel believes Méliès aimed in the film to "invert the hierarchal values of modern French society and hold them up to ridicule in a riot of the carnivalesque". Similarly, the literary and film scholar Edward Wagenknecht described the film as a work "satirizing the pretensions of professors and scientific societies while simultaneously appealing to man's sense of wonder in the face of an unexplored universe." The film's satire also has a strong anti-imperialist vein. The film scholar Matthew Solomon notes that the last part of the film (the parade and commemoration sequence missing in some prints) is especially forceful in this regard. He argues that Méliès, who had previously worked as an anti-Boulangist political cartoonist, mocks imperialistic domination in the film by presenting his colonial conquerors as bumbling pedants who mercilessly attack the alien lifeforms they meet and return with a mistreated captive amid fanfares of self-congratulation. The statue of Barbenfouillis shown in the film's final shot even resembles the pompous, bullying colonialists in Méliès's political cartoons. The film scholar Elizabeth Ezra agrees that "Méliès mocks the pretensions of colonialist accounts of the conquest of one culture by another," and adds that "his film also thematizes social differentiation on the home front, as the hierarchical patterns on the moon are shown to bear a curious resemblance to those on earth." Release Méliès, who had begun A Trip to the Moon in May 1902, finished the film in August of that year and began selling prints to French distributors in the same month. From September through December 1902, a hand-colored print of A Trip to the Moon was screened at Méliès's Théâtre Robert-Houdin in Paris. The film was shown after Saturday and Thursday matinee performances by Méliès's colleague and fellow magician, Jules-Eugène Legris, who appeared as the leader of the parade in the two final scenes. Méliès sold black-and-white and color prints of the film through his Star Film Company, where the film was assigned the catalogue number 399–411[m] and given the descriptive subtitle Pièce à grand spectacle en 30 tableaux.[n] In France, black-and-white prints sold for ₣560, and hand-colored prints for ₣1,000. Méliès also sold the film indirectly through Charles Urban's Warwick Trading Company in London. Many circumstances surrounding the film—including its unusual budget, length, and production time, as well as its similarities to the 1901 New York attraction—indicate that Méliès was especially keen to release the film in the United States.[o] Because of rampant film piracy, Méliès never received most of the profits of the popular film. One account reports that Méliès sold a print of the film to the Paris photographer Charles Gerschel for use in an Algiers theatre, under strict stipulation that the print only be shown in Algeria. Gerschel sold the print, and various other Méliès films, to the Edison Manufacturing Company employee Alfred C. Abadie, who sent them directly to Edison's laboratories to be duplicated and sold by Vitagraph. Copies of the print spread to other firms, and by 1904 Siegmund Lubin, the Selig Polyscope Company, and Edison were all redistributing it. Edison's print of the film was even offered in a hand-colored version available at a higher price, just as Méliès had done. Méliès was often uncredited altogether; for the first six months of the film's distribution, the only American exhibitor to credit Méliès in advertisements for the film was Thomas Lincoln Tally, who chose the film as the inaugural presentation of his Electric Theatre. To combat the problem of film piracy that became clear during the release of A Trip to the Moon, Méliès opened an American branch of the Star Film Company, directed by his brother Gaston Méliès, in New York in 1903. The office was designed to sell Méliès's films directly and to protect them by registering them under United States copyright. The introduction to the English-language edition of the Star Film Company catalogue announced: "In opening a factory and office in New York we are prepared and determined energetically to pursue all counterfeiters and pirates. We will not speak twice, we will act!" Various trade arrangements were made with other film companies, including American Mutoscope and Biograph, the Warwick Trading Company, the Charles Urban Trading Co., Robert W. Paul's studio, and Gaumont. In these negotiations, a print sale price of US$0.15 per foot was standardised across the American market, which proved useful to Méliès. Later price standardisations by the Motion Picture Patents Company in 1908 hastened his financial ruin, as his films were impractically expensive under the new standards. After 1908, his films waned from the fashions of the time as fanciful magic fell out of vogue. Reception According to Méliès's memoirs, his initial attempts to sell A Trip to the Moon to French fairground exhibitors met with failure because of the film's unusually high price. Finally, Méliès offered to let one such exhibitor borrow a print of the film to screen for free. The applause from the very first showing was so enthusiastic that fairgoers kept the theatre packed until midnight. The exhibitor bought the film immediately, and when he was reminded of his initial reluctance he even offered to add ₣200 to compensate "for [Méliès's] inconvenience." The film was a pronounced success in France, running uninterrupted at the Olympia music hall in Paris for several months. A Trip to the Moon was met with especially large enthusiasm in the United States, where (to Méliès's chagrin) its piracy by Lubin, Selig, Edison and others gave it wide distribution. Exhibitors in New York City, Washington, D.C., Cleveland, Detroit, New Orleans, and Kansas City reported on the film's great success in their theatres. The film also did well in other countries, including Germany, Canada, and Italy, where it was featured as a headline attraction through 1904. A Trip to the Moon was one of the most popular films of the first few years of the 20th century, rivalled only by a small handful of others (similarly spectacular Méliès films such as The Kingdom of the Fairies and The Impossible Voyage among them). Late in life, Méliès remarked that A Trip to the Moon was "surely not one of my best," but acknowledged that it was widely considered his masterpiece and that "it left an indelible trace because it was the first of its kind." The film which Méliès was proudest of was Humanity Through the Ages (1908), a serious historical drama now presumed lost. The film has a fresh score of 100% on Rotten Tomatoes from 14 critic reviews. In July 2019, the film was ranked 1st in a Rotten Tomatoes list of "38 Moon Movies to Celebrate the Moon Landing". Rediscovery After Méliès's financial difficulties and decline, most copies of his prints were lost. In 1917, his offices were occupied by the French military, who melted down many of Méliès's films to gather the traces of silver from the film stock and make boot heels from the celluloid. When the Théâtre Robert-Houdin was demolished in 1923, the prints kept there were sold by weight to a vendor of second-hand film. Finally, in that same year, Méliès had a sudden fit of rage and burned all his remaining negatives in his garden in Montreuil. In 1925, he began selling toys and candy from a stand in the Gare Montparnasse in Paris. A Trip to the Moon was largely forgotten to history and went unseen for years. Thanks to the efforts of film history devotées, especially René Clair, Jean George Auriol, and Paul Gilson, Méliès and his work were rediscovered in the late 1920s. A "Gala Méliès" was held at the Salle Pleyel in Paris on 16 December 1929 in celebration of the filmmaker, and he was awarded the Legion of Honor in 1931. During this renaissance of interest in Méliès, the cinema manager Jean Mauclaire and the early film experimenter Jean Acme LeRoy both set out independently to locate a surviving print of A Trip to the Moon. Mauclaire obtained a copy from Paris in October 1929, and LeRoy found one from London in 1930, though both prints were incomplete; Mauclaire's lacked the first scene, and LeRoy's was missing the entire final sequence featuring the parade and commemorative statue. These prints were occasionally screened at retrospectives (including the Gala Méliès), avant-garde cinema showings, and other special occasions, sometimes in presentations by Méliès himself. Following LeRoy's death in 1932, his film collection was bought by the Museum of Modern Art in 1936. The museum's acquisition and subsequent screenings of A Trip to the Moon, under the direction of MoMA's film curator Iris Barry, opened the film up once again to a wide audience of Americans and Canadians and established it definitively as a landmark in the history of cinema. LeRoy's incomplete print became the most commonly seen version of the film and the source print for most other copies, including the Cinémathèque Française's print. A complete version of the film, including the entire celebration sequence, was finally reconstructed in 1997 from various sources by the Cinémathèque Méliès, a foundation set up by the Méliès family. No hand-colored prints of A Trip to the Moon were known to have survived, until 1993, when one was given to the Filmoteca de Catalunya by an anonymous donor as part of a collection of two hundred silent films. It is unknown whether this version, a hand-colored print struck from a second-generation negative, was colored by Elisabeth Thuillier's lab, but the perforations used imply that the copy was made before 1906. The flag waved during the launching scene in this copy is colored to resemble the flag of Spain, indicating that the hand-colored copy was made for a Spanish exhibitor. In 1999, Anton Gimenez of the Filmoteca de Catalunya mentioned the existence of this print, which he believed to be in a state of total decomposition, to Serge Bromberg and Eric Lange of the French film company Lobster Films. Bromberg and Lange offered to trade a recently rediscovered film by Segundo de Chomón for the hand-colored print, and Gimenez accepted. Bromberg and Lange consulted various specialist laboratories in an attempt to restore the film, but because the reel of film had apparently decomposed into a rigid mass, none believed restoration to be possible. Consequently, Bromberg and Lange themselves set to work separating the film frames, discovering that only the edges of the film stock had decomposed and congealed together, and thus that many of the frames themselves were still salvageable. Between 2002 and 2005, various digitisation efforts allowed 13,375 fragments of images from the print to be saved. In 2010, a complete restoration of the hand-colored print was launched by Lobster Films, the Groupama Gan Foundation for Cinema, and the Technicolor Foundation for Cinema Heritage. The digitised fragments of the hand-colored print were reassembled and restored, with missing frames recreated with the help of a black-and-white print in the possession of the Méliès family, and time-converted to run at an authentic silent-film speed, 16 frames per second. The restoration was completed in 2011 at Technicolor's laboratories in Los Angeles. Restoration costs were $1 million. The restored version premiered on 11 May 2011, eighteen years after its discovery and 109 years after its original release, at the 2011 Cannes Film Festival, with a new soundtrack by the French band Air. The restoration was released by Flicker Alley in a 2-disc Blu-ray and DVD edition featuring both color and black & white versions of the film also including The Extraordinary Voyage, a feature-length documentary by Bromberg and Lange about the film's restoration, in 2012. In The New York Times, A. O. Scott called the restoration "surely a cinematic highlight of the year, maybe the century." Legacy As A Short History of Film notes, A Trip to the Moon combined "spectacle, sensation, and technical wizardry to create a cosmic fantasy that was an international sensation." It was profoundly influential on later filmmakers, bringing creativity to the cinematic medium and offering fantasy for pure entertainment, a rare goal in film at the time. In addition, Méliès's innovative editing and special effects techniques were widely imitated and became important elements of the medium. The film also spurred on the development of cinematic science fiction and fantasy by demonstrating that scientific themes worked on the screen and that reality could be transformed by the camera. In a 1940 interview, Edwin S. Porter said that it was by seeing A Trip to the Moon and other Méliès films that he "came to the conclusion that a picture telling a story might draw the customers back to the theatres, and set to work in this direction." Similarly, D. W. Griffith said simply of Méliès: "I owe him everything." Since these American directors are widely credited with developing modern film narrative technique, the literary and film scholar Edward Wagenknecht once summed up Méliès's importance to film history by commenting that Méliès "profoundly influenced both Porter and Griffith and through them the whole course of American film-making." It remains Méliès's most famous film, as well as a classic example of early cinema, with the image of the capsule stuck in the Man in the Moon's eye particularly well known. The film has been evoked in other creative works many times, ranging from Segundo de Chomón's 1908 unauthorised remake Excursion to the Moon through the extensive tribute to Méliès and the film in the Brian Selznick 2007 novel The Invention of Hugo Cabret and its 2011 Martin Scorsese film adaptation Hugo. Film scholar Andrew J. Rausch includes A Trip to the Moon among the "32 most pivotal moments in the history of [film]," saying it "changed the way movies were produced." Chiara Ferrari's essay on the film in 1001 Movies You Must See Before You Die, which places A Trip to the Moon as the first entry, argues that the film "directly reflects the histrionic personality of its director", and that the film "deserves a legitimate place among the milestones in world cinema history." See also References External links |
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[SOURCE: https://en.wikipedia.org/wiki/Wikipedia:List_of_policies#Enforcement] | [TOKENS: 296] |
Contents Wikipedia:List of policies Where a discrepancy exists, the policy page itself overrides. Changing this page does not change policy. Likewise, adding a page to this summary does not elevate it to policy status. Policies are promoted through consensus. See Wikipedia:Policies and guidelines for more. For an explanatory supplement of this page, see Wikipedia:Simplified ruleset. This page is broken into the following categories: Policies can also be navigated via the other directory, categories, the navigation template or by a custom search box (as seen below). Conduct Pages currently in Category:Wikipedia conduct policies: Content Pages currently in Category:Wikipedia content policies: Deletion Pages currently in Category:Wikipedia deletion policies: Enforcement Pages currently in Category:Wikipedia enforcement policies: Legal Pages currently in Category:Wikipedia legal policies: These are policies with legal implications. Outside of policies, such as those below and the office actions policy, Wikipedia does not censor itself of content that may be objectionable or offensive, or adopt other perennial legal proposals over content, so long as the content obeys the law of the United States. Legal issues are raised by filing a formal complaint with the Wikimedia Foundation. Procedural Pages currently in Category:Wikipedia procedural policies: Miscellaneous Recent changes See also Tutorial Related essays Five pillarsStatement of our principles Jimbo's statementHistoric principles Simplified rulesetSynopsis of our conventions Wikimedia principlesCommon to all projects(in Meta-Wiki) PrinciplesOther essays on Wikipedia's principles |
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