document_title: 67th Academy Awards

question_text: who did forrest gump beat for best picture

root

text: 67th Academy Awards

text: Winners and nominees[edit]

text: The nominees for the 67th Academy Awards were announced on February 14, 1995, at the Samuel Goldwyn Theater in Beverly Hills, California, by Arthur Hiller, the president of the Academy, and actress Angela Bassett.[6] Forrest Gump earned the most nominations with thirteen. It was the most nominated film since 1966's Who's Afraid of Virginia Woolf? and the fifth film to earn that many nominations.[7] Bullets over Broadway, The Shawshank Redemption, Pulp Fiction tied for second with seven each.[8]

tag: p

text: The winners were announced during the awards ceremony on March 27, 1995. For only the second time in Oscar history, three of the four acting winners were previous winners. The 11th ceremony held in 1939 previously accomplished this feat.[9] Best Actor winner Tom Hanks became the fifth performer to win consecutive acting Oscars and the second person to do so in the aforementioned category since Spencer Tracy won for his performances in Captains Courageous and Boys Town.[10][11] He also was the sixth person to win Best Actor twice.[12] Best Supporting Actress winner Dianne Wiest became the first person to win two acting Oscars for performances in films directed by the same person. She first won in that same category for her role in Woody Allen's 1986 film Hannah and Her Sisters.[13] Franz Kafka's It's a Wonderful Life and Trevor's joint win in the Best Live Action Short category marked the fifth occurrence of a tie in Oscar history.[14]

text: Awards[edit]

text: Winners are listed first, highlighted in boldface, and indicated with a double dagger ().[15]

text:
Best Picture

Forrest Gump – Wendy Finerman, Steve Tisch and Steve Starkey, producers

Four Weddings and a Funeral – Duncan Kenworthy, producer
Pulp Fiction – Lawrence Bender, producer
Quiz Show – Robert Redford, Michael Jacobs, Julian Krainin and Michael Nozik, producers
The Shawshank Redemption – Niki Marvin, producer

Best Director

Robert Zemeckis – Forrest Gump

Woody Allen – Bullets over Broadway
Quentin Tarantino – Pulp Fiction
Robert Redford – Quiz Show
Krzysztof Kieślowski – Three Colors: Red

Best Actor

Tom Hanks – Forrest Gump as Forrest Gump

Morgan Freeman – The Shawshank Redemption as Ellis Boyd "Red" Redding
Nigel Hawthorne – The Madness of King George as King George III of the United Kingdom
Paul Newman – Nobody's Fool as Donald "Sully" Sullivan
John Travolta – Pulp Fiction as Vincent Vega

Best Actress

Jessica Lange – Blue Sky as Carly Marshall

Jodie Foster – Nell as Nell Kellty
Miranda Richardson – Tom & Viv as Vivienne Haigh-Wood
Winona Ryder – Little Women as Josephine "Jo" March
Susan Sarandon – The Client as Regina "Reggie" Love

Best Supporting Actor

Martin Landau – Ed Wood as Béla Lugosi

Samuel L. Jackson – Pulp Fiction as Jules Winnfield
Chazz Palminteri – Bullets over Broadway as Cheech
Paul Scofield – Quiz Show as Mark Van Doren
Gary Sinise – Forrest Gump as Lt. Dan Taylor

Best Supporting Actress

Dianne Wiest – Bullets over Broadway as Helen Sinclair

Rosemary Harris – Tom & Viv as Rose Robinson Haigh-Wood
Helen Mirren – The Madness of King George as Queen Charlotte
Uma Thurman – Pulp Fiction as Mia Wallace
Jennifer Tilly – Bullets over Broadway as Olive Neal

Best Screenplay Written Directly for the Screen

Pulp Fiction – Quentin Tarantino and Roger Avary

Bullets over Broadway – Woody Allen and Douglas McGrath
Four Weddings and a Funeral – Richard Curtis
Heavenly Creatures – Peter Jackson and Fran Walsh
Three Colors: Red – Krzysztof Kieślowski and Krzysztof Piesiewicz

Best Screenplay Based on Material Previously Produced or Published

Forrest Gump – Eric Roth based on the novel by Winston Groom

The Madness of King George – Alan Bennett based on his stage play The Madness of George III
Nobody's Fool – Robert Benton based on the novel by Richard Russo
Quiz Show – Paul Attanasio based on the book Remembering America: A Voice from the Sixties by Richard N. Goodwin
The Shawshank Redemption – Frank Darabont based on the short novel "Rita Hayworth and Shawshank Redemption" by Stephen King

Best Foreign Language Film

Burnt by the Sun (Russia) in Russian – Nikita Mikhalkov, director

Before the Rain (Macedonia) in Macedonian, Albanian, and English – Milcho Manchevski, director
Eat Drink Man Woman (Taiwan) in Mandarin Chinese – Ang Lee, director
Farinelli Il Castrato (Belgium) in French and Italian – Gérard Corbiau, director
Strawberry and Chocolate (Cuba) in Spanish – Tomás Gutiérrez Alea and Juan Carlos Tabío, directors

Best Documentary Feature

Maya Lin: A Strong Clear Vision – Freida Lee Mock and Terry Sanders

Complaints of a Dutiful Daughter – Deborah Hoffmann
D-Day Remembered – Charles Guggenheim
Freedom on My Mind – Connie Field and Marilyn Mulford
A Great Day in Harlem – Jean Bach

Best Documentary Short Subject

A Time for Justice – Charles Guggenheim

Blues Highway – Vince DiPersio and Bill Guttentag
89mm od Europy – Marcel Lozinski
School of the Americas Assassins – Robert Richter
Straight from the Heart – Dee Mosbacher and Frances Reid

Best Live Action Short Film

Franz Kafka's It's a Wonderful Life – Peter Capaldi and Ruth Kenley-Letts
Trevor – Peggy Rajski and Randy Stone

Kangaroo Court – Sean Astin and Christine Astin
On Hope – JoBeth Williams and Michele McGuire
Syrup – Paul Unwin and Nick Vivian

Best Animated Short Film

Bob's Birthday – Alison Snowden and David Fine

The Big Story – Tim Watts and David Stoten
The Janitor – Vanessa Schwartz
The Monk and the Fish – Michael Dudok de Wit
Triangle – Erica Russell

Best Original Score

The Lion King – Hans Zimmer

Forrest Gump – Alan Silvestri
Interview with the Vampire – Elliot Goldenthal
Little Women – Thomas Newman
The Shawshank Redemption – Thomas Newman

Best Original Song

"Can You Feel the Love Tonight" from The Lion King – Music by Elton John; Lyrics by Tim Rice

"Look What Love Has Done" from Junior – Music and Lyrics by Carole Bayer Sager, James Newton Howard, James Ingram and Patty Smyth
"Circle of Life" from The Lion King – Music by Elton John; Lyrics by Tim Rice
"Hakuna Matata" from The Lion King – Music by Elton John; Lyrics by Tim Rice
"Make Up Your Mind" from The Paper – Music and Lyrics by Randy Newman

Best Sound

Speed – Gregg Landaker, Steve Maslow, Bob Beemer and David MacMillan

Clear and Present Danger – Donald O. Mitchell, Michael Herbick, Frank A. Montaño and Art Rochester
Legends of the Fall – Paul Massey, David E. Campbell, Chris David and Douglas Ganton
Forrest Gump – Randy Thom, Tom Johnson, Dennis S. Sands and William B. Kaplan
The Shawshank Redemption – Robert J. Litt, Elliot Tyson, Michael Herbick and Willie D. Burton

Best Sound Effects Editing

Speed – Stephen Hunter Flick

Clear and Present Danger – Bruce Stambler and John Leveque
Forrest Gump – Gloria Borders and Randy Thom

Best Art Direction

The Madness of King George – Art Direction: Ken Adam; Set Decoration: Carolyn Scott

Bullets over Broadway – Art Direction: Santo Loquasto; Set Decoration: Susan Bode
Forrest Gump – Art Direction: Rick Carter; Set Decoration: Nancy Haigh
Interview with the Vampire – Art Direction: Dante Ferretti; Set Decoration: Francesca Lo Schiavo
Legends of the Fall – Art Direction: Lilly Kilvert; Set Decoration: Dorree Cooper

Best Makeup

Ed Wood – Ve Neill, Rick Baker and Yolanda Toussieng

Mary Shelley's Frankenstein – Daniel Parker, Paul Engelen and Carol Hemming
Forrest Gump – Daniel Striepeke, Hallie D'Amore and Judith A. Cory

Best Costume Design

The Adventures of Priscilla, Queen of the Desert – Lizzy Gardiner and Tim Chappel

Maverick – April Ferry
Little Women – Colleen Atwood
Bullets over Broadway – Jeffrey Kurland
Queen Margot – Moidele Bickel

Best Cinematography

Legends of the Fall – John Toll

Forrest Gump – Don Burgess
The Shawshank Redemption – Roger Deakins
Three Colors: Red – Piotr Sobocinski
Wyatt Earp – Owen Roizman

Best Film Editing

Forrest Gump – Arthur Schmidt

Hoop Dreams – Frederick Marx, Steve James and Bill Haugse
Speed – John Wright
The Shawshank Redemption – Richard Francis-Bruce
Pulp Fiction – Sally Menke

Best Visual Effects

Forrest Gump – Ken Ralston, George Murphy, Stephen Rosenbaum and Allen Hall

True Lies – John Bruno, Thomas L. Fisher, Jacques Stroweis and Patrick McClung
The Mask – Scott Squires, Steve Spaz Williams, Tom Bertino and Jon Farhat

tag: table

text: Academy Honorary Award[edit]

text: Michelangelo Antonioni[16]

tag: ul

text: Jean Hersholt Humanitarian Award[edit]

text: Quincy Jones[17]

text: Irving G. Thalberg Memorial Award[edit]

text: Clint Eastwood[18]

text: Multiple nominations and awards[edit]

text:
The following 17 films received multiple nominations:

Nominations
Film

13
Forrest Gump

7
Bullets over Broadway

The Shawshank Redemption

Pulp Fiction

4
The Lion King

The Madness of King George

Quiz Show

3
Legends of the Fall

Little Women

Speed

Three Colors: Red

2
Clear and Present Danger

Ed Wood

Four Weddings and a Funeral

Interview with the Vampire

Nobody's Fool

Tom & Viv

The following four films received multiple awards:

Awards
Film

6
Forrest Gump

2
Ed Wood

The Lion King

Speed

text: Presenters and performers[edit]

text: The following individuals, in order of appearance, presented awards or performed musical numbers.[19]

text: Presenters[edit]

text:
Name(s)
Role

Thomas, RandiRandi Thomas
Announcer for the 67th annual Academy Awards

Hiller, ArthurArthur Hiller (AMPAS President)
Gave opening remarks welcoming guests to the awards ceremony

Jones, Tommy LeeTommy Lee Jones
Presenter of the award for Best Supporting Actress

Stone, SharonSharon Stone
Presenter of the award for Best Costume Design

Reeves, KeanuKeanu Reeves
Presenter of the film Pulp Fiction on the Best Picture segment

Russo, ReneRene Russo
Introducer of the performance of Best Original Song nominee "Make Up Your Mind"

Thurman, UmaUma Thurman
Presenter of the award for Best Makeup

Parker, Sarah JessicaSarah Jessica Parker
Presenter of the award for Best Sound Effects Editing

Martin, SteveSteve Martin
Presenter of the award for Best Film Editing

Field, SallySally Field
Presenter of the film Forrest Gump on the Best Picture segment

Paquin, AnnaAnna Paquin
Presenter of the award for Best Supporting Actor

Dillon, MattMatt Dillon
Introducer of the performance of Best Original Song nominee "Look What Love Has Done"

Winfrey, OprahOprah Winfrey
Presenter of the Jean Hersholt Humanitarian Award to Quincy Jones

Newman, PaulPaul Newman
Presenter of the award for Best Cinematography

Curtis, Jamie LeeJamie Lee Curtis
Presenter of the segment of the Academy Awards for Technical Achievement and the Gordon E. Sawyer Award

Allen, TimTim Allen
Presenter of the award for Best Live Action Short Film

Bugs Bunny, Bugs Bunny and
Daffy Duck
Presenters of the award for Best Animated Short Film

Peck, GregoryGregory Peck
Presenter of the film Quiz Show on the Best Picture segment

Robbins, TimTim Robbins and
Susan Sarandon
Presenters of the award for Best Art Direction

Seagal, StevenSteven Seagal
Presenter of the award for Best Visual Effects

Bassett, AngelaAngela Bassett
Introducer of the performance of the Best Original Song nominees "Circle of Life" and "Hakuna Matata"

Jackson, Samuel L.Samuel L. Jackson and
John Travolta
Presenters of the awards for Best Documentary Short Subject and Best Documentary Feature

Barkin, EllenEllen Barkin
Presenter if the award for Best Sound

Nicholson, JackJack Nicholson
Presenter of the Honorary Academy Award to Michelangelo Antonioni

Grant, HughHugh Grant and
Andie MacDowell
Presenters of the award for Best Original Score

Ormond, JuliaJulia Ormond
Introducer of the performance of Best Original Song nominee "Can You Feel the Love Tonight"

Stallone, SylvesterSylvester Stallone
Presenter of the award for Best Original Song

Irons, JeremyJeremy Irons
Presenter of the award for Best Foreign Language Film

Bening, AnnetteAnnette Bening
Presenter of the film Four Weddings and a Funeral on the Best Picture segment

Hopkins, AnthonyAnthony Hopkins
Presenter of the awards for Best Screenplay Written Directly for the Screen and Best Screenplay Based on Material Previously Produced or Published

Weaver, SigourneySigourney Weaver
Presenter of the In Memoriam tribute

Schwarzenegger, ArnoldArnold Schwarzenegger
Presenter of the Irving G. Thalberg Memorial Award to Clint Eastwood

Hanks, TomTom Hanks
Presenter of the award for Best Actress

Washington, DenzelDenzel Washington
Presenter of the film The Shawshank Redemption on the Best Picture segment

Hunter, HollyHolly Hunter
Presenter of the award for Best Actor

Spielberg, StevenSteven Spielberg
Presenter of the award for Best Director

De Niro, RobertRobert De Niro and
Al Pacino
Presenters of the award for Best Picture

text: Performers[edit]

text:
Name(s)
Role
Performed

Conti, BillBill Conti
Musical arranger and Conductor
Orchestral

Curry, TimTim Curry,
Kathy Najimy and
Mara Wilson
Performers
"Make 'Em Laugh" from Singin' in the Rain during the opening number

Newman, RandyRandy Newman
Performer
"Make Up Your Mind" from The Paper

Smyth, PattyPatty Smyth
Performer
"Look What Love Has Done" from Junior

Battle, HintonHinton Battle
Performer
"Circle of Life" from The Lion King

Grier, David AlanDavid Alan Grier and
Ernie Sabella
Performers
"Hakuna Matata" from The Lion King

John, EltonElton John
Performer
"Can You Feel the Love Tonight" from The Lion King

text: Ceremony information[edit]

text: Despite earning critical praise for last year's ceremony, actress and comedian Whoopi Goldberg announced that she would not host the ceremony for a second consecutive year saying, "I've had a great time, but I've done it."[20] She added that her role in the upcoming movie Bogus would jeopardize her busy schedule.[21] In addition, her Comic Relief co-host and veteran Oscar emcee Billy Crystal also declined to host the show citing his commitment to his film Forget Paris which he directed, written, starred, and produced.[21] Producer Gil Cates hired actor, comedian, and Late Show host David Letterman as host of the 1995 ceremony.[22] Cates explained his decision to hire the late night talk show host saying, "He's punctual, he's well groomed, and he knows how to keep an audience awake."[23] ABC entertainment president Ted Harbert also approved of the choice stating, "If Dave likes the experience, this could be a great answer for the show, just the way Johnny Carson did the show for many years."[24]

text: As with previous ceremonies he produced, Cates centered the show around a theme. This year, he christened the show with the theme "Comedy and the Movies" commenting "This year, because of the earthquakes and floods and Bosnia and Rwanda, it was a (terrible) year, and therefore seemed a great year to celebrate what movies can really give us, which is an opportunity to go for two hours in the dark and laugh together. Even with television, it's not a community experience unless you have a very big family. So it's unique to movies and theater, and it's this very human thing."[23][25] In tandem with the theme, the ceremony's opening number featured a montage produced by Chuck Workman featuring scenes of humorous moments from a variety of both comedic and non-comedic films. During that segment, actors Tim Curry, Kathy Najimy, and Mara Wilson performing a modified version of the song "Make 'Em Laugh" from the film Singin' in the Rain.[26] Several collections of film clips were shown throughout the broadcast highlighting various aspects of comedy such as troupes and dialogue.[27]

text: Several other people were also involved with the production of the ceremony. Bill Conti served as musical director and conductor for the event.[28] Production designer Roy Christopher designed a new stage for the ceremony which prominently featured a proscenium which was designed to resemble the iris of a camera.[29] Moreover, Christopher commented that the iris motif was inspired by the iris shot prominently featured in several comedic films and shorts.[25] Dancer Debbie Allen choreographed The Lion King musical number.[30] Actors Alec Baldwin, Jack Lemmon, Steve Martin, and Rosie O'Donnell participated in a pre-taped comedic sketch lampooning auditions for a role in Cabin Boy, the film in which Letterman made his film acting debut.[31]

text: Box office performance of nominees[edit]

text: At the time of the nominations announcement on February 14, the combined gross of the five Best Picture nominees at the US box office was $468 million, with an average of $93.6 million per film.[32] Forrest Gump was the highest earner among the Best Picture nominees with $300 million in domestic box office receipts. The film was followed by Pulp Fiction ($76 million), Four Weddings and a Funeral ($52 million), The Shawshank Redemption ($16 million) and Quiz Show ($21 million).[32]

text: Of the top 50 grossing movies of the year, 44 nominations went to 14 films on the list. Only Forrest Gump (2nd), The Client (12th), Pulp Fiction (14th), Four Weddings and a Funeral (20th), and Nell (41st) were nominated for directing, acting, screenwriting, or Best Picture. The other top 50 box office hits that earned nominations were The Lion King (1st), True Lies (3rd), Clear and Present Danger (6th), Speed (7th), The Mask (8th), Interview with the Vampire (10th), Maverick (11th), Legends of the Fall (27th) and Little Women (31st).[33]

text: Critical reception[edit]

text: The show received a negative reception from most media publications. John J. O'Connor of The New York Times wrote, "Instead of keeping things moving smartly, Mr. Letterman stuck with his late-night shtick, too often leaving the show's pacing in shambles." He also added, "Within the show's first half-hour, with no strong hand at the helm, the audience simply sagged. Applause died long before most winners even reached the podium."[34] Television critic John Carman of the San Francisco Chronicle commented, "Last night on ABC, no one got it. Hollywood's big event was wonderfully littered by technical errors, bad taste, low comedy and lower necklines." Moreover, he remarked, "Letterman, the rookie host, was off his game in his opening monologue. Maybe it was the big auditorium. Or a billion people in the television audience."[35] Film critic Andrew Sarris of The New York Observer quipped, "Not only was he not witty or funny, he never knew when to let bad enough alone." He concluded, "As the evening dragged on, it became obvious that Mr. Letterman had no gift for ad-libbing through the few unpredictable opportunities in a 'live' event like the Oscars."[36] People named the ceremony as one of the worst television broadcasts of 1995, remarking that Letterman was "a cranky skeptic [who] visit[ed] the high temple of show business, mock[ed] the gold-plated statuary and display[ed] insufficient reverence for the gods. (Tom Hanks assisting with a stupid pet trick?!) We know who the winner wasn't."[37]

text: Some media outlets received the broadcast more positively. Television critic Joyce Millman of The San Francisco Examiner noted, "In his first stint as host of the Oscar telecast, David Letterman did the impossible—he made something entertaining from what is traditionally the most boring three hours of TV this side of a test pattern."[38] The Buffalo News columnist Alan Pergament praised Letterman's performance as host writing "David Letterman was a box full of chocolates on an Oscar night that was empty of much emotion until the expected Forrest Gump sweep in the final 15 minutes." He also added that despite a lack of surprises amongst the awards, the emotional and unexpected humorous moments provided depth and entertainment throughout the evening.[39] Hal Boedeker of the Orlando Sentinel gave an average review of the ceremony but singled out Letterman noting that he "proved Monday night that he's among Oscar's Top 10 Hosts. He's definitely at the top of the list with Johnny Carson, Billy Crystal and Bob Hope."[40]

text: Ratings and reception[edit]

text: The American telecast on ABC drew in an average of 48.28 million people over its length, which was a 7% increase from the previous year's ceremony.[41][42] An estimated 81 million total viewers watched all or part of the awards.[43] The show also drew higher Nielsen ratings compared to the previous ceremony with 32.5% of households watching over a 53 share.[42][44] In addition, it also drew a higher 18–49 demo rating with a 21.7 rating among viewers in that demographic.[44] It was the most watched Oscars telecast since the 55th ceremony held in 1983.[45]

text: In July 1995, the ceremony presentation received six nominations at the 47th Primetime Emmys.[46] Two months later, the ceremony won one of those nominations for Jeff Margolis's direction of the telecast.[47][48]

text: In Memoriam[edit]

text: The annual In Memoriam tribute, presented by actress Sigourney Weaver, honored the following people:[31]

text:
Fernando Rey
Cameron Mitchell
Barry Sullivan
Giulietta Masina
Peter Cushing
Frank Wells
Noah Beery, Jr.
Woody Strode
Jessica Tandy
Tom Ewell
Lionel Stander
Jule Styne
Arthur Krim
Walter Lantz
Ferdinando Scarfiotti

Robert Bolt
Donald Pleasence
Harry Saltzman
Terence Young
Burt Lancaster
Henry Mancini
Martha Raye
George Peppard
Gilbert Roland
Rossano Brazzi
Cab Calloway
Mildred Natwick
Macdonald Carey
David Wayne
Raúl Juliá


document_title: X-ray filter

question_text: the function of an x ray beam filter in diagnostic radiology is to

text: X-ray filter

text: Applications[edit]

text: For example, a copper X-ray source may preferentially produce a beam of x-rays with wavelengths 154 and 139 picometres. Nickel has an absorption edge at 149 pm, between the two copper lines. Thus, using nickel as a filter for copper would result in the absorption of the slightly higher energy 139 pm x-rays, while letting the 154 pm rays through without a significant decrease in intensity. Thus, a copper X-ray source with a nickel filter can produce a nearly monochromatic X-ray beam with photons of mostly 154 pm.

text: For medical purposes, X-ray filters are used to selectively attenuate, or block out, low-energy rays during x-ray imaging (radiography). Low energy x-rays (less than 30 keV) contribute little to the resultant image as they are heavily absorbed by the patient's soft tissues (particularly the skin). Additionally, this absorption adds to the risk of stochastic (e.g. cancer) or non stochastic radiation effects (e.g. tissue reactions) in the patient. Thus, it is favorable to remove these low energy X-rays from the incident light beam. X-ray filtration may be inherent due to the X-ray tube and housing material itself or added from additional sheets of filter material. The minimum filtration used is usually 2.5 mm aluminium (Al) equivalent, although there is an increasing trend to use greater filtration. Manufacturers of modern fluoroscopy equipment utilize a system of adding a variable thickness of copper (Cu) filtration according to patient thickness. This typically ranges from 0.1 to 0.9 mm Cu.

text: X-ray filters are also used for X-ray crystallography, in determinations of the interatomic spaces of crystalline solids. These lattice spacings can be determined using Bragg diffraction, but this technique requires scans to be done with approximately monochromatic X-ray beams. Thus, filter set ups like the copper nickel system described above are used to allow only a single X-ray wavelength to penetrate through to a target crystal, allowing the resulting scattering to determine the diffraction distance.

text: Various elemental effects[edit]

text: Suitable for X-ray crystallography:

text:
Zirconium - Absorbs Bremsstrahlung & K-Beta.
Iron - Absorbs the entire spectra.
Molybdenum - Absorbs Bremsstrahlung - Leaving K-Beta & K-..
Aluminium - 'Pinches' Bremsstrahlung* & Removes 3rd Generation peaks.
Silver - Same as Aluminium, But to greater extent.
Indium - Same as Iron, But to lesser extent.
Copper - Same as Aluminium, Leaving only 1st Generation Peaks.

text: Suitable for Radiography:

text:
Molybdenum - Used in Mammography
Rhodium - Used in Mammography with Rhodium anodes
Aluminium - Used in general radiography x-ray tubes
Copper - Used in general radiography - especially in paediatric applications.
Silver - Used in Mammography with tungsten anode
Tantalum - Used in fluoroscopy applications with tungsten anodes
Niobium - Used in radiography and dental radiography with tungsten anodes
Erbium - Used in radiography with tungsten anodes

text: Notes:

text:
- Bremsstrahlung pinching is due to the atomic mass. The denser the atom, the higher the X-Ray Absorption. Only the higher energy X-Rays pass through the filter, appearing as if the Bremsstrahlung continuum had been pinched.
- In this case, Mo appears to leave K-Alpha and K-Beta alone while absorbing the Bremsstrahlung. This is due to Mo absorbing all of the spectra's energy, but in doing so produces the same characteristic peaks as generated by the target.

text: Further reading[edit]

text: B.D. Cullity & S.R. Stock, Elements of X-Ray Diffraction, 3rd Ed., Prentice-Hall Inc., 2001, p 167-171, ISBN 0-201-61091-4.


document_title: Ivy Dickens

question_text: when do the van der woodsen's find out about ivy

question_tokens: when do the van der woodsen 's find out about ivy

text: Ivy Dickens

text: Television series[edit]

text: Casting and characterization[edit]

text: Introduced in the fourth season, DeFer was set to join the cast as Carol's daughter and Serena and Eric's cousin, Charlie Rhodes. DeFer's contract with the show also included the possibility of her becoming a series regular for the fifth season.[3] She first auditioned for the role of Raina Thorpe. However, that role went to Tika Sumpter. DeFer was called back for the role of Charlie Rhodes, with the show's writers stating that they were writing something new for her character.[1] DeFer had also previously worked with Gossip Girl executive producers, Stephanie Savage and Joe Lazarov as well as Penn Badgley in The Mountain.[4]

text: Executive producer Joshua Safran later commented on her introduction and the perception that the character brought to the show. "We always like it when we have new people who are witnessing this world for the first time...For Charlie, it’s like trial by fire. From reading Gossip Girl for the first time or going to your first event, all that stuff we get to do over again in a new way."[5]

text: Charlie's integration also made her a voice for the audience and critics of Gossip Girl. TV Fanatic warmly welcomed her character, stating that she "good-naturedly mocked the show and its often convoluted plot lines."[6] DeFer would later reveal details behind her character's involvement in the fourth season finale, "As far as I know I’m just in the next five episodes until the season finale, and then I have no idea. But I really hope we get the opportunity to finish what Charlie started as I think it’s going to be a story-line that people will really want to follow." DeFer also states that Charlie is more relatable in comparison to other characters that have appeared in the show. "She is such a real person, not being from that life and what not..."[4]

text: Season 4[edit]

text: The character is first introduced in the second half of season four as Charlotte "Charlie" Rhodes, the estranged cousin of Serena and Eric van der Woodsen. Under the guise of Charlie Rhodes, she experiences the world of the Upper East Side, becoming particularly close with Dan Humphrey, though Dan puts a stop to the budding relationship because of his history with Serena. However, upon learning that Vanessa Abrams had intentionally sabotaged a meeting Charlie had organized, Dan allows himself to become closer to Charlie while severing his ties with Vanessa.

text: The two then begin an awkward relationship which concludes in the season's penultimate episode when Charlie, dressed like Serena, demands that Dan call her by Serena's name. It is later revealed that Charlie suffers from bi-polar disorder and she has stopped taking her medication. She leaves the Upper East Side and meets up with her mother, Carol. In the season's final moments, "Charlie Rhodes" is revealed to be Ivy Dickens, an aspiring actress that Carol hired to gain access to her daughter's trust fund. In her final scene she puts a napkin with Georgina's number in her bag which hints that the two will team up in the fifth season.

text: With regard to her involvement in the finale, DeFer discussed her character's involvement. "Charlie has a great deal to do with the season finale...but what I am allowed to say is that Charlie does mix it up with every character."[4]

text: Season 5[edit]

text: In between the fourth and fifth seasons, after returning to Miami, Ivy moved to Los Angeles with her boyfriend, Max, in order to become an actress. Ivy later runs into Serena at a restaurant that she and her boyfriend both work at and Serena, under the impression that Ivy is Charlie, offers to have Ivy move in with her. Ivy declines, looking for several ways to get out of the situation, but Serena convinces her to move back to New York with her.

text: After she and Serena return to New York, Charlie overhears that Carol is returning to New York and that Lily refuses to deceive her and she tells Serena that she is leaving. Serena, however, has seen this coming and asks her to return her tickets to a fashion show. When Charlie arrives, she discovers that Serena actually had her take her place as a model. After a conversation with Blair, she decides to stay. Her excitement does not last as she runs into Carol with Lily and Rufus, who had no idea that she had returned. After a confrontation with Carol, Ivy states that the family that Carol hates has been kinder to her than her own and that everything in New York 'sparkles' and she refuses to give that up and that the van der Woodsens would have a problem should it ever come out that Carol had hired her to impersonate Charlie in order to gain access to her trust fund. After this conversation, Carol tells Ivy that she is on her own and that Carol will not help Ivy any more should her real identity ever be discovered before returning to Miami.

text: Ivy later panics when she learns that she has left her cell phone at the fashion show, as she believes her true identity will be discovered. She is unaware, however, that her phone, along with several others, had been stolen by Nate Archibald and his shrewd boss Diana. After a conversation with Nate about the phone, she offers to help him find the owner in attempt to retrieve it. After she has accomplished this, however, Diana has discovered the connection between Ivy and Charlie and agrees to keep silent as long as Ivy works for her. Under Diana's control, Ivy is forced to procure gossip for Diana's use. She later finds the files that Bart Bass kept on Serena, Lily, Eric and himself, while Nate convinces her to leave them, she does not and in turn hands them over to Diana.

text: Ivy later competes to become a bridesmaid for Blair in order to get the scoop on her wedding for Diana, where her final task is to secure a kiss from Nate. They later attend the launch party of Diana's revamped 'Spectator' where they use each other to reach their own ends; Ivy to win Blair's bridesmaid spot and Nate to make Diana jealous, unknown to the other. Diana later confronts Ivy and threatens to reveal her secret, while Ivy is adamant that she had no idea that she was the one Nate wanted to make jealous. Diana later reveals to Nate and Ivy that they had been deceiving each other, leaving them angry at one another.

text: Although Ivy has developed feelings for Nate, Diana has threatened her to stay away from him. This changes, however, when she finds out that Ivy's ex-boyfriend, Max, is in town looking for her and sets up an elaborate plot that very nearly causes her secret to be revealed. Max finds Gossip Girl's website, along with a picture of Ivy under 'Charlie Rhodes'. He tracks Ivy down at the Van der Woodsen loft and Ivy is backed into a corner where she tells Lily and Max that her mother made her change her name to Ivy in order to avoid being used for her money. While discussing this later, Ivy offers Max money to leave town and start his restaurant in Portland, Oregon. When he finds out that Ivy is actually impersonating Charlie Rhodes, he blackmails Ivy into giving him more money than she had originally offered before deciding to stay in town. When Carol and CeCe return to town however, Carol tries to help Ivy out of her trouble with Max by getting CeCe to unlock the rest of Charlie's trust fund, which she does. After Ivy convinces Serena to drop her date with Max on Carol's advice, Max shows up to the party and attempts to out Charlie as Ivy to the rest of the Rhodes/Van der Woodsen family. It is Carol, however, that convinces the family that Max is lying, later telling Ivy that if the family found out what has happened to the real Charlie Rhodes, Ivy wouldn't be the only one out. Carol tells Ivy that she may now leave New York and start a new life with the wealth she now possesses. Ivy, however, tells her that she doesn't care about the wealth and luxury of being a part of the family, and that Carol can have the trust fund, since all she really wants is a family to call her own.

text: Max continues to threaten Ivy, taking her story to Nate, who has already been warned by the Van der Woodsens. When this fails, Max takes his story to Nate's cousin Trip who is a congressman, on the eve of Charlie's debut into the Upper East Side society. When Max shows up at her party, Ivy sends a blast to Gossip Girl about Blair and Chuck being there as well, sending the paparazzi into the party as well. When Blair and Chuck get into a life-threatening car accident after being tailed by the paparazzi, Ivy confesses to Rufus that she is a fraud, but before he can respond, Lily arrives with news that Blair is awake and responding, but Chuck is not. Overwhelmed with guilt, Ivy calls Carol and asks her to help her leave the Upper East Side for good.

text: A few weeks later, concerned by Charlie's long absence, Lily hires a private investigator to find her, but the private investigator instead finds the real Charlie Rhodes, who is attending school at Juilliard. When Lily and the "real Charlie" meet, they do not recognize each other and nor do they seem to be aware of each other's existence.

text: Ivy returns briefly, looking for Lily. She finds Rufus instead, but is told where Lily can be found. Georgina discovers that Ivy is back and blackmails her into attending Nate's party. While at Nate's party, Ivy runs into the real Charlie Rhodes, who goes by the alias 'Lola' and it is revealed that they took the same acting class where they grew up in Florida. Ivy attempts to leave again, but is spotted by Nate, still not knowing the truth about either of them. Nate makes a comment to Charlie about Ivy leading Charlie to get suspicious. When Ivy can finally leave, it is revealed that she has been visiting CeCe the whole time she was away.

text: CeCe's condition worsens and Ivy is forced to take her to the hospital, where she has a run in with the Van der Woodsens and Carol. When Charlie arrives, Ivy and Carol finally tell the truth about Carol's scheme and Ivy's role in it. Ivy is turned away by the Van der Woodsens. Following this, Ivy turns to Georgina and the two later crash CeCe's wake, during which, through the reading of CeCe's will, Ivy is left everything under her legal name instead of her alias Charlie Rhodes, revealing that CeCe knew about the fact that Ivy isn't her real granddaughter. After this revelation, Ivy kicks Lily and Rufus out of the apartment as it had been paid for by CeCe and was now hers. Ivy throws a party to commemorate the Celia Rhodes Foundation and to gain acceptance in the Upper East Side. She believes she has found an ally in William van der Woodsen after he agrees to persuade people to attend the party in exchange for money, however, it is later revealed he is working with Lily to gather evidence against Ivy to take her to court and contest CeCe's will.

text: After a courtroom hearing, Ivy loses all of her inheritance after Lily bribes CeCe's nurse to testify against Ivy so she can re-claim Ivy's share of the inheritance. Rufus takes pity on Ivy being without a home and family, and pays for her stay at a hotel. Lily finds this out later on and they fight, and Rufus returns to Brooklyn. Ivy later visits Lily and tries to seek her acceptance, confessing that she really wanted to be part of her family. Lily rejects her but offers her a cheque of 1 million dollars, asking her to leave and never return. Ivy leaves the apartment and tears up the cheque, revealing her confession was genuine. Later, Lily has Carol Rhodes arrested and charged with fraud in order to acquire her share of CeCe's estate for herself. After William van der Woodsen takes pity on Charlie 'Lola' Rhodes, he gives her Carol's share of CeCe's wealth so she can live on.

text: In the final episode of the season, Lola signs over her entire half of Cece's estate to Ivy and asks her to do one favor in return: Take Lily down in revenge for Carol's imprisonment and her manipulation of events. Ivy accepts, more than happy to help after her rejection.

text: Season 6[edit]

text: Ivy looks in on Rufus after Lily annuls their marriage and the two soon become lovers. However, Ivy is actually sleeping with Lily's ex-husband William and using Bart in a plot to take down Lily. When Rufus sees the two kissing (although not seeing William's face), he breaks up with Ivy. Ivy helps Blair in her plans to try and take down Chuck's father and when the man dies, she believes it's finally time she and William come out in public as a couple. However, when she meets William, he is with Lily and claims to have never met Ivy before. Ivy tries to tell Lily of their relationship but Lily doesn't believe her. After Lily leaves, William informs Ivy he was using her all along to break up Lily and Rufus so he could finally have Lily to himself. He coldly informs Ivy nobody wants her around and she should just take her money and leave. In the final scene (set five years later) Ivy has written a book about her experiences that's being made into a movie.

text: Reception[edit]

text: The critical reception of the character had been positive until the start of Season 5. During the series fourth season, Charlie became the subject of praise with her successful integration into the Upper East Side. TV Fanatic praised and welcomed her presence on the show.[6] In the episode The Princesses and the Frog, Steve Marsi praised her choice of confronting Vanessa alone, calling her "a natural" at schemes and that "even an outsider can thoroughly outshine an outcast."[7] TV Guide praised the ousting of Vanessa by Charlie, stating that "it didn't take her long to cross over to "the other side"".[8]

text: Beginning in the fifth season, however, her character began to receive less than favorable reviews. NY Mag and The Baltimore Sun referred to the Charlie/Ivy plot as "ridiculous".[9][10] The Wall Street Journal suggested that the storyline was repetitive, baring too much of a resemblance to the Juliet and Vanessa plot in the previous season.[11] Sharon Tharp of Ology wrote that the Charlie/Ivy plot was predictable and earned "too much screentime".[12][13]


document_title: The Blair Witch Project

question_text: where was the blair witch project filmed at

text: The Blair Witch Project

text: Plot[edit]

text: In October 1994, film students Heather, Mike, and Josh set out to produce a documentary about the fabled Blair Witch. They travel to Burkittsville, Maryland, and interview residents about the legend. Locals tell them of Rustin Parr, a hermit who lived in the woods and kidnapped eight children in the 1940s. After spending the night at a motel, the students explore the woods in north Burkittsville to research the legend. Along the way, they meet two fishermen, one of whom warns them that the woods are haunted. He also tells them of a young girl named Robin Weaver who went missing in 1888. When she returned three days later, she talked about "an old woman whose feet never touched the ground." However, his companion is skeptical of the story. The students then hike to Coffin Rock, where five men were found ritualistically murdered in the 19th century, their bodies later disappearing. The group then camps for the night.

text: They move deeper into the woods the next day and locate what appears to be an old cemetery with seven small cairns and set up camp nearby. Later that night, they hear the sound of twigs snapping from all directions but assume the noises are from animals or locals. The following day, they attempt to hike back to the car, but are unable to find it before dark and make camp. That night, they again hear twigs snapping but fail to find the source of the noises.

text: At morning they find that three cairns have been built around their tent during the night, which unnerves them. As they continue, Heather realizes her map is missing and Mike later reveals he kicked it into a creek the previous day out of frustration, which prompts Heather and Josh to attack him in a rage. They realize they are now lost and decide simply to head south. They eventually reach a section where they discover a multitude of humanoid stick figures suspended from trees. That night, they hear sounds again, including the sound of children laughing among other strange noises. After an unknown force shakes the tent, they flee in panic and hide in the woods until dawn.

text: Upon returning to their tent, they find that their possessions have been rifled through, and Josh's equipment is covered with slime. As they continue, they come across a log on a river identical to one they crossed earlier. They realize they have walked in a circle, despite having traveled south all day, and once again make camp. Josh suffers a breakdown while holding the camera, taunting Heather for their circumstances and her constant recording of the events.

text: Heather and Mike awaken the next morning to find that Josh has disappeared. After trying in vain to find him, they slowly move on. That night, they hear Josh's agonized screams in the darkness but are unable to locate him. Mike and Heather theorize that Josh's screams are a fabrication by the witch in order to draw them out of their tent.

text: Heather discovers a bundle of sticks the next day, tied with a piece of fabric from Josh's shirt outside her tent. As she searches through it, she finds blood-soaked scraps of Josh's shirt as well as teeth, hair, and what appears to be a piece of his tongue. Although distraught by the discovery, she chooses not to tell Mike. That night, Heather records herself apologizing to her family, as well as to the families of Mike and Josh, taking full responsibility for their predicament.

text: They again hear Josh's agonized cries for help and follow them to a derelict, abandoned house containing symbols and children's bloody hand-prints on the walls. Mike races upstairs in an attempt to find Josh while Heather follows. Mike then says he hears Josh in the basement. He runs downstairs while a hysterical Heather struggles to keep up. Upon reaching the basement, something attacks Mike and causes him to drop the camera and go silent. Heather enters the basement screaming, and her camera captures Mike facing a corner. Something then attacks Heather, causing her to drop her camera and go silent as well. The footage continues for another moment and then ends.

text: Production[edit]

text: Development[edit]

text: Development of The Blair Witch Project began in 1993.[3] While film students at the University of Central Florida, Daniel Myrick and Eduardo Sánchez came across the idea for the film after realizing that they found documentaries on paranormal phenomena scarier than traditional horror films. The two decided to create a film that combined the styles of both. After graduation, Myrick and Sánchez, along with Gregg Hale, Robin Cowie, and Michael Monello started the production company Haxan Films, derived from Benjamin Christensen's 1922 Swedish-Danish silent documentary horror film Häxan, whose English-language title is Witchcraft Through the Ages.[4]

text: In developing the mythology behind the film, the creators used many inspirations. For instance, several character names are near-anagrams: Elly Kedward (The Blair Witch) is Edward Kelley, a 16th-century mystic, and Rustin Parr, the fictional 1940s child-murderer, began as an anagram for Rasputin.[5] Viewers are told that the Blair Witch is, according to legend, the ghost of Elly Kedward, a woman banished from the Blair Township (latter-day Burkittsville) for witchcraft in 1785. The directors incorporated that part of the legend, along with allusions to the Salem witch trials and Arthur Miller's 1953 play The Crucible, to play on the themes of injustice done on those who were called witches.[6]

text: The directors cited influences such as the television series In Search of..., and horror documentary films Chariots of the Gods and The Legend of Boggy Creek.[7][8] Other influences included commercially successful horror films such as The Shining, Alien, and The Omen. Jaws was an influence as well, presumably because the witch was hidden from the viewer for the entirety of the film, forcing suspense from the unknown.[3][7]

text: Pre-production[edit]

text: Pre-production began on October 5, 1997.[9] In talks with investors, the directors presented an eight-minute documentary along with newspapers and news footage.[10] The documentary was also aired on the defunct television series Split Screen hosted by John Pierson.[7] The script began with a thirty-five page outline, with the dialogue to be improvised.[3] Accordingly, the directors advertised in Backstage magazine for actors with strong improvisational abilities.[11] There was a very informal improvisational audition process to narrow the pool of 2,000 actors.[7][8]

text: According to Heather Donahue, auditions for the film were held at Musical Theater Works in New York City, and ads were placed in the weekly Backstage for an open audition. The advertisement noted a "completely improvised feature film" shot in a "wooded location". Donahue described the audition as Myrick and Sánchez posing her the question: "You've served seven years of a nine year sentence. Why should we let you out on parole?" to which Donahue was required to improvise a response.[11] Joshua Leonard, also in response to audition calls through Backstage, claimed he was cast in the film due to his knowledge of how to run a camera, as there was not an omniscient camera filming the scenes.[12]

text: Filming[edit]

text: Principal photography began on October 23, 1997. Most of the film was shot in Seneca Creek State Park in Montgomery County, Maryland, although a few scenes were filmed in the real town of Burkittsville. Some of the townspeople interviewed in the film were not actors, and some were planted actors, unknown to the main cast.[13] Donahue had never operated a camera before and spent two days in a "crash course". Donahue said she modeled her character after a director she had once worked with, citing the character's "self-assuredness" when everything went as planned, and confusion during crisis.[14]

text: During filming, the actors were equipped with a CP-16 and Hi8 video cameras provided by cinematographer Neal Fredericks, and given clues as to their next location through messages hidden inside 35 mm film cans left in milk crates found with Global Positioning Satellite systems. They were given individual instructions that they would use to help improvise the action of the day.[11][13][15] Teeth were obtained from a Maryland dentist for use as human remains in the film.[11] Influenced by producer Gregg Hale's memories of his military training, in which "enemy soldiers" would hunt a trainee through wild terrain for three days, the directors moved the characters a long way during the day, harassing them by night and depriving them of food.[10]

text: The final scenes were filmed at the historic Griggs House, a 200-year-old building located in the Patapsco Valley State Park near Granite, Maryland. In late November 1999, the house was reportedly being flocked by fans of the film and took chunks from it as souvenir, which caused the township to order it to be demolished the following month.[16] Filming concluded on October 31, Halloween.[17]

text: Post-production[edit]

text: After filming, twenty hours of raw footage was recorded which had to be cut down to two-and-a-half hours; the editing process took more than eight months. The directors screened the first cut in small film festivals in order to get feedback and make changes that would ensure that it appealed to as large an audience as possible.[3] Originally, it was hoped that the film would make it on to cable television, and the directors did not anticipate wide release.[3] The final version was submitted to Sundance Film Festival.[18] After a surprise hit during its midnight premiere on January 25, 1999, Artisan Entertainment bought the distribution rights for $1.1 million.[3] Prior to that, Artisan had wanted to change the film's original ending—in which Donahue screams in terror and finds Michael C. Williams facing a corner in the basement before being knocked over—as a number of test audiences were somewhat puzzled even though they admitted being scared with it.[19] The directors and Williams traveled back to Maryland and four alternate endings were shot,[20] one of which employed gory elements. Ultimately, they decided to keep the original, with Myrick explaining, "What makes us fearful is something that's out of the ordinary, unexplained. The first ending kept the audience off balance; it challenged our real world conventions and that's what really made it scary."[19]

text: A list of production budget figures have circulated over the years, appearing as low as $20,000. In an interview with Entertainment Weekly, Sánchez revealed that when principal photography first wrapped, approximately $20,000 to $25,000 had been spent.[15] Richard Corliss of Time magazine reported a $35,000 estimated budget.[21] Other figures list a final budget ranging between $500,000 and $750,000.[15] By September 2016, The Blair Witch Project has been officially budgeted at $60,000.[24]

text: Marketing[edit]

text: The Blair Witch Project is thought to be the first widely released film marketed primarily by the Internet. The film's official website featured faux police reports and "newsreel-style" interviews. These augmented the film's found footage device to spark debates across the Internet over whether the film was a real-life documentary or a work of fiction.[25][26] During screenings, the filmmakers made advertising efforts to promulgate the events in the film as factual, including the distribution of flyers at festivals such as the Sundance Film Festival, asking viewers to come forward with any information about the "missing" students.[27][28] The campaign tactic was that viewers were being told, through missing persons posters, that the characters were missing while researching in the woods for the mythical Blair Witch.[29] The IMDb page also listed the actors as "missing, presumed dead" in the first year of the film's availability.[30] The film's website contains materials of actors posing as police and investigators giving testimony about their casework, and shared childhood photos of the actors to add a sense of realism.[31]

text: USA Today has opined that The Blair Witch Project was the first film to go viral despite having been produced before many of the technologies that facilitate such phenomena existed.[32]

text: Fictional legend[edit]

text: The backstory for the film is a legend fabricated by Sánchez and Myrick which is detailed in the Curse of the Blair Witch, a mockumentary broadcast on the SciFi Channel in 1999 prior to the release of The Blair Witch Project.[33] Sánchez and Myrick also maintain a website which adds further details to the legend.[34]

text: The legend describes the killings and disappearances of some of the residents of Blair, Maryland (a fictitious town on the site of Burkittsville, Maryland) from the 18th to 20th centuries. Residents blamed these occurrences on the ghost of Elly Kedward, a Blair resident accused of practicing witchcraft in 1785 and sentenced to death by exposure. The Curse of the Blair Witch presents the legend as real, complete with manufactured newspaper articles, newsreels, television news reports, and staged interviews.[33]

text: Release[edit]

text: Theatrical run[edit]

text: The Blair Witch Project premiered on January 25, 1999 at the Sundance Film Festival, and had a limited release on July 14 before going wide on July 30 after months of publicity, including a campaign by the studio to use the Internet and suggest that the film was "a record of real events". The distribution strategy for the film was created and implemented by Artisan studio executive Steven Rothenberg.[35][36] The film earned $1,512,054 in its limited release opening weekend.[2] The film went on to gross $29,207,38 from 1,101 locations and placed at number two in the United States box office third opening weekend, surpassing the science fiction horror film Deep Blue Sea which cleared $19,107,643 weekend gross.[37] The film secured its second place in its fourth weekend, behind another horror film The Sixth Sense, which cleared $26,681,262.[38] The film descended at number three in its fifth weekend,[39] at number five in its sixth weekend,[40] and number eight in its seventh and eighth weekend during Labor Day.[41][42] The film dropped out of the top-ten list in its tenth weekend until its last screening in 107 theaters in its seventeenth weekend, grossing $28,866 and placing in number sixty-three.[43][44] By the end of its theatrical run, the film grossed $140,539,099 in the US and Canada in its total screening and produced $108,100,000 in other territories, having an overall gross of $248,639,099 (over 4,000 times its original budget).[2][19] The Blair Witch Project was the tenth highest-grossing film in the US in 1999,[45] and has since earned the reputation of becoming a sleeper hit.[46]

text: Because the filming was done by the actors using hand-held cameras, much of the footage is shaky, especially the final sequence in which a character is running down a set of stairs with the camera. Some audience members experienced motion sickness and even vomited as a result.[47]

text: Critical reception[edit]

text:
"At a time when digital techniques can show us almost anything, The Blair Witch Project is a reminder that what really scares us is the stuff we can't see. The noise in the dark is almost always scarier than what makes the noise in the dark."

—Roger Ebert, writing for the Chicago Sun-Times[48]

tag: div

text: The Blair Witch Project was met with generally positive reviews but polarized audiences on release.[49][50] Rotten Tomatoes, a review aggregator, reports that 86% of 155 surveyed critics gave the film a positive review; the average rating is 7.7/10. The site's critical consensus states, "Full of creepy campfire scares, mock-doc The Blair Witch Project keeps audiences in the dark about its titular villain – thus proving that imagination can be as scary as anything onscreen".[51] Metacritic rated it 81/100 based on 33 reviews, indicating "universal acclaim".[52]

text: The Blair Witch Project's found footage film technique received near-universal praise by many and, though not the first to employ it, has been declared a milestone in film history due to its critical and box office success.[57] Roger Ebert of the Chicago Sun-Times gave the film a total of four stars, and called it "an extraordinarily effective horror film".[48] Peter Travers of Rolling Stone called it "a groundbreaker in fright that reinvents scary for the new millennium".[58] Todd McCarthy of Variety said, "An intensely imaginative piece of conceptual filmmaking that also delivers the goods as a dread-drenched horror movie, The Blair Witch Project puts a clever modern twist on the universal fear of the dark and things that go bump in the night."[59] Lisa Schwarzbaum of Entertainment Weekly gave a B grade, saying, "As a horror picture, the film may not be much more than a cheeky game, a novelty with the cool, blurry look of an avant-garde artifact. But as a manifestation of multimedia synergy, it's pretty spooky."[60]

text: Conversely, Andrew Sarris of The New York Observer said, "Daniel Myrick and Eduardo Sánchez's The Blair Witch Project represents the ultimate triumph of the Sundance scam: Make a heartless home movie, get enough critics to blurb in near unison 'scary,' and watch the suckers flock to be fleeced. This fictional documentary within a pseudo-documentary form may be the most overrated, under-financed piece of film to come down the pike in a long time."[61] A critic from The Christian Science Monitor said, "The concept is clever, suggesting a new way to build horror-movie suspense without much on-camera gore. The film would be better as a 30-minute short, though, since its shaky camera work and fuzzy images get monotonous after a while, and there's not much room for character development within the very limited plot."[62] R. L. Schaffer of IGN gave it two out of ten, and described it as "boring – really boring", and "a Z-grade, low-rent horror outing with no real scares into a genuine big-budget spectacle".[63]

text: Home media[edit]

text: The DVD for The Blair Witch Project was released on October 26, 1999 by Artisan, presented in a 1.33:1 windowboxed aspect ratio and Dolby Digital 2.0 audio. Special features include the documentary Curse of the Blair Witch, a five-minute Newly Discovered Footage, audio commentary, production notes, and cast and crew biographies. The audio commentary presents directors Daniel Myrick, Eduardo Sánchez, and producers Rob Cowie, Mike Monello and Gregg Hale, in which they discuss the film's production. The Curse of the Blair Witch feature provides an in-depth look inside the creation of the film.[64][65]

text: The film's Blu-ray version was released on October 5, 2010 by Lionsgate.[66] Best Buy and Lionsgate had an exclusive release of the Blu-ray made available on August 29, 2010.[67]

text: Accolades[edit]

text:
Award
Category
Subject
Result
Ref(s)

Independent Spirit John Cassavetes Award
Best Film
Won
[68]

20th Golden Raspberry Awards
Worst Picture
Robin Cowie
Nominated
[69]
[70]

Gregg Hale
Nominated

Worst Actress
Heather Donahue
Won

Stinkers Bad Movie Awards
Worst Picture
Robin Cowie
Nominated
[71]

Gregg Hale
Nominated

Worst Actress
Heather Donahue
Nominated

Biggest Disappointment

Won

Worst Screen Debut
Heather, Michael, Josh, the Stick People and the world's longest running batteries
Nominated

1st Golden Trailer Awards
Best Horror/Thriller
————
Won
[72]

Best Voice Over
Won

Most Original Trailer
Nominated

text: Legacy[edit]

text: Since its release, The Blair Witch Project has been widely regarded by many as an influence to an array of subsequent films similarly using the found footage concept and the conventions the film established.[73][55] These include Paranormal Activity and REC (both in 2007), Cloverfield (2008),[73] The Last Exorcism and Trollhunter (both in 2010),[74] Chronicle, Project X, V/H/S , and End of Watch (all in 2012),[55][75] and The Den (2013).[74] Some critics have also noted the film as being strikingly similar to Cannibal Holocaust (1980), and The Last Broadcast (1998) in terms of basic plot premise and narrative style.[53][54] Although Cannibal Holocaust director Ruggero Deodato has acknowledged the similarities of The Blair Witch Project to his film, he criticized the publicity that it received for being an original production;[76] advertisements for The Blair Witch Project also promoted the idea that the footage is genuine.[3] Despite initial reports by media outlets such as the New York Post and E! Entertainment that The Last Broadcast creators, Stefan Avalos and Lance Weiler, had alleged that The Blair Witch Project was a complete rip-off of their work and would sue Haxan Films for copyright infringement, they repudiated these allegations. One of the creators told IndieWire in 1999, "If somebody enjoys The Blair Witch Project there is a chance they will enjoy our film, and we hope they will check it out."[77]

text: Film critic Michael Dodd has argued that the film is an embodiment of horror "modernizing its ability to be all-encompassing in expressing the fears of American society", acknowledging its status as the archetypal modern found footage feature, he noted that "In an age where anyone can film whatever they like, horror needn't be a cinematic expression of what terrifies the cinema-goer, it can simply be the medium through which terrors captured by the average American can be showcased".[78] In 2008, The Blair Witch Project was ranked by Entertainment Weekly as number ninety-nine on their list of 100 Best Films from 1983 to 2008.[79] In 2006, the Chicago Film Critics Association ranked it as number twelve on their list of Top 100 Scariest Movies.[80] It was ranked number fifty on Filmcritic.com's list of 50 Best Movie Endings of All Time.[81] In 2016, it was ranked by IGN as number twenty-one on their list of Top 25 Horror Movies of All Time,[82] number sixteen on Cosmopolitan's 25 Scariest Movies of All Time,[83] and number three on The Hollywood Reporter's 10 Scariest Movies of All Time.[84] In 2013, the film also made the top-ten list of The Hollywood Reporter's highest-grossing independent films of all time, ranking number six.[85]

text: American filmmaker Eli Roth has cited the film as a source of inspiration to promote his 2002 horror film Cabin Fever through the use of the Internet.[86] The Blair Witch Project was among the films included in the book 1001 Movies You Must See Before You Die.[87]

text: Media tie-ins[edit]

text: Books[edit]

text: In September 1999, D. A. Stern compiled The Blair Witch Project: A Dossier. Perpetuating the film's "true story" angle, the dossier consisted of fabricated police reports, pictures, interviews, and newspaper articles presenting the film's premise as fact, as well as further elaboration on the Elly Kedward and Rustin Parr legends (an additional "dossier" was created for Blair Witch 2). Stern wrote the 2000 novel Blair Witch: The Secret Confessions of Rustin Parr, and revisited the franchise with the novel Blair Witch: Graveyard Shift, featuring all original characters and plot.[88]

text: A series of eight young adult books entitled The Blair Witch Files were released by Random subsidiary Bantam from 2000 to 2001. The books center on Cade Merill, a fictional cousin of Heather Donahue, who investigates phenomena related to the Blair Witch in attempt to discover what really happened to Heather, Mike, and Josh.[89]

text: Comic books[edit]

text: In July 1999, Oni Press released a one-shot comic promoting the film, titled The Blair Witch Project #1. Written and illustrated by Cece Malvey, the comic was released in conjunction of the film.[90] In October 2000, coinciding with the release of Book of Shadows: Blair Witch 2, Image Comics released a one-shot called Blair Witch: Dark Testaments, drawn by Charlie Adlard.[88]

text: Video games[edit]

text: In 2000, Gathering of Developers released a trilogy of computer games based on the film, which greatly expanded on the myths first suggested in the film. The graphics engine and characters were all derived from the producer's earlier game Nocturne.[91]

text: The first volume, Rustin Parr, received the most praise, ranging from moderate to positive, with critics commending its storyline, graphics and atmosphere; some reviewers even claimed that the game was scarier than the film.[92] The following volumes, The Legend of Coffin Rock and The Elly Kedward Tale, were less well received, with PC Gamer saying that Volume 2's "only saving grace was its cheap price",[93] and calling Volume 3 "amazingly mediocre".[94]

text: Documentary[edit]

text: The Woods Movie (2015) is a feature-length documentary exploring the production of The Blair Witch Project.[95] For this documentary, director Russ Gomm interviewed the original film's producer, Gregg Hale, and directors Eduardo Sánchez and Daniel Myrick.[96]

text: Sequels[edit]

text: A sequel entitled Book of Shadows was released on October 27, 2000; it was poorly received by most critics.[97][98] A third installment announced that same year did not materialize.[99]

text: On July 22, 2016, a surprise trailer for Blair Witch was revealed at the San Diego Comic-Con.[100] The film was originally marketed as The Woods so as to be an exclusive surprise announcement for those in attendance at the convention. The film, distributed by Lionsgate, was slated for a September 16 release and stars James Allen McCune as the brother of the original film's Heather Donahue.[101][102] Directed by Adam Wingard, Blair Witch is a direct sequel to The Blair Witch Project, and does not acknowledge the events of Book of Shadows: Blair Witch 2. However, Wingard has said that although his version does not reference any of the events that transpired in Book of Shadows, the film does not necessarily discredit the existence of Book of Shadows: Blair Witch 2.[103] In September 2016, screenwriter Simon Barrett explained that in writing the new film, he only considered material that was produced with the involvement of the original film's creative team (directors Daniel Myrick and Eduardo Sánchez, producer Gregg Hale, and production designer Ben Rock) to be "canon", and that he did not take any material produced without their direct involvement—such as the first sequel Book of Shadows or The Blair Witch Files, a series of young adult novels—into consideration when writing the new sequel.[103]