document_title: The Wiggles characters

question_text: who played wags the dog in the wiggles

question_tokens: who played wags the dog in the wiggles

text: The Wiggles characters

text: Dorothy the Dinosaur[edit]

text:
Dorothy the Dinosaur

Genre
Children's television series

Country of origin
Australia

Original language(s)
English

No. of seasons
3

No. of episodes
100

Production

Running time
7 minutes

Release

Picture format
576i (SDTV)
1080i (HDTV)

Audio format
Stereo

Original release
2007 – 2010

External links

Website
www.thewiggles.com.au

text: Dorothy the Dinosaur is a "rososaurus", a "yellow-spotted herbivorous green dinosaur with surprisingly scary teeth".[1] She lives in a pink and purple house with her own Rosy Orchestra and a rose garden in her backyard. She loves to eat roses and dance the ballet.[1] She enjoys serving guests rose-derived treats such as "rosy-posy tea".[2]

text: Murray Cook created Dorothy from his experiences in working at a preschool, sensing a need to make up some good dinosaur songs.[3] Dorothy was part of the band's early stage shows, and was originally played by Cook, then Wiggles choreographer Leeanne Ashley, and Wiggles dancers such as Caterina Mete and Lyn Stuckey.[4][5] Ashley was Dorothy's first full-time portrayer; according to Field, she "wrote the blueprint"[6] for the character. Ashley developed movements that conveyed Dorothy's unique personality.[6] South Australian Carolyn Ferrie, an opera singer and dancer, has provided Dorothy's voice from 1997 to 2009.[note 1] when she worked with Anthony Field on an Irish music Wiggles CD.[7] Ferrie described Dorothy as "a dinosaur superstar ... very open, friendly, and warm. She is like a mother figure even though she is only meant to be five, and kids really respond to her ... She is calm and mothering but friendly as well. She's young and still playful but has got a motherly feeling to her".[7] Ferrie insisted that Dorothy "is number one after the boys including Captain Feathersword, in terms of who kids say they love".[7] Dorothy has a distinctive, trill-like, descending laugh created by Ferrie.[2][7]

text: In 1996, shortly before moving into American markets, The Wiggles discovered that someone in Maine had registered Dorothy as a trademark, so they reached an agreement and paid a settlement.[8] In 2007, Dorothy began to star in her own television show in Australia.[7] The show had a distinct look and sound. Whereas The Wiggles' TV shows were "hyper-real and cartoonish" and had a pop sound, Dorothy's show was "really rich and beautiful looking" and based its sound on orchestral music.[9] Dorothy was the focus of her own touring production, which performed in smaller cities The Wiggles could not perform. The production, based upon the TV show, was written by Field, and Moran was the host of this show before he joined the band. Lyn Stuckey, who later married Moran, played Dorothy.[10][11]

text: Dorothy the Dinosaur TV series videos[edit]

text:
Dorothy the Dinosaur's Party (2007)
Dorothy the Dinosaur – Memory Book (2008) (known in US as The Wiggles Present Dorothy the Dinosaur)
Dorothy the Dinosaur Meets Santa Claus (2009) (Cartoon)
Dorothy the Dinosaur – Rockin' Christmas (2010)
Dorothy the Dinosaur – TV Series 1 (2010)
Dorothy the Dinosaur's Travelling Show (2011)
Dorothy The Dinosaur's Wonderful World (2012)
Dorothy The Dinosaur's Beach Party (2012)

text: Captain Feathersword[edit]

text: Captain Feathersword, "the friendly pirate", wears a hat, patch, and puffy shirt and wields a "feathersword".[12][13] The Captain was created because The Wiggles understood that young children like pirates; they gave him a "feathersword" because they wanted him to be nonviolent.[14] Field originated the role, but in 1993, when he had to undergo a hernia operation, the role, along with Wags the Dog and the Blue Wiggle, was played by Paul Paddick.[15] Paddick would later play Captain Feathersword on a more permanent basis. At first, Paddick's role was minor, but it eventually evolved into a role so significant that he has been called "the Fifth Wiggle".[13] Field described Paddick as "just as funny offstage as on",[14] For many parents, his vocal impersonations were "the high point of the Wiggles stage show" and included singers Mick Jagger, Cher, Plácido Domingo and James Hetfield.[12]

text: Henry the Octopus[edit]

text: Introduced in 1992, Henry the Octopus, who directs an underwater band and loves to dance with his eight legs".[1] He was named after Tony Henry, the drummer in The Cockroaches, who also provided The Wiggles with musical support throughout the years.[16] The character was developed by Fatt, who originally served as Henry's voice. Paul Paddick took over the role of the voice in the mid-2000s.[17] He has appeared as both a puppet and a mascot, the latter of which has been played by various dancers on staff.

text: Wags the Dog[edit]

text: Wags is a tall, brown, furry dog with floppy ears and a happy face.[1] He "loves to sing and dance and kids bring 'bones' that the Wiggly dancers collect from the audience".[1] The last of the four characters to be introduced, Wags was originally played by Field. Fatt provided the original barking noises for Wags before Paul Field, general manager of The Wiggles and brother of Blue Wiggle Anthony took over. Mic Conway of The Captain Matchbox Whoopee Band fame, has provided Wags's full-spoken dialogue. [12][18]

text: Minor characters[edit]

text: For the stage shows, The Wiggles have used two 16-metre (52 ft) trucks, three tour buses, a cast of 13 dancers, and 10 permanent crew members.[19] The "Wiggly Dancers" have always made up a major part of the Wiggles shows and TV programs and play many of the minor roles. Minor characters of note include The Cook (portrayed by Anthony Field's father, John, and Crowded House drummer Paul Hester),[20] Professor Singalottasonga (played by Sam Moran),[21] Flora Door, Magdalena the Mermaid and Officer Beaples (played by former Wiggles choreographer Leanne Halloran).[22]

text: Works cited[edit]

text: Field, Anthony; Truman, Greg (2012). How I Got My Wiggle Back: A Memoir of Healing. Hoboken, New Jersey: John Wiley & Sons. 272pp. ISBN 978-1-118-01933-7.

text: Notes[edit]

text: Jump up ^ John Field's wife Jacqueline, provided Dorothy's voice during their Lights, Camera, Action TV series from 2002-2003, and Emma Buter has provided singing on some of their albums prior to Ferrie.


document_title: The Night Gwen Stacy Died

question_text: who killed gwen in the amazing spiderman 2

root

text: The Night Gwen Stacy Died

text: Plot[edit]

text: Prior to this arc, Norman Osborn had been the Green Goblin, but due to amnesia, he had suspended his identity as the supervillain and forgotten that Spider-Man is Peter Parker. Also, Harry Osborn, Parker's best friend and Norman's son, became addicted to drugs and was sequestered in the Osborn home for detoxification. Norman's parental grief, combined with financial pressure, triggered a breakdown resulting in Norman Osborn remembering his Goblin identity and again targeting Spider-Man and his loved ones for misery.

tag: p

text: The Green Goblin abducts Peter's girlfriend, Gwen Stacy, and lures Spider-Man to a tower of either the Brooklyn Bridge (as depicted in the art) or the George Washington Bridge (as given in the text).[1][2] The Goblin and Spider-Man clash, and the Goblin hurls Stacy off the bridge. Spider-Man shoots a web strand at her legs and catches her. As he pulls her up, he thinks he has saved her. However, he quickly realizes she is dead. Unsure whether her neck was broken by the whiplash from her sudden stop or had been already broken by the Goblin prior to her fall, he blames himself for her death. A note on the letters page of The Amazing Spider-Man #125 states: "It saddens us to say that the whiplash effect she underwent when Spidey's webbing stopped her so suddenly was, in fact, what killed her."[1]

text: The Green Goblin escapes, and Spider-Man cries over Stacy's corpse and swears revenge. The following issue, Spider-Man tracks the Green Goblin to a warehouse and beats him but cannot bring himself to kill him. The Goblin uses the opportunity to send his glider to impale Spider-Man from behind. Warned by his spider-sense, Spider-Man dodges, and the glider instead impales the Green Goblin, seemingly killing him. Later, a devastated Parker, back at home, encounters an equally shocked and saddened Mary Jane Watson, who has lost her close friend Stacy, and the two attempt to comfort each other in the wake of their loss.

text: Significance[edit]

text:
The death of Gwen Stacy shocked the American comic book community. Previously, it had been unthinkable to kill off such an important character—the girlfriend of a protagonist with a large fanbase. Generally, a superhero did not fail this disastrously unless it was part of his or her origin story. This story arc has been proposed as a marker of the end of the Silver Age of Comic Books, and the beginning of the darker, grittier Bronze Age.[3]
The frequent tendency for the wives and girlfriends of male superheroes to meet grim fates was referred to as "The Gwen Stacy Syndrome" by the Comics Buyer's Guide.[4]
A fan poll conducted by Marvel Comics for their series The 100 Greatest Marvels of All Time voted The Amazing Spider-Man (vol. 1) #121 and 122 to be the 6th and 19th greatest issues of all time, respectively.[5]

tag: ul

text: Development[edit]

text: Behind the scenes[edit]

text: Stan Lee, co-creator of both Spider-Man and Gwen Stacy, recounted that Amazing Spider-Man writer Gerry Conway, editor Roy Thomas, and inker John Romita, Sr. came up with the idea of killing Gwen Stacy, and consulted Lee about it: "... I was just getting ready to go to Europe on some sort of a business trip... to meet somebody to discuss something about Marvel. And I think I wasn't thinking too clearly, because when they said, 'We'd like to kill Gwen Stacy,' I said, 'Well, if that's what you want to do, okay.' All I wanted to do was get them out of the office so I could finish packing and get out of there. ... and when I came back and found out that Gwen had been killed, I thought 'Why would they do that? Why would Gerry write anything like that?' And I had to be reminded later on that I had perhaps reluctantly or perhaps carelessly said 'Okay' when they asked me."[6]

text: In the comic book collection The 100 Greatest Marvels of All Time: #9-6 (Amazing Spider-Man #121 was the #6 comic), Conway explained that Gwen and Peter were a "perfect couple", but taking that relationship to the next level (i.e. marriage or at least Peter revealing his secret identity to her) would "betray everything that Spider-Man was about", i.e. personal tragedy and anguish as root of Peter's life as Spider-Man. Killing Gwen Stacy was a perfect opportunity to kill two birds with one stone: breaking up the "unfitting" relationship and reinforcing the element of personal tragedy which was, in his opinion, the essence of Spider-Man.[citation needed]

text: Bridge[edit]

text: The bridge in the original issue of Amazing Spider-Man #121 was stated in the text to be the George Washington Bridge. The Pulse #4 (Sept. 2004) also states the bridge to be the George Washington Bridge.

text: The art of The Amazing Spider-Man #121, however, depicts the Brooklyn Bridge. Some reprints of the issue have had the text amended and now state the bridge to be the Brooklyn Bridge rather than the George Washington Bridge. Titles supporting the Brooklyn Bridge include The Amazing Spider-Man #147-148 (1975), The Amazing Spider-Man Annual #21 (1987), and Daredevil v. 2 #8 (2000). In a television interview for the Travel Channel's Marvel Superheroes Guide to New York City (2004), Stan Lee said that the artist for the issue had drawn the Brooklyn Bridge, but that he (as editor) mistakenly labeled it the George Washington Bridge. This was corrected in newer prints of the issue.

text: Different bridges are depicted in subsequent adaptations of the storyline. Mary Jane Watson was thrown off the Queensboro Bridge in both Ultimate Spider-Man number 25 and the 2002 Spider-Man movie, while in Spider-Man: The Animated Series, Mary Jane is thrown off the George Washington Bridge.

text: Cause of death[edit]

text: The comic features a "snap" sound effect next to Gwen Stacy's head in the panel in which Spider-Man's webbing catches her. In The Amazing Spider-Man #125 (Oct. 1973), Marvel Comics editor Roy Thomas wrote in the letters column that "it saddens us to have to say that the whiplash effect she underwent when Spidey's webbing stopped her so suddenly was, in fact, what killed her. In short, it was impossible for Peter to save her. He couldn't have swung down in time; the action he did take resulted in her death; if he had done nothing, she still would certainly have perished. There was no way out."

text: In the History Channel special Spider-Man Tech, Stan Lee states that her neck was indeed snapped.

text: Physicist and comic collector James Kakalios, in his book The Physics of Superheroes, states that in the real world, the whiplash effect would have killed her.[7][8][9] The comic book Civil War: Casualties of War: Captain America/Iron Man (2007) concurred that the proximate cause of death was the sudden stop during a high-speed fall. An issue of Peter Parker: Spider-Man revisits the issue, and further confirms Gwen died of a broken neck due to the use of the webbing.

text: For some time, however, fans speculated that the shock of the fall itself caused Gwen Stacy's death, due to the Green Goblin telling Spider-Man in The Amazing Spider-Man #121, "Romantic idiot! She was dead before your webbing reached her! A fall from that height would kill anyone — before they struck the ground!" In the 1987 edition of The Official Handbook of the Marvel Universe, Gwen's death is attributed to the fall, not to Spider-Man's webbing. In the fourth issue of Marvels, it was reported that she died from the shock of the fall, however Phil, a photographer and witness, is unsure about exactly what kills her.

text: Replays[edit]

text: Several subsequent issues have echoed Gwen's death when others fell from great heights during Spider-Man's battles. On most occasions, he saves them by jumping after them and working with their momentum, rather than trying to stop them with his webbing (as he did in the What If? where he saves Gwen), most notably when he jumped off the same bridge to save Gwen's daughter, Sarah Stacy, around seven years after her death; due to accelerated aging caused by her Goblin-enhanced mutated body chemistry- Sarah's father being Norman Osborn after a brief affair between Gwen and Osborn- Sarah looks exactly like her mother.

text: In another storyline, the Green Goblin once again replays the scenario, this time with Spider-Man's wife Mary Jane Watson-Parker. As with Gwen, Mary Jane plummets toward her death (this time from the recoil from her gun when she shoots at the Green Goblin). Learning from his previous error, Spider-Man uses multiple weblines and catches every major joint, saving Mary Jane from suffering the same whiplash effect that killed Gwen.[10] A similar event occurs when Spider-Man saves Anna Maria—the girlfriend of Otto Octavius during a time when he was in Spider-Man's body—when Green Goblin uses her as a hostage and throws her off a building after learning that his true enemy has returned, Peter reflecting as he catches Anna Maria that he has learned over time to catch every joint in moments like this to limit potential whiplash.[11]

text: During the Civil War,[12] both Iron Man and Captain America cited Gwen as argument for their opinions on the Superhuman Registration Act. Iron Man argued that if Spider-Man had received proper training as registered heroes were given, he would have saved her, while Captain America argued that Gwen was only in danger because the Goblin knew Spider-Man's identity, the Act requiring heroes to register their identities with the government.

text: What If?[edit]

text: In a non-canonical parallel universe story in What If? #24, Spider-Man saves Gwen by jumping after her rather than catching her with a web-line (in the same way he saved Mary Jane in the film), allowing him to cushion her from the impact as they hit the water and subsequently give her CPR. In the aftermath of this rescue, he proposed to Gwen after revealing his secret identity to her, and, in a subsequent confrontation with the Green Goblin, Norman Osborn finally fought off his evil side when Harry moved to protect him regardless of what he'd become. However, their life was not destined to be a happy one; to ensure his victory, the Goblin had sent J. Jonah Jameson proof of Spider-Man's real identity, which Jonah had subsequently published and used to acquire a warrant for Peter's arrest, thus forcing Peter to escape from the police mere moments after his wedding to Gwen. As the issue ended, Gwen departed with Joe "Robbie" Robertson, who promised Gwen that they would do whatever they could to help Peter.

text: Ultimate Gwen Stacy's death[edit]

text: In Ultimate Spider-Man, Gwen Stacy dies in a completely different way a few issues after she found out Spider-Man's secret identity. Walking home after a talk with Mary Jane Watson, she realized she had forgotten her key so she tried to open the door to the cellar (Peter's lab) but that was locked too. She heard rustling in the bushes so she turned around and was grabbed by small tentacles coming from Carnage, who killed her the way it killed its other victims: by absorbing the life out of her. The last thing Gwen saw before being turned into a mummy-like corpse was Carnage taking the form of a more solid form of Peter's father due to Dr. Connors mixing his and Peter's DNA with elements of the Venom suit, which was used with Richard Parker's DNA.

text: In Ultimate Spider-Man #128, Gwen was reintroduced to the series. Carnage had recreated her body and her memories as essentially a clone. After a battle with Venom, Carnage left Gwen to join with Eddie Brock. Since this battle, Gwen has been completely rid of the Carnage symbiote and is now living with May Parker.

text: In other media[edit]

text: Television[edit]

text:
"The Night Gwen Stacy Died" was seen in Spider-Man: The Animated Series. In the episode "Turning Point", the Green Goblin hurtled Mary Jane Watson off the bridge, but instead of dying, she falls through a portal, unseen to Peter Parker believing she has fallen and perished in the water below. The episode's name is the same name of the first issue in "The Night Gwen Stacy Died" arc.
"The Night Gwen Stacy Died" is somewhat reenacted in the Ultimate Spider-Man cartoon series. Instead of Gwen Stacy, other female characters that have a connection to Spider-Man are the Green Goblin's would-be victims: White Tiger (Ava Ayala) in the episode "Ultimate", and Spider-Girl (Petra Parker) in the episode "The Spider-Verse (Part 1)".

text: Films[edit]

text:
"The Night Gwen Stacy Died" was adapted into the end of the 2002 Spider-Man film, with Mary Jane Watson again taking the role, although she did not die; Spider-Man managed to save her by jumping after her and catching her in person, subsequently battling the Green Goblin after lowering Mary Jane to safety, although Green Goblin dies similarly to how he did in the comics.
"The Night Gwen Stacy Died" was loosely adapted in the 2014 film The Amazing Spider-Man 2. The Green Goblin drops Gwen Stacy through the top of a clock tower. Spider-Man saves her and knocks Green Goblin off of his glider. The glider hits into the clock tower gears that Gwen is standing on, and she falls. Spider-Man catches her again and she dangles below until the turning gears cut the web Gwen is hanging by. Spider-Man dives, shooting a web to catch her. She dies in a similar way to the comics. When the web catches her, she is literally just above the ground and a cracking sound is heard, leaving the exact cause of death ambiguous as there is an equal chance that she was killed by the sudden stop or because she slightly struck the ground. The clock stops at 1:21, a reference to the issue of the comic book in which Gwen died.


document_title: History of writing

question_text: who developed the first paper for the human beings

text: History of writing

text: Inventions of writing[edit]

text: Writing numbers for the purpose of record keeping began long before the writing of language. See History of writing ancient numbers for how the writing of numbers began.

text: It is generally agreed that true writing of language (not only numbers) was independently conceived and developed in at least two ancient civilizations and possibly more. The two places where it is most certain that the concept of writing was both conceived and developed independently are in ancient Sumer (in Mesopotamia), around 3100 BC, and in Mesoamerica by 300 BC,[3] because no precursors have been found to either of these in their respective regions. Several Mesoamerican scripts are known, the oldest being from the Olmec or Zapotec of Mexico.

text: Independent writing systems also arose in Egypt around 3100 BC and in China around 1200 BC in Shang dynasty (商朝),[4] but historians debate whether these writing systems were developed completely independently of Sumerian writing or whether either or both were inspired by Sumerian writing via a process of cultural diffusion. That is, it is possible that the concept of representing language by using writing, though not necessarily the specifics of how such a system worked, was passed on by traders or merchants traveling between the two regions.

text: Ancient Chinese characters are considered by many to be an independent invention because there is no evidence of contact between ancient China and the literate civilizations of the Near East,[5] and because of the distinct differences between the Mesopotamian and Chinese approaches to logography and phonetic representation.[6] Egyptian script is dissimilar from Mesopotamian cuneiform, but similarities in concepts and in earliest attestation suggest that the idea of writing may have come to Egypt from Mesopotamia.[7] In 1999, Archaeology Magazine reported that the earliest Egyptian glyphs date back to 3400 BC, which "challenge the commonly held belief that early logographs, pictographic symbols representing a specific place, object, or quantity, first evolved into more complex phonetic symbols in Mesopotamia."[8]

text: Similar debate surrounds the Indus script of the Bronze Age Indus Valley civilization in Ancient India (2600 BC). In addition, the script is still undeciphered, and there is debate about whether the script is true writing at all or, instead, some kind of proto-writing or nonlinguistic sign system.

text: An additional possibility is the undeciphered Rongorongo script of Easter Island. It is debated whether this is true writing and, if it is, whether it is another case of cultural diffusion of writing. The oldest example is from 1851, 139 years after their first contact with Europeans. One explanation is that the script was inspired by Spain's written annexation proclamation in 1770.[9]

text: Various other known cases of cultural diffusion of writing exist, where the general concept of writing was transmitted from one culture to another, but the specifics of the system were independently developed. Recent examples are the Cherokee syllabary, invented by Sequoyah, and the Pahawh Hmong system for writing the Hmong language.

text: Vinča symbols which are dated around 5,500 BCE, are a remnant of Vinča culture which have been proposed to have created a script a millenia before those in the Middle East.

text: Writing systems[edit]

text: Symbolic communication systems are distinguished from writing systems in that one must usually understand something of the associated spoken language to comprehend the text. In contrast, symbolic systems, such as information signs, painting, maps, and mathematics, often do not require prior knowledge of a spoken language. Every human community possesses language, a feature regarded by many as an innate and defining condition of mankind (see Origin of language). However the development of writing systems, and their partial supplantation of traditional oral systems of communication, have been sporadic, uneven, and slow. Once established, writing systems on the whole change more slowly than their spoken counterparts and often preserve features and expressions that no longer exist in the spoken language. The greatest benefit of writing is that it provides the tool by which society can record information consistently and in greater detail, something that could not be achieved as well previously by spoken word. Writing allows societies to transmit information and to share knowledge.

text: Recorded history[edit]

text:
Human historyand prehistory
↑ before Homo  (Pliocene epoch)
Prehistory(three-age system)
Stone Age

Lower Paleolithic
HomoHomo erectus
Middle Paleolithic
Early Homo sapiens
Upper Paleolithic
Behavioral modernity
Neolithic
Cradle of civilization
Bronze Age
ChinaEuropeIndiaNear East
Iron Age
Bronze Age collapse ChinaEuropeIndiaJapanKoreaNear EastNigeria

Recorded history
Ancient history
Earliest records
Post-classical history
Modern history
EarlyLaterContemporary

↓ Futurevte

tag: table

text: Scholars make a reasonable distinction between prehistory and history of early writing[10] but have disagreed concerning when prehistory becomes history and when proto-writing became "true writing." The definition is largely subjective.[11] Writing, in its most general terms, is a method of recording information and is composed of graphemes, which may in turn be composed of glyphs.[12]

text: The emergence of writing in a given area is usually followed by several centuries of fragmentary inscriptions. Historians mark the "historicity" of a culture by the presence of coherent texts in the culture's writing system(s).[10]

text: The invention of writing was not a one-time event but was a gradual process initiated by the appearance of symbols, possibly first for cultic purposes.

text: Developmental stages[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. (November 2015) (Learn how and when to remove this template message)

text: A conventional "proto-writing to true writing" system follows a general series of developmental stages:

text:
Picture writing system: glyphs (simplified pictures) directly represent objects and concepts. In connection with this, the following substages may be distinguished:
Mnemonic: glyphs primarily as a reminder.
Pictographic: glyphs directly represent an object or a concept such as (A) chronological, (B) notices, (C) communications, (D) totems, titles, and names, (E) religious, (F) customs, (G) historical, and (H) biographical.
Ideographic: graphemes are abstract symbols that directly represent an idea or concept.
Transitional system: graphemes refer not only to the object or idea that it represents but to its name as well.
Phonetic system: graphemes refer to sounds or spoken symbols, and the form of the grapheme is not related to its meanings. This resolves itself into the following substages:
Verbal: grapheme (logogram) represents a whole word.
Syllabic: grapheme represents a syllable.
Alphabetic: grapheme represents an elementary sound.

text: The best known picture writing system of ideographic or early mnemonic symbols are:

text:
Jiahu symbols, carved on tortoise shells in Jiahu, c. 6600 BC
Vinča signs (Tărtăria tablets), c. 5300 BC[13]
Early Indus script, c. 3100 BC

text: In the Old World, true writing systems developed from neolithic writing in the Early Bronze Age (4th millennium BC). The Sumerian archaic (pre-cuneiform) writing and the Egyptian hieroglyphs are generally considered the earliest true writing systems, both emerging out of their ancestral proto-literate symbol systems from 3400–3100 BC, with earliest coherent texts from about 2600 BC.

text: Literature and writing[edit]

text: Literature and writing, though obviously connected, are not synonymous. The very first writings from ancient Sumer by any reasonable definition do not constitute literature. The same is true of some of the early Egyptian hieroglyphics and the thousands of ancient Chinese government records. The history of literature begins with the history of writing. Scholars have disagreed concerning when written record-keeping became more like literature than anything else, but "literature" can have several meanings. The term could be applied broadly to mean any symbolic record from images and sculptures to letters. The oldest surviving literary texts date from a full millennium after the invention of writing to the late 3rd millennium BC. The earliest literary authors known by name are Ptahhotep (who wrote in Egyptian) and Enheduanna (who wrote in Sumerian), dating to around the 24th and 23rd centuries BC, respectively. In the early literate societies, as much as 600 years passed from the first inscriptions to the first coherent textual sources: i.e., from around 3100 to 2600 BC.

text: Locations and timeframes[edit]

text: Proto-writing[edit]

text:
The first writing systems of the Early Bronze Age were not a sudden invention. Rather, they were a development based on earlier traditions of symbol systems that cannot be classified as proper writing but have many of the characteristics of writing. These systems may be described as "proto-writing." They used ideographic or early mnemonic symbols to convey information, but it probably directly contained no natural language.
These systems emerged in the early Neolithic period, as early as the 7th millennium BC evidenced by the Jiahu symbols in China.

text: In 2003, tortoise shells were found in 24 Neolithic graves excavated at Jiahu, Henan province, northern China, with radiocarbon dates from the 7th millennium BC. According to some archaeologists, the symbols carved on the shells had similarities to the late 2nd millennium BC oracle bone script.[15] Most archaeologists have dismissed this claim as insufficiently substantiated, claiming that simple geometric designs, such as those found on the Jiahu shells, cannot be linked to early writing.[16] Other neolithic signs have also been found in China.

text: The Dispilio Tablet of the late 6th millennium is similar. The hieroglyphic scripts of the Ancient Near East (Egyptian, Sumerian proto-Cuneiform, and Cretan) seamlessly emerge from such symbol systems so that it is difficult to say at what exact time writing developed from proto-writing. Further, very little is known about the symbols' meanings.

text: The Vinča symbols, sometimes called the Danube script, Vinča signs, Vinča script, Vinča–Turdaș script, Old European script, etc., are a set of symbols found on Neolithic era (6th to 5th millennia BC) artifacts from the Vinča culture of Central Europe and Southeastern Europe.[17]

text: Even after the Neolithic, several cultures went through an intermediate stage of proto-writing before they used proper writing. The "Slavic runes" from the 7th and 8th centuries AD, mentioned by a few medieval authors, may have been such a system. The quipu of the Incas (15th century AD), sometimes called "talking knots," may have been of a similar nature. Another example is the pictographs invented by Uyaquk before the development of the Yugtun syllabary (c. 1900).

text: Bronze Age writing[edit]

text:
Writing emerged in many different cultures in the Bronze Age. Examples are the cuneiform writing of the Sumerians, Egyptian hieroglyphs, Cretan hieroglyphs, Chinese logographs, Indus script, and the Olmec script of Mesoamerica. The Chinese script likely developed independently of the Middle Eastern scripts around 1600 BC. The pre-Columbian Mesoamerican writing systems (including Olmec and Maya scripts) are also generally believed to have had independent origins.
It is thought that the first true alphabetic writing was developed around 2000 BC for Semitic workers in the Sinai by giving mostly Egyptian hieratic glyphs Semitic values (see History of the alphabet and Proto-Sinaitic alphabet). The Ge'ez writing system of Ethiopia is considered Semitic. It is likely to be of semi-independent origin, having roots in the Meroitic Sudanese ideogram system.[18] Most other alphabets in the world today either descended from this one innovation, many via the Phoenician alphabet, or were directly inspired by its design. In Italy, about 500 years passed from the early Old Italic alphabet to Plautus (750 to 250 BC), and in the case of the Germanic peoples, the corresponding time span is again similar, from the first Elder Futhark inscriptions to early texts like the Abrogans (c. AD 200 to 750).

text: Cuneiform script[edit]

text: The original Sumerian writing system derives from a system of clay tokens used to represent commodities. By the end of the 4th millennium BC, this had evolved into a method of keeping accounts, using a round-shaped stylus impressed into soft clay at different angles for recording numbers. This was gradually augmented with pictographic writing by using a sharp stylus to indicate what was being counted. Round-stylus and sharp-stylus writing were gradually replaced around 2700–2500 BC by writing using a wedge-shaped stylus (hence the term cuneiform), at first only for logograms, but developed to include phonetic elements by the 29th century BC. About 2600 BC, cuneiform began to represent syllables of the Sumerian language. Finally, cuneiform writing became a general purpose writing system for logograms, syllables, and numbers. From the 26th century BC, this script was adapted to the Akkadian language, and from there to others, such as Hurrian and Hittite. Scripts similar in appearance to this writing system include those for Ugaritic and Old Persian.

text: Egyptian hieroglyphs[edit]

text: Writing was very important in maintaining the Egyptian empire, and literacy was concentrated among an educated elite of scribes. Only people from certain backgrounds were allowed to train as scribes, in the service of temple, royal (pharaonic), and military authorities.

text: Geoffrey Sampson believes that most scholars hold that Egyptian hieroglyphs "came into existence a little after Sumerian script, and ...  probably [were] invented under the influence of the latter ..."[19] This view, however, is strongly contested by other scholars. Dreyer's findings at Tomb UJ at Abydos in Upper Egypt clearly show place names written in hieroglyphs (up to four in number) recognizable as signs, which persisted and were employed during later periods and which are written and read phonetically. The tomb is dated to c. 3250 BC and demonstrates that such writing (on bone and ivory labels) is a more advanced form of writing than was evident in Sumer at that date. It is argued, therefore, that the Egyptian writing system, which is in any case very different from the Mesopotamian, could not have been the result of influence from a less-developed system existing at that date in Sumer.[20]

text: Elamite script[edit]

text: The undeciphered Proto-Elamite script emerges from as early as 3100 BC. It is believed to have evolved into Linear Elamite by the later 3rd millennium and then replaced by Elamite Cuneiform adopted from Akkadian.

text: Indus script[edit]

text: The Middle Bronze Age Indus script, which dates back to the early Harappan phase of around 3000 BC in ancient north western India and what is now Pakistan, has not yet been deciphered.[21] It is unclear whether it should be considered an example of proto-writing or whether it is actual writing of the logographic-syllabic type of the other Bronze Age writing systems. Mortimer Wheeler recognises the style of writing as boustrophedon, where "this stability suggests a precarious maturity."

text: Early Semitic alphabets[edit]

text: The first pure alphabets (properly, "abjads", mapping single symbols to single phonemes, but not necessarily each phoneme to a symbol) emerged around 1800 BC in Ancient Egypt, as a representation of language developed by Semitic workers in Egypt, but by then alphabetic principles had a slight possibility of being inculcated into Egyptian hieroglyphs for upwards of a millennium.[clarification needed] These early abjads remained of marginal importance for several centuries, and it is only towards the end of the Bronze Age that the Proto-Sinaitic script splits into the Proto-Canaanite alphabet (c. 1400 BC) Byblos syllabary and the South Arabian alphabet (c. 1200 BC). The Proto-Canaanite was probably somehow influenced by the undeciphered Byblos syllabary and, in turn, inspired the Ugaritic alphabet (c. 1300 BC).

text: Anatolian hieroglyphs[edit]

text: Anatolian hieroglyphs are an indigenous hieroglyphic script native to western Anatolia, used to record the Hieroglyphic Luwian language. It first appeared on Luwian royal seals from the 14th century BC.

text: Chinese writing[edit]

text: The earliest confirmed evidence of the Chinese script yet discovered is the body of inscriptions on oracle bones from the late Shang dynasty (c. 1200–1050 BC). From the Shang Dynasty, most of this writing has survived on bones or bronze implements (bronze script). Markings on turtle shells, or jiaguwen, have been carbon-dated to around 1500 BC.[22][22][23] Historians have found that the type of medium chosen depended on the subject of the writing.

text: There have recently been discoveries of tortoise-shell carvings dating back to c. 6000 BC, like Jiahu Script, Banpo Script, but whether or not the carvings are complex enough to qualify as writing is under debate.[15] At Damaidi in the Ningxia Hui Autonomous Region, 3,172 cliff carvings dating to 6000–5000 BC have been discovered, featuring 8,453 individual characters, such as the sun, moon, stars, gods, and scenes of hunting or grazing. These pictographs are reputed to be similar to the earliest characters confirmed to be written Chinese. If it is deemed to be a written language, writing in China will predate Mesopotamian cuneiform, long acknowledged as the first appearance of writing, by some 2,000 years; however it is more likely that the inscriptions are rather a form of proto-writing, similar to the contemporary European Vinca script.

text: Cretan and Greek scripts[edit]

text: Cretan hieroglyphs are found on artifacts of Crete (early-to-mid-2nd millennium BC, MM I to MM III, overlapping with Linear A from MM IIA at the earliest). Linear B, the writing system of the Mycenaean Greeks,[24] has been deciphered while Linear A has yet to be deciphered. The sequence and the geographical spread of the three overlapping, but distinct, writing systems can be summarized as follows (note that the beginning date refers to first attestations, the assumed origins of all scripts lie further back in the past):[24]

text:
Writing system

Geographical area

Time span

Cretan Hieroglyphic

Crete (eastward from the Knossos-Phaistos axis)

c. 2100−1700 BC

Linear A

Crete (except extreme southwest), Aegean islands (Kea, Kythera, Melos, Thera), and Greek mainland (Laconia)

c. 1800−1450 BC

Linear B

Crete (Knossos), and mainland (Pylos, Mycenae, Thebes, Tiryns)

c. 1450−1200 BC

text: Mesoamerica[edit]

text: A stone slab with 3,000-year-old writing, the Cascajal Block, was discovered in the Mexican state of Veracruz, and is an example of the oldest script in the Western Hemisphere, preceding the oldest Zapotec writing dated to about 500 BC.[25][26][27]

text: Of several pre-Columbian scripts in Mesoamerica, the one that appears to have been best developed, and has been fully deciphered, is the Maya script. The earliest inscriptions which are identifiably Maya date to the 3rd century BC, and writing was in continuous use until shortly after the arrival of the Spanish conquistadores in the 16th century AD. Maya writing used logograms complemented by a set of syllabic glyphs: a combination somewhat similar to modern Japanese writing.

text: Iron Age writing[edit]

text: The Phoenician alphabet is simply the Proto-Canaanite alphabet as it was continued into the Iron Age (conventionally taken from a cut-off date of 1050 BC). This alphabet gave rise to the Aramaic and Greek alphabets. These in turn led to the writing systems used throughout regions ranging from Western Asia to Africa and Europe. For its part the Greek alphabet introduced for the first time explicit symbols for vowel sounds.[28] The Greek and Latin alphabets in the early centuries of the Common Era gave rise to several European scripts such as the Runes and the Gothic and Cyrillic alphabets while the Aramaic alphabet evolved into the Hebrew, Syriac and Arabic abjads and the South Arabian alphabet gave rise to the Ge'ez abugida. The Brahmic family of India is believed by some scholars to have derived from the Aramaic alphabet as well.[29]

text: Writing in the Greco-Roman civilizations[edit]

text: The history of the Greek alphabet started when the Greeks borrowed the Phoenician alphabet and adapted it to their own language.[30] The letters of the Greek alphabet are more or less the same as those of the Phoenician alphabet, and in modern times both alphabets are arranged in the same order.[30] The adapter(s) of the Phoenician system added three letters to the end of the series, called the "supplementals". Several varieties of the Greek alphabet developed. One, known as Western Greek or Chalcidian, was used west of Athens and in southern Italy. The other variation, known as Eastern Greek, was used in present-day Turkey and by the Athenians, and eventually the rest of the world that spoke Greek adopted this variation. After first writing right to left, like the Phoenicians, the Greeks eventually chose to write from left to right.

text: Greek is in turn the source for all the modern scripts of Europe. The most widespread descendent of Greek is the Latin script, named for the Latins, a central Italian people who came to dominate Europe with the rise of Rome. The Romans learned writing in about the 5th century BC from the Etruscan civilization, who used one of a number of Italic scripts derived from the western Greeks. Due to the cultural dominance of the Roman state, the other Italic scripts have not survived in any great quantity, and the Etruscan language is mostly lost.

text: Writing during the Middle Ages[edit]

text: With the collapse of the Roman authority in Western Europe, the literary development became largely confined to the Eastern Roman Empire and the Persian Empire. Latin, never one of the primary literary languages, rapidly declined in importance (except within the Church of Rome). The primary literary languages were Greek and Persian, though other languages such as Syriac and Coptic were important too.

text: The rise of Islam in the 7th century led to the rapid rise of Arabic as a major literary language in the region. Arabic and Persian quickly began to overshadow Greek's role as a language of scholarship. Arabic script was adopted as the primary script of the Persian language and the Turkish language. This script also heavily influenced the development of the cursive scripts of Greek, the Slavic languages, Latin, and other languages[citation needed]. The Arabic language also served to spread the Hindu–Arabic numeral system throughout Europe.[citation needed] By the beginning of the second millennium the city of Cordoba in modern Spain, had become one of the foremost intellectual centers of the world and contained the world's largest library at the time.[31] Its position as a crossroads between the Islamic and Western Christian worlds helped fuel intellectual development and written communication between both cultures.

text: Renaissance and the modern era[edit]

text: By the 14th century a rebirth, or renaissance, had emerged in Western Europe, leading to a temporary revival of the importance of Greek, and a slow revival of Latin as a significant literary language. A similar though smaller emergence occurred in Eastern Europe, especially in Russia. At the same time Arabic and Persian began a slow decline in importance as the Islamic Golden Age ended. The revival of literary development in Western Europe led to many innovations in the Latin alphabet and the diversification of the alphabet to codify the phonologies of the various languages.

text: The nature of writing has been constantly evolving, particularly due to the development of new technologies over the centuries. The pen, the printing press, the computer and the mobile phone are all technological developments which have altered what is written, and the medium through which the written word is produced. Particularly with the advent of digital technologies, namely the computer and the mobile phone, characters can be formed by the press of a button, rather than making a physical motion with the hand.

text: The nature of the written word has recently evolved to include an informal, colloquial written style, in which an everyday conversation can occur through writing rather than speaking. Written communication can also be delivered with minimal time delay (e-mail, SMS), and in some cases, with an imperceptible time delay (instant messaging). Writing is a preservable means of communication. Some people regard the growth of multimedia literacy as the first step towards a postliterate society.

text: Writing materials[edit]

text: There is no very definite statement as to the material which was in most common use for the purposes of writing at the start of the early writing systems.[32] In all ages it has been customary to engrave on stone or metal, or other durable material, with the view of securing the permanency of the record; and accordingly, in the very commencement of the national history of Israel, it is read of the two tables of the law written in stone, and of a subsequent writing of the law on stone. In the latter case there is this peculiarity, that plaster (sic, lime or gypsum) was used along with stone, a combination of materials which is illustrated by comparison of the practice of the Egyptian engravers, who, having first carefully smoothed the stone, filled up the faulty places with gypsum or cement, in order to obtain a perfectly uniform surface on which to execute their engravings.[32] Metals, such as stamped coins, are mentioned as a material of writing; they include lead,[33] brass, and gold. To the engraving of gems there is reference also, such as with seals or signets.[32]

text: The common materials of writing were the tablet and the roll, the former probably having a Chaldean origin, the latter an Egyptian. The tablets of the Chaldeans are among the most remarkable of their remains.[according to whom?] There are small pieces of clay, somewhat rudely shaped into a form resembling a pillow, and thickly inscribed with cuneiform characters.[34] Similar use has been seen in hollow cylinders, or prisms of six or eight sides, formed of fine terra cotta, sometimes glazed, on which the characters were traced with a small stylus, in some specimens so minutely as to be capable of decipherment only with the aid of a magnifying-glass.[32]

text: In Egypt the principal writing material was of quite a different sort. Wooden tablets are found pictured on the monuments; but the material which was in common use, even from very ancient times, was the papyrus. This reed, found chiefly in Lower Egypt, had various economic means for writing, the pith was taken out, and divided by a pointed instrument into the thin pieces of which it is composed; it was then flattened by pressure, and the strips glued together, other strips being placed at right angles to them, so that a roll of any length might be manufactured. Writing seems to have become more widespread with the invention of papyrus in Egypt. That this material was in use in Egypt from a very early period is evidenced by still existing papyrus of the earliest Theban dynasties. As the papyrus, being in great demand, and exported to all parts of the world, became very costly, other materials were often used instead of it, among which is mentioned leather, a few leather mills of an early period having been found in the tombs.[32] Parchment, using sheepskins left after the wool was removed for cloth, was sometimes cheaper than papyrus, which had to be imported outside Egypt. With the invention of wood-pulp paper, the cost of writing material began a steady decline.


document_title: Los Angeles Lakers accomplishments and records

question_text: who has the most assists in lakers history

question_tokens: who has the most assists in lakers history

text: Laker Individual accomplishments[edit]

text: NBA MVP

text:
Kareem Abdul-Jabbar – 1976, 1977, 1980
Magic Johnson – 1987, 1989, 1990
Shaquille O'Neal – 2000
Kobe Bryant – 2008

text: NBA Finals MVP

text:
Jerry West – 1969
Wilt Chamberlain – 1972
Magic Johnson – 1980, 1982, 1987
Kareem Abdul-Jabbar – 1985
James Worthy – 1988
Shaquille O'Neal – 2000, 2001, 2002
Kobe Bryant – 2009, 2010

text: NBA Defensive Player of the Year

text: Michael Cooper – 1987

text: NBA Coach of the Year

text:
Bill Sharman – 1972
Pat Riley – 1990
Del Harris – 1995

text: NBA Sixth Man of the Year

text: Lamar Odom – 2011

text: NBA Executive of the Year

text: Jerry West – 1995

text: Rookie of the Year

text: Elgin Baylor – 1959

text: NBA All-Rookie First Team

text:
Bill Hewitt – 1969
Dick Garrett – 1970
Jim Price – 1973
Brian Winters – 1975
Norm Nixon – 1978
Magic Johnson – 1980
James Worthy – 1983
Byron Scott – 1984
Vlade Divac – 1990
Eddie Jones – 1995
Jordan Clarkson – 2015

text: NBA All-Rookie Second Team

text:
Nick Van Exel – 1994
Kobe Bryant – 1997
Travis Knight – 1997
D'Angelo Russell – 2016
Brandon Ingram – 2017

text: J. Walter Kennedy Citizenship Award

text:
Michael Cooper – 1986
Magic Johnson – 1992
Ron Artest – 2011
Pau Gasol – 2012

text: NBA Community Assist Award

text: Pau Gasol – 2012

text: NBA scoring champion

text:
George Mikan – 1949–1951
Jerry West – 1970
Shaquille O'Neal – 2000
Kobe Bryant – 2006, 2007

text: All-NBA First Team

text:
George Mikan – 1949–1954
Jim Pollard – 1949, 1950
Elgin Baylor – 1959–1965, 1967–1969
Jerry West – 1962–1967, 1970–1973
Gail Goodrich – 1974
Kareem Abdul-Jabbar – 1976, 1977, 1980, 1981, 1984, 1986
Magic Johnson – 1983–1991
Shaquille O'Neal – 1998, 2000–2004
Kobe Bryant – 2002–2004, 2006–2013

text: All-NBA Second Team

text:
Vern Mikkelsen – 1951–1953, 1955
Jim Pollard – 1952, 1954
Slater Martin – 1955, 1956
Clyde Lovellette – 1956
Dick Garmaker – 1957
Jerry West – 1968, 1969
Wilt Chamberlain – 1972
Kareem Abdul-Jabbar – 1978, 1979, 1983, 1985
Magic Johnson – 1982
Shaquille O'Neal – 1999
Kobe Bryant – 2000, 2001
Pau Gasol – 2011
Andrew Bynum – 2012

text: All-NBA Third Team

text:
James Worthy – 1990, 1991
Shaquille O'Neal – 1997
Kobe Bryant – 1999, 2005
Pau Gasol – 2009, 2010
Dwight Howard – 2013

text: NBA All-Defensive First Team

text:
Jerry West – 1970–1973
Wilt Chamberlain – 1972, 1973
Kareem Abdul-Jabbar – 1979–1981
Michael Cooper – 1982, 1984, 1985, 1987, 1988
Kobe Bryant – 2000, 2003, 2004, 2006–2011

text: NBA All-Defensive Second Team

text:
Jerry West – 1969
Kareem Abdul-Jabbar – 1976–1978, 1984
Michael Cooper – 1981, 1983, 1986
A. C. Green – 1989
Eddie Jones – 1998
Shaquille O'Neal – 2000, 2001, 2003
Kobe Bryant – 2001, 2002, 2012

text: NBA All-Star Weekend[edit]

text: All-Star

text:
George Mikan – 1951–1954
Vern Mikkelsen – 1951–1953, 1955–1957
Jim Pollard – 1951, 1952, 1954, 1955
Slater Martin – 1953–1957
Clyde Lovellette – 1956
Dick Garmaker – 1957–1960
Larry Foust – 1958, 1959
Elgin Baylor – 1959–1965, 1967–1970
Rod Hundley – 1960, 1961
Jerry West – 1961–1974
Frank Selvy – 1962
Rudy LaRusso – 1962, 1963, 1966
Darrall Imhoff – 1967
Archie Clark – 1968
Wilt Chamberlain – 1969, 1971–1973
Gail Goodrich – 1972–1975
Kareem Abdul-Jabbar – 1976, 1977, 1979–1989
Magic Johnson – 1980, 1982–1992
Jamaal Wilkes – 1981, 1983
Norm Nixon – 1982
James Worthy – 1986–1992
A. C. Green – 1990
Cedric Ceballos – 1995
Shaquille O'Neal – 1997, 1998, 2000–2004
Eddie Jones – 1997, 1998
Kobe Bryant – 1998, 2000–2016
Nick Van Exel – 1998
Pau Gasol – 2009–2011
Andrew Bynum – 2012
Dwight Howard – 2013
No All-Star game in 1999, due to a lockout that shortened the season.

text: All-Star Most Valuable Player

text:
George Mikan – 1953
Elgin Baylor – 1959
Jerry West – 1972
Magic Johnson – 1990, 1992
Shaquille O'Neal – 2000, 2004
Kobe Bryant – 2002, 2007, 2009, 2011

text: Slam Dunk champion

text: Kobe Bryant – 1997

text: All-Star Rookie/Sophomore Challenge Game

text:
Nick Van Exel – 1994
Eddie Jones – 1995*
Kobe Bryant – 1997
Derek Fisher – 1997
Travis Knight – 1997
Andrew Bynum – 2007
Jordan Farmar – 2007, 2008
Jordan Clarkson – 2016
D'Angelo Russell – 2016

text: Los Angeles Lakers Basketball Hall of Famers[edit]

text:
33 Kareem Abdul-Jabbar
22 Elgin Baylor
31 Zelmo Beaty
13 Wilt Chamberlain
4 Adrian Dantley
25 Gail Goodrich
42 Connie Hawkins
31 Spencer Haywood
32 Magic Johnson
34 Clyde Lovellette
11 Karl Malone
22 Slater Martin
11 Bob McAdoo
99 George Mikan

19 Vern Mikkelsen
34 Shaquille O'Neal
20 Gary Payton
17 Jim Pollard
23 Mitch Richmond
73 Dennis Rodman
42 James Worthy
44 Jerry West
52 Jamaal Wilkes
Coach John Kundla
Coach Bill Sharman
Coach Phil Jackson
Coach Pat Riley

Assistant Coach Tex Winter
MIC Chick Hearn
Owner Jerry Buss

text: Retired jerseys[edit]

text:
8 Kobe Bryant, G, 1996-2006
13 Wilt Chamberlain, C, 1968–1973
22 Elgin Baylor, F, 1958–71 (including team's last two seasons in Minneapolis)
24 Kobe Bryant, G, 2006-2016
25 Gail Goodrich, G, 1965–68 and 1970–76
32 Magic Johnson, G, 1979–91 and 1995–96; Head Coach 1994
33 Kareem Abdul-Jabbar, C, 1975–89
34 Shaquille O'Neal, C, 1996–2004
42 James Worthy, F, 1982–94
44 Jerry West, G, 1960–74; Head Coach, 1976–79; General Manager, 1981–2002
52 Jamaal Wilkes, F, 1977–85
MIC Chick Hearn, Broadcaster, 1960–2002

text: Honored Minneapolis Lakers: Next to their retired numbers, the Lakers have hung a banner with the names of six Hall-of-Famers who were instrumental to the franchise's success during its days in Minneapolis:

text:
17 Jim Pollard, F, 1947–55
19 Vern Mikkelsen, F, 1949–59
22 Slater Martin, G, 1949–56
34 Clyde Lovellette, F-C, 1953–57
99 George Mikan, C, 1947–56 (did not play in 1954–55)
John Kundla, Coach, 1947–59

text: Baylor's no. 22 jersey was retired by the Lakers; 34 was retired for Shaquille O'Neal on April 2013; 17 was previously worn by Andrew Bynum and Rick Fox, and neither 19 nor 99 is currently being worn.

text: Olympic team selection[edit]

text:
Clyde Lovellette – 1952
 Jerry West – 1960
 Walt Hazzard – 1964
 Magic Johnson – 1992
 Shaquille O'Neal – 1996
 Kobe Bryant – 2008  2012
 Pau Gasol – 2008  2012

text: NBA regular season records set/tied by Los Angeles Lakers[edit]

text: Individual records[edit]

text: Minneapolis/Los Angeles Lakers Accomplishments & Records[edit]

text:
Most consecutive games won – 33, 1971-11-05 – 1972-01-07
Most consecutive games won, one season – 33, 1971-11-05 – 1972-01-07
Highest winning percentage, road games, season – .816, 1971–72 (31–7)[1]
Most consecutive road games won – 16, 1971-11-06 – 1972-01-07
Most consecutive overtime games, season – 3, 1991-11-01 – 1991-11-05

shared with 15 other teams

Fewest opponent points, first half – 19, vs. L.A. Clippers, 1999-12-14
Fewest opponent points, second quarter – 3, vs. L.A. Clippers, 1999-12-14
Fewest opponent points, third quarter – 2, vs. Dallas, 1997-04-06
Fewest points, overtime period – 0, vs. Detroit, 1989-12-01

shared with seven other teams

Most players, 2,000-or-more points, season – 2, 1964–65 (West 2,292; Baylor 2,009)

shared with four other teams

Most players, 40-or-more points, game – 2, at San Francisco, 1970-02-11 (Baylor 43, West 43)

shared with eight other teams

Highest field goal percentage, season – .545, 1984–85 (3,952/7,254)
Lowest opponent field goal percentage, game – .229, vs. Milwaukee Hawks (at Buffalo, New York), 1954-11-06 (22/96)
Lowest field goal percentage, both teams, game – .246, Milwaukee Hawks vs. Minneapolis (at Buffalo, New York), 1954-11-06 (48/195)
Most field goals, both teams, one quarter – 40, Boston (23) vs. Minneapolis (17), 1959-02-27 (4th qtr.)
Most field goal attempts, both teams, game – 291, Phil. Warriors (153) vs. L.A. Lakers (138), 1961-12-08 (3 OT)
Most field goal attempts, both teams, one half – 153, Boston (80) vs. Minneapolis (73), 1959-02-27 (2nd half)
Lowest three-point field goal percentage, season – .104, 1982–83 (10/96)

text:
Fewest three-point field goals per game, season – 0.12, 1982–83 (10/82)

shared with Atlanta, 1980–81 (10/82)

Most free throws made, both teams, one quarter – 41, Milwaukee (22) vs. L.A. Lakers (19), 2001-03-21
Fewest free throw attempts, both teams, game – 12, L.A. Lakers (3) vs. San Diego Clippers (9), 1980-03-28
Most rebounds, both teams, game – 188, Phil. Warriors (98) vs. L.A. Lakers (90), 1961-12-08 (3 OT)
Fewest opponent defensive rebounds, game – 10, vs. Utah, 1990-04-01
Fewest defensive rebounds, both teams, game – 31, Utah (10) at L.A. Lakers (21), 1990-04-01
Most defensive rebounds, one half – 36, vs. Seattle, 1973-10-19
Most assists per game, season – 31.4, 1984–85 (2,575/82)
Fewest opponent assists, game – 3, vs. Boston (at Louisville, Kentucky), 1956-11-28

shared with three other teams

Fewest assists, both teams, game – 10, Boston vs. Minneapolis (at Louisville, Kentucky), 1956-11-28
Fewest disqualifications per game, season – 0.02, 1988–89 (2/82)
Most steals, both teams, game – 40, Golden State (24) vs. L.A. Lakers (16), 1975-01-21

shared with two other pairs of teams

Fewest steals, both teams, game – 2, L.A. Lakers (1) vs. Miami (1), 2006-01-16

shared with three other pairs of teams

Most steals, one quarter – 11, vs. Chicago, 1982-03-12; at Dallas, 1994-12-13

shared with six other teams

Fewest blocked shots, both teams, game – 0, L.A. Lakers vs. Houston, 1978-01-22

shared with 11 other pairs of teams

text: NBA playoff records set by the Los Angeles Lakers[edit]

text:
Most NBA Finals appearances – 31 times
Best postseason record – 15–1 (2001)
Most Playoff Games Won – 421

text: Franchise records for regular season[edit]

text: Unless otherwise stated, statistics/records are accurate as at the end of the 2016–17 season.

text: Most consecutive games played

text: A. C. Green – 567

tag: ol

text: Most minutes played in a game

text: Norm Nixon – 64

text: Highest minutes per game

text: Wilt Chamberlain – 43.7

text: Highest minutes per game in a season

text: Wilt Chamberlain – 45.3

text: Most points scored in a game

text:
Kobe Bryant – 81
Elgin Baylor – 71
Wilt Chamberlain – 66
Kobe Bryant – 65
Elgin Baylor – 64

text: Highest career points per game

text: Elgin Baylor – 27.4

text: Highest points per game in a season

text:
Elgin Baylor – 38.3 (48 games)
Kobe Bryant – 35.4
Elgin Baylor – 34.8
Elgin Baylor – 34.0
Kobe Bryant – 31.6

text: Most defensive rebounds (since 1973–74)

text:
Kareem Abdul-Jabbar – 7785
Kobe Bryant – 5548
Magic Johnson – 4958
Shaquille O'Neal – 4133
Lamar Odom – 3757

text: Most offensive rebounds (since 1973–74)

text:
Kareem Abdul-Jabbar – 2494
A.C. Green – 2089
Shaquille O'Neal – 1957
Magic Johnson – 1601
James Worthy – 1561

text: Most total rebounds

text:
Elgin Baylor – 11463
Kareem Abdul-Jabbar – 10279
Kobe Bryant – 7047
Magic Johnson – 6559
Wilt Chamberlain – 6524

text: Most rebounds in a game

text: Wilt Chamberlain – 42

text: Highest rebounds per game

text: Wilt Chamberlain – 19.2

text: Highest rebounds per game in a season

text: Wilt Chamberlain – 21.1

text: Most assists in a game

text: Magic Johnson – 24

text: Highest career assists per game

text: Magic Johnson – 11.2

text: Highest assists per game in a season

text: Magic Johnson – 13.1

text: Most blocks in a game

text: Elmore Smith – 17

text: Highest career blocks per game

text: Elmore Smith – 3.93

text: Highest blocks per game in a season

text: Elmore Smith – 4.85

text: Most steals in a game

text: Jerry West – 10

text: Highest career steals per game

text: Eddie Jones – 2.05

text: Highest steals per game in a season

text: Magic Johnson – 3.43

text: Most field goals made in a game

text: Wilt Chamberlain – 29 -Feb. 9, 1969

text: Highest field goal percentage in a game

text:
Wilt Chamberlain – 1.000
Pau Gasol – 1.000
Matt Barnes – 1.000

text: Most three-point field goals in a game

text:
Kobe Bryant – 12 (January 7, 2003 vs Seattle SuperSonics)
Kobe Bryant – 9 (March 28, 2008 vs Memphis Grizzlies)
Kobe Bryant – 9 (March 22, 2005 vs Utah Jazz)
Kobe Bryant – 9 (March 28, 2003 vs Washington Wizards)

text: Most free throws made in a game

text:
Dwight Howard – 25 (March 12, 2013 vs Orlando Magic)
Kobe Bryant – 23 (January 31, 2006 vs New York Knicks)
Kobe Bryant – 23 (January 30, 2001 vs Cleveland Cavaliers)

text: Lowest turnovers per game

text: Mark Madsen – 0.4 (minimum 100 games played)

text: Lowest turnovers per game in a season

text: Stanislav Medvedenko - 0.3 (2004-05 season; minimum 41 games played)

text: Highest assist-to-turnover ratio

text: Sedale Threatt – 3.34

text: Highest assist-to-turnover ratio in a season

text: Nick Van Exel – 4.25 (1997-98 season)

text: Most double doubles

text:
Magic Johnson – 463
Shaquille O'Neal – 365
Pau Gasol – 215

text: Career triple doubles

text:
Magic Johnson – 138
Kobe Bryant – 20
Pau Gasol – 5
Lamar Odom – 4
Vlade Divac – 4
Julius Randle – 3
Lonzo Ball — 2
Karl Malone – 1
Gary Payton – 1
Sam Perkins – 1

text: Career leaders[edit]

text:
Category
Name
Years with Lakers
Total

SP
Bryant, KobeKobe Bryant
1996–2016
20

GP
Bryant, KobeKobe Bryant
1996–2016
1,346

MP
Bryant, KobeKobe Bryant
1996–2016
48,637

MPG
Chamberlain, WiltWilt Chamberlain
1968–1973
43.7

PTS
Bryant, KobeKobe Bryant
1996–2016
33,643

PPG
Baylor, ElginElgin Baylor
1958–1971
27.4

REB
Baylor, ElginElgin Baylor
1958–1971
11,463

RPG
Chamberlain, WiltWilt Chamberlain
1968–1973
19.2

OREB
Abdul-Jabbar, KareemKareem Abdul-Jabbar
1975–1989
2,494

DREB
Abdul-Jabbar, KareemKareem Abdul-Jabbar
1975–1989
7,785

AST
Johnson, MagicMagic Johnson
1979–1991, 1996
10,141

APG
Johnson, MagicMagic Johnson
1979–1991, 1996
11.2

TO
Bryant, KobeKobe Bryant
1996–2016
4,010

PF
Bryant, KobeKobe Bryant
1996–2016
3,353

STL
Bryant, KobeKobe Bryant
1996–2016
1,944

SPG
Jones, EddieEddie Jones
1994–1999
2.1

BLK
Abdul-Jabbar, KareemKareem Abdul-Jabbar
1975–1989
2,694

BPG
Smith, ElmoreElmore Smith
1973–1975
3.9

FG
Bryant, KobeKobe Bryant
1996–2016
11,719

FGA
Bryant, KobeKobe Bryant
1996–2016
26,200

FG%
Chamberlain, WiltWilt Chamberlain
1968–1973
.605

2PFG
Abdul-Jabbar, KareemKareem Abdul-Jabbar
1975–1989
9934

2PFGA
Bryant, KobeKobe Bryant
1996–2016
20,654

2P%
Chamberlain, WiltWilt Chamberlain
1968–1973
.605

3PFG
Bryant, KobeKobe Bryant
1996–2016
1,827

3PFGA
Bryant, KobeKobe Bryant
1996–2016
5,546

3P%
Nash, SteveSteve Nash
2012–2015
.422

FGM
Bryant, KobeKobe Bryant
1996–2016
14,481

FT
Bryant, KobeKobe Bryant
1996–2016
8,378

FTA
Bryant, KobeKobe Bryant
1996–2016
10,011

FT%
Russell, CazzieCazzie Russell
1974–1977
.877

text: Single-season leaders[edit]

text:
Category
Name
NBA season
Total

MP
Chamberlain, WiltWilt Chamberlain
1968–69
3,669

MPG
Chamberlain, WiltWilt Chamberlain
1968–69
45.3

PTS
Bryant, KobeKobe Bryant
2005–06
2,832

PPG
Bryant, KobeKobe Bryant
2005–06
35.4

REB
Chamberlain, WiltWilt Chamberlain
1968–69
1,712

RPG
Chamberlain, WiltWilt Chamberlain
1968–69
21.1

OREB
O'Neal, ShaquilleShaquille O'Neal
1999–2000
336

DREB
Abdul-Jabbar, KareemKareem Abdul-Jabbar
1975–76
1,111

AST
Johnson, MagicMagic Johnson
1990–91
989

APG
Johnson, MagicMagic Johnson
1983–84
13.1

TO
Johnson, MagicMagic Johnson
1990–91
314

PF
Chones, JimJim Chones
1980–81
324

STL
Johnson, MagicMagic Johnson
1981–82
208

SPG
Johnson, MagicMagic Johnson
1980–81
3.4

BLK
Smith, ElmoreElmore Smith
1973–74
393

BPG
Smith, ElmoreElmore Smith
1973–74
4.9

FG
Baylor, ElginElgin Baylor
1962–63
1,029

FGA
Baylor, ElginElgin Baylor
1962–63
2,273

FG%
Chamberlain, WiltWilt Chamberlain
1972–73
.727

2PFG
Baylor, ElginElgin Baylor
1962–63
1,029

2PFGA
Baylor, ElginElgin Baylor
1962–63
2,273

2P%
Chamberlain, WiltWilt Chamberlain
1972–73
.727

3PFG
Van Exel, NickNick Van Exel
1994–95
183

3PFGA
Bryant, KobeKobe Bryant
2005–06
518

3P%
Radmanovic, VladimirVladimir Radmanovic
2008–09
.441

FGM
Baylor, ElginElgin Baylor
1962–63
1,244

FT
West, JerryJerry West
1965–66
840

FTA
West, JerryJerry West
1965–66
977

FT%
Johnson, MagicMagic Johnson
1988–89
.911

text: Franchise records for playoffs[edit]

text: Unless otherwise stated, statistics/records are correct as at the end of the 2012–13 season.

text: Most games played

text:
Kobe Bryant – 220
Derek Fisher – 193
Magic Johnson – 190
Kareem Abdul-Jabbar – 180
Michael Cooper – 168
Jerry West – 153
Byron Scott – 150
James Worthy – 143
Elgin Baylor – 134
A.C. Green – 126

text: Most minutes played

text:
Kobe Bryant – 8,641
Magic Johnson – 7,538
Jerry West – 6,321
Kareem Abdul-Jabbar – 6,295
Elgin Baylor – 5,510
Derek Fisher – 5,405
James Worthy – 5,297
Shaquille O'Neal – 4,992
Byron Scott – 4,828
Michael Cooper – 4,744

text: Most points

text:
Kobe Bryant – 5,640
Jerry West – 4,457
Kareem Abdul-Jabbar – 4,070
Magic Johnson – 3,701
Elgin Baylor – 3,623
Shaquille O'Neal – 3,383
James Worthy – 3,022
Byron Scott – 2,223
Derek Fisher – 1,852
George Mikan – 1,680

text: Most field goals made

text:
Kobe Bryant – 2,014
Kareem Abdul-Jabbar – 1,643
Jerry West – 1,622
Elgin Baylor – 1,388
Shaquille O'Neal – 1,309
Magic Johnson – 1,291
James Worthy – 1,267
Byron Scott – 864
Pau Gasol – 600
Derek Fisher – 582
Michael Cooper – 582

text: Most field goals attempted

text:
Kobe Bryant – 4,499
Jerry West – 3,460
Elgin Baylor – 3,161
Kareem Abdul-Jabbar – 3,024
Magic Johnson – 2,552
Shaquille O'Neal – 2,352
James Worthy – 2,329
Byron Scott – 1,747
Derek Fisher – 1,457
George Mikan – 1,394

text: Most three-point field goals made

text:
Kobe Bryant – 292
Derek Fisher – 219
Michael Cooper – 124
Byron Scott – 116
Robert Horry – 83
Rick Fox – 82
Sasha Vujacic – 63
Nick Van Exel – 60
Metta World Peace – 57
Devean George – 52

text: Most three-point field goals attempted

text:
Kobe Bryant – 882
Derek Fisher – 543
Michael Cooper – 316
Byron Scott – 286
Robert Horry – 263
Rick Fox – 230
Magic Johnson – 212
Nick Van Exel – 196
Metta World Peace – 181
Sasha Vujacic – 164

text: Most free throws made

text:
Kobe Bryant – 1,320
Jerry West – 1,213
Magic Johnson – 1,068
Elgin Baylor – 847
Kareem Abdul-Jabbar – 784
Shaquille O'Neal – 765
George Mikan – 554
James Worthy – 474
Byron Scott – 379
Pau Gasol – 358

text: Most free throws attempted

text:
Kobe Bryant – 1,617
Jerry West – 1,506
Shaquille O'Neal – 1,472
Magic Johnson – 1,274
Elgin Baylor – 1,098
Kareem Abdul-Jabbar – 1,037
George Mikan – 705
Wilt Chamberlain – 667
James Worthy – 652
Pau Gasol – 487

text: Most rebounds

text:
Wilt Chamberlain – 1,783
Elgin Baylor – 1,725
Shaquille O'Neal – 1,630
Kareem Abdul-Jabbar – 1,525
Magic Johnson – 1,465
Kobe Bryant – 1,119
Pau Gasol – 937
A. C. Green – 858
Jerry West – 855
Lamar Odom – 824

text: Most offensive rebounds (since 1973–74)

text:
Shaquille O'Neal – 561
Kareem Abdul-Jabbar – 428
Magic Johnson – 349
A.C. Green – 316
Pau Gasol – 292
James Worthy – 257
Kobe Bryant – 230
Lamar Odom – 219
Kurt Rambis – 189
Robert Horry – 183

text: Most defensive rebounds (since 1973–74)

text:
Magic Johnson – 1,116
Kareem Abdul-Jabbar – 1,087
Shaquille O'Neal – 1,069
Kobe Bryant – 889
Pau Gasol – 645
Lamar Odom – 605
A.C. Green – 542
James Worthy – 490
Kurt Rambis – 438
Robert Horry – 425

text: Most assists

text:
Magic Johnson – 2,346
Kobe Bryant – 1,040
Jerry West – 973
Michael Cooper – 663
Elgin Baylor – 541
Kareem Abdul-Jabbar – 540
Derek Fisher – 507
Norm Nixon – 465
James Worthy – 463
Shaquille O'Neal – 360

text: Most steals

text:
Magic Johnson – 358
Kobe Bryant – 310
Derek Fisher – 219
Byron Scott – 204
Michael Cooper – 203
James Worthy – 177
Kareem Abdul-Jabbar – 169
Robert Horry – 120
Norm Nixon – 89
Jamaal Wilkes – 83

text: Most blocks

text:
Kareem Abdul-Jabbar – 437
Shaquille O'Neal – 310
Pau Gasol – 178
Kobe Bryant – 144
Lamar Odom – 97
James Worthy – 96
Michael Cooper – 96
Lamar Odom – 93
Elden Campbell – 90
Robert Horry – 90
Vlade Divac – 89

text: Most personal fouls

text:
Kobe Bryant – 660
Kareem Abdul-Jabbar – 625
Magic Johnson – 524
Michael Cooper – 474
Derek Fisher – 472
Jerry West – 451
Elgin Baylor – 435
Shaquille O'Neal – 415
Vern Mikkelsen – 397
Byron Scott – 393

text: Other franchise records[edit]

text: In a game[edit]

text: Team (regular season)[edit]

text:
Largest margin of victory in a home game – 63 (Score: 162 – 99) March 19, 1972 vs. Golden State
Largest margin of victory in a road game – 47 (Score: 138 – 91) November 12, 1966 @ Detroit
Largest margin of defeat in a home game – 48 (Score: 142 – 94) March 6, 2014 vs. LA Clippers
Largest margin of defeat in a road game – 49 (Score: 122 – 73) January 22, 2017 @ Dallas Mavericks
Fewest points given up in a home game (post shot clock) – 57 (score: 112–57) January 11, 2011 vs. Cleveland
Most points scored – 162
Most points allowed – 173 (Score: 173–139) February 27, 1959 @ Boston Celtics
Most assists – 51
Most rebounds – 107
Most blocks – 21
Most steals – 23
Most field goals made – 69
Most field goals attempted – 153
Most three point field goals made – 19
Most three point field goals attempted – 45
Most free throws made – 52
Most free throws attempted – 69
Most turnovers – 43

text: Team (playoffs)[edit]

text:
Most points scored – 153
Most points allowed – 148
Most assists – 44
Most rebounds – 81
Most blocks – 15
Most steals – 19
Most field goals made – 67
Most field goals attempted – 116
Most three point field goals made – 12
Most three point field goals attempted – 31
Most free throws made – 49
Most free throws attempted – 68
Most turnovers – 28


document_title: Eternal Sunshine of the Spotless Mind

question_text: where is eternal sunshine of the spotless mind filmed

text: Eternal Sunshine of the Spotless Mind

text: Plot[edit]

text: Shy, soft-spoken Joel Barish and unrestrained free spirit Clementine Kruczynski begin a relationship on a Long Island Rail Road train from Montauk to Rockville Centre. Joel and Clementine almost immediately connect, feeling drawn to each other despite their contrasting personalities, and both had felt the need to travel to Montauk that day. Although they do not realize it, they are former lovers, now separated after having dated for two years.

text: After a fight a few days earlier, Clementine hires the New York City firm Lacuna, Inc. to erase all of her memories of their relationship. Upon discovering this from his friends Rob and Carrie, Joel is saddened and decides to undergo the procedure himself, a process that takes place while he sleeps.

text: Much of the film subsequently takes place in Joel's mind, during this memory erasure procedure. Joel finds himself revisiting his memories of Clementine in reverse, starting from the disintegration of their relationship. As he comes across happier, positive memories of Clementine early in his relationship, he decides to preserve at least some memory of her and his love for her, trying to evade the procedure by taking his idealized memory of Clementine into memories not linked to her or waking up to stop the process. Despite his efforts, the technicians steadily erase his memories. He comes to the last remaining memory of Clementine, the day he had first met her at a beach house in Montauk. As this memory disintegrates around them, she tells him, "Meet me in Montauk."

text: The film features separate, but related, story arcs revolving around the employees of Lacuna during Joel's memory erasure. Patrick, one of the Lacuna technicians performing the erasure, uses Joel's memories and mannerisms to seduce and romance Clementine. Mary, the Lacuna receptionist, is dating the other memory-erasing technician, Stan, but has feelings for Dr. Howard Mierzwiak, a married doctor and the head of Lacuna. During Joel's memory wipe, Mary discovers she had previously had an affair with Dr. Mierzwiak and agreed to have this erased from her memory when Dr. Mierzwiak's wife found out. On learning this, she asks Stan whether he knew about this, to which he claims that he did not. Mary then quits her job and steals the company's records, mailing them to all of Lacuna's customers.

text: The film returns to the present after Joel and Clementine have met at the train station of Montauk. They both come upon their Lacuna records later that day, and react with shock and bewilderment – they have no clear memory of having known each other, let alone having had a relationship and having had their memories erased. Joel pleads with Clementine to restart their relationship; Clementine initially resists, pointing out it could go the same way. Joel accepts this, and they decide to try anyway.

text: Cast[edit]

text: Jim Carrey as Joel Barish: An introvert who enters a two-year relationship with Clementine Kruczynski. After their relationship ends, Clementine erases Joel from her memory, and he erases her from his mind in response. Charlie Kaufman wrote Joel with autobiographical personality traits.[4] Producers cast Carrey against type for his role as Joel,[4] selecting him for his regular appearance, as well as his comedic ability. According to Gondry, this was as "It's hard to be funny. It's far easier to take someone really funny and bring them down than do the opposite."[5] To make Carrey, an actor who typically portrayed high-energy roles, play a restrained character, Gondry prevented him from improvising, a restriction he did not place on the other members of the cast. Carrey did not like this.[6] Gondry would also put Carrey off balance by giving wrong orders or by rolling the camera at the wrong time. Gondry believed this would make Carrey forget what he should do to be Joel, allowing him to go in character.[4] In the 2017 Netflix documentary Jim & Andy, Carrey mentions a conversation with Gondry one year before shooting began for Eternal Sunshine of the Spotless Mind, shortly after Carrey had a breakup with an unspecified woman.[7] Gondry saw that Carrey's emotional state at the time was "so beautiful, so broken" and asked him to stay that way for one year to fit the character. In the documentary, Carrey commented, "That's how fucked up this business is."[8][9] Nicolas Cage was Gondry's original choice to play Joel,[6] but Cage was unable to do the role as he was in high demand from independent directors after his performance in Leaving Las Vegas.[5]

text: Ryan Whitney as young Joel

text: Kate Winslet as Clementine Kruczynski: A spontaneous extrovert who, after breaking up with Joel Barish after a two-year relationship, erases him from her mind. Producers cast Winslet against type for her part as Clementine,[4] as Winslet had previously featured heavily in period pieces.[10] She received the role after she was the only actress to offer criticism on the script instead of pandering to the writers.[5] After another actor won an Oscar, the studio attempted to make Gondry use her instead of Winslet for the role of Clementine, but Gondry threatened to walk from the project if that occurred.[5] During filming, Gondry took Winslet to separate rooms to coach her,[5] and she wore wigs instead of dying her hair.[10] Some commentators note how Clementine's character criticizes the Manic Pixie Dream Girl stock character several years before film critic Nathan Rubin coined the phrase. Most commentators discuss one particular example to demonstrate this criticism, wherein Clementine warns Joel she is flawed: "Too many guys think I'm a concept, or I complete them, or I'm gonna make them alive. But I'm just a fucked-up girl who's looking for my own peace of mind. Don't assign me yours."[11][12] With her impulsiveness, emotion intensity (extreme mood changes), alcohol dependence, turbulent relationships, reckless behavior, and hasty idealization/devaluation of Joel, Clementine seems to exhibit traits of Borderline Personality Disorder, although it is not clear whether Kaufman wrote her character with this specific diagnosis in mind.[13]

text: Lola Daehler as young Clementine

text:
Kirsten Dunst as Mary Svevo: The receptionist for Lacuna who, while dating Stan Fink, has a crush on Howard Mierzwiak. While erasing Joel's memory, Howard's wife catches her kissing Howard. Howard's wife reveals Mary previously had a relationship with Howard, which Howard erased from her mind. She reacts to this information by quitting her job and mailing Lacuna's company records to its customers. In the script, Mary and Howard's relationship resulted in an unplanned pregnancy, leading to Howard pressuring Mary into an abortion, which Howard also erased from her memory.[14]
Mark Ruffalo as Stan Fink: A technician for Lacuna who is in a relationship with Mary Svevo until the reveal of her previous relationship with Howard Mierzwiak. Ruffalo received the role of Stan after providing an "unexpected take on the role" to Gondry when he suggested Stan be a fan of The Clash and look like Joe Strummer.[5]
Elijah Wood as Patrick: Patrick is a technician for Lacuna who enters a relationship with Clementine by imitating Joel. They break up when Joel and Clementine begin dating for the second time.
Tom Wilkinson as Dr. Howard Mierzwiak: Howard runs Lacuna. Before the film's events, he had an affair with Mary, which ended with the relationship's erasure from her mind. Wilkinson reportedly did not enjoy the shooting of the film and frequently disagreed with Gondry.[5][15]
Jane Adams as Carrie Eakin: Joel Barish's friend. She is in a troubled relationship with Rob Eakin.
David Cross as Rob Eakin: Joel Barish's friend. In a troubled relationship with Carrie Eakin.
Deirdre O'Connell as Hollis Mierzwiak: Howard Mierzwiak's wife
Thomas Jay Ryan as Frank: Joel Barish's neighbor
Debbon Ayer as Joel Barish's mother

text: Production[edit]

text: Development[edit]

text: The concept of Eternal Sunshine of the Spotless Mind came from 1998 conversations between Michel Gondry and the film's co-writer Pierre Bismuth.[16] The pair had met and become friends in the early 1980s during Gondry's drumming career in the French pop group Oui Oui.[17] Bismuth had conceived of the idea of erasing certain people from people's minds in response to a friend complaining about her boyfriend; when he asked her if she would erase that boyfriend from her memory, she said yes.[17][18] Bismuth originally was going to conduct an art experiment involving sending cards to people saying someone they knew had erased the card's recipient from their memory.[19] When he mentioned this to Gondry, they developed it into a story based on the situations that would arise if it were scientifically possible.[17][19] Bismuth never carried out his experiment idea.[19]

text: Gondry approached Charlie Kaufman with this concept, the two having worked previously together for Kaufman's Human Nature.[18][19] Gondry and Kaufman together further developed the story into a short pitch.[20] While the writers did not believe the concept to be marketable, a small bidding war began over the idea.[16][20][21] Steve Golin of Propaganda Films purchased it on June 12, 1998, for a low seven-figure sum.[4][22] Kaufman, who was responsible for writing the screenplay, did not begin immediately, instead opting to suspend writing while he was working on Adaptation, Confessions of a Dangerous Mind and Human Nature.[16] During this time, filmmaker Christopher Nolan released his film Memento, which similarly deals with memory. Due to the similarities, Kaufman became worried and tried to pull out of the project, but Golin made him complete it.[4] During writing, the pitch's ownership changed several times thus Kaufman did not have to deal with the studios until the end of the scriptwriting process.[16] The final script made the studios nervous.[16]

text:
How happy is the blameless vestal's lot?
The world forgetting, by the world forgot:
Eternal sunshine of the spotless mind!
Each prayer accepted, and each wish resigned;

—Alexander Pope, Eloisa to Abelard, 207-10

tag: div

text: Kaufman did not want to make the film a thriller and wanted to downplay the science fiction aspects of memory erasure, focusing on the relationship.[16][19][21] He had an "enormous struggle" with the script, particularly encountering two problems while writing the script: showing "the memories, Joel's reactions to the memories, and Joel interacting with Clementine outside of the memories in the memories," and the fact that characters could refer in later scenes to already erased memories.[16] Kaufman resolved the first problem by making Joel lucid and able to comment on his memories and solved the second by making the memories degrade instead of immediately erasing, with complete erasure occurring at awakening.[16] Kaufman's original name for the screenplay was 18 words long, as he had wanted a title that "you couldn't possibly fit on a marquee,"[23] however, he eventually decided on Eternal Sunshine of the Spotless Mind, a title originating from the 1717 poem Eloisa to Abelard by Alexander Pope.[24]

text: Filming and post-production[edit]

text: The shooting of Eternal Sunshine of the Spotless Mind began in mid-January 2003 after six weeks of preparation,[25][26][27] lasting for three months on a budget of $20 million mostly in and around New York City.[6][27] The production crew, however, recreated some key scenes, such as Joel's Yonkers apartment and the 1950s-style kitchen, in a New Jersey former U.S. Navy base.[27] The shoot was difficult, sometimes shooting for seventeen hours per day in harsh environments.[28]

text: The shoot was challenging for cinematographer Ellen Kuras, due to the difficulty of filming Gondry's vision for the film, which aimed to "blend location-shoot authenticity with unpredictable flashes of whimsy." According to this vision, Gondry wanted available light used exclusively for the shoot. Kuras disagreed with this choice and would get around it by lighting the room instead of the actors and by hiding light bulbs around the set to increase light levels.[27] Another issue the cinematographers encountered was due to the frequent improvisation, the lack of marks and the few rehearsals completed, the cinematographers often did not know where the actors would be. Two handheld cameras filmed near 360-degree footage at all times, shooting 36 000 feet of film a day to deal with this.[15][27] Gondry called back to the work of famed French New Wave director Jean-Luc Godard by filming using wheelchairs as well as using sled and chariot dollies instead of traditional dollies. When using wheelchairs, the shot was not consistently smooth, however as Kuras liked the aesthetic of the low-angle, wobbly movement, the final film contains the footage.[27]

text: The film used minimal CGI, with many effects accomplished in-camera, through forced perspectives, hidden space, spotlighting, unsynchronized sound, split focus and continuity editing.[19] A notable example is the ocean washing away the house in Montauk; the production team accomplished this by building the corner of a house on the beach and allowing the tide to rise.[6] Executing this effect was difficult as the special team hired to place the set in the water refused due to perceived dangers. Gondry in response fired the team and had the production team, including the actors and producers, place the set in the water. In retaliation for Gondry's actions, the chief of the union reprimanded Gondry in front of the crew.[29]

text: Kaufman rewrote some of the script during production; thus, several discrepancies exist between the production script and the final film.[20] A fundamental difference is that in the production script, with the erasure of each memory, Clementine's behavior is increasingly robotic.[16] In the final film, Winslet plays Clementine straight, and degradation of settings and the intrusion of settings upon each other establish memory degradation visually. Another script component that did not make it into the final film was the appearance of Naomi, Joel's girlfriend. Against Kaufman's insistence on Naomi's inclusion, the production team cut her already filmed scenes.[16]

text: Icelandic editor Valdís Óskarsdóttir edited the film, and she reportedly conflicted with Gondry during editing.[30] Charlie Kaufman was also very involved in the editing of the film. Editing was a long process as there was no requirement to rush it.[4][20] There were a few test screenings of the film, which elicited positive reactions.[20]

text: Music[edit]

text: The soundtrack album for Eternal Sunshine of the Spotless Mind was composed by Los Angeles musician Jon Brion, also featuring songs from artists including The Polyphonic Spree, The Willowz, and Don Nelson. Hollywood Records released the soundtrack on March 16, 2004.[31] A cover version of The Korgis' "Everybody's Got to Learn Sometime" with instrumentation by Brion and vocals by Beck operates as the soundtrack's centerpiece, setting the film's tone in the opening credits, and closing the film.[31][32]

text: Eternal Sunshine of the Spotless Mind's soundtrack received generally positive reviews. AllMusic described it as "nearly as deft", and described Brion's score as "intimate" and "evocative of love and memories".[33] Other positive reviews noted the ambient nature of the music and lauded Beck's cover of "Everybody's Got to Learn Sometime."[34] On the other hand, the soundtrack's detractors criticized the album's lack of identity and its depressive atmosphere.[35] Even among the detractors, however, the score's ability to mesh with the plot was lauded, an appraisal common to many reviews.[33][34][35][36]

text: Analysis[edit]

text: This section needs expansion. You can help by adding to it. (October 2018)

text: In the autumn 2008 issue of Screen Journal, Carol Vernallis argued that Gondry's experience in directing music videos contributed to the film's mise-en-scène and sound design. Vernallis describes some threads of the visual, aural and musical motifs throughout the film, and how some motifs can work in counterpoint.[37]

text: Release[edit]

text: Box office[edit]

text: Produced on a budget of $20 million, Eternal Sunshine of the Spotless Mind opened on March 19, 2004, in the United States, earning $8,175,198 in its opening weekend in 1,353 theaters. The film placed seventh in the weekend's box office, and remained in theaters for 19 weeks, earning $34,400,301 in the United States and $37,857,825 in international markets for a total of $72,258,126 worldwide.[38] Eternal Sunshine of the Spotless Mind is, as of  June 2018[update], Kaufman's most profitable and Gondry's second most profitable film.[39][40]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has a 93% "Certified Fresh" rating, based on 238 reviews, with an average rating of 8.5/10. The site's critical consensus reads, "Propelled by Charlie Kaufman's smart, imaginative script and Michel Gondry's equally daring directorial touch, Eternal Sunshine is a twisty yet heartfelt look at relationships and heartache."[41] On Metacritic, the film has a score of 89 out of 100, based on 41 reviews, indicating "universal acclaim."[42] Audiences polled by CinemaScore gave the film an average grade of "B-" on an A+ to F scale.[43]

text: Roger Ebert of Chicago Sun-Times in his initial 2004 review gave the film 3½ out of a possible 4.[44] He revisited the film in 2010 when he referred to Kaufman as "the most gifted screenwriter of the 2000s" and revised the rating to a full four stars, adding it to his "Great Movies" list.[45] A. O. Scott of The New York Times praised the film for being "cerebral, formally and conceptually complicated, dense with literary allusions and as unabashedly romantic as any movie you'll ever see".[46] Time Out summed up their review by saying, "the formidable Gondry/Kaufman/Carrey axis works marvel after marvel in expressing the bewildering beauty and existential horror of being trapped inside one's own addled mind, and in allegorising the self-preserving amnesia of a broken but hopeful heart."[47]

text: Winslet and Carrey received acclaim for their performances. Winslet's performance as Clementine received acclaim and multiple award nominations, including an Academy Award nomination for Best Actress,[48] and Premiere magazine placed it 81st in their 2008 list of the 100 Greatest Performances of All Time.[49] Claudia Puig in a review for USA Today said of her performance "Winslet is wonderful as a free spirit whose hair color changes along with her moods. She hasn't had such a meaty role in a while, and she plays it just right,"[50] while Ann Hornaday in a review for The Washington Post said "Even when forced to wear costumes and wigs that make her look like Pippi Longstocking after an acid-fueled trip to the thrift market, Winslet maintains a reassuring equilibrium. It takes an actor of her steadiness to play someone this unhinged."[51] Carrey's performance as Joel also received acclaim and multiple award nominations, with many reviewers noting his casting against type. Jason Killingsworth in a review for Paste magazine said of his performance "Carrey nails the part, winning audience sympathy from the opening moments of the film".[52] Moira MacDonald in a review for The Seattle Times stated "[Jim Carrey is] not bad at all — in fact, it's the most honest, vulnerable work he's ever done",[53] while David Edelstein of Slate said "It's rarely a compliment when I refer to an actor as "straitjacketed," but the straitjacketing of Jim Carrey is fiercely poignant. You see all that manic comic energy imprisoned in this ordinary man, with the anarchism peeking out and trying to find a way to express itself."[54] The supporting cast also received acclaim, with several reviews, such as Ann Hornaday of the Washington Post and Rick Groen of The Globe and Mail singling out Ruffalo's performance for praise.[51][55]

text: Critics heavily praised Kaufman and his ambition, and he won numerous awards for his efforts, including an Academy Award and a BAFTA for Best Original Screenplay.[48][56] In Slate, David Edelstein claimed Kaufman had "move[d] the boundary posts of romantic comedy,"[54] and Moira MacDonald of The Seattle Times called Kaufman "one of the few creative screenwriters working today."[53] However, Kaufman's writing also was the recipient of some criticism, with some, including John Powers of the LA Weekly, claiming it lacked passion[57] and Andrew Sarris of Observer criticizing the film's "nonexistent character development."[58] Gondry, like Kaufman, also received large amounts of praise, with The Washington Post acclaiming "the results [of Gondry using primarily live-action effects], in their intricate detail and execution," as "nothing short of brilliant."[51] Likewise, The Seattle Times in their review stated "Gondry ... makes it all a melancholy fun house, with camera work and visual tricks that rival the screenplay in invention."[53] Cinematographer Ellen Kuras similarly received praise for her work on the film, such as in a Salon magazine, where, in an overall negative review of the film, reviewer Stephanie Zacharek praised Kuras for her giving "the movie a look of dreamy urgency that's perfect for the story."[59]

text: Accolades[edit]

text:
Award

Award category

Recipients

Result

Ref.

Academy Awards

Best Actress

Kate Winslet

Nominated

[48]

Best Original Screenplay

Pierre Bismuth, Michel Gondry and Charlie Kaufman

Won

British Academy Film Awards (BAFTA)

Best Actor in a Leading Role

Jim Carrey

Nominated

[60][56]

Best Actress in a Leading Role

Kate Winslet

Nominated

Best Director

Michel Gondry

Nominated

Best Editing

Valdís Óskarsdóttir

Won

Best Film

Anthony Bregman and Steve Golin

Nominated

Best Screenplay - Original

Charlie Kaufman

Won

Golden Globe Awards

Best Actor in a Leading Role - Musical or Comedy

Jim Carrey

Nominated

[61]

Best Actress in a Leading Role - Musical or Comedy

Kate Winslet

Nominated

Best Film - Musical or Comedy

Michel Gondry

Nominated

Best Screenplay

Charlie Kaufman

Nominated

Hugo Awards

Best Dramatic Presentation - Long Form

Michel Gondry, Charlie Kaufman, Bierre Bismuth

Nominated

[62]

National Board of Review

Best Screenplay - Original

Charlie Kaufman

Won

[63]

Writers Guild of America

Best Screenplay - Original

Pierre Bismuth, Michel Gondry and Charlie Kaufman

Won

[64]

text: Home media[edit]

text: Universal Home Entertainment released Eternal Sunshine of the Spotless Mind on DVD on September 28, 2004.[65] A Blu-ray edition release occurred in the U.S. on January 25, 2011.[66]

text: Legacy[edit]

text: Television series[edit]

text: In October 2016, Anonymous Content announced they would be working with Universal Cable Productions to produce a television series based on the film. Kaufman is not involved in writing the show. The project is still in planning stages.[67]

text: Media recognition[edit]

text:
Year

Presenter

Title

Rank

Notes

2005

Writers Guild of America

101 Greatest Screenplays

24

[68][69]

2008

Empire

The 500 Greatest Movies of All Time

73

[70]

2009

Time Out New York

The TONY Top 50 Movies of the Decade

3

[71]

Slant Magazine

The 100 Best Films of the Aughts

86

[72]

Paste

The 50 Best Movies of the Decade (2000-2009)

5

[73]

The A.V. Club

The Best Films of the '00s

1

[74]

Metacritic

Film Critics Pick the Best Movies of the Decade

2

[75]

2016

BBC

The 21st Century's 100 Greatest Films

6

[76]

2018

Empire

The 100 Greatest Movies

41

[77]

They Shoot Pictures Don't They

The 21st Century's Most Acclaimed Films

5

[78]