document_title: Christmas carol

question_text: where does the word christmas carol come from

text: Christmas carol

text: History[edit]

text: The first known Christmas hymns may be traced to 4th century Rome. Latin hymns such as Veni redemptor gentium, written by Ambrose, Archbishop of Milan, were austere statements of the theological doctrine of the Incarnation in opposition to Arianism. Corde natus ex Parentis (Of the Father's heart begotten) by the Spanish poet Prudentius (d. 413) is still sung in some churches today.[1]

text: In the 9th and 10th centuries, the Christmas "Sequence" or "Prose" was introduced in Northern European monasteries, developing under Bernard of Clairvaux into a sequence of rhymed stanzas. In the 12th century the Parisian monk Adam of Saint Victor began to derive music from popular songs, introducing something closer to the traditional Christmas carol.

text: In the 13th century, in France, Germany, and particularly, Italy, under the influence of Francis of Assisi a strong tradition of popular Christmas songs in regional native languages developed.[2] Christmas carols in English first appear in a 1426 work of John Awdlay, a Shropshire chaplain, who lists twenty five "caroles of Cristemas", probably sung by groups of 'wassailers', who went from house to house.[3] The songs we know specifically as carols were originally communal songs sung during celebrations like harvest tide as well as Christmas. It was only later that carols began to be sung in church, and to be specifically associated with Christmas.

text: Many carols which have gained popularity today were printed in Piae Cantiones, a collection of late medieval Latin songs which was first published in 1582. Early, Latin forms of carols such as "Christ was born on Christmas Day", "Good Christian Men, Rejoice" and "Good King Wenceslas" can be found in this book.[4] "Adeste Fideles" ("O Come all ye faithful") appears in its current form in the mid-18th century, although the words may have originated in the 13th century. The origin of the tune is disputed.

text: Carols gained in popularity after the Reformation in the countries where Protestant churches gained prominence (as well-known Reformers like Martin Luther authored carols and encouraged their use in worship). This was a consequence of the fact that the Lutheran reformation warmly welcomed music.[5]

text: The publication of Christmas music books in the 19th century helped to widen the popular appeal of carols. The first appearance in print of "God Rest Ye Merry, Gentlemen", "The First Noel", "I Saw Three Ships" and "Hark! The Herald Angels Sing" was in Christmas Carols Ancient and Modern (1833) by William Sandys. Composers like Arthur Sullivan helped to repopularise the carol, and it is this period that gave rise to such favourites as "Good King Wenceslas" and "It Came Upon the Midnight Clear", a New England carol written by Edmund H. Sears and Richard S. Willis. The publication in 1871 of Christmas Carols, New and Old by Henry Ramsden Bramley and Sir John Stainer was a significant contribution to a revival of carols in Victorian Britain. In 1916, Charles Lewis Hutchins published Carols Old and Carols New, a scholarly collection which suffered from a short print run and is consequently rarely available today. The Oxford Book of Carols, first published in 1928 by Oxford University Press (OUP), was a notably successful collection; edited by the British composers Martin Shaw and Ralph Vaughan Williams, along with clergyman and author Percy Dearmer, it became a widely used source of carols in among choirs and church congregations in Britain and remains in print today.[6][7]

text: The singing of carols was further popularised in the 20th century when OUP published one of the most popular carol books in the English-speaking world, Carols for Choirs. First published in 1961 and edited by David Willcocks and Reginald Jacques, this bestselling series has since expanded to a five-volume set. Along with editor John Rutter, the compilers included many arrangements of carols derived from sources such as Piae Cantiones, as well as pieces by modern composers such as William Walton, Benjamin Britten, Richard Rodney Bennett, William Mathias and John Rutter.[8]

text: Today carols are regularly sung at Christian religious services. Some compositions have words that are clearly not of a religious theme, but are often still referred to as "carols". For example, the 16th century song "A Bone, God Wot!" appears to be a wassailing song (which is sung during drinking or while requesting ale), but is described in the British Library's Cottonian Collection as a Christmas carol.[9] As recently as 1865, Christmas-related lyrics were adopted for the traditional English folk song Greensleeves, becoming the internationally popular Christmas carol "What Child is This?". Little research has been conducted on carol singing, but one of the few sociological studies of caroling in the early 21st century in Finland determined that the sources of songs are often misunderstood, and that it is simplistic to suggest caroling is mostly related to Christian beliefs, for it also reinforces preservation of diverse national customs and local family traditions.[10]

text: A modern form of the practice of caroling can be seen in "Dial-A-Carol," an annual tradition held by students at the University of Illinois at Urbana-Champaign, wherein potential audiences call the singers to request a performance over phone call.[11]

text: Carols for dancing[edit]

text: It is not clear whether the word carol derives from the French "carole" or the Latin "carula" meaning a circular dance. In any case the dancing seems to have been abandoned quite early.[citation needed] The typical 3/4 (waltz) time would tend to support the latter meaning.

text: Music[edit]

text: Traditionally, carols have often been based on medieval chord patterns, and it is this that gives them their uniquely characteristic musical sound. Some carols like "Personent hodie", "Good King Wenceslas", and "The Holly and the Ivy" can be traced directly back to the Middle Ages, and are among the oldest musical compositions still regularly sung.

text: Compositions continue to be written that become popular carols. For example, many of the carols written by Alfred Burt are sung regularly in both sacred and secular settings, and are among the better known modern Christmas carols.

text: Church and liturgical use of Christmas carols[edit]

text: Almost all the well-known carols were not sung in church until the second half of the 19th century.[citation needed] Hymns Ancient and Modern 1861–1874 included several carols. Isaac Watts, the "father of English hymnody", composed "Joy to the World", which has become a popular Christmas carol even though it is widely believed that Watts did not write it to be sung only at Christmas.

text: Charles Wesley wrote texts for at least three Christmas carols, of which the best known was originally entitled "Hark! How All the Welkin Rings", later edited to "Hark! the Herald Angels Sing".[12] A tune from a cantata, Festgesang, by Felix Mendelssohn in 1840 was adapted by William H. Cummings to fit Wesley's words. This combination first appeared in "Hymns Ancient and Modern" in 1861.[citation needed]

text: "Silent Night" comes from Austria. The carol was first performed in the Nikolaus-Kirche (Church of St. Nicholas) in Oberndorf, Austria on 24 December 1818. Mohr had composed the words much earlier, in 1816, but on Christmas Eve brought them to Gruber and asked him to compose a melody and guitar accompaniment for the church service.[13] The first English translation was in 1871 where it was published in a Methodist hymnal.

text: Episodes described in Christmas carols[edit]

text: Several different Christmas episodes, apart from the birth of Jesus itself, are described in Christmas carols, such as:

text:
The Annunciation, for example "Gabriel's Message"
The Census of Augustus, a rare subject, but touched upon in "On a Day When Men Were Counted" by Daniel Thambyrajah Niles (1964)
The Annunciation to the shepherds, for example "While Shepherds Watched Their Flocks"
The Adoration of the shepherds, for example the Czech carol "Nesem Vám Noviny" (translated into English as "Come, All Ye Shepherds")
The Star of Bethlehem, for example, "Star of the East"
The Visit of the Magi, for example "We Three Kings"
The Massacre of the Innocents, for example the "Coventry Carol"

text: In addition, some carols describe Christmas-related events of a religious nature, but not directly related to the birth of Jesus. For example:

text:
"Good King Wenceslas", based on a legend about Saint Wenceslaus helping a poor man on 26 December (the Feast of Stephen)
"Ding Dong Merrily on High" and "I Heard the Bells on Christmas Day", reflecting on the practice of ringing church bells at Christmas

text: Early carols[edit]

text:
This Endris Night

"This Endris Night", a 15th-century English Christmas Carol discovered by Thomas Wright in 1847.[14] Performed by the U.S. Army Band Chorus.

Problems playing this file? See media help.

text: Nineteenth-century antiquarians rediscovered early carols in museums. According to the Encyclopædia Britannica,[15] about 500 have been found. Some are wassailing songs, some are religious songs in English, some are in Latin, and some are "macaronic" — a mixture of English and Latin. Since most people did not understand Latin, the implication is that these songs were composed for church choristers, or perhaps for an educated audience at the Royal courts. The most famous survival of these early macaronic carols is "The Boar's Head". The tradition of singing carols outside of church services early in the nineteenth century is best illustrated by Thomas Hardy's novel "Under the Greenwood Tree" (1872). In England and other countries, such as Poland (kolęda), Romania (colinde) and Bulgaria (koledari), there is a tradition of Christmas caroling (earlier known as wassailing), in which groups of singers travel from house to house, singing carols at each, for which they are often rewarded with gifts, money, mince pies, or a glass of an appropriate beverage. Money collected in this way is now normally given to charity.

text: Singing carols in church was instituted on Christmas Eve 1880 in Truro Cathedral, Cornwall, (see article on Nine Lessons and Carols), and now seen in churches all over the world.[16] The songs that were chosen for singing in church omitted the wassailing carols, and the words "hymn" and "carol" were used almost interchangeably. Shortly before, in 1878, the Salvation Army, under Charles Fry, instituted the idea of playing carols at Christmas, using a brass band. Carols can be sung by individual singers, but are also often sung by larger groups, including professionally trained choirs. Most churches have special services at which carols are sung, generally combined with readings from scripture about the birth of Christ; this is often based on the famous Festival of Nine Lessons and Carols at King's College, Cambridge.

text: Christmas carols in classical music[edit]

text: In the 1680s and 1690s, two French composers incorporated carols into their works. Louis-Claude Daquin wrote 12 noels for organ. Marc-Antoine Charpentier wrote a few instrumental versions of noels, plus one major choral work "Messe de minuit pour Noël". Other examples include:

text:
Ralph Vaughan Williams: Fantasia on Christmas Carols, 1912.
Victor Hely-Hutchinson: Carol Symphony, 1927.
Benjamin Britten: A Ceremony of Carols (for choir and harp), 1942
Christina Rossetti's poem "In the Bleak Midwinter" has been set to music by Gustav Holst (1905), Harold Darke (1911) and others.
Polish composer Krzysztof Penderecki extensively quotes the Christmas carol "Silent Night" in his Second Symphony, nicknamed the Christmas Symphony.

text: Star singers[edit]

text: In Austria, Belgium and Germany, Christmas is celebrated by some with children dressing as "The Three Kings", carrying a star on a pole. Going from house to house from New Year's Day to 6 January, the children sing religious songs and are called "star singers". They are often rewarded with sweets or money, which is typically given to a local church or charity. "C.M.B" is written in chalk on houses they have visited. Although this is sometimes taken as a reference to the three kings — Caspar, Melchior and Balthasar — it may originally have represented the words Christus mansionem benedicat (Christ bless this house).

text: Christmas carols by country[edit]

text: Australia, South Africa and New Zealand[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2016) (Learn how and when to remove this template message)

text: In Australia, South Africa and New Zealand, where it is the middle of summer at Christmas, there is a tradition of Carols by Candlelight concerts held outdoors at night in cities and towns across the country, during the weeks leading up to Christmas. First held in Melbourne, "Carols by Candlelight" is held each Christmas Eve in capital cities and many smaller cities and towns around Australia. Performers at the concerts include opera singers, musical theatre performers and popular music singers. People in the audience hold lit candles and join in singing some of the carols in accompaniment with the celebrities. Similar events are now held all over Australia, usually arranged by churches, municipal councils, or other community groups. They are normally held on Christmas Eve or the Sunday or weekend before Christmas. A similar recent trend in South Africa and New Zealand are for smaller towns to host their own Carols by Candlelight concerts.

text: William Garnet ("Billy") James (28 August 1892 – 10 March 1977) wrote music for Christmas carol lyrics written by John Wheeler (both men worked for the Australian Broadcasting Commission, or ABC). These referred to the hot dry December of the Australian outback, dancing brolgas (a native Australian crane), and similar Australian features.

text: Christmas music composed by Australians[edit]

text:
1852 Christmas Present Polka by John Howson [17]
1862 Hymn for Christmas-Day by James Johnson [18]
1862 All My Heart This Night Rejoices by Charles E Horsley [19]
1863 Australian Christmas Song by Ernesto Spagnoletti [20]
1864 Christmas in Australia by George Tolhurst [21]
1866 Victorian Christmas Waltz by Cesare Cutolo [22]
1870 Christmas Anthem by Paolo Giorza [23]
1883 Song Of The Angels by Charles Sandys Packer [24]
1890 Oh, lovely voices of the sky by Alfred Plumpton [25]
1899 While all things were in quiet silence by Henry John King [26]
1900 In The Cathedral by George S De Chaneet [27]
1900 Yuletide Gavotte by John Albert Delaney [28]
1908 Australian Christmas Carol by Joseph Summers [29]
1910 My Little Christmas Belle by Joe Slater [30]
1910 Star Of The East by August Juncker [31]
1929 The Night Of Fear Is Over by Fritz Hart [32]

text: Canada[edit]

text: The "Huron Carol" (or "Twas in the Moon of Wintertime") is a Canadian Christmas hymn (Canada's oldest Christmas song), written probably in 1642 by Jean de Brébeuf, a Jesuit missionary at Sainte-Marie among the Hurons in Canada.[33]

text: France[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2015) (Learn how and when to remove this template message)

text:
In 1535, a 16th-century carol, "Ça, Bergers, assemblons nous", was sung aboard Jacques Cartier's ship on Christmas Day.
In 1554, a collection of French carols, La Grande Bible des Noëls, was printed in Orléans.
In 1703, another collection, Chants des Noëls Anciens et Modernes, was printed by Christophe Ballard (1641–1715), in Paris.
Dating from the 18th century, "Les Anges dans nos Campagnes" is another famous French carol.
The 19th century "Cantique de Noël" (also known as "Minuit, chrétiens", adapted as "O Holy Night" in English) is another classic.

text: "Dans cette étable" and "Venez Divin Messie" are also popular Christmas carols. Perhaps the best known traditional French carol, "Il est né, le divin Enfant!", comes from the region of Provence.

text: Germany and Austria[edit]

text: Some carols familiar in English are translations of German Christmas songs (Weihnachtslieder). Pastoral Weihnachtslieder are sometimes called Hirtenlieder ("shepherd songs"). Martin Luther wrote the carol "Vom Himmel hoch, da komm ich her", which can be acted as a play of the Christmas history. He also wrote "Gelobet seist du, Jesu Christ" and "Christum wir sollen loben schon". The carol "Vom Himmel hoch, o Engel, kommt" was written by Friedrich Spee in 1622 to an older melody, a lullaby singing "of Jesus and Mary", and for peace.

text: Three well-known later examples are "O Christmas Tree" ("O Tannenbaum"), from a German folksong arranged by Ernst Anschütz; "Silent Night" ("Stille Nacht, heilige Nacht"), by the Austrians Franz Xaver Gruber and Joseph Mohr; and "Still, Still, Still", an Austrian folksong also from the Salzburg region, based on an 1819 melody by Süss, with the original words, slightly changed over time and location, by G. Götsch.[34] The carol most familiar in German is probably the 19th-century "O du fröhliche". Ingeborg Weber-Kellermann wrote a scientific book on German Christmas carols which is also a song book.

text: Greece and Cyprus[edit]

text: Custom[edit]

text: Greek tradition calls for children to go out with triangles from house to house on Christmas Eve, New Year's Eve and Epiphany Eve, and sing the corresponding folk carols, called the Kálanda or Kalanta Xristougenon (Κάλαντα, the word deriving from the Roman calends). There are separate carols for each of the three great feasts, referring respectively to the Nativity, to St. Basil and the New Year, and to the Baptism of Jesus in the River Jordan, along with wishes for the household. In addition to the carols for the winter festive season, there are also the springtime or Lenten carols, commonly called the "Carols of Lazarus", sung on the Saturday before Palm Sunday as a harbinger of the Resurrection of Christ to be celebrated a week later.

text: In older times, caroling children asked for and were given edible gifts such as dried fruit, eggs, nuts or sweets; during the 20th century this was gradually replaced with money gifts – ranging from small change in the case of strangers to considerable amounts in the case of close relatives. Caroling is also done by marching bands, choirs, school students seeking to raise funds for trips or charity, members of folk societies, or merely by groups of well-wishers. Many internationally known carols, e.g. "Silent Night", "O Tannenbaum" or "Jingle Bells", are also sung in Greek translation.

text: Variants[edit]

text: Many carols are regional, being popular in specific regions but unknown in others, whereas some are popular throughout the two countries. Examples of the latter are the Peloponnesian Christmas carol "Christoúgenna, Prōtoúgenna" ("Christmas, Firstmas"), the Constantinopolitan Christmas carol "Kalēn hespéran, árchontes" ("Good evening, lords"), and the New Year's carol "Archimēniá ki archichroniá" ("First of the month, first of the year"). The oldest known carol, commonly referred to as the "Byzantine Carol" (Byzantine Greek: Άναρχος θεός καταβέβηκεν, Ánarkhos Theós katabébēken, "God, who has no beginning, descended"), is linguistically dated to the beginning of the High Middle Ages, ca. 1000 AD; it is traditionally associated with the city of Kotyora in the Pontos (modern-day Ordu, Turkey).

text: Form[edit]

text: Most carols follow a more or less standard format: they begin by exalting the relevant religious feast, then proceed to offer praises for the lord and lady of the house, their children, the household and its personnel, and usually conclude with a polite request for a treat, and a promise to come back next year for more well-wishing. Almost all the various carols are in the common dekapentasyllabos (15-syllable iamb with a caesura after the 8th syllable) verse, which means that their wording and tunes are easily interchangeable. This has given rise to a great number of local variants, parts of which often overlap or resemble one another in verse, tune, or both. Nevertheless, their musical variety remains very wide overall: for example carols from Epirus are strictly pentatonic, in the kind of drone polyphony practised in the Balkans, and accompanied by C-clarinets and fiddles; just across the straits, on Corfu Island, the style is tempered harmonic polyphony, accompanied by mandolins and guitars. Generally speaking, the musical style of each carol closely follows the secular music tradition of each region.

text: Italy[edit]

text: The most popular Italian Christmas carol is "Tu scendi dalle stelle", written in 1732 by Saint Alphonsus Maria de' Liguori.[35]

text: Philippines[edit]

text: Christmas carols in predominantly Catholic Philippines exhibit the influence of indigenous, Hispanic and American musical traditions, reflecting the country's complex history. Carollers (Tagalog: Namamaskô) begin wassailing in November, with mostly children and young adults participating in the custom.

text: Poland[edit]

text: Christmas carols are very popular in Poland, where they have a long history, the oldest dating to the 15th century or earlier.[36] There is a tradition of singing Christmas carols until 2 February which is celebrated by western Christians as the Feast of the Presentation of Jesus at the Temple.[citation needed]

text: Spain and Portugal[edit]

text: The villancico (or vilancete in Portuguese) was a common poetic and musical form of the Iberian Peninsula and Latin America popular from the late 15th to 18th centuries. With the decline in popularity of the villancicos in the 20th century, the term became reduced to mean merely "Christmas carol". Important composers of villancicos were Juan del Encina, Pedro de Escobar, Francisco Guerrero, Gaspar Fernandes and Juan Gutiérez de Padilla. Popular Spanish villancicos include "Los pastores a Belén" and "Riu, riu, chiu: El lobo rabioso" and "Los peces en el río".

text: Andorra and Catalan-speaking territories[edit]

text: The Nadala or Cançó de Nadal (in plural nadales) are a popular group of songs, usually requiring a chorus, that are song from Advent until Epiphany. Their written versions starts in the 15th century. In the past were usually being song by shepherds and their families in market squares and in front of churches.

text: The Nadala origins are uncertain but usually cited to be related with the Montseny and Pedraforca mountains in Catalonia (by the counties of Osona and Girona). As quite a few have references to mythological events and powers, some authors claim that they contain part of the religion that was present in the territory before Christianity arrived as it was kept alive in these mountainous regions.

text: The nadala is usually paired with the caramella, being one for the winter solstice events while the other to the spring equinox.

text: Ukraine[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2017) (Learn how and when to remove this template message)

text: Ukrainian Christmas carols are named kolyadka (Ukrainian: колядки).[37] They were originally sung to celebrate the birth of the Sun.[38] After the incorporation into Christianity, their theme has been shifted to Christmas, celebrating the birth of Jesus Christ.

text: The Ukrainian carol most known to the Western World is the "Carol of the Bells", with English lyrics by the American composer of Ukrainian descent Peter J. Wilhousky, composed by the Ukrainian composer Mykola Leontovych as "Shchedryk", and premiered in December 1916 by a choral group made up of students at Kyiv University. Although it is a Christmas carol in Wilhousky's English lyrics, in original Ukrainian lyrics it is a Generous Eve carol (shchedrivkauk, Ukrainian: щедрівка), having nothing with Christianity.

text: United States[edit]

text: Christmas music written in the United States ranges from popular songs, such as "Jingle Bells", to Christmas carols, such as "Away in a Manger", "O Little Town of Bethlehem", and numerous others of varying genres. Church and college choirs celebrate with special programs and online recordings.

text: Media[edit]

text:
"What Child is This"

"What Child is This"

"O Little Town of Bethlehem"

"O Little Town of Bethlehem"

"Deck the Halls"

"Deck the Halls"

"O Holy Night"

"O Holy Night"

"Jingle Bells"

"Jingle Bells", performed by piano, flute, clarinet, French horn

"Joy to the World"

"Joy to the World", performed by piano

"O Christmas Tree"

"O Tannenbaum"

"It Came Upon the Midnight Clear"

"It Came Upon the Midnight Clear"

"Angels We Have Heard on High"

"Angels We Have Heard on High", performed by Clarinet and French Horn

"Angels We Have Heard on High"

"Angels We Have Heard on High", Piano solo

"God Rest You Merry, Gentlemen"

A 1917 Edison Records recording of "God Rest You Merry, Gentlemen"

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document_title: Nissan Rogue

question_text: what platform is the nissan rogue built on

root

text: Nissan Rogue

text: First generation (2007–2013)[edit]

text:
First Generation

2011 Nissan Rogue S

Overview

Also called
Nissan Rogue Select (2014-2015)

Production
2007–2015

Model years
2008–2013 (as Rogue)
2014–2015 (as Rogue Select)

Assembly
Nissan Shatai, Kanda, Fukuoka, Japan

Body and chassis

Layout
Front engine, front-wheel drive / four-wheel drive

Platform
Nissan C platform

Related

Nissan Qashqai
Nissan Murano
Nissan X-Trail
Renault Koleos

Powertrain

Engine
2.5 L QR25DE I4

Transmission
CVT

Dimensions

Wheelbase
105.9 in (2,690 mm)

Length

2008–2010: 182.9 in (4,646 mm)
2011–2013: 183.3 in (4,656 mm)
2011–2013 Krom: 184.3 in (4,681 mm)

Width
70.9 in (1,801 mm)

Height
65.3 in (1,659 mm)

Curb weight
3,529 lb (1,601 kg)

tag: table

text: The Nissan Rogue made its debut at the North American International Auto Show in Detroit on January 7, 2007. It replaces the Nissan X-Trail in Canada and Taiwan as Nissan's entry-level SUV and the body-on-frame Nissan Xterra in Mexico due to the Smyrna plant freeing capacity for the 2009 Suzuki Equator, but the Xterra continued on sale in the United States and Canada through 2015 after being withdrawn from the Mexican market after the 2008 model year.

tag: p

text: Initial release[edit]

text: The Rogue comes in three trims in the United States: S,SV and SL. S is the base model, which comes factory equipped with anti-lock brakes; air conditioning; cruise control; power windows, locks, and mirrors; remote keyless entry; and AM/FM/CD stereo with four speakers and auxiliary input jack.[6]

text: An optional "360 Value" package on the S model adds 16-inch alloy wheels, auto-dimming rear-view mirror with rear-view monitor, body-color rear spoiler, chrome grille, and rear privacy glass. An S Krōm trim edition includes Krōm integrated body design, center-exit exhaust, body-color rear spoiler, 17-inch brilliant-finish aluminum-alloy wheels, and rear privacy glass.[7]

text: Both trims are available with Front-wheel drive and All-wheel drive.[8]

text: Safety[edit]

text: Safety features in the Rogue include front airbags, side-impact airbags, side-curtain airbags with rollover sensors, tire-pressure monitor, ABS with brake-assist and electronic brake-force distribution, traction control, and anti-skid control. The following summarizes the National Highway Traffic Safety Administration (NHTSA) Crash Test Ratings[9]

text:
Frontal Driver
 (5 stars out of 5)

Frontal Passenger
 (4 stars out of 5)

Side Impact
 (5 stars out of 5)

Rollover
 (4 stars out of 5)

text: In the IIHS evaluation of the 2013 model year, the Rogue achieved a "Good" crashworthiness rating for Head Restraints & Seats, Side, and Moderate Overlap Front, while achieving an “Acceptable” rating in Roof Strength, and a "Poor" rating in Small Overlap Front. Modifications were made starting in the 2014 model year which increased the Small Overlap Front and Roof Strength ratings to "Good".[10]

text: Awards and recognition[edit]

text:
2010 Rogue Awarded Consumers Digest's Automotive Best Buy Award.
2010 Rogue Received the U.S. National Highway Traffic Safety Administration (NHTSA)'s Highest Side-Impact Safety Rating(five stars).

tag: ul

text: 2011 model year update[edit]

text: Changes to the Rogue include redesigned gauges recolored from orange to black, redesigned center dash for addition of the navigation system, redesigned exterior featuring a new front fascia and grille, new front and rear spoilers, new chrome side door guard molding trim accents, new front and rear tire deflectors and a new chrome license plate finisher; new 18-inch aluminum-alloy wheels for the Rogue S Krōm Edition and Rogue SL Package, new low rolling resistance tires (available with the 17-inch aluminum-alloy wheels) and a new under-body cover.

text: The Rogue S Krōm Edition is a version of Rogue S with more aggressive styling, sport-tuned exhaust, 18-inch polished wheels and tires, a unique grille and bumper with fog lamps, and other styling tweaks. The vehicle was unveiled at the 23rd Annual International Z Car Convention in Nashville.

text: US models went on sale at Nissan dealers nationwide beginning August 13, 2010. Early models include S and SV.[11]

text: Equipment[edit]

text: The SV is available with an optional SL package, adding leather seats, touch screen navigation system and 18" alloy wheels, along with other premium features.

text: Recalls[edit]

text: Nissan vehicles with Garmin Navi 750, 760 and 765 GPS devices, which included Rogue sold with the Garmin devices between 2008 and 2010, were recalled in 2010 due to overheating.[12] On November 23, 2011 Nissan announced a recall of 7,365 2011 Rogue vehicles for improperly manufactured electric power steering (EPS) assist units, which over time could cause the power assist feature to fail, causing a loss of power assist and an increased risk of an accident.[13][14]

text: 2012 model year update[edit]

text: Changes to 2012 Rogue includes new aluminum-alloy wheels design, sport mode to the CVT, one new exterior color (Graphite Blue), Around View Monitor for SL package, which creates a composite top-view of the vehicle's surrounding and displays it through a LCD monitor.[15]

text: "Special Edition" (replaced "Krom" edition) adds 16-inch alloy wheels, a premium audio system, satellite radio, privacy glass, rearview monitor, and fog lamps to the S trim.[16][17]

text: In Canada, the Rogue comes in S and SV trim in front- or all-wheel-drive, and in a top-line SL trim in all-wheel-drive.

text: Recalls[edit]

text: In February 2012, Nissan recalled 2,983 MY 2012 versions of the Murano and Rogue, because the tire pressure monitoring system was not activated when the cars were assembled.[18]

text: Rogue Select[edit]

text: The Select was a continuation of the first generation Rogue sold alongside an all-new Rogue that went on sale in 2013 as a 2014 model. Since the production capacity allowed for the first generation to be built in conjunction with the 2nd generation, it allowed for a lower entry price to Rogue customers as well as fleet sales. It went on sale in January 2014 as a 2014 model year vehicle and was continued through 2015. Nissan then announced that 2015 would be the final year.[19] The Rogue Select was not offered in Canada.

text: Rogue Select was built in Kyushu, Japan plant.[20]

text: Second generation (2013–present)[edit]

text:
Nissan Rogue

2014 S AWD

Overview

Production
2013–present

Assembly
Smyrna, Tennessee, United States (Nissan USA)[21]

Designer
Keisuke Otsuki

Body and chassis

Platform
Nissan CMF platform (CMF-CD)

Related

Nissan Rogue
Nissan Qashqai
Renault Koleos

Powertrain

Engine

Petrol
2.0L MR20DD 143 hp (106 kW) I4 (144 hp for X-Trail Hybrid)
2.5L QR25DE 170 hp (126 kW) I4
Diesel
2.0L 177 bhp (130kW) I4]
1.6L Y9M 130 bhp (96 kW) I4

Transmission

6-speed manual
6-speed automatic
CVT

Dimensions

Wheelbase
2,705 mm (106.5 in)

Length
4,641 mm (182.7 in)

Width
1,820 mm (71.65 in)

Height
1,709 mm (67.3 in)

Chronology

Predecessor
Nissan Qashqai +2 (7 passenger models only)

text: The second generation Rogue is a version of Nissan X-Trail and inspired by the Hi-Cross Concept to adapt to the US and Canada markets.[22] Changes include optional third row 7 passenger seating, standard 4-wheel independent suspension, electric power-assisted Steering, 4-wheel disc brakes with an anti-lock braking system. This generation has an interior size similar to Nissan's Murano, Altima, and Maxima.

text: The vehicle was unveiled in 2013 Frankfurt Motor Show.[23] US models went on sale in November 2013 as a 2014 model year vehicle. Early models included 2.5 L 4-Cylinder QR25DE engine rated 170 hp (127 kW) and 175 pound-feet (237 N⋅m), Xtronic CVT [(Continuously Variable Transmission) Jatco CVT8][24][better source needed] with standard Sport Mode switch, 3 trims (S, SV and SL, each in a choice of front-wheel or all-wheel drive).[25][26][27][28]

text: The 2016 model comes with technology such as NissanConnect with Navigation, Siri Eyes Free and many other new features. Eight exterior colors are offered.[29]

text: Production[edit]

text: Manufacture of the 2014 Rogue began at Smyrna, Tennessee as the facility's 10 millionth vehicle.[30]

text: Production of the Rogue crossover at South Korean manufacturer Renault Samsung Motors's Busan plant started in September 2014, with an annual capacity of about 80,000 units.[31][32] The 2014 Rogue received the distinction of being the first automobile to be manufactured in South Korea for a Japanese automaker and sold under a Japanese brand, thanks to the Renault–Nissan Alliance, in which the Rogue is built by Renault Samsung Motors in Busan.[33]

text: In calendar year 2016 the Rogue became Nissan's top-selling model for the 1st time, a total of 329,904 sales reflecting a 14.9 percent increase.[34]

text: Safety[edit]

text: The Rogue is currently holding the Top Safety Pick For IIHS Ratings. With the safety features from the first generation, it also includes Lane departure warning, frontal collision warning, object detection warning (SL Trim Only), and a 360 degree backup camera.

text: 2014–Present Model years (Not including Rogue Select)

text: Small Overlap Front Driver: Good

text: Small Overlap Front Passenger: Good

text: Moderate Overlap Front Driver: Good

text: Side Impact: Good

text: Roof Strength: Good

text: The Small Overlap Test, introduced in 2012 by the IIHS simulates a frontal collision on 25% of the driver's side. Since its adoption, the IIHS has noticed several automakers making non-symmetrical modifications to their vehicles, the Rogue being one of them. Another Small Overlap Test was conducted on a number of vehicles including a 2014 Rogue, but was conducted on the passenger side instead. Based on this test, the Rogue would have received a "Marginal" rating if the IIHS were to provide ratings for passenger-side protection. The crash test's intrusion was 10 inches further into the vehicle on the passenger's side than on the driver's side and completely tore off the structural door hinge pillar on the passenger side.[35]

text: The Rogue was redesigned for the 2014 model year. The redesigned Rogue shares no ratings with the previous design, built since the 2008 model year and given a new name for 2014-15, the Rogue Select. Starting with the 2014 year, the Rogue was awarded Top Safety Pick+ by IIHS (Insurance Institute for Highway Safety).[36]

text: Nissan vehicles built 2014 to 2017 were put under a recall as the occupant classification sensor (OCS) would think that an adult in the passenger seat is a child. They recalled over 6 million vehicles for either reprogramming or replacing.

text: 2017 model year update[edit]

text: The Rogue was facelifted for MY 2017, with restyled headlights and taillights, and LED daytime running lights standard on all trim levels. The front grill plastics also changed, with the wider V-Motion Grille, that Nissan has throughout its lineup.

text: 2018 model year update[edit]

text: Automatic Emergency Braking, Blind Spot Warning and Rear Cross Traffic Alert became standard safety features for MY 2018 both in US and Canadian markets. Propilot Assist is an option on the SL trim.[37]

text: Rogue Hybrid[edit]

text: A hybrid Rogue debuted January 2017, with limited availability for the 2017 model year. The hybrid features regenerative braking, pure drive hybrid emblems, energy monitor, hybrid battery status, under-floor storage area replacing Divide-N-Hide@ Cargo System, a 2.0 Liter 4 cylinder gasoline engine (power: 141 hp and torque: 141 lb-ft) and Xtronic CVT combined with an electric motor (power: 40 hp) and Lithium-Ion battery, for a combined power of 176 hp. The Lithium-Ion battery is located below the thick flooring of the under-floor cargo storage area. The Rogue Hybrid is available in 2 trim levels SV and SL, but the Rogue Hybrid is not available with Third Row Seating (Family Package) and Divide-N-Hide@ Cargo System due to the Lithium-Ion battery.[38]

text: Marketing[edit]

text: In 2007 the Rogue was featured on the television series Heroes, and in 2014, Nissan became the exclusive automotive partner for the launch of Apple's iTunes Radio, with the campaign theme "Make the Ordinary Extraordinary."[39]

text: Star Wars Edition[edit]

text: A special edition model known as the "2017 Nissan Rogue: Rogue One Star Wars Limited Edition" inspired by the 2016 film Rogue One was released for the 2017 model year. Available with the glacier white or the magnetic black exterior color and charcoal interior, the Rogue One Edition is only available on the SV trim levels and features a panoramic moonroof, BOSE Audio System, black glossed front grille, black gloss accents on the front and rear bumper, black chrome door handles, black roof rails, black smoked twin LED projector headlights with HID, black wheels, death trooper helmet replica, and Rogue One Edition badging and emblems on the exterior and the interior door sill panels as additional standard features for the Rogue One model versus the regular Nissan Rogue. Only 5,000 units of this limited edition were built.[40]

text: Rogue Sport[edit]

text: A version of the Nissan Qashqai was released for the 2017 MY as the Nissan Rogue Sport. A replacement for the Rogue Select,[citation needed] it is sightly smaller than the regular Rogue and comes with a 2.0 liter engine. Trim levels include S, SV, and SL with FWD or AWD. The Nissan Rogue Sport is only sold in the United States. In Canada, the Nissan Qashqai is sold as a Nissan Qashqai.

text: Sales[edit]

text:
Calendar year
U.S.
Canada

2007
17,808[41]
7503[41]

2008
75,053
13,163

2009
77,222
11,056

2010
99,515
13,199

2011
124,543[42]
14,191

2012
142,349[42]
14,329

2013
162,751[43]
16,878

2014
199,199[44]
28,827

2015
287,190[44]
35,841

2016
329,904[34]
40,055[45]

2017
403,465[46]
43,418[47]


document_title: List of Buffalo Sabres seasons

question_text: when was the last time the buffalo sabres were in the playoffs

text: List of Buffalo Sabres seasons

text: This is a list of seasons completed by the Buffalo Sabres of the National Hockey League.  This list documents the records and playoff results for all seasons the Sabres have completed in the NHL since their inception in 1970.

text:
Stanley Cup Champions

Conference Champions

Division Champions

League Leader

text: Note: GP = Games played, W = Wins, L = Losses, T = Ties, OTL = Overtime Losses, Pts = Points, GF = Goals for, GA = Goals against, PIM = Penalties in minutes

text:
NHL season
Team season
GP
W
L
T
OTL
Pts
GF
GA
PIM
Finish
Playoffs

1970–71
1970–71
78
24
39
15
—
63
217
291
1188
5th, Eastern
Did not qualify

1971–72
1971–72
78
16
43
19
—
51
203
289
831
6th, Eastern
Did not qualify

1972–73
1972–73
78
37
27
14
—
88
257
219
940
4th, Eastern
Lost in Quarterfinals, 2–4 (Canadiens)

1973–74
1973–74
78
32
34
12
—
76
242
250
787
5th, Eastern
Did not qualify

1974–75
1974–75
80
49
16
15
—
113
354
240
1229
1st, Adams
Won in Quarterfinals, 4–1 (Blackhawks)  Won in Semifinals, 4–2 (Canadiens)  Lost in Finals, 2–4 (Flyers)

1975–76
1975–76
80
46
21
13
—
105
339
240
943
2nd, Adams
Won in Preliminary Round, 2–1 (Blues)  Lost in Quarterfinals, 2–4 (Islanders)

1976–77
1976–77
80
48
24
8
—
104
301
220
848
2nd, Adams
Won in Preliminary Round, 2–0 (North Stars)  Lost in Quarterfinals, 0–4 (Islanders)

1977–78
1977–78
80
44
19
17
—
105
288
215
800
2nd, Adams
Won in Preliminary Round, 2–1 (Rangers)  Lost in Quarterfinals, 1–4 (Flyers)

1978–79
1978–79
80
36
28
16
—
88
280
263
1026
2nd, Adams
Lost in Preliminary Round, 1–2 (Penguins)

1979–80
1979–80
80
47
17
16
—
110
318
201
967
1st, Adams
Won in Preliminary Round, 3–1 (Canucks)  Won in Quarterfinals, 4–0 (Blackhawks)  Lost in Semifinals, 1–4 (Islanders)

1980–81
1980–81
80
39
20
21
—
99
327
250
1194
1st, Adams
Won in Preliminary Round, 3–0 (Canucks)  Lost in Quarterfinals, 1–4 (North Stars)

1981–82
1981–82
80
39
26
15
—
93
307
273
1425
3rd, Adams
Lost in Division Semifinals, 1–3 (Bruins)

1982–83
1982–83
80
38
29
13
—
89
318
285
1031
3rd, Adams
Won in Division Semifinals, 3–0 (Canadiens)  Lost in Division Finals, 3–4 (Bruins)

1983–84
1983–84
80
48
25
7
—
103
315
257
1190
2nd, Adams
Lost in Division Semifinals, 0–3 (Nordiques)

1984–85
1984–85
80
38
28
14
—
90
290
237
1221
3rd, Adams
Lost in Division Semifinals, 2–3 (Nordiques)

1985–86
1985–86
80
37
37
6
—
80
296
291
1608
5th, Adams
Did not qualify

1986–87
1986–87
80
28
44
8
—
64
280
308
1810
5th, Adams
Did not qualify

1987–88
1987–88
80
37
32
11
—
85
283
305
2277
3rd, Adams
Lost in Division Semifinals, 2–4 (Bruins)

1988–89
1988–89
80
38
35
7
—
83
291
299
2034
3rd, Adams
Lost in Division Semifinals, 1–4 (Bruins)

1989–90
1989–90
80
45
27
8
—
98
286
248
1449
2nd, Adams
Lost in Division Semifinals, 2–4 (Canadiens)

1990–91
1990–91
80
31
30
19
—
81
292
278
1733
3rd, Adams
Lost in Division Semifinals, 2–4 (Canadiens)

1991–92
1991–92
80
31
37
12
—
74
289
299
2713
3rd, Adams
Lost in Division Semifinals, 3–4 (Bruins)

1992–93
1992–93
84
38
36
10
—
86
335
297
1873
4th, Adams
Won in Division Semifinals, 4–0 (Bruins)  Lost in Division Finals, 0–4 (Canadiens)

1993–94
1993–94
84
43
32
9
—
95
282
218
1760
4th, Northeast
Lost in Conference Quarterfinals, 3–4 (Devils)

1994–951
1994–95
48
22
19
7
—
51
130
119
1022
4th, Northeast
Lost in Conference Quarterfinals, 1–4 (Flyers)

1995–96
1995–96
82
33
42
7
—
73
247
262
2195
5th, Northeast
Did not qualify

1996–97
1996–97
82
40
30
12
—
92
237
208
1840
1st, Northeast
Won in Conference Quarterfinals, 4–3 (Senators)  Lost in Conference Semifinals, 1–4 (Flyers)

1997–98
1997–98
82
36
29
17
—
89
211
187
1768
3rd, Northeast
Won in Conference Quarterfinals, 4–1 (Flyers)  Won in Conference Semifinals, 4–0 (Canadiens)  Lost in Conference Finals, 2–4 (Capitals)

1998–99
1998–99
82
37
28
17
—
91
207
175
1561
4th, Northeast
Won in Conference Quarterfinals, 4–0 (Senators)  Won in Conference Semifinals, 4–2 (Bruins)  Won in Conference Finals, 4–1 (Maple Leafs)  Lost in Finals, 2–4 (Stars)

1999–2000
1999–2000
82
35
32
11
4
85
213
204
1173
3rd, Northeast
Lost in Conference Quarterfinals, 1–4 (Flyers)

2000–01
2000–01
82
46
30
5
1
98
218
184
1249
2nd, Northeast
Won in Conference Quarterfinals, 4–2 (Flyers)  Lost in Conference Semifinals, 3–4 (Penguins)

2001–02
2001–02
82
35
35
11
1
82
213
200
1217
5th, Northeast
Did not qualify

2002–03
2002–03
82
27
37
10
8
72
190
219
1276
5th, Northeast
Did not qualify

2003–04
2003–04
82
37
34
7
4
85
220
221
1289
5th, Northeast
Did not qualify

2004–05
2004–05
Season cancelled due to 2004–05 NHL lockout

2005–06
2005–06
82
52
24
—
6
110
281
239
1144
2nd, Northeast
Won in Conference Quarterfinals, 4–2 (Flyers)  Won in Conference Semifinals, 4–1 (Senators)  Lost in Conference Finals, 3–4 (Hurricanes)

2006–07
2006–07
82
53
22
—
7
113
308
242
1177
1st, Northeast
Won in Conference Quarterfinals, 4–1 (Islanders)  Won in Conference Semifinals, 4–2 (Rangers)   Lost in Conference Finals, 1–4 (Senators)

2007–08
2007–08
82
39
31
—
12
90
255
242
1040
4th, Northeast
Did not qualify

2008–09
2008–09
82
41
32
—
9
91
250
234
1146
3rd, Northeast
Did not qualify

2009–10
2009–10
82
45
27
—
10
100
235
207
908
1st, Northeast
Lost in Conference Quarterfinals, 2–4 (Bruins)

2010–11
2010–11
82
43
29
—
10
96
245
229
958
3rd, Northeast
Lost in Conference Quarterfinals, 3–4 (Flyers)

2011–12
2011–12
82
39
32
—
11
89
218
230
904
3rd, Northeast
Did not qualify

2012–13
2012–13
48
21
21
—
6
48
125
143
630
5th, Northeast
Did not qualify

2013–14
2013–14
82
21
51
—
10
52
157
248
903
8th, Atlantic
Did not qualify

2014–15
2014–15
82
23
51
—
8
54
161
274
853
8th, Atlantic
Did not qualify

2015–16
2015–16
82
35
36
—
11
81
201
222
713
7th, Atlantic
Did not qualify

2016–17
2016–17
82
33
37
—
12
78
201
237
-
8th, Atlantic
Did not qualify

2017–18
2017–18
82
25
45
—
12
62
199
280
-
8th, Atlantic
Did not qualify

Totals
—
3445
1614
1321
409
101
3738
11191
10399
56521

All-time Series Record: 21–29

text: Note: Between 1974–75 and 1980–81, Conference championships were awarded to the team that finished first overall in their respective conference in the regular season.


document_title: Harry Potter (film series)

question_text: how many harry potter books were out when the first movie came out

question_tokens: how many harry potter books were out when the first movie came out

text: Harry Potter (film series)

text: Origins

text: Late in 1997, film producer David Heyman's London offices received a copy of the first book in what would become Rowling's series of seven Harry Potter novels. The book, Harry Potter and the Philosopher's Stone, was relegated to a low-priority bookshelf, where it was discovered by a secretary who read it and gave it to Heyman with a positive review. Consequently, Heyman, who had originally disliked "the rubbish title", read the book himself. Highly impressed by Rowling's work, he began the process that led to one of the most successful cinematic franchises of all time.[10]

text: Heyman's enthusiasm led to Rowling's 1999 sale of the film rights for the first four Harry Potter books to Warner Bros. for a reported £1 million (US$2,000,000).[11] A demand Rowling made was that the principal cast be kept strictly British, allowing nevertheless for the inclusion of many Irish actors, such as Richard Harris as Dumbledore, and for casting of French and Eastern European actors in Harry Potter and the Goblet of Fire where characters from the book are specified as such.[12] Rowling was hesitant to sell the rights because she "didn't want to give them control over the rest of the story" by selling the rights to the characters, which would have enabled Warner Bros. to make non-author-written sequels.[13]

text: Although Steven Spielberg initially negotiated to direct the first film, he declined the offer.[14] Spielberg wanted the adaptation to be an animated film, with American actor Haley Joel Osment providing Harry Potter's voice.[15][not in citation given] Spielberg contended that, in his opinion, there was every expectation of profit in making the film. He claims that making money would have been like "shooting ducks in a barrel. It's just a slam dunk. It's just like withdrawing a billion dollars and putting it into your personal bank accounts. There's no challenge".[16] In the "Rubbish" Bin section of her website, Rowling maintains that she had no role in choosing directors for the films, writing "Anyone who thinks I could (or would) have 'veto-ed' him [Spielberg] needs their Quick-Quotes Quill serviced."[17]

text: After Spielberg left, conversations began with other directors, including Chris Columbus, Jonathan Demme, Terry Gilliam, Mike Newell, Alan Parker, Wolfgang Petersen, Rob Reiner, Tim Robbins, Brad Silberling, and Peter Weir.[18] Petersen and Reiner both pulled out of the running in March 2000.[19] It was then narrowed down to Columbus, Gilliam, Parker, and Silberling.[20] Rowling's first choice was Terry Gilliam.[21] However, on 28 March 2000 Columbus was appointed as director of the film, with Warner Bros. citing his work on other family films such as Home Alone and Mrs. Doubtfire as influences for their decision.[22]

text: Harry Potter is the kind of timeless literary achievement that comes around once in a lifetime. Since the books have generated such a passionate following across the world, it was important to us to find a director that has an affinity for both children and magic. I can't think of anyone more ideally suited for this job than Chris [Columbus].

text: Steve Kloves was selected to write the screenplay for the first film. He described adapting the book as "tough" since it did not "lend itself to adaptation as well as the next two books". Kloves was sent a "raft" of synopses of books proposed as film adaptations, with Harry Potter being the only one that jumped out at him. He went out and bought the book, becoming an instant fan. When speaking to Warner Bros. he stated that the film had to be British and true to the characters.[23] David Heyman was confirmed to produce the film.[22] Rowling received a large amount of creative control for the film, an arrangement that Columbus did not mind.[24]

text: Warner Bros. had initially planned to release the first film over the 4 July 2001 weekend, making for such a short production window that several of the originally proposed directors had withdrawn themselves from contention. Eventually, due to time constraints, the date was put back to 16 November 2001.[25]

text: Casting the roles of Harry, Ron, and Hermione

text: In 2000, after a seven-month search, lead actor Daniel Radcliffe was discovered by producer David Heyman and writer Steve Kloves seated just behind them in a theatre. In Heyman's own words, "There sitting behind me was this boy with these big blue eyes. It was Dan Radcliffe. I remember my first impressions: He was curious and funny and so energetic. There was real generosity too, and sweetness. But at the same time he was really voracious and with hunger for knowledge of whatever kind."[10]

text: Radcliffe had already established himself as an actor in the 1999 BBC television production of David Copperfield in which he played the title role's childhood years. Heyman persuaded Radcliffe's parents to allow him to audition for the part of Harry Potter, which involved Radcliffe being filmed.[10] (This screen test footage was released via the first set of Ultimate Editions in 2009.)[26] Rowling was enthusiastic after viewing Radcliffe's filmed test, saying she didn't think there was a better choice for the part of Harry Potter.[10][27]

text: Also in 2000, the then unknown British actors Emma Watson and Rupert Grint were selected from thousands of auditioning children to play the roles of Hermione Granger and Ron Weasley, respectively. Their only previous acting experience was in school plays. Grint was eleven years old and Watson ten at the time they were cast.[28]

text: Los Angeles Times writer Geoff Boucher, who conducted the above-mentioned interview with Heyman, added that the casting of the three major roles "is especially impressive in hindsight. The trio's selection was arguably one of the best show-business decisions over the past decade... they have shown admirable grace and steadiness in the face of teen superstardom."[10][27]

text: Production

text: Filming of the series began at Leavesden Studios, Hertfordshire, England, in September 2000 and ended in December 2010, with post-production on the final film lasting until summer 2011.[6] Leavesden Studios was the main base for filming Harry Potter, and it opened to the public as a studio tour in 2012 (renamed as Warner Bros. Studios, Leavesden).[29]

text:
Film

Director

Screenwriter

Producer(s) [n 1]

Composer

Rating

Novel by J. K. Rowling

Harry Potter and the Philosopher's Stone

Chris Columbus

Steve Kloves

David Heyman

John Williams

PG

Harry Potter and the Philosopher's Stone

Harry Potter and the Chamber of Secrets

Harry Potter and the Chamber of Secrets

Harry Potter and the Prisoner of Azkaban

Alfonso Cuarón

David Heyman, Chris Columbus and Mark Radcliffe

Harry Potter and the Prisoner of Azkaban

Harry Potter and the Goblet of Fire

Mike Newell

David Heyman

Patrick Doyle

PG-13

Harry Potter and the Goblet of Fire

Harry Potter and the Order of the Phoenix

David Yates

Michael Goldenberg

David Heyman and David Barron

Nicholas Hooper

Harry Potter and the Order of the Phoenix

Harry Potter and the Half-Blood Prince

Steve Kloves

PG

Harry Potter and the Half-Blood Prince

Harry Potter and the Deathly Hallows – Part 1

David Heyman, David Barron and J. K. Rowling

Alexandre Desplat

PG-13

Harry Potter and the Deathly Hallows

Harry Potter and the Deathly Hallows – Part 2

text: David Heyman produced all the films in the series with his production company Heyday Films, while David Barron joined the series as an executive producer on Chamber of Secrets and Goblet of Fire. Barron was later appointed producer on the last four films. Chris Columbus was an executive producer on the first two films alongside Mark Radcliffe and Michael Barnathan, but he became a producer on the third film alongside Heyman and Radcliffe. Other executive producers include Tanya Seghatchian and Lionel Wigram. J. K. Rowling, author of the series, was asked to become a producer on Goblet of Fire but declined. She subsequently accepted the role on the two-part Deathly Hallows.[30]

text: Heyday Films and Columbus' company 1492 Pictures collaborated with Duncan Henderson Productions in 2001, Miracle Productions in 2002, and P of A Productions in 2004. Even though Prisoner of Azkaban was the final film produced by 1492 Pictures, Heyday Films continued with the franchise and collaborated with Patalex IV Productions in 2005. The sixth film in the series, Half-Blood Prince, was the most expensive film to produce as of  2009[update].

text: Warner Bros. split the seventh and final novel in the series, Deathly Hallows, into two cinematic parts. The two parts were filmed back-to-back from early 2009 to summer 2010, with the completion of reshoots taking place on 21 December 2010; this marked the end of filming Harry Potter. Heyman stated that Deathly Hallows was "shot as one film" but released in two feature-length parts.[31]

text: Tim Burke, the visual effects supervisor of the series, said of the production on Harry Potter, "It was this huge family; I think there were over 700 people working at Leavesden, an industry in itself." David Heyman said, "When the first film opened, no way did I think we'd make eight films. That didn't seem feasible until after we'd done the fourth." Nisha Parti, the production consultant on the first film, said that Heyman "made the first film very much the way he felt the studio Warner Bros. wanted to make it." After the film's success, Heyman was given "more freedom".[32]

text: One of the aims of the filmmakers from the beginning of production was to develop the maturity of the films. Chris Columbus stated, "We realised that these movies would get progressively darker. Again, we didn't know how dark but we realised that as the kids get older, the movies get a little edgier and darker."[33] This transpired with the succeeding three directors who would work on the series in the following years, with the films beginning to deal with issues such as death, betrayal, prejudice, and political corruption as the series developed narratively and thematically.[5][34]

text: Directors

text: After Chris Columbus had finished working on Harry Potter and the Philosopher's Stone, he was hired to direct the second film, Harry Potter and the Chamber of Secrets. The production started within a week after the release of the first film. Columbus was set to direct all entries in the series,[35] but he did not want to return for the third film, Harry Potter and the Prisoner of Azkaban, claiming he was "burned out".[36] He moved to the position of producer, while Alfonso Cuarón was approached for the role of director. He was initially nervous about directing the instalment since he had not read any of the books or seen the films. After reading the series, he changed his mind and signed on to direct since he had immediately connected to the story.[37]

text: Because Cuarón decided not to direct the fourth instalment, Harry Potter and the Goblet of Fire, a new director had to be selected.[38] Mike Newell was chosen to direct the film, but he declined to direct the next film, Harry Potter and the Order of the Phoenix, which was given to David Yates, who also directed Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, becoming the only director to helm more than one film since Chris Columbus.

text: Chris Columbus said his vision of the first two films was of a "golden storybook, an old-fashioned look", while Alfonso Cuarón changed the visual tone of the series, desaturated the colour palette, and expanded the landscape around Hogwarts.[33][38] Mike Newell decided to direct the fourth film as a "paranoid thriller", while David Yates wanted to "bring a sense of jeopardy and character to the world".[39][40] Cuarón, Newell, and Yates have said that their challenge was striking a balance between making the films according to their individual vision, while working within a cinematic world already established by Columbus.[38][39][40]

text: David Heyman commented on the "generosity of the directors" by revealing that "Chris spent time with Alfonso, Alfonso spent time with Mike and Mike spent time with David, showing him an early cut of the film, talking through what it means to be a director and how they went about [making the films]."[41]

text: David Heyman also said, "I suppose Chris Columbus was the most conservative choice from the studio's point of view. But he expressed real passion."[32] Producer Tanya Seghatchian said they were "more adventurous" in choosing a director for the third film and went straight to Alfonso Cuarón.[32] Mike Newell became the first British director of the series when he was chosen for the fourth film; Newell was considered to direct the first film before he dropped out.[32] David Yates directed the final films after David Heyman thought him capable of handling the edgy, emotional, and political material of the later novels.[42]

text: All the directors have been supportive of each other. Chris Columbus praised the character development in the films, while Alfonso Cuarón admired the "quiet poetry" of David Yates' films.[33][38] Mike Newell noted that each director had a different heroism, and David Yates views the first four films "respectfully and enjoy[s] them."[39][40] Daniel Radcliffe said Yates "took the charm of the films that Chris made and the visual flair of everything that Alfonso did and the thoroughly British, bombastic nature of the film directed by Mike Newell" and added "his own sense" of realism.[43]

text: Scripts

text: Steve Kloves wrote the screenplays for all but the fifth film, which was penned by Michael Goldenberg. Kloves had direct assistance from J.K. Rowling, though she allowed him what he described as "tremendous elbow room". Rowling asked Kloves to remain faithful to the spirit of the books; thus, the plot and tone of each film and its corresponding book are virtually the same, albeit with some changes and omissions for purposes of cinematic style, time, and budget constraints. Michael Goldenberg also received input from Rowling during his adaptation of the fifth novel; Goldenberg was originally considered to adapt the first novel before the studio chose Kloves.[44]

text: In a 2010 interview, David Heyman briefly explained the book-to-film transition. He commented on Rowling's involvement in the series, stating that she understood that "books and films are different" and was "the best support" a producer could have. Rowling had overall approval on the scripts, which were viewed and discussed by the director and the producers. Heyman also said that Kloves was the "key voice" in the process of adapting the novels and that certain aspects from the books needed to have been excluded from the scripts due to the filmmakers' decision to keep the main focus on Harry's journey as a character, which would ultimately give the films a defined structure. Heyman mentioned that some fans "don't necessarily understand the adaptation process" and that the filmmakers would have loved to "have everything" from the books in the films but noted that it was not possible since they had "neither time nor cinematic structure" to do so. He finished by saying that adapting a novel to the screen is "a really considered process."[45]

text: Because the films were being made as the novels were being published, the filmmakers had no idea of the story's outcome until the release of the final novel in 2007. Kloves spoke of his relationship with Rowling when adapting the novels by saying, "The thing is about Jo, which is remarkable for someone who had no experience with the filmmaking process, was her intuition. We had a conversation the very first day I met her where she said, 'I know the movies can't be the books... because I know what's coming and it's impossible to fully dramatise on screen what I'm going to write. But I just ask you to be true to the characters; that's all I care about.'"[46] Kloves also said, "I don't know what compelled me to say this [to Rowling], but I said, 'I've just got to warn you my favourite character is not Harry. My favourite character is Hermione.' And I think for some weird reason, from that moment on, she sort of trusted me."[46]

text: Cast and crew

text: Aside from the three lead actors, other notable cast members include Robbie Coltrane as Rubeus Hagrid, Tom Felton as Draco Malfoy, Alan Rickman as Severus Snape, and Dame Maggie Smith as Minerva McGonagall. Richard Harris, who played the role of Professor Albus Dumbledore, died on 25 October 2002 causing the role to be re-cast for the third instalment, Harry Potter and the Prisoner of Azkaban. David Heyman and director Alfonso Cuarón chose Michael Gambon to portray the character of Dumbledore, which he did for all succeeding films. Notable recurring cast members include Helena Bonham Carter as Bellatrix Lestrange, Warwick Davis as Filius Flitwick, Ralph Fiennes as Lord Voldemort, Brendan Gleeson as Alastor Moody, Richard Griffiths as Vernon Dursley, Jason Isaacs as Lucius Malfoy, Gary Oldman as Sirius Black, Fiona Shaw as Petunia Dursley, Timothy Spall as Peter Pettigrew, David Thewlis as Remus Lupin, Emma Thompson as Sybill Trelawney, Mark Williams as Arthur Weasley, and Julie Walters as Molly Weasley.

text: The series has seen many returning crew members from various departments, including Tim Burke, visual effects supervisor; Peter Doyle, digital film colourist; Nick Dudman, make-up and creature effects designer; David Holmes, stunt double; Amanda Knight, make-up artist; Stephenie McMillan, set designer; Greg Powell, stunt coordinator; Jany Temime, costume designer; and Fiona Weir, casting director.

text: Set design

text: The production designer for all eight films is Stuart Craig. Assisted by Stephenie McMillan, Craig has created iconic sets pieces including the Ministry of Magic, the Chamber of Secrets, Malfoy Manor, and the layout for the CGI Horcrux Cave. Because the novels were being published as the films were being made, Craig was required to rebuild some sets for future films and alter the design of Hogwarts.[49]

text: He said, "In the early days, every time you saw the exterior of Hogwarts, it was a physical miniature," which was made by craftsmen and occupied a large sound stage.[51][52] "We ended up with a profile of how Hogwarts looked, a skyline that actually I didn't design, and it wasn't always satisfactory, and as all the novels got written and movies got made there were new requirements [for buildings]. The [Astronomy Tower] definitely wasn't there originally, and so we were able to add that substantial piece. And in the last film, we needed an arena for the battle for Hogwarts – the big courtyard outside doubled in size, and if you look at the first movie it wasn't there at all. There were quite some liberties taken with the continuity of Hogwarts."[53] In the last film, Craig used a digital model instead of a miniature to "embrace the latest technology".[52]

text: On the method of creating the sets, Craig said he often started by sketching ideas onto a blank sheet of paper.[54] Stephanie McMillan also said that "each film always had plenty of new challenges," citing the changes in visual style between directors and cinematographers as an example, along with the developing story in the novels. Due to J.K. Rowling's descriptions of various settings in the novels, Craig noted his "responsibility was to place it together".[55]

text: Craig commented on his experience working in the studio environment: "I'm the production designer, but on a big movie like Harry Potter I may be responsible for 30 to 35 people; from the supervising art director, and a team of art directors and assistants, to draughtsmen and junior draughtsmen, and then on to model makers, sculptors and scenic artists." He said, "Ten years ago, all the Harry Potter drawings were done in pencil. I would take my roughs and plans and sections and give them to a professional architectural illustrator, who would create concept art using pencil and colour wash on watercolour paper." He said the process changed slightly throughout the years due to, what he called, the "digital revolution" of making films.[52]

text: When filming of the series was completed, some of Craig's sets had to be rebuilt or transported for them to be displayed at the Warner Bros. studio tour.[51]

text: Cinematography

text: Six directors of photography worked on the series: John Seale on the first film, Roger Pratt on the second and fourth, Michael Seresin on the third, Sławomir Idziak on the fifth, Bruno Delbonnel on the sixth, and Eduardo Serra on the seventh and eighth. Delbonnel was considered to return for both parts of Deathly Hallows, but he declined, stating that he was "scared of repeating" himself.[56] Delbonnel's cinematography in Half-Blood Prince gained the series its only Academy Award nomination for Best Cinematography. As the series progressed, each cinematographer faced the challenge of shooting and lighting older sets (which had been around since the first few films) in unique and different ways.[57] Chris Columbus said the series' vivid colouring decreased as each film was made.[33][58]

text: Michael Seresin commented on the change of visual style from the first two films to Prisoner of Azkaban: "The lighting is moodier, with more shadowing and cross-lighting." Seresin and Alfonso Cuarón moved away from the strongly coloured and brightly lit cinematography of the first two films, with dimmer lighting and a more muted colour palette being utilised for the succeeding five films.[59] After comparing a range of digital cameras with 35 mm film, Bruno Delbonnel decided to shoot the sixth movie, Half-Blood Prince, on film rather than the increasingly popular digital format. This decision was kept for the two-part Deathly Hallows with Eduardo Serra, who said that he preferred to work with film because it was "more technically accurate and dependable".[60]

text: Because the majority of Deathly Hallows takes place in various settings away from Hogwarts, David Yates wanted to "shake things up" by using different photographic techniques such as using hand-held cameras and very wide camera lenses.[61] Eduardo Serra said, "Sometimes we are combining elements shot by the main unit, a second unit, and the visual effects unit. You have to know what is being captured – colours, contrast, et cetera – with mathematical precision." He noted that with Stuart Craig's "amazing sets and the story", the filmmakers could not "stray too far from the look of the previous Harry Potter films."[60][62]

text: Editing

text: Along with continuous changes in cinematographers, there have been five film editors to work in post-production on the series: Richard Francis-Bruce edited the first instalment, Peter Honess the second, Steven Weisberg the third, Mick Audsley the fourth, and Mark Day films five through eight.

text: Music

text: The Harry Potter series has had four composers. John Williams scored the first three films: Philosopher's Stone, Chamber of Secrets, and Prisoner of Azkaban. However, the second entry was adapted and conducted by William Ross due to Williams's conflicting commitments. Williams also created Hedwig's Theme, which is used in every film in the series.

text: After Williams left the series to pursue other projects, Patrick Doyle scored the fourth entry, Goblet of Fire, which was directed by Mike Newell, with whom Doyle had worked previously. In 2006, Nicholas Hooper started work on the score to Order of the Phoenix by reuniting with director David Yates. Hooper also composed the soundtrack to Half-Blood Prince but decided not to return for the final films.

text: In January 2010, Alexandre Desplat was confirmed to compose the score for Harry Potter and the Deathly Hallows – Part 1.[63] The film's orchestration started in the summer with Conrad Pope, the orchestrator on the first three Harry Potter films, collaborating with Desplat. Pope commented that the music "reminds one of the old days."[64] Desplat returned to score Harry Potter and the Deathly Hallows – Part 2 in 2011.[65]

text: Director David Yates stated that he wanted John Williams to return to the series for the final installment, but their schedules did not align due to the urgent demand for a rough cut of the film.[66] The final recording sessions of Harry Potter took place on 27 May 2011 at Abbey Road Studios with the London Symphony Orchestra, orchestrator Conrad Pope, and composer Alexandre Desplat.[67]

text: Doyle, Hooper, and Desplat introduced their own personal themes to their respective soundtracks, while keeping a few of John Williams's themes.

text: Visual effects

text: There have been many visual effects companies to work on the Harry Potter series. Some of these include Rising Sun Pictures, Double Negative, Cinesite, Framestore, and Industrial Light & Magic. The latter three have worked on all the films in the series, while Double Negative and Rising Sun Pictures began their commitments with Prisoner of Azkaban and Goblet of Fire, respectively. Framestore contributed by developing many memorable creatures and sequences to the series.[68] Cinesite was involved in producing both miniature and digital effects for the films.[69] Producer David Barron said that "Harry Potter created the UK effects industry as we know it. On the first film, all the complicated visual effects were done on the [US] west coast. But on the second, we took a leap of faith and gave much of what would normally be given to Californian vendors to UK ones. They came up trumps." Tim Burke, the visual effects supervisor, said many studios "are bringing their work to UK effects companies. Every facility is fully booked, and that wasn't the case before Harry Potter. That's really significant."[32]

text: Final filming

text: On 12 June 2010, filming of the Deathly Hallows – Part 1 and Deathly Hallows – Part 2 was completed with actor Warwick Davis stating on his Twitter account, "The end of an Era – today is officially the last day of principal photography on 'Harry Potter' – ever. I feel honoured to be here as the director shouts cut for the very last time. Farewell Harry & Hogwarts, it's been magic!".[70] However, reshoots of the epilogue scene were confirmed to begin in the winter of 2010. The filming was completed on 21 December 2010, marking the official closure of filming the Harry Potter franchise.[71] Exactly four years earlier on that day, author J. K. Rowling's official website revealed the title of the final novel in the series – Harry Potter and the Deathly Hallows.[72]

text: Films

text: Harry Potter and the Philosopher's Stone (2001)

text: Harry Potter is an orphaned boy brought up by his unkind Muggle (non-magical) aunt and uncle. At the age of eleven, half-giant Rubeus Hagrid informs him that he is actually a wizard and that his parents were murdered by an evil wizard named Lord Voldemort. Voldemort also attempted to kill one-year-old Harry on the same night, but his killing curse mysteriously rebounded and reduced him to a weak and helpless form. Harry became extremely famous in the Wizarding World as a result. Harry begins his first year at Hogwarts School of Witchcraft and Wizardry and learns about magic. During the year, Harry and his friends Ron Weasley and Hermione Granger become entangled in the mystery of the Philosopher's Stone which is being kept within the school.

text: Harry Potter and the Chamber of Secrets (2002)

text: Harry, Ron, and Hermione return to Hogwarts for their second year, which proves to be more challenging than the last. The Chamber of Secrets has been opened, leaving students and ghosts petrified by an unleashed monster. Harry must face up to claims that he is the heir of Salazar Slytherin (founder of the Chamber), learn that he can speak Parseltongue, and also discover the properties of a mysterious diary, only to find himself trapped within the Chamber of Secrets itself.

text: Harry Potter and the Prisoner of Azkaban (2004)

text: Harry Potter's third year sees the boy wizard, along with his friends, attending Hogwarts School once again. Professor R. J. Lupin joins the staff as Defence Against the Dark Arts teacher, while convicted murderer Sirius Black escapes from Azkaban Prison. The Ministry of Magic entrusts the Dementors of Azkaban to guard Hogwarts from Black. Harry learns more about his past and his connection with the escaped prisoner.

text: Harry Potter and the Goblet of Fire (2005)

text: During Harry's fourth year, Hogwarts plays host to a legendary event: the Triwizard Tournament. Three European schools participate in the tournament, with three 'champions' representing each school in the deadly tasks. The Goblet of Fire chooses Fleur Delacour, Viktor Krum, and Cedric Diggory to compete against each other. However, curiously, Harry's name is also produced from the Goblet thus making him a fourth champion, which results in a terrifying encounter with a reborn Lord Voldemort.

text: Harry Potter and the Order of the Phoenix (2007)

text: Harry's fifth year begins with him being attacked by Dementors in Little Whinging. Later, he finds out that the Ministry of Magic is in denial of Lord Voldemort's return. Harry is also beset by disturbing and realistic nightmares, while Professor Umbridge, a representative of Minister for Magic Cornelius Fudge, is the new Defence Against the Dark Arts teacher. Harry becomes aware that Voldemort is after a prophecy which reveals: "neither can live while the other survives". The rebellion involving the students of Hogwarts, secret organisation Order of the Phoenix, the Ministry of Magic, and the Death Eaters begins.

text: Harry Potter and the Half-Blood Prince (2009)

text: In Harry's sixth year at Hogwarts, Lord Voldemort and his Death Eaters are increasing their terror upon the Wizarding and Muggle worlds. Headmaster Albus Dumbledore persuades his old friend Horace Slughorn to return to Hogwarts as a professor as there is a vacancy to fill. There is a more important reason, however, for Slughorn's return. While in a Potions lesson, Harry takes possession of a strangely annotated school textbook, inscribed 'This is the property of the Half-Blood Prince'. Draco Malfoy struggles to carry out a deed presented to him by Voldemort. Meanwhile, Dumbledore and Harry secretly work together to discover the method on how to destroy the Dark Lord once and for all.

text: Harry Potter and the Deathly Hallows – Part 1 (2010)

text: After unexpected events at the end of the previous year, Harry, Ron, and Hermione are entrusted with a quest to find and destroy Lord Voldemort's secret to immortality – the Horcruxes. It is supposed to be their final year at Hogwarts, but the collapse of the Ministry of Magic and Voldemort's rise to power prevents them from attending. The trio undergo a long journey with many obstacles in their path including Death Eaters, Snatchers, the mysterious Deathly Hallows, and Harry's connection with the Dark Lord's mind becoming ever stronger.

text: Harry Potter and the Deathly Hallows – Part 2 (2011)

text: After destroying one Horcrux and discovering the significance of the three Deathly Hallows, Harry, Ron and Hermione continue to seek the other Horcruxes in an attempt to destroy Voldemort, who has now obtained the powerful Elder Wand. The Dark Lord discovers Harry's hunt for Horcruxes and launches an attack on Hogwarts School, where the trio return for one last stand against the dark forces that threaten the Wizarding and Muggle worlds.

text: Release

text: The rights for the first four novels in the series were sold to Warner Bros. for £1,000,000 by J.K. Rowling. After the release of the fourth book in July 2000, the first film, Harry Potter and the Philosopher's Stone, was released on 16 November 2001. In its opening weekend, the film grossed $90 million in the United States alone, which set a record opening worldwide. The succeeding three motion picture adaptations followed suit in financial success, while garnering positive reviews from fans and critics. The fifth film, Harry Potter and the Order of the Phoenix, was released by Warner Bros. on 11 July 2007 in English-speaking countries, except for the UK and Ireland, which released the movie on 12 July.[73] The sixth, Harry Potter and the Half-Blood Prince, was released on 15 July 2009 to critical acclaim and finished its theatrical run ranked as the number two grossing film of 2009 on the worldwide charts.

text: The final novel, Harry Potter and the Deathly Hallows, was split into two cinematic parts: Part 1 was released on 19 November 2010, and Part 2, the conclusion to both the final film and the series, was released on 15 July 2011.[74] Part 1 was originally scheduled to be released in 3D and 2D,[75] but due to a delay in the 3D conversion process, Warner Bros. released the film only in 2D and IMAX cinemas. However, Part 2 was released in 2D and 3D cinemas as originally planned.[76]

text: The television broadcast rights for the series in the United States are currently held by NBCUniversal, which typically airs the films on USA Network and Syfy. [77] The film series has accrued nearly 1.3 billion viewings since its television debut—the highest-watched franchise in television broadcast history.[78]

text: Reception

text: Critical response

text: All the films have been a success financially and critically, making the franchise one of the major Hollywood "tent-poles" akin to James Bond, Star Wars, Indiana Jones and Pirates of the Caribbean. The series is noted by audiences for growing visually darker and more mature as each film was released.[33][79][80][81][82] However, opinions of the films generally divide book fans, with some preferring the more faithful approach of the first two films and others preferring the more stylised character-driven approach of the later films.

text: Some also feel the series has a "disjointed" feel due to the changes in directors, as well as Michael Gambon's interpretation of Albus Dumbledore differing from that of Richard Harris. Author J. K. Rowling has been constantly supportive of the films,[83][84][85] and evaluated Deathly Hallows as her favourite one in the series. She wrote on her website of the changes in the book-to-film transition, "It is simply impossible to incorporate every one of my storylines into a film that has to be kept under four hours long. Obviously films have restrictions – novels do not have constraints of time and budget; I can create dazzling effects relying on nothing but the interaction of my own and my readers' imaginations".[86]

text: Critical and public response

text:
Motion Picture

Rotten Tomatoes

Metacritic

CinemaScore

Harry Potter and the Philosopher's Stone

80% (193 reviews)[87]

64 (35 reviews)[88]

A[89]

Harry Potter and the Chamber of Secrets

82% (232 reviews)[90]

63 (35 reviews)[91]

A+[89]

Harry Potter and the Prisoner of Azkaban

91% (253 reviews)[92]

82 (40 reviews)[93]

A[89]

Harry Potter and the Goblet of Fire

88% (248 reviews)[94]

81 (38 reviews)[95]

A[89]

Harry Potter and the Order of the Phoenix

78% (245 reviews)[96]

71 (37 reviews)[97]

A−[89]

Harry Potter and the Half-Blood Prince

84% (269 reviews)[98]

78 (36 reviews)[99]

A−[89]

Harry Potter and the Deathly Hallows – Part 1

78% (265 reviews)[100]

65 (42 reviews)[101]

A[89]

Harry Potter and the Deathly Hallows – Part 2

96% (315 reviews)[102]

87 (41 reviews)[103]

A[89]

text: Accolades

text: At the 64th British Academy Film Awards in February 2011, J. K. Rowling, David Heyman, David Barron, David Yates, Alfonso Cuarón, Mike Newell, Rupert Grint and Emma Watson collected the Michael Balcon Award for Outstanding British Contribution to Cinema for the series.[104][105]

text: In addition, the American Film Institute recognised the entire series with a Special Award at the American Film Institute Awards in 2011. Special awards "are given to outstanding achievements in the moving image that do not fit into AFI's criteria for the other honorees." [106] In its press release, the Institute referred to the films as "a landmark series; eight films that earned the trust of a generation who wished for the beloved books of J.K. Rowling to come to life on the silver screen. The collective wizardry of an epic ensemble gave us the gift of growing older with Harry, Ron and Hermione as the magic of Hogwarts sprung from the films and into the hearts and minds of Muggles around the world." [106]

text: Harry Potter was also recognised by the BAFTA Los Angeles Britannia Awards, with David Yates winning the Britannia Award for Artistic Excellence in Directing for his four Harry Potter films.[107][108]

text:
Motion Picture

Academy Award nomination

Academy Award nominee

Academy Award ceremony

Harry Potter and the Philosopher's Stone

Best Art DirectionBest Costume DesignBest Original Score

Stuart Craig and Stephenie McMillanJudianna MakovskyJohn Williams

74th Academy Awards

Harry Potter and the Prisoner of Azkaban

Best Original ScoreBest Visual Effects

John WilliamsRoger Guyett, Tim Burke, John Richardson and Bill George

77th Academy Awards

Harry Potter and the Goblet of Fire

Best Art Direction

Stuart Craig and Stephenie McMillan

78th Academy Awards

Harry Potter and the Half-Blood Prince

Best Cinematography

Bruno Delbonnel

82nd Academy Awards

Harry Potter and the Deathly Hallows – Part 1

Best Art DirectionBest Visual Effects

Stuart Craig and Stephenie McMillanTim Burke, John Richardson, Christian Manz and Nicolas Aithadi

83rd Academy Awards

Harry Potter and the Deathly Hallows – Part 2

Best Art DirectionBest MakeupBest Visual Effects

Stuart Craig and Stephenie McMillanNick Dudman, Amanda Knight and Lisa TomblinTim Burke, David Vickery, Greg Butler and John Richardson

84th Academy Awards

text: Six of the eight films were nominated for a total of 12 Academy Awards.

text: Some critics, fans, and general audiences have expressed disappointment that the Harry Potter series did not win any Oscars for its achievements. However, others have pointed out that certain films in the series had uneven reviews, in contrast to the three films of The Lord of the Rings, for example, which were all critically acclaimed. This has been partially attributed to the Harry Potter franchise going through several directors with their own styles in contrast to the Lord of the Rings trilogy, which was filmed in one massive undertaking by the same director, writer, and producer.[109][110]

text: Although not successful at the Oscars, the Harry Potter series has gained success in many other award ceremonies, including the annual Saturn Awards and Art Directors Guild Awards. The series has also gained a total of 24 nominations at the British Academy Film Awards presented at the annual BAFTAs, winning several, and 5 nominations at the Grammy Awards.

text: Philosopher's Stone achieved seven BAFTA Award nominations, including Best British Film and Best Supporting Actor for Robbie Coltrane.[111] The film was also nominated for eight Saturn Awards and won for its costumes design.[112] It was also nominated at the Art Directors Guild Awards for its production design[113] and received the Broadcast Film Critics Award for Best Live Action Family Film along with gaining two other nominations.[114]

text: Chamber of Secrets won the award for Best Live Action Family Film in the Phoenix Film Critics Society. It was nominated for seven Saturn Awards, including Best Director and Best Fantasy Film. The film was nominated for four BAFTA Awards and a Grammy Award for John Williams's score. Prisoner of Azkaban won an Audience Award, as well as Best Feature Film, at the BAFTA Awards. The film also won a BMI Film Music award along with being nominated at the Grammy Awards, Visual Effect Society Awards, and the Amanda Awards. Goblet of Fire won a BAFTA award for Best Production Design as well as being nominated at the Saturn Awards, Critic's Choice Awards, and the Visual Effects Society Awards.

text: Order of the Phoenix picked up three awards at the inaugural ITV National Movie Awards.[115] At the Empire Awards, David Yates won Best Director.[116] Composer Nicholas Hooper received a nomination for a World Soundtrack Discovery Award.[117] The film was nominated at the BAFTA Awards, but did not win for Best Production Design or Best Special Visual Effects.[118] Half-Blood Prince was nominated for BAFTA Awards in Production Design and Visual Effects,[119] and it was in the longlists for several other categories, including Best Supporting Actor for Alan Rickman.[120] Amongst other nominations and wins, the film also achieved Best Family Movie at the National Movie Awards as well as Best Live Action Family Film at the Phoenix Film Critics Society Awards, along with being nominated for Best Motion Picture at the Satellite Awards.

text: Deathly Hallows – Part 1 gained two nominations at the BAFTA Awards for Best Make-Up and Hair and Best Visual Effects, along with receiving nominations for the same categories at the Broadcast Film Critics Association Awards. Eduardo Serra's cinematography and Stuart Craig's production design were also nominated in various award ceremonies, and David Yates attained his second win at the Empire Awards, this time for Best Fantasy Film. He also obtained another Best Director nomination at the annual Saturn Awards, which also saw the film gain a Best Fantasy Film nomination.[121][122] Deathly Hallows – Part 2 was released to critical acclaim, gaining a mix of audience awards. Part 2 of Deathly Hallows was also recognised at the Saturn Awards as well as the BAFTA Awards, where the film achieved a win for Best Special Visual Effects.[123]

text: Box office performance

text: As of  2018[update], the Harry Potter film series is the 3rd highest-grossing film franchise of all time, with the eight films released grossing over $7.7 billion worldwide. Without adjusting for inflation, this is higher than the first 22 James Bond films and the six films in the Star Wars franchise.[124] Chris Columbus's Philosopher's Stone became the highest-grossing Harry Potter film worldwide upon completing its theatrical run in 2002, but it was eventually topped by David Yates's Deathly Hallows – Part 2, while Alfonso Cuarón's Prisoner of Azkaban grossed the least.[125][126][127][128]

text: Six films in the Harry Potter franchise — Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, Parts 1 & 2 — have to date grossed around $216 million in IMAX theaters worldwide.[129]

text:
Motion picture

Release date

Box office gross

Budget

Ref(s)

United Kingdom

USA & Canada(approx. ticket sales)

Other countries

Worldwide

Harry Potter and the Philosopher's Stone

16 November 2001 (2001-11-16)

£66,096,060

$317,575,550(55,976,200)

$657,179,821

$974,755,371

$125 million

[130][131][131][132][133]

Harry Potter and the Chamber of Secrets

14 November 2002 (2002-11-14)

£54,780,731

$261,988,482(44,978,900)

$616,991,152

$878,979,634

$100 million

[132][133][134][135]

Harry Potter and the Prisoner of Azkaban

31 May 2004 (2004-05-31)

£45,615,949

$249,541,069(40,183,700)

$547,147,480

$796,688,549

$130 million

[132][133][136]

Harry Potter and the Goblet of Fire

18 November 2005 (2005-11-18)

£48,328,854

$290,013,036(45,188,100)

$606,898,042

$896,911,078

$150 million

[132][133][137][138]

Harry Potter and the Order of the Phoenix

11 July 2007 (2007-07-11)

£49,136,969

$292,004,738(42,442,500)

$647,881,191

$939,885,929

$150 million

[132][133][139][140]

Harry Potter and the Half-Blood Prince

15 July 2009 (2009-07-15)

£50,713,404

$301,959,197(40,261,200)

$632,457,290

$934,416,487

$250 million

[132][133][141][142]

Harry Potter and the Deathly Hallows – Part 1

19 November 2010 (2010-11-19)

£52,364,075

$295,983,305(37,503,700)

$664,300,000

$960,283,305

Less than $250 million (official)

[132][133][143][144][145]

Harry Potter and the Deathly Hallows – Part 2

15 July 2011 (2011-07-15)

£73,094,187

$381,011,219(48,046,800)

$960,500,000

$1,341,511,219

[133][145][146]

Total

£440,269,736

$7009239007659600000♠2,390,076,596

$7009533335497600000♠5,333,354,976

$7009772343157200000♠7,723,431,572

$1.155 billion

[147]

text: All-time rankings

text:
Motion picture

Rank

Ref(s)

All-time(worldwide)

All-time(United States)

All-time(United Kingdom)

Yearly(United States)

Yearly(worldwide)

Opening day(all-time)

Opening weekend(all-time)

Philosopher's Stone

#29

#54

#9

#1

#1

#66

#55

[130]

Chamber of Secrets

#46

#90

#17

#4

#2

#81

#60

[132][134][135]

Prisoner of Azkaban

#62

#106

#33

#6

#2

#47

#49

[132]

Goblet of Fire

#42

#77

#28

#3

#1

#41

#40

[132][137][138]

Order of the Phoenix

#38

#73

#25

#5

#2

#34

#77

[132][139][140]

Half-Blood Prince

#39

#65

#24

#3

#2

#24

#75

[132][141][142]

Deathly Hallows – Part 1

#34

#68

#18

#5

#3

#22

#25

[132][143][144]

Deathly Hallows – Part 2

#10

#27

#7

#1

#1

#3

#12

[146][148]

text: Legacy and influence

text:
"Harry Potter was in the vanguard of a new approach to big-budget film-making. Most modern blockbuster franchises have two things in common: they are based on known properties such as books and comics, and they are steered by respected but little-known directors."
—The Economist[149]

tag: div

text: The Harry Potter films and their success have been retrospectively considered to have had a significant impact on the film industry. They are cited as having helped redefine the Hollywood blockbuster in the 21st century by initiating a shift toward established media franchises forming the basis of successful films. In the wake of the final film's release, Claudia Puig of USA Today wrote that the films "inspired every major studio to try to capture [its] alchemic formula, spawning a range of copycats and wannabes" and "also have shown Hollywood how to make a glossy blockbuster with an eye toward keeping costs down."[150] A 2009 article from The Economist argued that the films were "in the vanguard" of adaptations of established properties being the modern film franchise model, citing The Lord of the Rings, Spider-Man and The Dark Knight Trilogy as examples of successful film series that followed Harry Potter's suit.[149] Furthermore, the practice of splitting the finale of a film series into two back-to-back films began with the success of Deathly Hallows, and it would soon be replicated by The Hobbit: The Desolation of Smaug and The Battle of the Five Armies, The Twilight Saga: Breaking Dawn – Parts 1 and 2, The Hunger Games: Mockingjay – Parts 1 and 2, and Avengers: Infinity War and its untitled sequel.[151]

text: The films are also widely credited with singlehandedly signalling the popularity of films based on children's and young adult literature in the 2000s and 2010s, correlating with the book series' own literary influence. Costance Grady and Aja Romano, commenting on the whole Harry Potter franchise's legacy for Vox in light of its 20th anniversary, wrote that youth-targeted literature has since become "a go-to well of ideas for Hollywood," pointing to the successes of The Twilight Saga and The Hunger Games.[152]

text: The series has spawned a vast volume of fan fiction, with nearly 600 thousand inspired stories catalogued.[153]  Youtube hosts many fan films, ranging from amateur productions to full length films.

text: Notes

text: Jump up ^ Not including executive producers.

tag: ol


document_title: Alcoholic Beverage Labeling Act

question_text: when did the surgeon general warning appear on alcohol

text: Alcoholic Beverage Labeling Act

text: The Alcoholic Beverage Labeling Act (ABLA) of the Anti-Drug Abuse Act of 1988, Pub.L. 100–690, 102 Stat. 4181, enacted November 18, 1988, H.R. 5210, is a United States federal law requiring that (among other provisions) the labels of alcoholic beverages carry a government warning.

text: The warning reads:

text:
“
GOVERNMENT WARNING:
(1) According to the Surgeon General, women should not drink alcoholic beverages during pregnancy because of the risk of birth defects.
(2) Consumption of alcoholic beverages impairs your ability to drive a car or operate machinery, and may cause health problems.

”

text: The ABLA also contains a declaration of policy and purpose, which states that the United States Congress finds that

text:
“
the American public should be informed about the health hazards that may result from the consumption or abuse of alcoholic beverages, and has determined that it would be beneficial to provide a clear, nonconfusing reminder of such hazards, and that there is a need for national uniformity in such reminders in order to avoid the promulgation of incorrect or misleading information and to minimize burdens on interstate commerce.
”

text:
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