question_text: when was harry potter and the philosopher's stone made

question_tokens: when was harry potter and the philosopher 's stone made

text: Synopsis[edit]

text: Plot[edit]

text: Eleven-year-old Harry Potter has been living an ordinary life, constantly abused by his surly and cold aunt and uncle, Vernon and Petunia Dursley and bullied by their spoiled son Dudley. His life changes on the day of his eleventh birthday when he receives a letter of acceptance into a Hogwarts School of Witchcraft and Wizardry, delivered by a half-giant named Rubeus Hagrid after previous letters had been destroyed by Vernon and Petunia. Hagrid explains Harry's hidden past as the wizard son of James and Lily Potter, who are a wizard and witch respectively, and how they were murdered by the most evil and powerful dark wizard of all time, Lord Voldemort, which resulted in the one-year-old Harry being sent to live with his aunt and uncle. The strangest bit of the murder was how Voldemort was unable to kill him, but instead had his own powers removed and blasted away, sparking Harry's immense fame among the magical community.

text: Hagrid introduces Harry to the wizarding world, bringing him to places filled with wonder and magic like Diagon Alley, a hidden London street where Harry purchases his pet owl Hedwig and his various school supplies, and Gringotts Wizarding Bank, where he uncovers a fortune left to him by his parents in his vault. There, he is surprised to discover how famous he truly is among witches and wizards, who refer to him as "the boy who lived".

text: A month later, Harry leaves the Dursleys' home to catch the Hogwarts Express from King's Cross railway station's secret Hogwarts platform, Platform 9¾. On the train, he quickly befriends fellow first-year Ronald Weasley and Hermione Granger, whose snobbiness and affinity for spells initially causes the two boys to dislike her. There, Harry also makes an enemy of yet another first-year, Draco Malfoy, who shows prejudice against Hermione due to her being the daughter of Muggles, a term used by wizards and witches to describe ordinary humans with no magical ability.

text: Arriving at Hogwarts, the first-years are assigned by the magical Sorting Hat to Houses that best suit their personalities, the four Houses being Gryffindor, Slytherin, Hufflepuff and Ravenclaw. Harry hears from Ron about Slytherin's dark reputation which is known to house potential dark witches and wizards, and thus objects to being sorted into Slytherin despite the Hat claiming that Harry has potential to develop under that House. He winds up in Gryffindor with Ron and Hermione, while Draco is sorted into Slytherin like his whole family before him.

text: As classes begin at Hogwarts, Harry discovers his innate talent for flying on broomsticks despite no prior experience, and is recruited into his House's Quidditch (a competitive wizards' sport played in the air) team as a Seeker, which is said to be the most difficult role. He also comes to dislike the school's Potions master, Severus Snape, who is also the Head of Slytherin House who acts with bias in favour of members of his House while perpetually looking for opportunities to fail Harry and his friends. Malfoy tricks Harry and Ron into a duel in the trophy room to get them out of their rooms at night and secretly tells Filch where they will be. Hermione unintentionally is forced to come along after her attempts to stop them fail and the Fat Lady had left her picture. Harry, Ron, and Hermione then find Neville asleep outside the common area because he had forgotten the password. When they arrive in the trophy room Malfoy is not there and Filch is already there looking for them. They run away and eventually run into a locked door that Hermione opens with a simple spell. This also causes the discovery of a huge three-headed dog standing guard over a trapdoor in a forbidden corridor by Harry, Ron, Hermione and Neville. The peaceful school year is interrupted by the entrance of a troll into the school, which enters the girls' bathroom where Hermione was crying due to Ron saying that she is “a nightmare come true”. However she is saved by Harry and Ron (who arrive on time) and, as a result, Hermione is grateful and the three become best friends. Coupled with Snape's recent leg injury as well as behaviour, the recent events prompt Harry, Hermione and Ron to suspect him to be looking for a way to enter the trapdoor.

text: Hermione forbids the boys from investigating for fear for expulsion, and instead makes Harry direct his attention to his first ever Quidditch game, where his broomstick begins to lose control and threatens to throw him off. This leads Hermione to suspect that Snape is jinxing Harry's broom due to his strange behaviour during the match. After the excitement of winning the match has died down, Christmas approaches and Harry receives an invisibility cloak from an anonymous source claiming that the cloak belonged to Harry's father. Using the cloak to explore the school at night to investigate the possibility of what is under the trapdoor, he discovers the Mirror of Erised, in which the viewer sees his or her deepest desires come true.

text: A visit to Hagrid's cottage at the foot of the school leads the trio to find a newspaper report stating there had been an attempted robbery of a Gringotts vault—the same vault that Hagrid and Harry had visited when Harry was getting his school items. Unbeknownst to Harry, Hagrid, under instruction from Dumbledore, had gone to remove a small grubby bag while showing Harry around. A further indiscretion from Hagrid allows them to work out that the object kept under that trapdoor is a Philosopher's Stone, which grants its user immortality as long as it is constantly used, as well as the ability to turn any metal into pure gold. Harry is also informed by a centaur named Firenze in the forest that a plot to steal the Stone is being orchestrated by none other than Voldemort himself, who schemes to use it to be restored back to his body and return to power. When the school's headmaster Albus Dumbledore is lured from Hogwarts under false pretences, Harry, Hermione and Ron fear that the theft is imminent and descend through the trapdoor themselves.

text: They encounter a series of obstacles, each of which requires unique skills possessed by one of the three, and one of which requires Ron to sacrifice himself in a life-sized game of wizard's chess. In the final room, Harry, now alone, finds Quirinus Quirrell, the Defence Against the Dark Arts teacher, who had been the one working behind the scenes to kill Harry by first jinxing his broom and then letting a troll into the school. Snape had been trying to protect Harry instead, who had wronged him. Now, Quirrell is partly possessed by Voldemort, whose face has sprouted on the back of Quirrell's head but is constantly concealed by his oversized turban. Voldemort needs Harry's help to get past the final obstacle: the Mirror of Erised, forcing him to stand before the Mirror. It recognises Harry's lack of greed for the Stone and surreptitiously deposits it into his pocket. As Quirrell attempts to seize the stone and kill Harry, his flesh burns on contact with the boy's skin, and Quirrell burns alive.

text: Harry awakes in the school's infirmary, where Dumbledore explains his survival against Voldemort to be owed to his mother's sacrifice for him to live, leaving a powerful protective charm on Harry that lives in his blood, burning Quirrell, a being possessed by hatred and greed. He also reveals himself as the one who sent Harry his father's invisibility cloak, while Quirrell has been left to die by Voldemort and the Stone has now been destroyed. The eventful school year ends at the final feast, during which Gryffindor wins the House Cup. Harry returns to Privet Drive for the summer, neglecting to tell them that the use of spells is forbidden by under-aged wizards and witches and thus anticipating some fun and peace over the holidays.

text: Main characters[edit]

text:
Harry Potter is an orphan whom Rowling imagined as a "scrawny, black-haired, green eyed and bespectacled boy who didn't know he was a wizard."[2] She developed the series' story and characters to explain how Harry came to be in this situation and how his life unfolded from there.[3] Apart from the first chapter, the events of this book take place just before and in the year following Harry's eleventh birthday. Voldemort's attack left a lightning bolt-shaped scar on Harry's forehead,[3] which produces stabbing pains whenever Voldemort is present. Harry has a natural talent for Quidditch and became the first person in decades to get on their team in their first year.
Ronald Weasley is Harry's age and Rowling describes him as the ultimate best friend, "always there when you need him."[4] He is freckled, red-haired and quite tall. He grew up in a fairly large pure-blood family as the sixth born of seven children. Although his family is quite poor, they still live comfortably and happily. His loyalty and bravery in the face of a game of Wizards Chess plays a vital part in finding the Philosopher's Stone.
Hermione Granger, the daughter of an all-Muggle family, is a bossy girl who has apparently memorised most of the textbooks before the start of term. Rowling described Hermione as a "very logical, upright and good" character[5] with "a lot of insecurity and a great fear of failure beneath her swottiness".[5] Despite her nagging efforts to keep Harry and Ron out of trouble, she becomes a close friend of the two boys after they save her from a troll, and her magical and analytical skills play an important role in finding the Philosopher's Stone. She has bushy brown hair and rather large front teeth.
Neville Longbottom is a plump, diffident boy, so forgetful that his grandmother gives him a Remembrall, although he cannot remember why. Neville's magical abilities are weak and appeared just in time to save his life when he was eight. Despite his timidity, Neville will fight anyone after some encouragement or if he thinks it is right and important.
Rubeus Hagrid, a half-giant nearly 12 feet (3.7 m) tall, with tangled black hair and beard, was expelled from Hogwarts and his wand was snapped in half (resulting in him never to use a wand again), however Professor Dumbledore let him stay on as the school's gamekeeper, a job which enables him to lavish affection, care and even pet names on even the most dangerous of magical creatures. Hagrid is fiercely loyal to Dumbledore and quickly becomes a close friend of Harry, Ron and, later, Hermione, but his carelessness makes him unreliable.
Professor Albus Dumbledore, a tall, thin man who wears half-moon spectacles and has silver hair and a beard that tucks into his belt, is the headmaster of Hogwarts, and thought to be the only wizard Voldemort fears. Dumbledore, while renowned for his achievements in magic, shrugs off praise, though he is aware of his own brilliance. Rowling described him as the "epitome of goodness".[6]
Professor Minerva McGonagall, a tall, severe-looking woman with black hair tied in a tight bun, teaches Transfiguration, and is able to transform herself into a cat. She is Deputy Headmistress, and Head of Gryffindor House and, according to the author, "under that gruff exterior" is "a bit of an old softy".[7]
Petunia Dursley, the sister of Harry's mother Lily, is a thin woman with a long neck that she uses for spying on the neighbours. As a muggle, she regards her magical sister as a freak and tries to pretend that she never existed.
Vernon Dursley, the husband of Petunia Dursley, is a heavily built man whose irascible bluster covers a narrow mind and a fear of anything unusual.
Dudley Dursley is an overweight, spoiled bully and Harry's cousin.
Draco Malfoy is a slim, pale boy who speaks in a bored drawl. He is arrogant about his skill in Quidditch, and despises anyone who is not a pure-blood wizard – and wizards who do not share his views. His parents had supported Voldemort, but changed sides after the dark wizard's disappearance, claiming they had been bewitched. Draco avoids direct confrontations, and tries to get Harry and his friends into trouble.
Oliver Wood is Harry's Quidditch captain and keeper for the Gryffindor Quidditch team.
Professor Quirrell is a twitching, stammering and nervous man who teaches Defence Against the Dark Arts. Reputedly he was a brilliant scholar, but his nerve was shattered by an encounter with vampires. Quirrell wears a turban to conceal the fact that he is voluntarily possessed by Voldemort, whose face appears on the back of Quirrell's head.
Professor Severus Snape, who has a hooked nose, sallow complexion and greasy black hair, teaches Potions, but would prefer to teach Defence Against the Dark Arts. Snape praises pupils in Slytherin, his own House but seizes every opportunity to humiliate others, especially Harry. Several incidents, beginning with the shooting pain in Harry's scar during the start-of-term feast, lead Harry and his friends to think Snape is a follower of Voldemort.
Argus Filch, the school caretaker who knows the school's secret passages better than anyone else except, possibly, the Weasley twins. His cat, Mrs. Norris, aids his constant hunt for misbehaving pupils.

tag: ul

text: Other members of staff include the dumpy Herbology teacher and Head of Hufflepuff House Professor Sprout, Professor Flitwick, the tiny and excitable Charms teacher, and Head of Ravenclaw House, the soporific History of Magic teacher, Professor Binns, a ghost who does not seem to have noticed his own death; and Madam Hooch, the Quidditch coach, who is strict, but a considerate and methodical teacher. The poltergeist Peeves wanders around the castle causing trouble wherever he can.

text: In the book, Rowling introduces an eclectic cast of characters. The first character to be introduced is Vernon Dursley, Harry's uncle. Most of the actions centre on the eponymous hero Harry Potter, an orphan who escapes his miserable childhood with the Dursley family. Rowling imagined him as a "scrawny, black-haired, bespectacled boy who didn't know he was a wizard",[2] and says she transferred part of her pain about losing her mother to him.[8] During the book, Harry makes two close friends, Ronald Weasley and Hermione Granger. Ron is described by Rowling as the ultimate best friend, "always there when you need him".[4] Rowling has described Hermione as a "very logical, upright and good" character[5] with "a lot of insecurity and a great fear of failure beneath her swottiness".[5]

text: Rowling also imagined a supporting cast of adults. The headmaster of Hogwarts is the powerful, but kind wizard Albus Dumbledore, who becomes Harry's confidant. Rowling described him as "epitome of goodness".[6] His right hand is severe Minerva McGonagall, who according to the author "under that gruff exterior" is "a bit of an old softy",[7] the friendly half-giant Rubeus Hagrid, who saved Harry from the Dursley family, and the sinister Severus Snape.[9] Professor Quirrell is also featured in the novel.

text: The main antagonists are Draco Malfoy, an elitist, bullying classmate[10] and Lord Voldemort, the most powerful evil wizard who becomes disembodied when he tries to kill baby Harry. According to a 1999 interview with Rowling, the character of Voldemort was created as a literary foil for Harry, and his backstory was intentionally not fleshed-out at first:

text: The basic idea... Harry, I saw Harry very very very clearly. Very vividly. And I knew he didn't know he was a wizard. [...] And so then I kind of worked backwards from that position to find out how that could be, that he wouldn't know what he was. [...] When he was one year old, the most evil wizard for hundreds and hundreds of years attempted to kill him. He killed Harry's parents, and then he tried to kill Harry—he tried to curse him. [...] And—so—but for some mysterious reason, the curse didn't work on Harry. So he's left with this lightning bolt shaped scar on his forehead and the curse rebounded upon the evil wizard, who has been in hiding ever since.[3]

text: Development, publication and reception[edit]

text: Development[edit]

text: The book, which was Rowling's debut novel, was written between approximately June 1990 and some time in 1995. In 1990 Jo Rowling, as she preferred to be known,[a] wanted to move with her boyfriend to a flat in Manchester and in her words, "One weekend after flat hunting, I took the train back to London on my own and the idea for Harry Potter fell into my head... A scrawny, little, black-haired, bespectacled boy became more and more of a wizard to me... I began to write Philosopher's Stone that very evening. Although, the first couple of pages look nothing like the finished product."[8] Then Rowling's mother died and, to cope with her pain, Rowling transferred her own anguish to the orphan Harry.[8] Rowling spent six years working on Harry Potter and the Philosopher's Stone, and after it was accepted by Bloomsbury, she obtained a grant of £8,000 from the Scottish Arts Council, which enabled her to plan the sequels.[14] She sent the book to an agent and a publisher, and then the second agent she approached spent a year trying to sell the book to publishers, most of whom thought it was too long at about 90,000 words. Barry Cunningham, who was building a portfolio of distinctive fantasies by new authors for Bloomsbury Children's Books, recommended accepting the book,[15] and the eight-year-old daughter of Bloomsbury's chief executive said it was "so much better than anything else".[16]

text: Publication and reception in the United Kingdom[edit]

text: Bloomsbury accepted the book, paying Rowling a £2,500 advance,[17] and Cunningham sent proof copies to carefully chosen authors, critics and booksellers in order to obtain comments that could be quoted when the book was launched.[15] He was less concerned about the book's length than about its author's name, since the title sounded like a boys' book to him, and he believed boys preferred books by male authors. Rowling therefore adopted the nom de plume J.K. Rowling just before publication.[15] In June 1997, Bloomsbury published Philosopher's Stone with an initial print-run of 500 copies in hardback, three hundred of which were distributed to libraries.[18] Her original name, "Joanne Rowling", can be found in small print on the copyright page of this first British edition. (The 1998 first American edition would remove reference to "Joanne" completely.)[19] The short initial print run was standard for first novels, and Cunningham hoped booksellers would read the book and recommend it to customers.[15] Examples from this initial print run have sold for as much as US$33,460 in a 2007 Heritage Auction.[20]

text: Lindsey Fraser, who had previously supplied one of the blurb comments,[15] wrote what is thought to be the first published review, in The Scotsman on 28 June 1997. She described Harry Potter and the Philosopher's Stone as "a hugely entertaining thriller" and Rowling as "a first-rate writer for children".[15][21] Another early review, in The Herald, said, "I have yet to find a child who can put it down." Newspapers outside Scotland started to notice the book, with glowing reviews in The Guardian, The Sunday Times and The Mail on Sunday, and in September 1997 Books for Keeps, a magazine that specialised in children's books, gave the novel four stars out of five.[15] The Mail on Sunday rated it as "the most imaginative debut since Roald Dahl"; a view echoed by the Sunday Times ("comparisons to Dahl are, this time, justified"), while The Guardian called it "a richly textured novel given lift-off by an inventive wit" and The Scotsman said it had "all the makings of a classic".[15]

text: In 1997 the UK edition won a National Book Award and a gold medal in the 9 to 11 year-olds category of the Nestlé Smarties Book Prize.[22] The Smarties award, which is voted for by children, made the book well-known within six months of publication, while most children's books have to wait for years.[15] The following year, Philosopher's Stone won almost all the other major British awards, that were decided by children.[15][b] It was also shortlisted for children's books awards adjudicated by adults,[23] but did not win. Sandra Beckett comments that books which were popular with children were regarded as undemanding and as not of the highest literary standards – for example the literary establishment disdained the works of Roald Dahl, an overwhelming favourite of children before the appearance of Rowling's books.[24] In 2003, the novel was listed at number 22 on the BBC's survey The Big Read.[25]

text: Harry Potter and the Philosopher's Stone won two publishing industry awards given for sales rather than literary merit, the British Book Awards Children's Book of the Year and the Booksellers' Association / Bookseller Author of the Year.[15] By March 1999 UK editions had sold just over 300,000 copies,[26] and the story was still the UK's best-selling title in December 2001.[27] A Braille edition was published in May 1998 by the Scottish Braille Press.[28]

text: Platform 9¾, from which the Hogwarts Express left London, was commemorated in the real-life King's Cross railway station with a sign and a trolley apparently passing through the wall.[29]

text: U.S. publication and reception[edit]

text:
UK to American translation examples[30][31]

UK
American

mum, mam
mom

sherbet lemon
lemon drop

motorbike
motorcycle

chips
fries

crisp
chip

jelly
Jell-O

jacket potato
baked potato

jumper
sweater

text: Scholastic Corporation bought the U.S. rights at the Bologna Book Fair in April 1997 for US$105,000, an unusually high sum for a children's book.[15] They thought that a child would not want to read a book with the word "philosopher" in the title and,[32][not in citation given] after some discussion, the American edition was published in September 1998[33] under the title Rowling suggested, Harry Potter and the Sorcerer's Stone.[15] Rowling later claimed that she regretted this change and would have fought it if she had been in a stronger position at the time.[11] Philip Nel has pointed out that the change lost the connection with alchemy, and the meaning of some other terms changed in translation, for example from "crumpet" to "muffin". While Rowling accepted the change from both the British English "mum" and Seamus Finnigan's Irish variant "mam" to "mom" in Harry Potter and the Sorcerer's Stone, she vetoed this change in the later books, which was then reversed in later editions of Philosopher's Stone. However, Nel considered that Scholastic's translations were considerably more sensitive than most of those imposed on British English books of the time, and that some other changes could be regarded as useful copyedits.[30] Since the British editions of early titles in the series were published months prior to the American versions, some American readers became familiar with the British English versions due to buying them from online retailers.[34]

text: At first the most prestigious reviewers ignored the book, leaving it to book trade and library publications such as Kirkus Reviews and Booklist, which examined it only by the entertainment-oriented criteria of children's fiction. However, more penetrating specialist reviews (such as one by Cooperative Children's Book Center Choices, which pointed out the complexity, depth and consistency of the world that Rowling had built) attracted the attention of reviewers in major newspapers.[35] Although The Boston Globe and Michael Winerip in The New York Times complained that the final chapters were the weakest part of the book,[21][36] they and most other American reviewers gave glowing praise.[15][21] A year later, the US edition was selected as an American Library Association Notable Book, a Publishers Weekly Best Book of 1998, and a New York Public Library 1998 Best Book of the Year, and won Parenting Magazine's Book of the Year Award for 1998,[22] the School Library Journal Best Book of the Year, and the American Library Association Best Book for Young Adults.[15]

text: In August 1999, Harry Potter and the Sorcerer's Stone topped the New York Times list of best-selling fiction,[37] and stayed near the top of the list for much of 1999 and 2000, until the New York Times split its list into children's and adult sections under pressure from other publishers who were eager to see their books given higher placings.[24][35] Publishers Weekly's report in December 2001 on cumulative sales of children's fiction placed Harry Potter and the Sorcerer's Stone 19th among hardbacks (over 5 million copies) and 7th among paperbacks (over 6.6 million copies).[38]

text: In May 2008, Scholastic announced the creation of a 10th Anniversary Edition of the book[39] that was released on 1 October 2008[40] to mark the tenth anniversary of the original American release.[39] For the fifteenth anniversary of the books, Scholastic re-released Sorcerer's Stone, along with the other six novels in the series, with new cover art by Kazu Kibuishi in 2013.[41][42][43]

text: Translations[edit]

text: By mid-2008, official translations of the book had been published in 67 languages.[44] By September 11, 2017, official translations of the book had been published in 74 languages.[45] Bloomsbury have published translations in Latin and in Ancient Greek,[46][47] and the latter was described as "one of the most important pieces of Ancient Greek prose written in many centuries".[48]

text: Style and themes[edit]

text: Philip Nel highlighted the influence of Jane Austen, whom Rowling has greatly admired since the age of twelve. Both novelists greatly encourage re-reading, because details that look insignificant foreshadow important events or characters much later in the story-line – for example Sirius Black is briefly mentioned near the beginning of Harry Potter and the Philosopher's Stone, and then becomes a major character in the third to fifth books. Like Austen's heroines, Harry often has to re-examine his ideas near the ends of books. Some social behaviour in the Harry Potter books is remininiscent of Austen, for example the excited communal reading of letters. Both authors satirise social behaviour and give characters names that express their personalities. However in Nel's opinion Rowling's humour is more based on caricature and the names she invents are more like those found in Charles Dickens's stories,[21]:13–15 and Amanda Cockrell noted that many of these express their owners' traits through allusions that run from ancient Roman mythology to eighteenth-century German literature.[49] Rowling, like the Narnia series' author C.S. Lewis, thinks there is no rigid distinction between stories for children and for adults. Nel also noted that, like many good writers for children, Rowling combines literary genres—fantasy, young adult fiction, boarding school stories, Bildungsroman and many others.[21]:51–52

text: Some reviewers compared Philosopher's Stone to the stories of Roald Dahl, who died in 1990. Many writers since the 1970s had been hailed as his successor, but none had attained anything near his popularity with children and, in a poll conducted shortly after the launch of Philosopher's Stone, seven of the ten most popular children's books were by Dahl, including the one in top place. The only other really popular children's author of the late 1990s was an American, R. L. Stine. Some of the story elements in Philosopher's Stone resembled parts of Dahl's stories. For example, the hero of James and the Giant Peach lost his parents and had to live with a pair of unpleasant aunts—one fat and one thin rather like Mr. and Mrs. Dursley, who treated Harry as a servant. However Harry Potter was a distinctive creation, able to take on the responsibilities of an adult while remaining a child inside.[15]

text: Librarian Nancy Knapp and marketing professor Stephen Brown noted the liveliness and detail of descriptions, especially of shop scenes such as Diagon Alley.[22][50] Tad Brennan commented that Rowling's writing resembles that of Homer: "rapid, plain, and direct in expression."[48] Stephen King admired "the sort of playful details of which only British fantasists seem capable" and concluded that they worked because Rowling enjoys a quick giggle and then moves briskly forward.[51]

text: Nicholas Tucker described the early Harry Potter books as looking back to Victorian and Edwardian children's stories: Hogwarts was an old-style boarding school in which the teachers addressed pupils formally by their surnames and were most concerned with the reputations of the houses with which they were associated; characters' personalities were plainly shown by their appearances, starting with the Dursleys; evil or malicious characters were to be crushed rather than reformed, including Filch's cat Mrs Norris; and the hero, a mistreated orphan who found his true place in life, was charismatic and good at sports, but considerate and protective towards the weak.[52] Several other commentators have stated that the books present a highly stratified society including many social stereotypes.[53] However Karin Westerman drew parallels with 1990s Britain: a class system that was breaking down but defended by those whose power and status it upheld; the multi-ethnic composition of Hogwarts' students; the racial tensions between the various intelligent species; and school bullying.[54]

text: Susan Hall wrote that there is no rule of law in the books, as the actions of Ministry of Magic officials are unconstrained by laws, accountability or any kind of legal challenge. This provides an opportunity for Voldemort to offer his own horrific version of order. As a side-effect Harry and Hermione, who were brought up in the highly regulated Muggle world, find solutions by thinking in ways unfamiliar to wizards. For example, Hermione notes that one obstacle to finding the Philosopher's Stone is a test of logic rather than magical power, and that most wizards have no chance of solving it.[55]

text: Nel suggested that the unflattering characterisation of the extremely conventional, status-conscious, materialistic Dursleys was Rowling's reaction to the family policies of the British government in the early 1990s, which treated the married heterosexual couple as the "preferred norm", while the author was a single mother. Harry's relationships with adult and juvenile wizards are based on affection and loyalty. This is reflected in his happiness whenever he is a temporary member of the Weasley family throughout the series, and in his treatment of first Rubeus Hagrid and later Remus Lupin and Sirius Black as father-figures.[21]:13–15, 47–48[49]

text: Legacy[edit]

text: Sequels[edit]

text: The second book, Harry Potter and the Chamber of Secrets, was originally published in the UK on July 2, 1998 and later, in the US on June 2, 1999.[56][57] Harry Potter and the Prisoner of Azkaban was then published a year later in the UK on July 8, 1999 and in the US on September 8, 1999.[56][57] Harry Potter and the Goblet of Fire was published on 8 July 2000 at the same time by Bloomsbury and Scholastic.[58] Harry Potter and the Order of the Phoenix is the longest book in the series at 766 pages in the UK version and 870 pages in the US version.[59] It was published worldwide in English on June 21, 2003.[60] Harry Potter and the Half-Blood Prince was published on July 16, 2005 and sold 11 million copies in the first 24 hours of its worldwide release.[61][62] The seventh and final novel, Harry Potter and the Deathly Hallows, was published on July 21, 2007.[63] The book sold 11 million copies within 24 hours of its release: 2.7 million copies in the UK and 8.3 million in the US.[64]

text: Illustrated version[edit]

text: An illustrated version of Harry Potter and the Philosopher's Stone was released on October 6, 2015, with illustrations by Jim Kay.[65][66] The book carries over 100 illustrations and will be followed by illustrated versions of all seven books from the series by the same artist.

text: Film version[edit]

text: In 1999, Rowling sold the film rights of the first four Harry Potter books to Warner Bros. for a reported £1 million ($1,982,900).[67] Rowling demanded that the principal cast be kept strictly British but allowed for the casting of Irish actors such as the late Richard Harris as Dumbledore and of foreign actors as characters of the same nationalities in later books.[68] After extensive casting,[69] filming began in September 2000 at Leavesden Film Studios and in London, with production ending in July 2001.[70] Harry Potter and the Philosopher's Stone was released in London on 14 November 2001.[71][72] Reviewers' comments were positive, as reflected by an 80% Fresh rating on Rotten Tomatoes[73] and by a score of 64% at Metacritic, representing "generally favourable reviews".[74]

text: Video games[edit]

text: Five unique video games by different developers were released between 2001 and 2003 by Electronic Arts, that were loosely based on the film and book:

text:
Developer
Release date
Platform
Genre
GameRankings
Metacritic
Notes

KnowWonder
15 November 2001
Microsoft Windows
Adventure/puzzle
67.35%[75]
65/100[76]

Argonaut
PlayStation
Action-adventure
66.98%[77]
64/100[78]

Griptonite
Game Boy Color
Role-playing game
73%[79]
N/A

Game Boy Advance
Action puzzle
68.37%[80]
64/100[81]

Aspyr
28 February 2002
Mac OS X
Adventure/puzzle
N/A
N/A
Port of Windows version[82]

Warthog
9 December 2003
GameCube
Action-adventure
63.31%[83]
62/100[84]

PlayStation 2
57.90%[85]
56/100[86]

Xbox
61.82%[87]
59/100[88]

text: Uses in education and business[edit]

text: Writers on education and business subjects have used the book as an object lesson. Writing about clinical teaching in medical schools, Jennifer Conn contrasted Snape's technical expertise with his intimidating behaviour towards students. Quidditch coach Madam Hooch on the other hand, illustrated useful techniques in the teaching of physical skills, including breaking down complex actions into sequences of simple ones and helping students to avoid common errors.[89] Joyce Fields wrote that the books illustrate four of the five main topics in a typical first-year sociology class: "sociological concepts including culture, society, and socialisation; stratification and social inequality; social institutions; and social theory".[53]

text: Stephen Brown noted that the early Harry Potter books, especially Harry Potter and the Philosopher's Stone, were a runaway success despite inadequate and poorly organised marketing. Brown advised marketing executives to be less preoccupied with rigorous statistical analyses and the "analysis, planning, implementation, and control" model of management. Instead he recommended that they should treat the stories as "a marketing masterclass", full of enticing products and brand names.[50] For example, a real-world analogue of Bertie Bott's Every Flavour Beans was introduced under licence in 2000 by toymaker Hasbro.[50][90]

text: Release history[edit]

text:
Country
Release date
Edition
(Hardback/Paperback)
Publisher
Pages

Canada
1 December 1998[91][92]
Hardback Children's Edition
Raincoast
223

Paperback Adult Edition (Original)

1 November 1999[93]
Hardback Signature Special Edition

31 August 2000[94]
Paperback Children's Edition

16 October 2002[95]
Paperback Magic Edition

4 October 2004[96]
Hardback Adult Edition (Re-issue with new cover)
336

12 January 2011[97][98]
Paperback Adult Edition (Re-issue with new cover)
Bloomsbury
223

Paperback Harry Potter Signature Edition

27 August 2013[99]
Paperback Adult Edition (Re-issue with new cover)

United Kingdom
26 June 1997[100][101]
Hardback Children's Edition

Paperback Children's Edition

11 September 1998[102]
Paperback Adult Edition (Original)

27 September 1999[103]
Hardback Signature Special Edition

8 October 2001[104]
Paperback Special Edition

10 July 2004[105]
Hardback Adult Edition (Re-issue with new cover)
336

4 October 2004[106]
Paperback Adult Edition (Re-issue with new cover)
223

1 November 2010[107]
Paperback Harry Potter Signature Edition

18 July 2013[108]
Paperback Adult Edition (Re-issue with new cover)

6 October 2015[109]
Hardcover Illustrated Edition (Illustrated by Jim Kay)
256

United States
1 September 1998[110]
Hardback
Arthur A. Levine/
Scholastic
309

8 September 1999[111]
Paperback

1 November 2000[112]
Hardback Collector's Edition

1 November 2001[113]
Mass Market Paperback
400

September 2008[114]
Paperback (Exclusive Scholastic School Market Edition)
309

1 October 2008[40]
Hardback 10th Anniversary Edition

27 August 2013[115]
Paperback (Re-issue with new cover)
336

6 October 2015[116]
Hardcover Illustrated Edition (Illustrated by Jim Kay)
256

text: Footnotes[edit]

text: Notes[edit]

text:
Jump up ^ J.K. Rowling was christened Joanne Rowling, without a middle name, and adopted the nom de plume J.K. Rowling for publication.[11] She says that she was always known as "Jo"[12] The book's copyright page gives her name as "Joanne Rowling".[13]
Jump up ^ The Children's Book Award, The Young Telegraph Paperback of the Year Award, the Birmingham Cable Children's Book Award and the Sheffield Children's Book Award.

tag: ol


document_title: Film adaptation

question_text: when was the first book made into a movie

root

text: Film adaptation

text: Elision and interpolation[edit]

text: In 1924, Erich von Stroheim attempted a literal adaptation of Frank Norris's novel McTeague with his moving picture Greed, and the resulting film was 9½ hours long. It was cut, at studio insistence, to four hours, then without Stroheim's input, cut again to around two hours. The end result was a film that was largely incoherent. Since that time, few directors have attempted to put everything in a novel into a film. Therefore, elision is all but essential.

tag: p

text: However, in some cases, film adaptations also interpolate scenes or invent characters. This is especially true when a novel is part of a literary saga. Incidents or quotations from later or earlier novels will be inserted into a single film. Additionally, and far more controversially, filmmakers will invent new characters or create stories that were not present in the source material at all. Given the anticipated audience for a film, the screenwriter, director, or movie studio may wish to increase character time or to invent new characters. For example, William J. Kennedy's Pulitzer Prize-winning novel Ironweed included a short appearance by a prostitute named Helen. Because the film studio anticipated a female audience for the film and had Meryl Streep for the role, Helen became a significant part of the film. However, characters are also sometimes invented to provide the narrative voice.

text: As Sergei Eisenstein pointed out in his landmark essay on Charles Dickens, films most readily adapt novels with externalities and physical description: they fare poorly when they attempt the modern novel and any fiction that has internal monologue or, worse, stream of consciousness. When source novels have exposition or digressions from the author's own voice, a film adaptation may create a commenting, chorus-like character to provide what could not be filmed otherwise. Thus, in the adaptation of John Fowles's The French Lieutenant's Woman, the director created a contemporary Englishman in a romance with a woman to offer up the ironic and scholarly voice that Fowles provided in the novel, and the film version of Laurence Sterne's "unfilmable" novel, Tristram Shandy had the main actor speak in his own voice, as an actor, to emulate the narrator's ironic and metafictional voice in the novel. Early on, filmmakers would rely upon voice-over for a main character's thoughts, but, while some films (e.g. Blade Runner) may self-consciously invoke the older era of film by the use of voice over, such devices have been used less and less with time.

text: Interpretation as adaptation[edit]

text: There have been several nominees for non-plus ultra of inventive adaptation, including the Roland Joffe adaptation of The Scarlet Letter with explicit sex between Hester Prynn and the minister and Native American obscene puns into a major character and the film's villain. The Charlie Kaufman and "Donald Kaufman" penned Adaptation., credited as an adaptation of the novel The Orchid Thief, was an intentional satire and commentary on the process of film adaptation itself. All of these are cases of Nathaniel Hawthorne's point. The creators of the Gulliver's Travels miniseries interpolated a sanity trial to reflect the ongoing scholarly debate over whether or not Gulliver himself is sane at the conclusion of Book IV. In these cases, adaptation is a form of criticism and recreation, as well as translation.

text: Change is essential and practically unavoidable, mandated both by the constraints of time and medium, but how much is always a balance. Some film theorists have argued that a director should be entirely unconcerned with the source, as a novel is a novel, while a film is a film, and the two works of art must be seen as separate entities. Since a transcription of a novel into film is impossible, even holding up a goal of "accuracy" is absurd. Others argue that what a film adaptation does is change to fit (literally, adapt), and the film must be accurate to either the effect (aesthetics) of a novel or the theme of the novel or the message of the novel and that the filmmaker must introduce changes where necessary to fit the demands of time and to maximize faithfulness along one of these axes.

text: In most cases of adaptation, the films are required to create identities (for example, a characters' costume or set decor) since they are not specified in the original material. In these cases, the influence of film-makers may go unrecognised because there is no comparison in the original material, and even though the new visual identities will affect narrative interpretation. Peter Jackson's adaptations of The Lord of the Rings trilogy and The Hobbit by author JRR Tolkien represent an unusual case because many visual and stylistic details were specified by Tolkien. For the Harry Potter film series, author JK Rowling was closely consulted by the film-makers and she provided production designer Stuart Craig with a map of Hogwarts' grounds, and also prevented director Alfonso Cuarón from adding a graveyard scene because the graveyard would appear elsewhere in a later novel.

text: An often overlooked aspect of film adaptation is the inclusion of sound and music. In a literary text, a specific sound effect can often be implied or specified by an event, but in the process of adaptation, the film-makers will have to determine specific sound characteristics which subliminally affects narrative interpretation. In some cases of adaptation, music may have been specified in the original material (usually diegetic music). In Stephenie Meyer's 2005 Twilight novel, the characters Edward Cullen and Bella Swan both listen to Debussy's Clair de lune and Edward composes the piece Bella's Lullaby for the character Bella Swan. While Clair de lune was a pre-existing piece of music, Bella's Lullaby was not and required original music to be composed for the 2008 movie adaptation. In the 2016 sci-fi film 2BR02B: To Be or Naught to Be adapted from the story by Kurt Vonnegut, the film-makers decided to abandon Vonnegut's choice of music, stating that they felt it only worked in his prose because it wasn't actually heard. In the filmmakers' test screenings, they found that Vonnegut's style of music confused audiences and detracted from narrative comprehension. The film's composer Leon Coward stated "You can try to be as true to Vonnegut’s material as possible, but at the end of the day also you’re working with the material that you as a team have generated, not just Vonnegut’s, and that’s what you’ve got to make work."[1][2]

text: Theatrical adaptation[edit]

text: Films sometimes use plays as their sources. William Shakespeare has been called the most popular screenwriter in Hollywood.[citation needed] There are not only film versions of most of Shakespeare's works but also multiple versions of many of the plays. Numerous spinoffs adapt Shakespeare's plays very loosely, such as West Side Story, Kiss Me, Kate, The Lion King, O, and 10 Things I Hate about You. Adaptations in languages other than English flourish around the globe, such as Akira Kurosawa's two epic films Throne of Blood (1957) and Ran (1985), and Éric Rohmer's Conte d'hiver (A Tale of Winter, 1992).

text: Similarly, hit Broadway plays are frequently adapted, whether from musicals or dramas. On one hand, theatrical adaptation does not involve as many interpolations or elisions as novel adaptation, but on the other, the demands of scenery and possibilities of motion frequently entail changes from one medium to the other. Film critics will often mention if an adapted play has a static camera or emulates a proscenium arch. Laurence Olivier consciously imitated the arch with his Henry V (1944), having the camera begin to move and to use color stock after the prologue, indicating the passage from physical to imaginative space. Sometimes, the adaptive process can continue after one translation. Mel Brooks' The Producers was a film that was adapted into a Broadway musical and then adapted again into a film.

text: Television adaptation[edit]

text: Feature films are occasionally created from television series or television segments. In these cases, the film will either offer a longer storyline than the usual television program's format or will offer expanded production values. In the adaptation of The X-Files to film, for example, greater effects and a longer plotline were involved. Additionally, adaptations of television shows will offer the viewer the opportunity to see the television show's characters without broadcast restrictions. These additions (nudity, profanity, explicit drug use, and explicit violence) are only rarely a featured adaptive addition (film versions of "procedurals" such as Miami Vice are most inclined to such additions as featured adaptations) – South Park: Bigger, Longer & Uncut is a notable example of a film being more explicit than its parent TV series.

text: At the same time, some theatrically released films are adaptations of television miniseries events. When national film boards and state-controlled television networks co-exist, filmmakers can sometimes create very long films for television that they may adapt solely for time for theatrical release. Both Ingmar Bergman (notably with Fanny and Alexander but with other films as well) and Lars von Trier have created long television films that they then recut for international distribution.

text: Even segments of television series have been adapted into feature films. The American television variety show Saturday Night Live has been the origin of a number of films, beginning with The Blues Brothers, which began as a one-off performance by Dan Aykroyd and John Belushi. Mr. Bean was adapted into Bean and the sequel, Mr. Bean's Holiday.

text: Radio adaptation[edit]

text: This section needs expansion. You can help by adding to it. (June 2008)

tag: table

text: Radio narratives have also provided the basis of film adaptation. The Hitchhiker's Guide to the Galaxy, for example, began as a radio series for the BBC and then became a novel that was adapted to film. In the heyday of radio, radio segments, like television segments today, translated to film on several occasions, usually as shorts. Dialog-heavy stories and fantastic stories from radio also adapted to film (e.g. Fibber McGee and Molly and The Life of Riley).

text: Comic book adaptation[edit]

text: Comic book characters, particularly superheroes, have long been adapted into film, beginning in the 1940s with Saturday movie serials aimed at children. Superman (1978) and Batman (1989) are two later successful movie adaptations of famous comic book characters. In the early 2000s, blockbusters such as X-Men (2000) and Spider-Man (2002) have led to dozens of superhero films. The success of these films has also led to other comic books not necessarily about superheroes being adapted for the big screen, such as Ghost World (2001), From Hell (2001), American Splendor (2003), Sin City (2005), 300 (2007), Wanted (2008), and Whiteout (2009).

text: The adaptation process for comics is different from that of novels. Many successful comic book series last for several decades and have featured several variations of the characters in that time. Films based on such series usually try to capture the back story and “spirit” of the character instead of adapting a particular storyline. Occasionally, aspects of the characters and their origins are simplified or modernized.

text: Self-contained graphic novels, and miniseries many of which do not feature superheroes, can be adapted more directly, such as in the case of Road to Perdition (2002) or V for Vendetta (2006). In particular, Robert Rodriguez did not use a screenplay for Sin City but utilized actual panels from writer/artist Frank Miller's series as storyboards to create what Rodriguez regards as a "translation" rather than an adaptation.

text: Furthermore, some films based on long-running franchises use particular story lines from the franchise as a basis for a plot. The second X-Men film was loosely based on the graphic novel X-Men: God Loves, Man Kills and the third film on the storyline "The Dark Phoenix Saga". Spider-Man 2 was based on the storyline "Spider-Man No More!" Likewise, Batman Begins owes many of its elements to Miller's "Batman: Year One" and the film's sequel, The Dark Knight, uses subplots from Batman: The Long Halloween.

text: The Marvel Cinematic Universe starting in 2008 is a shared universe with films combining characters from different works by Marvel Comics. The DC Extended Universe starting in 2013 uses the same model for DC Comics.

text: Video game adaptation[edit]

text: Video games have also been adapted into films, beginning in the early 1980s, although films closely related to the computer and video game industries had been done previously, such as Tron and The Wizard, but only after the release of several films based on well-known brands has this genre become recognized in its own right.

text: Similar to comic book-based films in the past (especially from 1980's), films based on video games tend to carry a reputation of lackluster quality and receive negative reaction from both film critics or fans of the games on which they are based. A number of films have been successful at the box office(such as Mortal Kombat, Lara Croft: Tomb Raider, Silent Hill, Resident Evil, and Prince of Persia), but all critical reception of the films are either mixed to poor.

text: Some, such as Super Mario Bros., were particularly negatively received and are considered among the worst films ever made. The aforementioned adaptation was criticized for being too dark, violent and unfaithful(in plot) to the popular video game series. Many anime Original Video Animations (OVAs) based on popular games have been released such as Dead Space: Downfall, Halo Legends, Dante's Inferno: An Animated Epic, and numerous films based on the video game series Pokémon.

text: The main cause of failure among video game adaptations is often cited as the genre's tendency for its films to drastically differ from source material, as producers, writers, and directors take many artistic liberties with the original games. Some notable examples include Doom, which traded in religious elements of the video games for scientific plot elements and openly parodied the game's first-person shooter gameplay. Silent Hill radically altered the backstory of the game, replacing the game's demonic cult which sought to birth a new god with a pseudo-Christian witch-burning cult. While still a comedic feature, the setting of the film adaptation of Super Mario Bros. was radically changed from a light, cartoonish kingdom to that of a dystopian city similar to the worlds of Blade Runner or Total Recall. The film also made several major alterations to the storyline from the game series, including the exclusion of series regular Princess "Peach" Toadstool, turning the villain Bowser into a human character named King Koopa (despite the character being a large, tortoise-like creature in the games), and making the titular brothers into father/son figures, explaining that Mario raised a much younger Luigi, unlike the game series.

text: Among the most well-known video-game filmmakers is Uwe Boll, a German writer, director, and producer who has become notorious among video-game fans and critics alike for making video games adaptations such as House of the Dead, Alone in the Dark, BloodRayne, In the Name of the King: A Dungeon Siege Tale, Postal, and Far Cry, all of which were almost universally panned by audiences and film critics for their deviation from the source material and simply bad quality. Boll is often compared to cult filmmaker Ed Wood, who created such films as Plan 9 from Outer Space and Glen or Glenda.

text: Another likely reason for the failure of video game adaptations is that structural conversion from video game to film format can be challenging for filmmakers. As Nintendo video game designer, Shigeru Miyamoto said in a 2007 interview:

text: “I think that part of the problem with translating games to movies is that the structure of what makes a good game is very different from the structure of what makes a good movie. Movies are a much more passive medium, where the movie itself is telling a story and you, as the viewer, are relaxing and taking that in passively. Whereas video games are a much more active medium where you are playing along with the story. In some cases, you are progressing the story yourself, or perhaps you get to a point where it gets too difficult and maybe you give up. I think that people who like movies also have an interest in the creative work that goes into making a video game. So there is interactivity with the video game that you don’t necessarily have with a movie. In that sense, I think the structures of the two are very different and you have to take that into account when converting a video game into a movie. I think that video games, as a whole, have a very simple flow in terms of what’s going on in the game. We make that flow entertaining by implementing many different elements to the video game to keep the player entertained. Movies have much more complex stories, or flow, to them, but the elements that affect that flow are limited in number. So I think that because these surrounding elements in these two different mediums vary so greatly, when you fail to take that into account then you run into problems.”

text: In an interview with Fortune in August 2015, Miyamoto has explained that Nintendo is planned to become an entertainment company rather than just the focus of game development, which includes potential partnerships with different studios that will be seen overseas by Nintendo’s Software Planning & Development (SPD) Division. As Miyamoto said:

text: “We’ve had, over the years, a number of people who have come to us and said ‘Why don’t we make a movie together—or we make a movie and you make a game and we’ll release them at the same time?’ Because games and movies seem like similar mediums, people’s natural expectation is we want to take our games and turn them into movies. … I’ve always felt video games, being an interactive medium, and movies, being a passive medium, mean the two are quite different.”

text: “As we look more broadly at what is Nintendo’s role as an entertainment company, we’re starting to think more and more about how movies can fit in with that—and we’ll potentially be looking at things like movies in the future,”

text: Adaptations from other sources[edit]

text: While documentary films have often been made from journalism and reportage, so too have some dramatic films, including: All the President's Men (1976, adapted from the 1974 book); Miracle, (2004, from an account published shortly after the 1980 "miracle on ice"); and Pushing Tin (1999, from a 1996 New York Times article by Darcy Frey). An Inconvenient Truth is Al Gore's film adaptation of his own Keynote multimedia presentation. The 2011 independent comedy film, Benjamin Sniddlegrass and the Cauldron of Penguins was based on Kermode and Mayo's Film Review of Percy Jackson & the Olympians: The Lightning Thief.

text: Films adapted from songs include Coward of the County, Ode to Billy Joe, Convoy, and Pretty Baby (each from a song of the same name).

text: Films based on toys include the Transformers franchise and the G.I. Joe films; there is a longer history of animated television series being created simultaneous to toy lines as a marketing tool. Hasbro's plans to for films based on their board games began with 2012's Battleship. While amusement park rides have often been based on action movies, conversely the 1967 Pirates of the Caribbean ride at Disneyland was adapted into Pirates of the Caribbean: The Curse of the Black Pearl in 2003.

text: Remakes and film sequels are technically adaptations of the original film. Less direct derivations include The Magnificent Seven from The Seven Samurai, Star Wars from The Hidden Fortress, and Twelve Monkeys from La Jetée.

text: Many films have been made from mythology and religious texts. Both Greek mythology and the Bible have been adapted frequently. Homer's works have been adapted multiple times in several nations. In these cases, the audience already knows the story well, and so the adaptation will de-emphasize elements of suspense and concentrate instead on detail and phrasing.[original research?]

text: Awards[edit]

text: Many major film award programs present an award for adapted screenplays, separate from the award for original screenplays.

text: In the case of a film which was adapted from an unpublished work, however, different awards have different rules around which category the screenplay qualifies for. In 1983, the Canadian Genie Awards rescinded the Best Adapted Screenplay award they had presented to the film Melanie when they learned that the original work had been unpublished;[3] and in 2017, the film Moonlight, which was adapted from an unpublished theatrical play, was classified and nominated as an adapted screenplay by some awards but as an original screenplay by others.[4]

text: Adaptation of films[edit]

text: When a film's screenplay is original, it can also be the source of derivative works such as novels and plays. For example, movie studios will commission novelizations of their popular titles or sell the rights to their titles to publishing houses. These novelized films will frequently be written on assignment and sometimes written by authors who have only an early script as their source. Consequently, novelizations are quite often changed from the films as they appear in theatres.

text: Novelization can build up characters and incidents for commercial reasons (e.g. to market a card or computer game, to promote the publisher's "saga" of novels, or to create continuity between films in a series)

text: There have been instances of novelists who have worked from their own screenplays to create novels at nearly the same time as a film. Both Arthur C. Clarke, with 2001: A Space Odyssey, and Graham Greene, with The Third Man, have worked from their own film ideas to a novel form (although the novel version of The Third Man was written more to aid in the development of the screenplay than for the purposes of being released as a novel). Both John Sayles and Ingmar Bergman write their film ideas as novels before they begin producing them as films, although neither director has allowed these prose treatments to be published.

text: Finally, films have inspired and been adapted into plays. John Waters's films have been successfully mounted as plays; both Hairspray and Cry-Baby have been adapted, and other films have spurred subsequent theatrical adaptations. Spamalot is a Broadway play based on Monty Python films. In a rare case of a film being adapted from a stage musical adaptation of a film, in 2005, the film adaptation of the stage musical based on Mel Brooks' classic comedy film The Producers was released.


document_title: Ghostbusters II

question_text: who was the baby in ghost busters 2

question_tokens: who was the baby in ghost busters 2

text: Ghostbusters II

text: Plot[edit]

text: After saving New York City from the demi-god Gozer, the Ghostbusters—Egon Spengler, Ray Stantz, Peter Venkman, and Winston Zeddemore—are sued for the property damage they caused, and barred from investigating the supernatural, forcing them out of business. Ray owns an occult bookstore and works as an unpopular children's entertainer with Winston, Egon works in a laboratory conducting experiments into human emotion, and Peter hosts a pseudo-psychic television show. Peter's former girlfriend Dana Barrett has had a son, Oscar, with an ex-husband, and works at the Museum of Modern Art. After an incident in which Oscar's baby carriage is controlled by an unseen force and drawn to a busy junction, Dana turns to the Ghostbusters for help. Meanwhile, Dana's colleague Dr. Janosz Poha is indoctrinated by the spirit of Vigo the Carpathian, a powerful legendary sixteenth-century tyrant and magician trapped in a painting in the gallery. Vigo orders Janosz to locate a child that Vigo can possess, allowing him to return to life on the New Year.

text: The Ghostbusters' investigation leads them to illegally excavate First Avenue at the point where the baby carriage stopped. Lowered underneath, Ray discovers a river of pink slime filling the abandoned Beach Pneumatic Transit line. Attacked by the slime after obtaining a sample, Ray accidentally causes a citywide blackout, and the Ghostbusters are arrested. They are found guilty of investigating the supernatural, but before they can be taken away, the slime taken as evidence reacts to the judge's angry outburst and explodes, releasing two ghosts who were murderers that the judge had executed that proceed to devastate the courtroom. The Ghostbusters imprison the ghosts in exchange for the dismissal of all charges and that they be allowed to resume their Ghostbusting business.

text: Later, the slime invades Dana's apartment and attacks her and Oscar. She seeks refuge with Peter, and the two begin to renew their relationship. Investigating the slime and Vigo's history, the Ghostbusters discover that the slime reacts to emotions, and suspect that it has been generated by the negative attitudes of New Yorkers. While Peter and Dana have dinner together, Egon, Ray, and Winston explore the underground river of slime. While measuring the depth, Winston gets pulled into the flowing river, and Ray and Egon jump in after him. After they escape back to the surface Ray and Winston begin arguing, but Egon realizes that they are being influenced by the slime, so they strip off their clothes. They also learn the river is flowing directly to the museum.

text: The Ghostbusters go to the mayor with their suspicions, but are dismissed; the mayor's assistant, Jack Hardemeyer, has them committed to a psychiatric hospital to protect the mayor's interests as he runs for governor. Meanwhile, a spirit resembling Janosz kidnaps Oscar from Peter's apartment, and Dana pursues them to the museum alone. After she enters, the museum is covered with a barrier of impenetrable slime.

text: New Year's Eve sees a sudden increase of supernatural activity as the slime rises from the subway line and onto the city streets, causing widespread paranormal activity with ghosts attacking citizens. In response, the mayor fires Hardemeyer and has the Ghostbusters released. After heading to the museum, they are unable to breach the power of the slime barrier with their proton packs. Determining that they need a symbol of powerful positivity to rally the citizens and weaken the slime, the Ghostbusters use positively-charged mood slime, and a remix of "Higher and Higher" to animate the Statue of Liberty and pilot it through the streets before the cheering populace. As they arrive at the museum, the slime begins to recede and they use the Statue's torch to break through the museum's ceiling to attack Vigo and Janosz.

text: Janosz is neutralized with positively-charged slime, but Vigo immobilizes the Ghostbusters and attempts a transfer into Oscar's body. A chorus of "Auld Lang Syne" by the citizens outside weakens Vigo, returning him to the painting and freeing the Ghostbusters. Vigo momentarily possesses Ray, and the other Ghostbusters attack him with a combination of proton streams and positively-charged mood slime. Dressed in full Ghostbusters attire, Louis attacks the weakened slime barrier around the building with a proton stream of his own. This combination destroys Vigo and changes the painting to a likeness of the four Ghostbusters standing protectively around Oscar. Outside, the Ghostbusters receive a standing ovation from the crowd and, at a later ceremony to restore the Statue, the Key to the City from the mayor.

text: Cast[edit]

text:
Bill Murray as Peter Venkman
Dan Aykroyd as Ray Stantz
Sigourney Weaver as Dana Barrett
Harold Ramis as Egon Spengler
Rick Moranis as Louis Tully
Ernie Hudson as Winston Zeddemore
Annie Potts as Janine Melnitz
Peter MacNicol as Dr. Janosz Poha
Harris Yulin as Judge Stephen Wexler
Janet Margolin as Prosecuting Attorney "Kitten"
David Margulies as Mayor "Lenny"
Kurt Fuller as Jack Hardemeyer
William T. Deutschendorf and Hank J. Deutschendorf II as Baby Oscar
Wilhelm von Homburg as Vigo the Carpathian
Ivan Reitman as the voice of Slimer

text: Some notable cast members in the film include one of Bill Murray's siblings, Brian Doyle-Murray, who played the psychiatric doctor, Dan Aykroyd's niece, Karen Humber, who played one of the school children, and Ben Stein, who played a public works official for the mayor. Jason Reitman, son of director Ivan Reitman, plays the boy who insults the Ghostbusters at a birthday party. Cheech Marin is the dock supervisor who witnesses the arrival of the Titanic, and Philip Baker Hall is the city police chief. Bobby Brown is the doorman to Gracie Mansion when the Ghostbusters go to see the mayor of New York City (also performing on the soundtrack). The physical role of Vigo was played by Wilhelm von Homburg, and his dialog was dubbed by Max von Sydow.

text: Production[edit]

text: Development[edit]

text: After the success of the first film and the animated series, The Real Ghostbusters, Columbia Pictures pressed the producers to make a sequel.[2] Dan Aykroyd, Harold Ramis and Ivan Reitman were uncomfortable with this, as the original film was intended to be conclusive and they wished to work on other projects. Eventually, they agreed and created a script.[3]

text: Reception[edit]

text: Box office[edit]

text: This section needs expansion. You can help by adding to it. (March 2012)

text: At its release, Ghostbusters II was the biggest three-day opening weekend gross in history with $29.5 million,[4] a record that was broken one week later by Batman ($40.5 million).[5] Ghostbusters II eventually grossed $112.4 million in North America and $102.9 million internationally for a total of $215.3 million worldwide.[6]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 53% based on 38 reviews, with an average rating of 5.9/10. The site's critical consensus reads, "Thanks to the cast, Ghostbusters 2 is reasonably amusing, but it lacks the charm, wit, and energy of its predecessor."[7] At Metacritic the film received a weighted average score of 56 out of 100, based on 14 critics, indicating "mixed or average reviews".[8] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[9]

text: Variety said the film had amusing visuals and a clever plot, while Nick Shager of Screengrab opined that it "Effectively slimed everyone's fond memories of the original".[10] On their show, Gene Siskel and Roger Ebert gave the picture two thumbs down, disappointed that the film did not try anything new and like many sequels, merely re-treated the first film. Siskel stated "The film contains little comic invention. It looks as if the filmmakers, particularly the writers, simply didn't try to do anything special. As if they simply filmed the first draft." Ebert stated that he saw the movie in a theater in Michigan and out of a packed house, there was only one laugh.[11] Murray remarked how disappointed he was with it all as "Those special-effects guys took over. It was too much of the slime and not enough of us."

text: Home media[edit]

text: The Blu-ray version, released in September 2014, was scanned and mastered in 4K and preserves the original aspect ratio of 2.35:1. An earlier DVD version was also transferred in the correct scope ratio. The VHS and Laserdisc releases of Ghostbusters II were made differently, however: instead of being produced in either the original 2.35:1 or panned and scanned at 1.33:1, the movie was panned and scanned in a 1.66:1 frame. This version, often shown on television, shows slightly more image at the edges than a "proper" pan and scan version at 1.33:1.

text: Merchandise[edit]

text: A great deal of merchandise (such as coloring books) came out with the release of this film. As was the case with the Real Ghostbusters cartoon, the makers of this material may have wanted to avoid likeness fees and as a result, the main characters in these bear little resemblance to any other version of the characters.

text: As a tie-in with the release of the movie, approximately 3,100 Hardee’s fast food restaurants offered a kids meal-deal that included a toy called the “Ghostblaster”, a small noisemaker embossed with the movie’s signature logo on one side and made different sounds when one of two buttons were activated. However, officials at the U.S. Consumer Product Safety Commission deemed that the toy posed a potential choking hazard to small children because the toy was operated with small watch-sized batteries and recalled at least 2 million units.

text: Comic book adaptation[edit]

text: During this period, The Real Ghostbusters comic book produced by NOW Comics ran a three-part adaptation of the film, using the cartoon character designs instead of the likenesses of the actors. The overall story received minor alterations to run as a three-part series, and includes several scenes that were in the shooting script but were not included in the released movie. An example is a scene set after their first visit at the museum (and Ray's first encounter with Vigo). In this scene, Ray is momentarily possessed while driving the Ecto-1A, and as a result tries to crash the car and kill the Ghostbusters. They soon bring Ray around to his senses after speeding through New York streets, and he apologizes, unable to account for his actions. They never connect it to Vigo since, while possessed, Ray never mentions him. The comic panels further reinforce the movie's scene where Ray is briefly hypnotized by Vigo (leading to him being chosen as a host at the end).

text: Video games[edit]

text: Soundtrack[edit]

text:
Ghostbusters II

Soundtrack album by various artists

Released
1989

Genre
New jack swing,[12][13] R&B,[13] rap[13]

Length
45:40

Label
MCA

Ghostbusters soundtrack chronology

Ghostbusters
(1984)Ghostbusters1984
Ghostbusters II
(1989)
Ghostbusters
(2016)Ghostbusters2016

Singles from Ghostbusters II

"On Our Own"
Released: May 1989
"Ghostbusters"
Released: July 12, 1989

text:
Original Soundtrack Album[14]

No.
Title
Writer(s)
Performer(s)
Length

1.
"On Our Own"
L.A. Reid, Babyface, Daryl Simmons[15][16]
Bobby Brown
4:54

2.
"Supernatural"
Jellybean Johnson, Jimmy Jam and Terry Lewis
New Edition
4:34

3.
"The Promised Land"
Bobby Caldwell, Paul Gordon
James "J.T." Taylor
4:17

4.
"We're Back"
Bobby Brown, Dennis Austin, Larry White, Kirk Crumple Original
Bobby Brown
5:10

5.
"Spirit"
Doug E. Fresh, Bernard Wright
Doug E. Fresh and the Get Fresh Crew
5:03

6.
"Ghostbusters"
Ray Parker, Jr.
Run-D.M.C.
4:10

7.
"Flesh 'N Blood"
Danny Elfman
Oingo Boingo
4:17

8.
"Love is a Cannibal"
Elton John, Bernie Taupin
Elton John
3:54

9.
"Flip City"
Glenn Frey, Hawk Wolinski
Glenn Frey
5:12

10.
"Higher and Higher"
Gary Jackson, Carl Smith, Raynard Miner
Howard Huntsberry
4:09

Total length:
45:40

text: The film also features the original versions of "Ghostbusters" by Ray Parker, Jr. and "Higher and Higher" by Jackie Wilson, though neither appears on the soundtrack album.

text: The album was made available in digital form on Tuesday, May 27, 2014.

text: Cancelled sequel and reboot[edit]

text: In 1999, Dan Aykroyd wrote a script for a possible third film, titled Ghostbusters III: Hellbent.[17] In a 2004 interview, Bill Murray stated that he didn't want to appear in a potential third installment and for that reason, the cast considered replacing him with Ben Stiller.[18]

text: In 2014, after Harold Ramis' death, Ivan Reitman abandoned the project.[19] Film directors Phil Lord and Christopher Miller were in talks to direct the film, but passed on the project, leading to its cancellation.[20] In August 2014, Paul Feig revealed that he was in talks for direct a third film in the franchise, but with women in the lead roles.[21] He later revealed that the film will be a reboot and not a sequel for Ghostbusters II. The rebooted Ghostbusters was released on July 15, 2016.


document_title: Sacred Valley

question_text: what is the altitude of the sacred valley in peru

text: Sacred Valley

text: Geography[edit]

text: The valley, running generally west to east, is understood to include everything along the Urubamba River between the town and Inca ruins at Písac westward to Machu Piccu, 100 kilometres (62 mi) distant.[2] The Sacred Valley has elevations above sea level along the river ranging from 3,000 metres (9,800 ft) at Pisac to 2,050 metres (6,730 ft) at the Urubamba River below the citadel of Macchu Piccu. On both sides of the river, the mountains rise to much higher elevations, especially to the south where two prominent mountains overlook the valley: Sahuasiray, 5,818 metres (19,088 ft) and Veronica, 5,893 metres (19,334 ft) in elevation. The intensely cultivated valley floor is about 1 kilometre (0.62 mi) wide on average. Side valleys and agricultural terraces (andenes) expand the cultivatable area.[3]

text: The valley was formed by the Urubamba river, also known as the Vilcanota River, Willkanuta River (Aymara, "house of the sun") or Willkamayu (Quechua). The latter, in Quechua, the still spoken lingua franca of the Inca Empire, means the sacred river. It is fed by numerous tributaries which descend through adjoining valleys and gorges, and contains numerous archaeological remains and villages. The Sacred Valley was the most important area for maize production in the heartland of the Inca Empire and access through the valley to tropical areas facilitated the import of products such as coca leaf and chile peppers to Cuzco.[4]

text: The climate of Urubamba is typical of the valley. Precipitation, concentrated in the months of October through April, totals 527 millimetres (20.7 in) annually and monthly average temperatures range between 15.4 °C (59.7 °F) in November, the warmest month, to 12.2 °C (54.0 °F) in July, the coldest month.[5] The Incas built extensive irrigation works throughout the valley to counter deficiencies and seasonality in precipitation.[6]

text: History[edit]

text: The early Incas lived in the Cuzco area.[7] By conquest or diplomacy, during the period 1000 to 1400 CE, the Inca achieved administrative control over the various ethnic groups living in or near the Sacred Valley.[8]

text: The attraction of the Sacred Valley to the Inca, in addition to its proximity to Cuzco, was probably that it was lower in elevation and therefore warmer than any other nearby area. The lower elevation permitted maize to be grown in the Sacred Valley. Maize was a prestige crop for the Incas, especially to make chicha, a fermented maize drink the Incas and their subjects consumed in large quantities at their many ceremonial feasts and religious festivals.[9]

text: Large scale maize production in the Sacred Valley was apparently facilitated by varieties bred in nearby Moray, either a governmental crop laboratory[10] or a seedling nursery of the Incas.[11]

text: The Inca customarily divided conquered lands into three more-or-less equal parts. One part was for the emperor (the Sapa Inca), one part for the religious establishment, and one part for the communities of farmers themselves. In the 1400s, the Sacred Valley became an area of royal estates and country homes. Once a royal estate was created by an emperor it continued to be owned by descendants of the emperor after his death.[12] The estate of the emperor Yawar Waqaq (ca. 1380 CE) was located at Paullu and Lamay (a few kilometers downstream from Pisac); Huchuy Qosqo, the estate of the emperor Viracocha Inca (c. 1410-1438), overlooks the Sacred Valley; the estate of Pachacuti (1438-1471 CE) was at Pisac; and the sparse ruins of Quispiguanca. the estate of the emperor Huayna Capac (1493-1527 CE), are in the town of Urubamba.[13] Most archaeologists believe that Machu Picchu was built as an estate for Pachacuti.[14]

text: Agricultural terraces, called andenes, were built up hillsides flanking the valley floor and are today the most visible and widespread signs of the Inca civilization in the Sacred Valley.[15]

text: In 1537, the Inca Emperor Manco Inca Yupanqui fought and won the Battle of Ollantaytambo against a Spanish army headed by Hernando Pizarro. Nevertheless, Manco soon withdrew from the Sacred Valley and the area came under the control of the Spanish colonialists.[16]


document_title: NFL International Series

question_text: how many nfl games were played in london

text: NFL International Series

text: Background[edit]

text: Prior to 2005, the NFL's primary method of promoting its game abroad was through the American Bowl, a series of preseason games played around the world, and NFL Europe, a developmental league based in Europe. The American Bowls ended in 2005 (though a similar China Bowl was planned for 2007 before being canceled), while NFL Europa (as it was known for its final season) folded in 2007. On October 2, 2005, the Arizona Cardinals defeated the San Francisco 49ers by a score of 31–14 at Estadio Azteca in Mexico City, Mexico under the name NFL Fútbol Americano. It was the first regular season NFL game held outside the United States.[3] The game drew the NFL's highest game attendance at the time with 103,467 spectators.[3][4]

text: Roger Goodell, the commissioner of the National Football League, has considered expanding the league's appeal overseas ever since the end of NFL Europa. Goodell has openly discussed the idea of holding a future Super Bowl game in London.[3] The NFL also investigated the possibility of adding a 17th regular season game to all teams, taking the place of the fourth pre-season game.[5] Waller notes that there will not be 16 different venues for the 17th games. More likely would be a "mini-season ticket" of perhaps four games in one city or country.[5] There was discussion that this "17th game" could take effect as early as the 2009 NFL season; however, 2010 would be the earliest this could be implemented because of concerns about playing on Labor Day or over the 2010 Winter Olympics, the league's rigid scheduling formula, and the league's collective bargaining agreement (CBA).[5] League officials were pondering moving a second existing game abroad for the 2010 season, but eventually abandoned it due to the ongoing CBA negotiations.[6] The league eventually abandoned its attempt to expand the NFL season via CBA negotiations, and the new CBA enacted in 2011 has kept the NFL schedule at 16 games as of 2017.

text: Games in the United Kingdom are broadcast by the BBC and Sky Sports either live on BBC2 or online via the BBC Sports website and interactive TV and on Sky Sports Action. On radio the games are broadcast by BBC Radio 5 Live Sports Extra, with Arlo White commentating.

text: The games have been popular, with tickets for the two games per season selling out in two days, nine months in advance. According to the NFL, only 3% of those attending the London games are Americans or American expatriates, while 22% are from London and 60% from elsewhere in Britain. Ticket prices are from £35 for end zone seats to £100 for lower sideline seats.[7] A team that plays a home game in London sells a cheaper season ticket package for its own stadium with seven regular season games rather than the usual eight. Each designated home team receives US$1 million for giving up the home game.[8]

text: On October 11, 2011, the NFL owners approved playing NFL games in Great Britain through the year 2016. This stated that a home team could visit every year for up to five years but visitors could only visit once every five years.[9] However, in 2015 the Detroit Lions returned to London as visitors in an apparent disregard for this rule. Subsequently, an agreement has been reached to play internationally through 2025.[10]

text: The Buffalo Bills received a unanimous vote of approval to play a series of regular and preseason games at Rogers Centre in Toronto from 2008 to 2017.[11][12] This was separate from the regular International Series as arrangements are made by the team as opposed to the league as with the International Series. The Bills' Toronto Series was mutually terminated after the 2013 contest.

text: Due to significant time zone differences, from 2007–2015 teams playing in London would have their bye week in the following week after their game in London. For 2016, the Indianapolis Colts volunteered to play a game the week after their London game, preferring to have their bye week later in the season. The Colts playing the week after London was also done by the NFL as a test to see team fatigue for evaluation of an eventual London franchise.[13] As Mexico City is within the Central Time Zone—eight NFL teams play home games in Central Time and the rest are within two hours of it—no bye week would be needed for those teams, though they may still by chance be scheduled their regular bye week anyway. For 2017, three teams playing in London (Baltimore, Jacksonville, and Miami), will have games immediately following their International Series game.[14] In all three cases, the teams playing after their International Series game are based on the East Coast of the United States and will either be home or (in the Jaguars case) playing in East Rutherford, New Jersey.

text: Due to NFL rules, teams that are playing in temporary homes or that have recently been awarded the Super Bowl are required to play a home game internationally. The Los Angeles Rams, upon relocating from St. Louis, agreed to host an international game from 2016–2019, while their new stadium is being built. The Los Angeles Chargers, who will be sharing the stadium with the Rams once it is completed, will also host an International Series game in 2018 and 2019, only getting out of the 2017 game because the team had executed its out clause to move from San Diego after the 2017 International Series games had been announced.[15] The rule wasn't in affect when the Minnesota Vikings were playing at TCF Bank Stadium while U.S. Bank Stadium was being built, although the team did give up a home game while they were still playing in the Hubert H. Humphrey Metrodome. It is also likely that the Oakland Raiders will host another game in either 2018 and 2019 (or both) due to their pending move to Las Vegas, but it is unknown whether the "temporary stadium" rule applies in that case.

text: Early years (2007–2011)[edit]

text: The Miami Dolphins hosted the New York Giants at Wembley Stadium in London, England on October 28, 2007. The Giants defeated the Dolphins 13–10 in the first regular season NFL game held outside North America. The first 40,000 tickets sold out for the game in the first 90 minutes of sales.[3][16] The game was aired regionally on Fox.

text: A single game was held in London each year through 2011. Like the 2007 game, each was televised nationally in England, but only regionally in the United States.

text: Multi-year deals and multi-game years (2012–2015)[edit]

text: On January 20, 2012, NFL commissioner Roger Goodell confirmed that from 2012 to 2014, the St. Louis Rams would play one of their eight home games each year at Wembley Stadium.[17] However, on August 13, 2012, the team announced that they would not play the proposed games in London in 2013 and 2014, only the 2012 game against the New England Patriots that had already been scheduled.[18] Goodell had previously proposed the use of certain regular teams in the International Series in an effort to build a fan base for those teams, raising the prospect of a permanent NFL team on the British Isles.

text: An NFL bid to become anchor tenants of London's Olympic Stadium failed.[19]

text: The Jacksonville Jaguars took the Rams' place and agreed to play a home game in London for four seasons from 2013 through 2016. With this announcement also came news that the NFL were working to schedule a second UK game from 2013 onwards.[20] (The Jaguars later extended their agreement with Wembley Stadium through 2020 in an agreement announced in October 2015.)[2] In October 2012, it was announced that the Jaguars would host the San Francisco 49ers and the Minnesota Vikings would host the Pittsburgh Steelers, marking the first season with multiple games in London.

text: The NFL played three international games for the 2014 season, including one game with an earlier 9:30 am ET start, which allowed for an afternoon game, rather than an evening game, in London. This timeslot proved to be successful as all London games in 2015 and 2016 were also scheduled at 9:30 am ET. Three games were again scheduled in 2015 – including the series' first division game between the New York Jets and the Miami Dolphins.

text: Long-term deals and new stadiums (2016–present)[edit]

text: Between 2018 and 2027, at least two games each year will be played at Tottenham Hotspur's new stadium in Northumberland Park as part of an agreement between the NFL and Tottenham Hotspur. On October 7, 2015, the league announced that a resolution had been passed to schedule international games at additional locations to London until 2025.[10] On October 22, 2015 it was confirmed that at least two games per year will remain at Wembley until through least 2020 and that the Jacksonville Jaguars will continue to play a home game there annually throughout the agreement.[21] Subsequent to this, on November 3, 2015, the NFL announced that it had reached an agreement with England's Rugby Football Union to host regular season games at Twickenham Stadium from 2016 onwards, with a minimum of three, and as many as five games to be held over the initial agreement period of three years.[22]

text: In 2016, the Oakland Raiders hosted the Houston Texans on November 21 at Estadio Azteca in Mexico City, at the first International Series game played in Mexico. Previously, the Houston Texans and Pittsburgh Steelers had expressed interest in playing a game at Estadio Azteca (or possibly Estadio Olímpico Universitario) in Mexico City, although Houston was not prepared to give up a home date.[23][24] It was televised as part of ESPN's Monday Night Football, marking the first MNF game broadcast from outside the United States, and ESPN's second broadcast from Mexico City since the 2005 Fútbol Americano game (which was televised as part of ESPN's former incarnation of Sunday Night Football).[25][26]

text: The 2016 game between the Redskins and Bengals was the first International Series game to go into overtime, the first to end as a tie, and had at the time the highest attendance of all International Series games (later surpassed by the 2017 game between the Ravens and Jaguars, which drew an attendance of 84,592).

text: For 2017 the series underwent a partial rebrand with four games in London branded as NFL London Games[27] and one game in Mexico City branded as the NFL Mexico Game.[28][not in citation given]

text: Game history[edit]

text:
Year
Date
Designated
visitor
Score
Designated
home team
Score
City
Stadium
Attn.
Pre-game show
Television

2007
October 28
New York Giants
13
Miami Dolphins
10
 London
Wembley Stadium
81,176
The Feeling[29]
Fox

2008
October 26
San Diego Chargers
32
New Orleans Saints
37
 London
Wembley Stadium
83,226
Stereophonics[29]
CBS

2009
October 25
New England Patriots
35
Tampa Bay Buccaneers
7
 London
Wembley Stadium
84,254
Calvin Harris[29]
CBS

2010
October 31
Denver Broncos
16
San Francisco 49ers
24
 London
Wembley Stadium
83,941
My Chemical Romance[29]
CBS

2011
October 23
Chicago Bears
24
Tampa Bay Buccaneers
18
 London
Wembley Stadium
76,981
Goo Goo Dolls[29]
Fox

2012
October 28
New England Patriots
45
St. Louis Rams
7
 London
Wembley Stadium
84,004
Train[30]
CBS

2013
September 29
Pittsburgh Steelers
27
Minnesota Vikings
34
 London
Wembley Stadium
83,518
Tinie Tempah[31]
CBS

October 27
San Francisco 49ers
42
Jacksonville Jaguars
10
 London
Wembley Stadium
83,559
Ne-Yo[32]
Fox

2014
September 28[33]
Miami Dolphins
38
Oakland Raiders
14
 London
Wembley Stadium
83,436
Def Leppard[34]
CBS

October 26[33]
Detroit Lions
22
Atlanta Falcons
21
 London
Wembley Stadium
83,532
Little Mix[35]
Fox

November 9[33]
Dallas Cowboys
31
Jacksonville Jaguars
17
 London
Wembley Stadium
83,603
Joss Stone[36]
Fox

2015
October 4
New York Jets
27
Miami Dolphins
14
 London
Wembley Stadium
83,986
None
CBS

October 25
Buffalo Bills
31
Jacksonville Jaguars
34
 London
Wembley Stadium
84,021
The Ohio State University Marching Band[37]
Yahoo! Sports[38][A]

November 1
Detroit Lions
10
Kansas City Chiefs
45
 London
Wembley Stadium
83,624
Madness[39]
Fox[40]

2016
October 2
Indianapolis Colts
27
Jacksonville Jaguars
30
 London
Wembley Stadium
83,798
Robin Thicke
CBS

October 23
New York Giants
17
Los Angeles Rams
10
 London
Twickenham Stadium
74,121
Craig David[41]
NFLN[B]

October 30
Washington Redskins
27
Cincinnati Bengals
27
 London
Wembley Stadium
84,448
Wessex Male Choir & US Army Europe band
Fox

November 21
Houston Texans
20
Oakland Raiders
27
 Mexico City
Estadio Azteca
76,473
None
ESPN[C]

2017
September 24
Baltimore Ravens
7
Jacksonville Jaguars
44
 London
Wembley Stadium
84,592
None
Verizon, Yahoo! Sports

October 1
New Orleans Saints
20
Miami Dolphins
0
 London
Wembley Stadium
84,423
None
Fox

October 22
Arizona Cardinals
0
Los Angeles Rams
33
 London
Twickenham Stadium
73,736
None
Fox

October 29
Minnesota Vikings
33
Cleveland Browns
16
 London
Twickenham Stadium
74,237
None
NFLN

November 19
New England Patriots
33
Oakland Raiders
8
 Mexico City
Estadio Azteca
77,357
None
CBS

text: Standings[edit]

text:
Team
Appearances
W–L–T
Pct
Most recent appearance

New England Patriots
3
3–0–0
1.000
2017

Minnesota Vikings
2
2–0–0
1.000
2017

New Orleans Saints
2
2–0–0
1.000
2017

New York Giants
2
2–0–0
1.000
2016

San Francisco 49ers
2
2–0–0
1.000
2013

Chicago Bears
1
1–0–0
1.000
2011

Dallas Cowboys
1
1–0–0
1.000
2014

Kansas City Chiefs
1
1–0–0
1.000
2015

New York Jets
1
1–0–0
1.000
2015

Jacksonville Jaguars
5
3–2–0
.600
2017

Detroit Lions
2
1–1–0
.500
2015

Cincinnati Bengals
1
0–0–1
.500
2016

Washington Redskins
1
0–0–1
.500
2016

Oakland Raiders
3
1–2–0
.333
2017

St.Louis/Los Angeles Rams
3
1–2–0
.333
2017

Miami Dolphins
4
1–3–0
.250
2017

Arizona Cardinals
1
0–1–0
.000
2017

Atlanta Falcons
1
0–1–0
.000
2014

Baltimore Ravens
1
0–1–0
.000
2017

Buffalo Bills
1
0–1–0
.000
2015

Cleveland Browns
1
0–1–0
.000
2017

Denver Broncos
1
0–1–0
.000
2010

Houston Texans
1
0–1–0
.000
2016

Indianapolis Colts
1
0–1–0
.000
2016

Pittsburgh Steelers
1
0–1–0
.000
2013

San Diego/Los Angeles Chargers
1
0–1–0
.000
2008

Tampa Bay Buccaneers
2
0–2–0
.000
2011

text: Teams with no International Series appearances[edit]

text: As of the 2017 season, five of the 32 teams have not played in the International Series: The Carolina Panthers, Green Bay Packers, Philadelphia Eagles, Seattle Seahawks and Tennessee Titans. Seattle played a game outside the United States in 2012, but it was not part of the International Series. The Houston Texans have never played in London, but played an International Series game in Mexico City.

text: Future[edit]

text: Possible teams[edit]

text: Before the Chargers and Saints were announced to be the two teams headed to London in 2008, the Kansas City Chiefs, Tampa Bay Buccaneers and Seattle Seahawks were identified as teams interested in playing a future game in Europe.[42] In particular, Seattle, which had been slated to play the China Bowl before that game was cancelled, had shown a continued interest in playing a game abroad. Tampa Bay eventually got the 2009 and 2011 games, while Kansas City got one of the games in 2015. Both the New York Giants and Miami Dolphins have similarly expressed interest in returning to the UK in a rematch of 2007's international series.[citation needed] There have also been negotiations between the Pittsburgh Steelers (whose owner, Dan Rooney, was the United States Ambassador to Ireland) and Croke Park in Dublin, Republic of Ireland for a potential International Series game there.[43]

text: The Rams and the Buccaneers are both under co-ownership with teams in the Premier League, the top association football league in England; the Rams are under co-ownership with Arsenal Football Club of London, while the Buccaneers are co-owned with Manchester United. From 2006 until 2012, the Cleveland Browns were also under co-ownership with Aston Villa before Randy Lerner sold the Browns to Jimmy Haslam, and since 2013, Jacksonville Jaguars owner Shahid Khan also owns Fulham F.C., which were at the time in the Premier League, but have since been relegated to the Football League Championship.[44]

text: As part of their application to relocate to Los Angeles for the 2016 season, the Rams have volunteered to play in the International Series at least once a year while occupying the Los Angeles Memorial Coliseum for three seasons until their new stadium in Inglewood, California, opens in 2020.[45]

text: In 2016, Steelers president Art Rooney II stated that the team may have to give up a home game to play in Mexico City in the future, with the team stating that they would require permission from the Sports & Exhibition Authority of Pittsburgh and Allegheny County to do so, as their lease at Heinz Field explicitly requires the team to play ten home games (8 in the regular season, 2 preseason) at that stadium per season.[46][47]

text: The Packers' president and CEO Mark Murphy said the team will not give up a home game at Lambeau Field to play internationally. The Jaguars also declined to give up a home game against the Packers since the well-traveled fans would certainly lead to sold out crowd in Jacksonville.[48]

text: Future markets[edit]

text: Within the United Kingdom, aside from London, potential candidates for hosting NFL games include Millennium Stadium in Cardiff, Wales;[49] and Murrayfield in Edinburgh, Scotland.[50] Other prime locations to get games would be Croke Park in the Republic of Ireland (Ireland has already hosted the NCAA Emerald Isle Classic, a college football game similar to the International Series, and Steelers owner Dan Rooney was once an ambassador to the country), Germany (which hosted five teams in NFL Europa at the time of its dissolution in 2007 and whose national American Football team won both the 2010 and 2014 European Championship), China;[51] Brazil,[52][51] Australia[53] and Canada (Canada hosted the Bills Toronto Series from 2008 to 2013). Mark Waller, NFL senior vice president, international, doubts Asia or Australia would be targeted because of the travel concerns, but he does not dismiss anything.[5] Until 2015 the Jacksonville Jaguars' agreement stipulated that all future International Series games in the current agreement would take place at Wembley, ruling out other locations.[54] a The league had plans to host a game in China in 2018 with the Los Angeles Rams as the home team against the San Francisco 49ers.[55] However, the game in Germany was scrapped in favor of adding a 4th game in London in 2017. The potential game in China was postponed (the third time the league has postponed playing in China, following failed attempts in 2007 and 2009) to being aimed for the 2019 season to coincide with the league's 100th anniversary.[56][57] The league has indicated that a China game is still not certain because of the lack of a fan base in the country (NFL games are played in the middle of the night in China).[58]

text: In regard to future games outside London or Mexico, Mark Waller stated in 2017 that the only holdup with games in Germany was what he dubbed "an inventory management thing. How many games do we actually have?"[58]

text: Potential London team[edit]

text: The success of the International Series has led the NFL to focus its global expansion aims on the possibility of having a full franchise located in London. While no set timetable has been set, the league is working on a goal of establishing a franchise by around 2021, assuming they have all the necessary arrangements in place. It is believed this would be most likely achieved through relocation of an existing franchise, with the Jaguars most often linked due to their association with the International Series, even though their owner is said to be content with the current arrangement and other franchises have more reason to move (the most often cited being poor on-field performance, lack of fans and uncertainty over stadium leases). The NFL has used some of the specific arrangements for the International Series games as a test bed for predicting how a London franchise could be made effective from a logistical and competitiveness standpoint.[59][60]