document_title: Croatia at the FIFA World Cup

question_text: when was the last time croatia made it to the semifinals

text: Croatia at the FIFA World Cup

text: Overview[edit]

text:
Year

Round

Position

GP

W

D*

L

GS

GA

 1930 to  1938
as part of  Kingdom of Yugoslavia

 1950 to  1990
as part of  Socialist Federal Republic of Yugoslavia

 1994
Did not enter

 1998
Third place
3rd
7
5
0
2
11
5

 2002
Group stage
23rd
3
1
0
2
2
3

 2006
Group stage
22nd
3
0
2
1
2
3

 2010
Did not qualify

 2014
Group stage
19th
3
1
0
2
6
6

 2018
Runners-up
2nd
7
4
2
1
14
9

 2022
To be determined

 2026

Total
23
11
4
8
35
26

text:
showCroatia's World Cup record

First Match

 Croatia 3–1 Jamaica  (14 June 1998; Lens, France)

Biggest Win

 Croatia 4–0  Cameroon (18 June 2014; Manaus, Brazil)

Biggest Defeat

 Brazil 3–1 Croatia  (12 June 2014; São Paulo, Brazil) Mexico 3–1 Croatia  (23 June 2014; Recife, Brazil) France 4–2 Croatia  (15 July 2018; Moscow, Russia)

Best Result

Runners-up in 2018

Worst Result

Group Stage in 2002, 2006 and 2014

text: Croatia in France 1998[edit]

text: In the draw for the final tournament, held on 4 December 1997 at Stade Vélodrome in Marseille,[1] Croatia was drawn to play in Group H, along with two other teams which qualified for the World Cup for the first time, Jamaica and Japan, and two-time World Cup winners Argentina. In their first match Croatia beat Jamaica 3–1, in a game memorable for Croatia's first ever World Cup goal, an opener scored by Mario Stanić in the 27th minute. Croatia went on to beat Japan 1–0 before losing their third group stage match against Argentina 0–1, in a game which was of little importance as both teams had already qualified for round of 16.

text: In round of 16, Croatia faced Group G winners Romania (who had finished top of their group in front of England) and won the game through a penalty converted by Davor Šuker in stoppage time of the first half after a foul on Aljoša Asanović by Gabriel Popescu. After that Croatia faced Germany in the quarter-finals, in a game which was at the time touted by the Croatian media as a great opportunity to get back at Germany as it was them who had knocked out Croatia in the UEFA Euro 1996 quarter-finals two years earlier. In the 40th minute Christian Wörns received a direct red card and was sent off for fouling Davor Šuker, and Robert Jarni opened the scoring eight minutes later in stoppage time of the first half. Goran Vlaović and Davor Šuker added a second and third and the game ended in a 3–0 win, which is still regarded by fans and the media as one of the most memorable matches Croatia ever played.

text: Croatia went on to face hosts France in the semi-finals, but lost the game 1–2 when an opener scored by Šuker in the 46th minute was immediately equalised by Lilian Thuram the following minute. Thuram also scored France's second goal in the 69th minute. These were the only two goals Thuram ever scored for France in an international career spanning from 1994 to 2008 which saw him earn a total of 147 caps. After Croatia's exit manager Blažević was heavily criticized by Croatian press for not sending in Robert Prosinečki soon enough after France took the lead (Prosinečki came on as a substitute for Mario Stanić just minutes before the final whistle). Croatia captain Zvonimir Boban tried to take the blame for the defeat saying that he felt he needed to be substituted but wanted to stay on the pitch just a little while longer (it was his defending mistake which led to Thuram's equaliser).

text: After being knocked out in the semi-finals, Croatia looked for consolation against Netherlands in the third place match played just three days later at Parc des Princes. Croatia went on to win 2–1 through goals by Šuker and Prosinečki, but after the final whistle Dražen Ladić was labelled player of the match, for a career-best performance which saw him save numerous shots from Patrick Kluivert, Clarence Seedorf and Marc Overmars.

text: Squad[edit]

text: Manager Miroslav Blažević included the following 22 players in the finals tournament squad. The 16 players who were capped at least once in one of the seven matches Croatia played in France are highlighted in bold. The remaining six players were unused at the tournament (defenders Goran Jurić and Anthony Šerić, defensive midfielder Mamić, striker Ardian Kozniku, and second and third-choice goalkeepers Marijan Mrmić and Vladimir Vasilj). On the other hand, six players appeared in all seven matches: goalkeeper Dražen Ladić, defender Slaven Bilić, midfielders Aljoša Asanović, Mario Stanić, Robert Jarni, and striker Davor Šuker.

text: Out of 11 goals scored by Croatia at the tournament, six were scored by Davor Šuker, who was awarded the Golden Shoe Award for the top goalscorer of the tournament, as well as the Silver Ball Award as the second most outstanding player of the tournament (behind Ronaldo of Brazil). Robert Prosinečki (who was retroactivelly given the 1990 FIFA World Cup Best Young Player Award, where he had appeared for Yugoslavia), also scored two goals in matches against Jamaica and the Netherlands, which made him the only player in World Cup history to score goals at finals tournaments for two different countries.

text: For three players (Jarni, Prosinečki and Šuker) this was their second appearance at the World Cup, having been members of Yugoslavia squad at the 1990 FIFA World Cup. Alen Bokšić would have been fourth, having been a key player in Croatia's qualifying campaign, but he was dropped from the tournament squad after sustaining an injury just months before the tournament in France.

text:
Aljoša Asanović
Slaven Bilić
Zvonimir Boban (c)
Robert Jarni
Krunoslav Jurčić
Goran Jurić
Ardian Kozniku
Petar Krpan
Dražen Ladić
Zoran Mamić
Silvio Marić
Marijan Mrmić
Robert Prosinečki
Zvonimir Soldo
Mario Stanić
Anthony Šerić
Dario Šimić
Igor Štimac
Davor Šuker
Igor Tudor
Vladimir Vasilj
Goran Vlaović

text:
Pos

Team[ vte ]

Pld

W

D

L

GF

GA

GD

Pts

Qualification

1

 Argentina

3

3

0

0

7

0

+7

9

Advance to knockout stage

2

 Croatia

3

2

0

1

4

2

+2

6

3

 Jamaica

3

1

0

2

3

9

−6

3

4

 Japan

3

0

0

3

1

4

−3

0

text:
Jamaica

1–3

 Croatia

Earle  45'

Report

Stanić  27'Prosinečki  53'Šuker  69'

text:
Japan

0–1

 Croatia

Report

Šuker  77'

text:
Argentina

1–0

 Croatia

Pineda  36'

Report

text: Round of 16[edit]

text:
Romania

0–1

 Croatia

Report

Šuker  45+2' (pen.)

text: Quarter-finals[edit]

text:
Germany

0–3

 Croatia

Report

Jarni  45+3'Vlaović  80'Šuker  85'

text: Semi-finals[edit]

text:
France

2–1

 Croatia

Thuram  47', 70'

Report

Šuker  46'

text: Third-place match[edit]

text:
Netherlands

1–2

 Croatia

Zenden  22'

Report

Prosinečki  14'Šuker  36'

text: Legacy[edit]

text: By beating Netherlands, Croatia finished third in their World Cup debut, a feat matched only by Eusébio's Portugal in the 1966 World Cup 32 years earlier. Consequently, Croatia reached their highest ever FIFA ranking when they were third in the world for three months between January and March 1999 and were given the Best Mover of the Year Award in 1998, the only team so far which won the award twice (having been Best Movers in 1994). Upon returning to Croatia, the whole squad was decorated by President Franjo Tuđman, and were nicknamed "Brončani" ("The Bronze Ones") and "Vatreni'" ("The Fiery Ones") in the media. The latter stuck as a permanent nickname for the national team.

text: Most players continued playing for the team throughout the UEFA Euro 2000 qualifiers, but after Croatia failed to qualify manager Miroslav Blažević resigned and soon after that some of the players retired from the national team. The next manager Mirko Jozić kept some of the remaining members of the Bronze Generation and even took them to 2002 FIFA World Cup (such as Šuker, Prosinečki, Jarni, Stanić, Soldo, Vlaović, Šimić), but they failed to make an impact at the tournament and almost all of them retired soon afterwards, but a number of them later became prominent figures in Croatian football.

text: Zvonimir Boban went into sports publishing and took over as CEO of Croatia's sports daily Sportske novosti in 2005 and worked as a commentator for Italian television stations. Šuker launched his line of sports apparel and established a football academy carrying his name. Zvonimir Soldo, Robert Jarni, Slaven Bilić, Igor Štimac and Dražen Ladić all took up managing jobs (Soldo coached Dinamo Zagreb to a Double in 2008, while Jarni, Bilić and Štimac all had managerial spells at Hajduk Split). Štimac later became chairman of the association of Prva HNL clubs, the body regulating top flight football in Croatia, and Bilić took over as Croatia manager in 2006, hiring Aljoša Asanović, Robert Prosinečki and Marijan Mrmić as his assistants. Dražen Ladić took up managing the Croatia under-21 team in 2006, and Krunoslav Jurčić is the current manager at Dinamo Zagreb, having been appointed in 2009. Miroslav Blažević later managed a number of clubs in Croatia, Slovenia and Switzerland before taking over as Bosnia and Herzegovina manager in 2008 and sensationally leading them to the verge of qualifying for the 2010 World Cup.

text: Croatia in Korea/Japan 2002[edit]

text: Squad[edit]

text:
Boško Balaban
Alen Bokšić
Tomislav Butina
Robert Jarni (c)
Niko Kovač
Robert Kovač
Ivica Olić
Stipe Pletikosa
Robert Prosinečki
Milan Rapaić
Zvonimir Soldo
Mario Stanić
Daniel Šarić
Anthony Šerić
Dario Šimić
Josip Šimunić
Davor Šuker
Stjepan Tomas
Vladimir Vasilj
Goran Vlaović
Jurica Vranješ
Davor Vugrinec
Boris Živković

text:
Pos

Team[ vte ]

Pld

W

D

L

GF

GA

GD

Pts

Qualification

1

 Mexico

3

2

1

0

4

2

+2

7

Advance to knockout stage

2

 Italy

3

1

1

1

4

3

+1

4

3

 Croatia

3

1

0

2

2

3

−1

3

4

 Ecuador

3

1

0

2

2

4

−2

3

text:
Croatia

0–1

 Mexico

Report

Blanco  60' (pen.)

text:
Italy

1–2

 Croatia

Vieri  55'

Report

Olić  73'Rapaić  76'

text:
Ecuador

1–0

 Croatia

Méndez  48'

Report

text: Croatia in Germany 2006[edit]

text: Squad[edit]

text:
Marko Babić
Boško Balaban
Ivan Bošnjak
Tomislav Butina
Joey Didulica
Ivan Klasnić
Niko Kovač (c)
Robert Kovač
Niko Kranjčar
Ivan Leko
Jerko Leko
Luka Modrić
Ivica Olić
Stipe Pletikosa
Dado Pršo
Darijo Srna
Anthony Šerić
Dario Šimić
Josip Šimunić
Mario Tokić
Stjepan Tomas
Igor Tudor
Jurica Vranješ

text:
Pos

Team[ vte ]

Pld

W

D

L

GF

GA

GD

Pts

Qualification

1

 Brazil

3

3

0

0

7

1

+6

9

Advance to knockout stage

2

 Australia

3

1

1

1

5

5

0

4

3

 Croatia

3

0

2

1

2

3

−1

2

4

 Japan

3

0

1

2

2

7

−5

1

text:
Brazil

1–0

 Croatia

Kaká  44'

Report

text:
Japan

0–0

 Croatia

Report

text:
Croatia

2–2

 Australia

Srna  2'
N. Kovač  56'

Report

Moore  38' (pen.)
Kewell  79'

text: Croatia in Brazil 2014[edit]

text: Squad[edit]

text:
Milan Badelj
Marcelo Brozović
Vedran Ćorluka
Eduardo da Silva
Nikica Jelavić
Mateo Kovačić
Dejan Lovren
Mario Mandžukić
Luka Modrić
Ivica Olić
Ivan Perišić
Stipe Pletikosa
Danijel Pranjić
Ivan Rakitić
Ante Rebić
Sammir
Gordon Schildenfeld
Darijo Srna (c)
Danijel Subašić
Domagoj Vida
Šime Vrsaljko
Ognjen Vukojević
Oliver Zelenika

text:
Pos

Team[ vte ]

Pld

W

D

L

GF

GA

GD

Pts

Qualification

1

 Brazil (H)

3

2

1

0

7

2

+5

7

Advance to knockout stage

2

 Mexico

3

2

1

0

4

1

+3

7

3

 Croatia

3

1

0

2

6

6

0

3

4

 Cameroon

3

0

0

3

1

9

−8

0

text:
Brazil

3–1

 Croatia

Neymar  29', 71' (pen.)
Oscar  90+1'

Report

Marcelo  11' (o.g.)

text:
Cameroon

0–4

 Croatia

Report

Olić  11'
Perišić  48'
Mandžukić  61', 73'

text:
Croatia

1–3

 Mexico

Perišić  87'

Report

Márquez  72'
Guardado  75'
Hernández  82'

text: Croatia in Russia 2018[edit]

text: Squad[edit]

text:
Milan Badelj
Filip Bradarić
Marcelo Brozović
Duje Ćaleta-Car
Vedran Ćorluka
Tin Jedvaj
Lovre Kalinić
Nikola Kalinić
Mateo Kovačić
Andrej Kramarić
Dominik Livaković
Dejan Lovren
Mario Mandžukić
Luka Modrić (c)
Ivan Perišić
Josip Pivarić
Marko Pjaca
Ivan Rakitić
Ante Rebić
Ivan Strinić
Danijel Subašić
Domagoj Vida
Šime Vrsaljko

text:
Pos

Team[ vte ]

Pld

W

D

L

GF

GA

GD

Pts

Qualification

1

 Croatia

3

3

0

0

7

1

+6

9

Advance to knockout stage

2

 Argentina

3

1

1

1

3

5

−2

4

3

 Nigeria

3

1

0

2

3

4

−1

3

4

 Iceland

3

0

1

2

2

5

−3

1

text:
Croatia

2–0

 Nigeria

Etebo  32' (o.g.)
Modrić  71' (pen.)

Report

text:
Argentina

0–3

 Croatia

Report

Rebić  53'
Modrić  80'
Rakitić  90+1'

text:
Iceland

1–2

 Croatia

G. Sigurðsson  76' (pen.)

Report

Badelj  53'
Perišić  90'

text: Round of 16[edit]

text:
Croatia

1–1 (a.e.t.)

 Denmark

Mandžukić  4'

Report

M. Jørgensen  1'

Penalties

Badelj
Kramarić
Modrić
Pivarić
Rakitić

3–2

 Eriksen
 Kjær
 Krohn-Dehli
 Schöne
 N. Jørgensen

text: Quarter-finals[edit]

text:
Russia

2–2 (a.e.t.)

 Croatia

Cheryshev  31'
Fernandes  115'

Report

Kramarić  39'
Vida  101'

Penalties

Smolov
Dzagoev
Fernandes
Ignashevich
Kuzyayev

3–4

 Brozović
 Kovačić
 Modrić
 Vida
 Rakitić

text: Semi-finals[edit]

text:
Croatia

2–1 (a.e.t.)

 England

Perišić  68'
Mandžukić  109'

Report

Trippier  5'

text: Final[edit]

text:
France

4–2

 Croatia

Mandžukić  18' (o.g.)
Griezmann  38' (pen.)
Pogba  59'
Mbappé  65'

Report

Perišić  28'
Mandžukić  69'

text: List of matches[edit]

text:
World Cup

Round

Opponent

Score

Result

Venue

Scorers

1998
Group stage
 Jamaica
3–1
W
Lens
Stanić, Prosinečki, Šuker

 Japan
1–0
W
Nantes
Šuker

 Argentina
0–1
L
Bordeaux
&—

Round of 16
 Romania
1–0
W
Bordeaux
Šuker

Quarter-final
 Germany
3–0
W
Lyon
Jarni, Vlaović, Šuker

Semi-final
 France
1–2
L
Saint-Denis
Šuker

Third place match
 Netherlands
2–1
W
Paris
Prosinečki, Šuker

2002
Group stage
 Mexico
0–1
L
Niigata
&—

 Italy
2–1
W
Ibaraki
Olić, Rapaić

 Ecuador
0–1
L
Yokohama
&—

2006
Group stage
 Brazil
0–1
L
Berlin
&—

 Japan
0–0
D
Nuremberg
&—

 Australia
2–2
D
Stuttgart
Srna, N. Kovač

2014
Group stage
 Brazil
1–3
L
São Paulo
Marcelo (o.g.)

 Cameroon
4–0
W
Manaus
Olić, Perišić, Mandžukić (2)

 Mexico
1–3
L
Recife
Perišić

2018
Group stage
 Nigeria
2–0
W
Kaliningrad
Etebo (o.g.), Modrić

 Argentina
3–0
W
Nizhny Novgorod
Rebić, Modrić, Rakitić

 Iceland
2–1
W
Rostov-on-Don
Badelj, Perišić

Round of 16
 Denmark
1–1 (a.e.t.)  (3–2  p)
W
Nizhny Novgorod
Mandžukić

Quarter-finals
 Russia
2–2 (a.e.t.)  (4–3  p)
W
Sochi
Kramarić, Vida

Semi-finals
 England
2–1 (a.e.t.)
W
Moscow
Perišić, Mandžukić

Final
 France
2–4
L
Moscow
Perišić, Mandžukić

text: Players with most appearances[edit]

text: Luka Modrić is the only Croatian player to ever win the Golden Ball award. He was team captain in 2018, when Croatia reached the World Cup final.

text:
No.

Name

Matches

World Cups

1

Luka Modrić
12
2006, 2014 and 2018

2

Dario Šimić
11
1998, 2002 and 2006

3

Robert Jarni*
10
1998 and 2002

Dejan Lovren
10
2014 and 2018

Ivan Perišić
10
2014 and 2018

Ivan Rakitić
10
2014 and 2018

7

Mario Stanić
9
1998 and 2002

Stipe Pletikosa
9
2002, 2006 and 2014

Ante Rebić
9
2014 and 2018

10

Zvonimir Soldo
8
1998 and 2002

Davor Šuker
8
1998 and 2002

Ivica Olić
8
2002, 2006 and 2014

Šime Vrsaljko
8
2014 and 2018

Mateo Kovačić
8
2014 and 2018

Mario Mandžukić
8
2014 and 2018

text: *Robert Jarni also played one match at the 1990 World Cup, representing SFR Yugoslavia.

text: Goalscorers[edit]

text:
No.

Name

Goals

World Cups

1
Davor Šuker
6
1998

2

Ivan Perišić
5
2014 (2) and 2018 (3)

Mario Mandžukić
5
2014 (2) and 2018 (3)

4

Robert Prosinečki*
2
1998

Ivica Olić
2
2002 and 2014

Luka Modrić
2
2018

text: *Robert Prosinečki also scored one goal at the 1990 World Cup, representing SFR Yugoslavia.

text: Awards[edit]

text: Team Awards

text:
Third Place 1998
Second Place 2018

text: Individual Awards

text:
Golden Boot 1998: Davor Šuker (Oldest Golden Boot winner with 30 years)
Silver Ball 1998:Davor Šuker
All-Star Team 1998:Davor Šuker
Golden Ball 2018: Luka Modrić
All-Star Team 2018: Luka Modrić

text: Squads[edit]

text:
showvteCroatia squad  –  1998 FIFA World Cup third place
1 Ladić
2 Krpan
3 Šerić
4 Štimac
5 Jurić
6 Bilić
7 Asanović
8 Prosinečki
9 Šuker
10 Boban (c)
11 Marić
12 Mrmić
13 Stanić
14 Soldo
15 Tudor
16 Kozniku
17 Jarni
18 Mamić
19 Vlaović
20 Šimić
21 Jurčić
22 Vasilj
Coach: Blažević

text:
showvteCroatia squad  –  2002 FIFA World Cup
1 Pletikosa
2 Šerić
3 Šimunić
4 Tomas
5 Rapaić
6 Živković
7 Vugrinec
8 Prosinečki
9 Šuker (c)
10 N. Kovač
11 Bokšić
12 Butina
13 Stanić
14 Soldo
15 Šarić
16 Vranješ
17 Jarni
18 Olić
19 Vlaović
20 Šimić
21 R. Kovač
22 Balaban
23 Vasilj
Coach: Jozić

text:
showvteCroatia squad  –  2006 FIFA World Cup
1 Pletikosa
2 Srna
3 Šimunić
4 R. Kovač
5 Tudor
6 Vranješ
7 Šimić
8 Babić
9 Pršo
10 N. Kovač (c)
11 Tokić
12 Didulica
13 Tomas
14 Modrić
15 I. Leko
16 J. Leko
17 Klasnić
18 Olić
19 N. Kranjčar
20 Šerić
21 Balaban
22 Bošnjak
23 Butina
Coach: Z. Kranjčar

text:
showvteCroatia squad  –  2014 FIFA World Cup
1 Pletikosa
2 Vrsaljko
3 Pranjić
4 Perišić
5 Ćorluka
6 Lovren
7 Rakitić
8 Vukojević
9 Jelavić
10 Modrić
11 Srna (c)
12 Zelenika
13 Schildenfeld
14 Brozović
15 Badelj
16 Rebić
17 Mandžukić
18 Olić
19 Sammir
20 Kovačić
21 Vida
22 Eduardo
23 Subašić
Coach: Kovač

text:
showvteCroatia squad  –  2018 FIFA World Cup runners-up
1 Livaković
2 Vrsaljko
3 Strinić
4 Perišić
5 Ćorluka
6 Lovren
7 Rakitić
8 Kovačić
9 Kramarić
10 Modrić (c)
11 Brozović
12 L. Kalinić
13 Jedvaj
14 Bradarić
15 Ćaleta-Car
16 N. Kalinić
17 Mandžukić
18 Rebić
19 Badelj
20 Pjaca
21 Vida
22 Pivarić
23 Subašić
Coach: Dalić


document_title: The Trials of Apollo

question_text: when is the trials of apollo 3 coming out

root

text: The Trials of Apollo

text: Synopsis[edit]

text: The series follows the trials of the god Apollo, who has been turned into a human as punishment from his father and king of the gods Zeus. Zeus is angry with Apollo for a variety of reasons, most notably for the younger god's allowing his Roman descendant Octavian to rise to power during The Heroes of Olympus series by giving him his blessing. The final book of The Heroes of Olympus, The Blood of Olympus, takes place about six months before the beginning of The Trials of Apollo.

tag: p

text: Books[edit]

text: The Hidden Oracle[edit]

text: The Hidden Oracle is the first book of the series. It is told in first-person by the main character Apollo, and uses haiku for chapter titles. The book was released on May 3, 2016.[2]

text: The book opens with Apollo landing in an alley in New York City—in the form of a mortal teenager named Lester Papadopoulos—and meeting Meg McCaffrey, a homeless daughter of Demeter. Believing that he must only undertake some simple quest to regain his immortality, Apollo/Lester and Meg travel to Camp Half-Blood, where they learn most of the world's oracles have stopped working. The two undertake a quest to locate and protect the one remaining oracle, hoping also to learn how to help the other oracles and to regain Apollo's immortality. Apollo [Lester] also finds out that the first oracle he has to save is heavily guarded by the mysterious 'beast'. Will Apollo [Lester] be able to accomplish this task?[4]

text: The Dark Prophecy[edit]

text: The Dark Prophecy is the second book in the series. It was released on May 2, 2017.

text: The book continues the story of Apollo as the mortal Lester, as he leaves the safety of Camp Half-Blood and journeys across North America to restore the remaining four Oracles and defeat the triumvirate of Roman emperors-turned-Gods, while also being helped by Leo Valdez, the now-mortal Calypso and Festus the bronze dragon.[5]

text: The Burning Maze[edit]

text: The Burning Maze is the third book in the series. It is scheduled to be released on May 1, 2018.[6]

text: Supplementary works[edit]

text: Camp Half-Blood Confidential[edit]

text: A companion book titled Percy Jackson: Camp Half-Blood Confidential was released on May 2, 2017.[7]

text: Main characters[edit]

text:
Lester Papadopoulos (Apollo): Lester is the mortal teenage incarnation of the god Apollo and is the main character of the Trials of Apollo series. He has to deal with such ordinary human problems as zits, flabby muscles, and feeling pain once he becomes mortal. When he isn't writing lame haiku or complaining bitterly to his father, Zeus, he is looking for Oracles to restore in an attempt to earn his way back to Mount Olympus.
Meg McCaffrey: Meg McCaffrey is a twelve-year-old demigod who looks like a colorfully dressed street urchin. She is fierce, bossy, and tight-lipped about her past. She may smell faintly of apple pie, but she can take down enemies with just a few pieces of rotten fruit. Also, she has a fearsome protector named Peaches.
Calypso: Calypso is the daughter of the Titan Atlas. After being imprisoned on the island of Ogygia for centuries, Leo Valdez rescued her and brought her to the Waystation to live temporarily. She assists Lester throughout The Dark Prophecy.

tag: ul


document_title: People (magazine)

question_text: who did people's magazine name as its first sexiest man alive in 1985

question_tokens: who did people 's magazine name as its first sexiest man alive in 1985

text: People (magazine)

text: History[edit]

text: The concept for People has been attributed to Andrew Heiskell, Time Inc.'s chief executive officer at the time and the former publisher of the weekly Life magazine. The founding managing editor of People was Richard B. (Dick) Stolley, a former assistant managing editor at Life and the journalist who acquired the Zapruder tapes of the John F. Kennedy assassination for Time Inc. in 1963. People's first publisher was Richard J. (Dick) Durrell, another Time Inc. veteran.[citation needed]

text: Stolley characterized the magazine as "getting back to the people who are causing the news and who are caught up in it, or deserve to be in it. Our focus is on people, not issues."[9] Stolley's almost religious determination to keep the magazine people-focused contributed significantly to its rapid early success. It is said that although Time Inc. pumped an estimated $40 million into the venture, the magazine only broke even 18 months after its debut in March 1974. Initially, the magazine was sold primarily on newsstands and in supermarkets. To get the magazine out each week, founding staff members regularly slept on the floor of their offices two or three nights each week and severely limited all non-essential outside engagements. The premier edition for the week ending March 4, 1974 featured actress Mia Farrow, then starring in the film The Great Gatsby, on the cover. That issue also featured stories on Gloria Vanderbilt, Aleksandr Solzhenitsyn and the wives of U.S. Vietnam veterans who were Missing In Action.[5] The magazine was, apart from its cover, printed in black-and-white. The initial cover price was 35 cents (equivalent to $1.74 in 2017).

text: The core of the small founding editorial team included other editors, writers, photographers and photo editors from Life magazine, which had ceased publication just 13 months earlier. This group included managing editor Stolley, senior editors Hal Wingo (father of ESPN anchor Trey Wingo), Sam Angeloff (the founding managing editor of Us magazine) and Robert Emmett Ginna (later a producer of films); writers James Watters (a theater reviewer) and Ronald B. Scott (later a biographer of Presidential candidate Mitt Romney); former Time senior editor Richard Burgheim (later the founder of Time's ill-fated cable television magazine View); Chief of Photography, a Life photographer, John Loengard, to be succeeded by John Dominus, a noteworthy Life staff photographer; and design artist Bernard Waber, author and illustrator of the Lyle The Crocodile book series for children. Many of the noteworthy Life photographers contributed to the magazine as well, including legends Alfred Eisenstaedt and Gjon Mili and rising stars Co Rentmeester, David Burnett and Bill Eppridge. Other members of the first editorial staff included editors and writers: Ross Drake, Ralph Novak, Bina Bernard, James Jerome, Sally Moore, Mary Vespa, Lee Wohlfert, Joy Wansley, Curt Davis, Clare Crawford-Mason,[10] and Jed Horne, later an editor of The Times-Picayune in New Orleans.

text: In 1996, Time Inc. launched a Spanish-language magazine entitled People en Español. The company has said that the new publication emerged after a 1995 issue of the original magazine was distributed with two distinct covers, one featuring the murdered Tejano singer Selena and the other featuring the hit television series Friends; the Selena cover sold out while the other did not.[11] Although the original idea was that Spanish-language translations of articles from the English magazine would comprise half the content, People en Español over time came to have entirely original content.

text: In 2002, People introduced People Stylewatch, a title focusing on celebrity style, fashion, and beauty – a newsstand extension of its Stylewatch column. Due to its success, the frequency of People Stylewatch was increased to 10 times per year in 2007.[citation needed] In spring 2017, People Stylewatch was rebranded as PeopleStyle. In late 2017, it was announced that there would no longer be a print version of PeopleStyle and it would be a digital-only publication.

text: In Australia, the localized version of People is titled Who because of a pre-existing lad's mag published under the title People. The international edition of People has been published in Greece since 2010.[citation needed]

text: On July 26, 2013, Outlook Group announced that it was closing down the Indian edition of People, which began publication in 2008.[12][13]

text: In September 2016, in collaboration with Entertainment Weekly, People launched the People/Entertainment Weekly Network. The network is "a free, ad-supported online-video network carries short- and long-form programming covering celebrities, pop culture, lifestyle and human-interest stories". It was rebranded as PeopleTV in September 2017.[14]

text: In December 2016, LaTavia Roberson engaged in a feud with People after alleging they misquoted and misrepresented her interview online.[15][16][17]

text: Teen People[edit]

text:
Teen People

Teen People cover, April 2006

Managing Editor
Niraj Biswal
Barbara O'Dair

Categories
Celebrity

Frequency
Monthly

First issue
February 1998

Final issue
September 2006

Company
Time Inc. (Time Warner)

Country
United States

Language
English

ISSN
1096-2832

tag: table

text: In 1998, the magazine introduced a version targeted at teens, called Teen People.[18] However, on July 27, 2006 the company announced that it would shut down publication of Teen People immediately. The last issue to be released was scheduled for September 2006.[19] In exchange subscribers to this magazine received Entertainment Weekly for the rest of their subscriptions. There were numerous reasons cited for the publication shutdown, including a downfall in ad pages, competition from both other teen-oriented magazines and the internet, along with a decrease in circulation numbers.[20] Teenpeople.com was merged into People.com in April 2007. People.com will "carry teen-focused stories that are branded as TeenPeople.com", Mark Golin, the editor of People.com explained, and on the decision to merge the brands he said, "We've got traffic on TeenPeople, People is a larger site, why not combine and have the teen traffic going to one place?"[21]

text: Competition for celebrity photos[edit]

text: In a July 2006 Variety article, Janice Min, Us Weekly editor-in-chief, blamed People for the increase in cost to publishers of celebrity photos:

text: They are among the largest spenders of celebrity photos in the industry....One of the first things they ever did, that led to the jacking up of photo prices, was to pay $75,000 to buy pictures of Jennifer Lopez reading Us magazine, so Us Weekly couldn't buy them.

text: That was the watershed moment that kicked off high photo prices in my mind. I had never seen anything like it. But they saw a competitor come along, and responded. It was a business move, and probably a smart one.[5]

text: People reportedly paid $4.1 million for photos of newborn Shiloh Nouvel Jolie-Pitt, the child of Angelina Jolie and Brad Pitt.[5] The photos set a single-day traffic record for their website, attracting 26.5 million page views.[5]

text: Sexiest Man Alive[edit]

text: The annual feature the "Sexiest Man Alive" is billed as a benchmark of male attractiveness and typically includes only famous people and celebrities. It is determined using a procedure similar to the procedure used for Time's Person of the Year. The origin of the title was a discussion on a planned story on Mel Gibson. Someone exclaimed, "Oh my God, he is the sexiest man alive!" And someone else said, "You should use that as a cover line."[22]

text: For the first decade or so, the feature appeared at uneven intervals. Originally awarded in the wintertime, it shifted around the calendar, resulting in gaps as short as seven months and as long as a year and a half, with no selection at all during 1994 (21 years later the magazine did select Keanu Reeves to fill the 1994 gap, with runners-up including Hugh Grant and Jim Carrey). Since 1997, the dates have settled between mid-November and early December.

text: Dates of magazine issues, winners, ages of winners at the time of selection, and pertinent comments are listed below.

text: As of 2016, John F. Kennedy, Jr. and Patrick Swayze are the only winners to have died since winning. Kennedy, Adam Levine, David Beckham and Blake Shelton are the only non-actors to have won the award.

text:
Year
Choice
Age

000000001985-02-04-0000February 4, 1985
Mel Gibson
29

000000001986-01-27-0000January 27, 1986
Mark Harmon[23]
34

000000001987-03-30-0000March 30, 1987
Harry Hamlin
35

000000001988-09-12-0000September 12, 1988
John F. Kennedy, Jr.
27

000000001989-12-16-0000December 16, 1989
Sean Connery
59

000000001990-07-23-0000July 23, 1990
Tom Cruise
28

000000001991-07-22-0000July 22, 1991
Patrick Swayze
38

000000001992-03-16-0000March 16, 1992
Nick Nolte
51

000000001993-10-19-0000October 19, 1993
Richard Gere (1) and Cindy Crawford[24]
(Sexiest Couple Alive)
44

1994
(awarded on
000000002015-11-18-0000November 18, 2015)
Keanu Reeves
30
(at the time)

000000001995-01-30-0000January 30, 1995
Brad Pitt (1)
31

000000001996-07-29-0000July 29, 1996
Denzel Washington
41

000000001997-11-17-0000November 17, 1997
George Clooney (1)
36

000000001998-11-16-0000November 16, 1998
Harrison Ford
56

000000001999-11-15-0000November 15, 1999
Richard Gere (2)
50

000000002000-11-13-0000November 13, 2000
Brad Pitt (2)
36

000000002001-11-26-0000November 26, 2001
Pierce Brosnan
48

000000002002-12-02-0000December 2, 2002
Ben Affleck
30

000000002003-12-01-0000December 1, 2003
Johnny Depp (1)
40

000000002004-11-29-0000November 29, 2004
Jude Law
31

000000002005-11-28-0000November 28, 2005
Matthew McConaughey[25]
36

000000002006-11-27-0000November 27, 2006
George Clooney (2)[26]
45

000000002007-11-26-0000November 26, 2007
Matt Damon[27]
37

000000002008-11-25-0000November 25, 2008
Hugh Jackman[28]
40

000000002009-11-18-0000November 18, 2009
Johnny Depp (2)[29]
46

000000002010-11-17-0000November 17, 2010
Ryan Reynolds[30]
34

000000002011-11-16-0000November 16, 2011
Bradley Cooper[31]
36

000000002012-11-14-0000November 14, 2012
Channing Tatum[32]
32

000000002013-11-19-0000November 19, 2013
Adam Levine[33]
34

000000002014-11-19-0000November 19, 2014
Chris Hemsworth[34]
31

000000002015-11-17-0000November 17, 2015
David Beckham[35]
40

000000002016-11-15-0000November 15, 2016
Dwayne Johnson[36]
44

000000002017-11-27-0000November 27, 2017
Blake Shelton[37]
41

text: Sexiest Woman Alive[edit]

text: In December 2014, People selected its first and only Sexiest Woman Alive.[38] No later People Sexiest Woman of the Year were announced. Cindy Crawford alongside Richard Gere had been declared "Sexiest Couple of the Year" on October 19, 1993 as a departure from the magazine's annual "Sexiest Man of the Year" award.

text:
Year
Choice
Age

000000002014-12-25-0000December 25, 2014
Kate Upton[38]
25

text: Most Intriguing People of the Year[edit]

text: At the end of each year People magazine famously selects 25 news-making individuals or couples who have received a lot of media attention over the past 12 months and showcases them in a special year-end issue, the '25 Most Intriguing People of the Year'. This series of full-page features and half-page featurettes includes world leaders and political activists, famous actors and entertainers, elite athletes, prominent business people, accomplished scientists and occasionally members of the public whose stories have made an unusual impact in news or tabloid media.[39]

text: Deo Calim

tag: ol

text: 100 Most Beautiful People[edit]

text: People's 100 Most Beautiful People is an annual list of 100 people judged to be the most beautiful individuals in the world. Until 2006, it was the 50 Most Beautiful People.

text: Julia Roberts holds the record for most times named, with five.[40] Michelle Pfeiffer and Jennifer Aniston have appeared twice.

text: Number Ones of Most Beautiful People[edit]

text:
Year
Name
Age

000000001990-06-01-0000June 1, 1990
Michelle Pfeiffer (1)
32

000000001991-06-07-0000June 7, 1991
Julia Roberts (1)
23

000000001992-05-04-0000May 4, 1992
Jodie Foster
29

000000001993-05-03-0000May 3, 1993
Cindy Crawford
27

000000001994-05-08-0000May 8, 1994
Meg Ryan
32

000000001995-05-08-0000May 8, 1995
Courteney Cox
30

000000001996-05-08-0000May 8, 1996
Mel Gibson
40

000000001997-05-12-0000May 12, 1997
Tom Cruise
34

000000001998-05-12-0000May 12, 1998
Leonardo DiCaprio
23

000000001999-05-14-0000May 14, 1999
Michelle Pfeiffer (2)
41

000000002000-05-08-0000May 8, 2000
Julia Roberts (2)
32

000000002001-05-14-0000May 14, 2001
Catherine Zeta-Jones
31

000000002002-05-13-0000May 13, 2002
Nicole Kidman
34

000000002003-05-12-0000May 12, 2003
Halle Berry
36

000000002004-05-30-0000May 30, 2004
Jennifer Aniston (1)
35

000000002005-05-08-0000May 8, 2005
Julia Roberts (3)
37

000000002006-04-28-0000April 28, 2006
Angelina Jolie
30

000000002007-04-27-0000April 27, 2007
Drew Barrymore
32

000000002008-05-02-0000May 2, 2008
Kate Hudson
29

000000002009-05-11-0000May 11, 2009
Christina Applegate
37

000000002010-04-30-0000April 30, 2010
Julia Roberts (4)
42

000000002011-04-15-0000April 15, 2011
Jennifer Lopez
41

000000002012-04-27-0000April 27, 2012
Beyoncé Knowles
30

000000002013-04-26-0000April 26, 2013
Gwyneth Paltrow
40

000000002014-05-05-0000May 5, 2014
Lupita Nyong'o
31

000000002015-04-24-0000April 24, 2015
Sandra Bullock
50

000000002016-04-20-0000April 20, 2016
Jennifer Aniston (2)
47

000000002017-04-19-0000April 19, 2017
Julia Roberts (5)
49

text: Notes[edit]

text: ^ a: The ratio, according to Variety, is 53% to 47%.

text:
Jump up ^ Pompeo, Joe (January 10, 2014). "Time Inc. shake-up". Capital New York. Retrieved March 16, 2014.
Jump up ^ "Consumer Magazines". Alliance for Audited Media. Retrieved February 10, 2014.
Jump up ^ Johnston-Greene, Chandra (May 18, 2009). "AARP Shows Largest Growth in Readership". Folio Magazine. Retrieved September 9, 2012.
Jump up ^ Flamm, Matthew (January 10, 2012). "Magazines eke out gains in 2011". Crain's New York Business. Retrieved September 9, 2012.
^ Jump up to: a b c d e f g People who need people, a July 2006 article from Variety magazine.
^ Jump up to: a b c Martha Nelson Named Editor, The People Group, a January 2006 Time Warner press release.
Jump up ^ Seelye, Katharine Q. (February 19, 2007). "Old Media Partying With Oscar Online". The New York Times. Retrieved July 3, 2011.
Jump up ^ Media Industry News letter, March 2006
Jump up ^ "The Press: People's Premiere". Time. March 14, 1974.
Jump up ^ "People's Magazine". Cosmopolitan. 188: 206. 1980.
Jump up ^ "Grad Named Head of People en Español" Archived January 3, 2005, at the Wayback Machine.. Tufts University. February 29, 2004.
Jump up ^ "Outlook to close down international titles - People, Geo and Marie Claire". Best Media Info. July 26, 2013. Retrieved March 16, 2014.
Jump up ^ Nikhil Pahwa (July 29, 2013). "On The State Of The Magazine Industry In India; Outlook Shuts Three Magazines". MediaNama. Retrieved March 16, 2014.
Jump up ^ Spangler, Todd. "'PeopleTV' Is New Name of Time Inc.'s Celeb and Entertainment Online Network". Variety. Retrieved April 12, 2018.
Jump up ^ "Destiny's Child Alum LaTavia Roberson Opens Up About Heartbreaking Miscarriage: 'Her Spirit Has Guided Me'".
Jump up ^ "Former Destiny's Child Member LaTavia Roberson Has a Bone to Pick With People Magazine". BET.com.
Jump up ^ "Ousted Destiny's Child Member LaTavia Roberson Is Pretty Pissed About An Interview She Gave". Oxygen. 29 December 2016.
Jump up ^ "Tweens, Teens, and Magazines" (PDF). Kaiser Family Foundation. January 2013. Retrieved August 19, 2015.
Jump up ^ "Teen People magazine closes, but website will still continue". The New York Times. July 26, 2006.
Jump up ^ "''Medialifemagazine.com''". Medialifemagazine.com. July 26, 2006. Archived from the original on October 16, 2006. Retrieved January 15, 2011.
Jump up ^ "TeenPeople.com to Merge Into People.com". Mediaweek. April 11, 2007. Retrieved January 15, 2011.
Jump up ^ Argetsinger, Amy; Roberts, Roxanne (November 19, 2007). "Matt Damon??!!! We Demand to Differ!". The Washington Post. Archived from the original on November 18, 2015. Retrieved January 30, 2008.
Jump up ^ "All the Sexiest Man Alive Covers: 1986". People. November 3, 2009. Retrieved October 15, 2010.
Jump up ^ In 1993, People named Gere and Crawford the "Sexiest Couple Alive" instead of naming a sexiest man.
"Sexiest Men Alive: A Hardy Breed with Perennial Appeal, Our Anointed Hunks Look as Good Today as Yesterday". People. November 17, 1997. Retrieved December 21, 2014.
Jump up ^ "An Annotated Deep Dive into the Majesty of Matthew McConaughey's 2005 Sexiest Man Alive Interview". people.com. People Magazine. 2005-11-11. Retrieved March 23, 2017.
Jump up ^ "George Clooney Named PEOPLE's Sexiest Man Alive". people.com. People Magazine. 2006-11-15. Retrieved March 23, 2017.
Jump up ^ "Matt Damon: The Sexiest Man Alive". people.com. People Magazine. 2007-11-14. Retrieved March 23, 2017.
Jump up ^ "Hugh Jackman: The Sexiest Man Alive". people.com. People Magazine. 2008-11-19. Retrieved March 23, 2017.
Jump up ^ "2009's Sexiest Man Alive: Johnny Depp". people.com. People Magazine. 2009-11-18. Retrieved March 23, 2017.
Jump up ^ "Sexiest Man Alive 2010: Ryan Reynolds". people.com. People Magazine. 2010-11-17. Retrieved March 23, 2017.
Jump up ^ "Bradley Cooper Named Sexiest Man Alive". Access Hollywood. November 16, 2011.
Jump up ^ Jen Chaney (November 14, 2012). "Channing Tatum, as expected, is People's Sexiest Man Alive 2012". The Washington Post.
Jump up ^ Jordan, Julie; Coulton, Antoinette (November 19, 2013). "Adam Levine Is PEOPLE's Sexiest Man Alive". People. Retrieved November 20, 2013.
Jump up ^ Jordan, Julie; Coulton, Antoinette (November 19, 2014). "Chris Hemsworth Is PEOPLE's Sexiest Man Alive". People. Retrieved November 19, 2014.
Jump up ^ Leonard, Elizabeth (November 17, 2015). "David Beckham Is PEOPLE's Sexiest Man Alive!". People. Retrieved November 18, 2015.
Jump up ^ Jordan, Julie. "Dwayne 'The Rock' Johnson Is This Year's Sexiest Man Alive!". PEOPLE.com.
Jump up ^ "Blake Shelton Is This Year's Sexiest Man Alive: 'I Can't Wait to Shove This Up Adam's A—!'". PEOPLE.com. 15 November 2017. Retrieved 15 November 2017.
^ Jump up to: a b "Kate Upton wins 'Sexiest Woman'". Daily News. New York. December 19, 2014. Retrieved February 8, 2015.
Jump up ^ For example, for the "Most Intriguing People of 2010" People named the following:

Sandra Bullock
President Barack Obama and Michelle Obama
Brad Pitt and Angelina Jolie
Michael Douglas
Elizabeth Smart
Prince William and Catherine Middleton
Elin Nordegren
Natalie Portman
Nicki Minaj
Sarah Palin
LeBron James
Bret Michaels
Julian Assange
The Chilean Miners
Ricky Martin
Kim Kardashian
Mark Zuckerberg
Heidi Montag
Jake Gyllenhaal and Taylor Swift
Ryan Reynolds
Will Smith's kids (Jaden and Willow)
Christina Aguilera
Ali Fedotowsky and Roberto Martinez
James Franco
Conan O'Brien

Jump up ^ Cable, Jess; Kimble, Lindsay (April 19, 2017). "Julia Roberts Is PEOPLE's 2017 World's Most Beautiful Woman!". Archived from the original on April 19, 2017. Retrieved April 19, 2017. The stunning star is, for a record fifth time, the Most Beautiful Woman in the World...


document_title: Corpse Bride

question_text: who does helena bonham carter play in corpse bride

text: Corpse Bride

text: Plot[edit]

text: In a Victorian village, Victor Van Dort, the son of nouveau riche fish merchants, and Victoria Everglot, the neglected daughter of snobbish yet impoverished aristocrats, are preparing for their arranged marriage, which will simultaneously raise the social class of Victor's parents and restore the wealth of Victoria's penniless family. Both have concerns about marrying someone they do not know, but upon meeting for the first time, they fall for each other. After the shy Victor ruins the wedding rehearsal by forgetting his vows, he flees and practices his wedding vows in the nearby forest, placing the wedding ring on a nearby upturned tree root. The root turns out to be the finger of a murdered woman in a tattered bridal gown named Emily, who rises from the grave claiming that she is now Victor's wife. After fainting, Victor wakes up and finds himself spirited away to the Land of the Dead. The bewildered Victor learns the story of how Emily was murdered years ago by an unknown perpetrator on the night of her secret elopement.

text: Wanting to reunite with Victoria, Victor tricks Emily into taking him back to the Land of the Living by pretending he wants her to meet his parents. She agrees to this and takes him to see Elder Gutknecht, the kindly ruler of the underworld, to return Victor and Emily temporarily to the Land of the Living. Once back home, Victor asks Emily to wait in the forest while he rushes off to see Victoria and confess his wish to marry her as soon as possible, to which she gladly returns his feelings. Just as they are about to share a kiss, Emily arrives and sees the two of them together. Feeling betrayed and hurt, she angrily drags Victor back to the Land of the Dead. Victoria tells her parents that Victor has been forcibly wed to a dead woman, but no one believes her. With Victor gone, Victoria's parents decide to marry her off against her will to a presumed-wealthy newcomer in town named Lord Barkis Bittern, who appeared at the wedding rehearsal.

text: Victor apologizes to Emily for lying to her, and the two reconcile. Shortly after, Victor's recently deceased family coachman appears in the afterlife and informs Victor of Victoria's impending marriage to Barkis. He also overhears that, in order to validate Victor and Emily's marriage, Victor must repeat his vows in the Land of the Living and willingly drink the Wine of Ages, a poison, thus joining her in death. Fretting about having lost Victoria to another man, Victor agrees to die for Emily. All of the dead go "upstairs" to the Land of the Living to perform the wedding ceremony for Victor and Emily. Upon their arrival, the town erupts into a temporary panic until everyone recognizes their loved ones from the dead, and they have a joyous reunion.

text: After a quarrel with Barkis, and realizing he was only after her supposed wealth, Victoria follows the procession of dead to the church. Emily notices Victoria and realizes that she is denying Victoria her chance at happiness the same way it was stolen from her. She stops Victor from drinking the poison and reunites him with Victoria. Barkis interrupts them, and Emily recognizes him as her former fiance, who is revealed to be the one who murdered her for her dowry. Barkis tries to kidnap Victoria at sword point, but Victor stops him and the two men duel; the dead townspeople are unable to interfere with the affairs of the living. Emily intercedes to save Victor, and Barkis mockingly proposes a toast to Emily, unknowingly drinking the cup of poison. The dead, able to intercede upon Barkis's death, eagerly take retribution against him by dragging him to the underworld where he will atone for his crimes. Victoria, now a widow, is once again able to marry Victor.

text: Emily frees Victor of his vow to marry her, giving the wedding ring back to Victor and her wedding bouquet to Victoria before exiting the church. As she steps into the moonlight, she transforms into hundreds of butterflies as Victor and Victoria look on wrapped in each other's embrace.

text: Cast[edit]

text:
Johnny Depp as Victor Van Dort, a shy and gawky young man who is engaged to Victoria Everglot for social and financial reasons.
Helena Bonham Carter as Emily, the Corpse Bride, a beautiful and charismatic young zombie woman with a passion for music and dance.
Emily Watson as Victoria Everglot, Victor's pretty, sweet-natured, yet timid fiancée.
Tracey Ullman as Nell Van Dort, Victor's socially ambitious mother who holds sarcasm for her son; and Hildegarde, the elderly, hunchbacked maid of the Everglot household.
Paul Whitehouse as William Van Dort, Victor's absent-minded and tactless father; Mayhew, the Van Dorts' coachman; and Paul the Head Waiter, literally a severed head.
Joanna Lumley as Maudeline Everglot, Victoria's snide, unloving mother.
Albert Finney as Finis Everglot, Victoria's grim, toad-like, and avaricious father.
Richard E. Grant as Barkis Bittern, a charming yet murderous con-artist, later revealed to be Emily's former fiancé and killer.
Christopher Lee as Pastor Galswells, a haughty and bad-tempered priest who is hired to conduct Victor and Victoria's marriage.
Michael Gough as Elder Gutknecht, an ancient and rickety skeleton who rules benevolently over the underworld.
Jane Horrocks as the Black Widow, an affable black widow spider seamstress; and Mrs. Plum, the deceased proprietress of the Ball and Socket Pub.
Enn Reitel as Maggot, a sarcastic, green maggot who lives inside Emily's head and acts as her conscience; and the town crier. Reitel's performance as Maggot is a parody of Austrian-born actor Peter Lorre.[4]
Deep Roy as General Bonesapart, a diminutive skeleton in a military uniform with a sword stuck in his chest. He is a parody of Napoleon Bonaparte.
Danny Elfman as Bonejangles, a vivacious, one-eyed, singing skeleton.
Stephen Ballantyne as Emil, the Everglots' long-suffering butler.

text: Production[edit]

text: Development[edit]

text: The film is based on a 19th-century Russian folktale, which Joe Ranft introduced to Burton while they were finishing The Nightmare Before Christmas.[5] The film began production in November 2003, while Burton was completing Big Fish.[6] He continued with production on his next live-action feature, Charlie and the Chocolate Factory, which was produced simultaneously with the film.[6] Co-director Mike Johnson spoke about how they took a more organic approach to directing the film, saying: "In a co-directing situation, one director usually handles one sequence while the other handles another. Our approach was more organic. Tim knew where he wanted the film to go as far as the emotional tone and story points to hit. My job was to work with the crew on a daily basis and get the footage as close as possible to how I thought he wanted it."[6]

text: Filming[edit]

text: The film was originally supposed to have been shot on film, though a last-minute change by the studio helped introduce a different technology.[6] In 1997, during pre-production on Henry Selick's feature, Monkeybone, the film's cinematographer Pete Kozachik was looking for a type of filming that would streamline the process of integrating stop-motion characters with pre-filmed live actors.[6] After finishing Monkeybone, Kozachik continued to test cameras for a practical means of shooting feature animation digitally.[6] In early 2003, the production unit was not interested in digital capture for stop motion; the team was instead prepping the movie for a film shoot.[6] Two weeks before filming was to begin, Kozachik and visual effects consultant Chris Watts came up with a solution using digital still cameras that was deemed viable by Warner Bros. senior vice president of physical production and visual effects Chris DeFaria. The production then became digital.[6] After testing a dozen different models, Kozachik opted for a basic digital still camera, the Canon EOS-1D Mark II, an off-the-shelf model that was outfitted with adapters to allow the use of Nikon prime lenses (14mm-105mm).[6] Kozachik spoke about why he chose the camera, saying: "One reason I went with this particular camera is that its image chip is just about the same size as Super 35 film negative, so we could use Nikon lenses and treat them like regular 35mm cine lenses and get the same effect—the same depth of field and angle of coverage. I knew that we were going to be fighting to make this look like a 'real' movie because we weren't shooting on film, so I wanted to at least have the optics look like movie optics."[6]

text: Animation took place at 3 Mills Studios in East London.[6] A dozen animators/puppeteers were put to work when production began, but that number had tripled by the end of production.[6] The initial group spent time developing each puppet's unique characteristics.[6] The puppets themselves, built by Mackinnon and Saunders, were typically about 17 inches tall and animated on sets built three to four feet off the ground with trap doors that allowed animators access to the sets' surfaces to manipulate the puppets.[6] The three primary characters—Victor, Victoria and Corpse Bride—were fitted with heads the size of golf balls that contained special gearing to allow the animators to manipulate individual parts of the puppets' faces.[6] The animators' work was spread over 25 to 35 individual setups/stages, each having its own Canon digital camera.[6] A total of 32 cameras were used on the film.[6] Each camera was outfitted with a "grabber" system that enabled the animators to capture frames and download them into a computer to assemble a short "reel" of the shot being produced to check their work.[6]

text: The film's images were stored on a 1GB image card that was capable of holding approximately 100 frames of animation.[6] Eight roving camera teams—each team including a lighting cameraman, an assistant, a lighting electrician and a set dresser to deal with any art department issues—worked with the animators to set up shots.[6] Each camera team had a "lighting station" workstation—comprising an Apple G4 computer and a monitor to assist in checking lighting and framing—to view TIFF file versions of the camera's images.[6] Once a shot was approved, the computer was removed and the animators were left to shoot the scene using their still camera and "grabber" computer/camera system to check their work.[6] The film's story department head Jeffrey Lynch explained that the scenes were developed initially from storyboards created by a team, saying: "We shot as close to a 1:1 film ratio [one take per shot] as we could because there was no time for reshoots. We did most of our experimentation in the storyboard process—as many ways as needed—to get the scene how we wanted it. There was no coverage, as there would be for a live-action film."[6]

text: Co-director Johnson would go over each scene with the animators, sometimes acting out the scene, if necessary. The animators would create a "dope sheet"—in which a shot was broken down, frame by frame—to account for key "hits". The animators would then shoot tests of the scene, often shooting on "2s" or "4s" (meaning shooting just every second or fourth frame of what would appear in the final animation).[6] Johnson explained: "The next day, when they'd finish their test/rehearsal, we'd cut it in and see how it played in the reel and fine-tune from there. We might do some lighting tweaks, performance tweaks or have the art department get in and touch anything that needed it. Then we'd close the curtain and let the animator animate the shot."[6] The animators would sometimes make use of the voice and/or video recordings of the actors, a practice also common in cel animation.[6] Once photographed, the frames were manipulated by a team of "data wranglers." Using a workflow developed by Chris Watts, the frames were downloaded from the camera image cards as RAW files, converted to Cineon files and processed through a "color cube."[6] Cinematographer Pete Kozachik explained: "The color cube is a 3D lookup table created by FilmLight Ltd. that forces the image data into behaving like a particular Eastman Kodak film stock—in this case, 5248, one of my favorites. With this film emulation, we could actually rate our cameras at ASA 100, then take our light meters and spot meters and, with great confidence, shoot as if we were using 5248. Sure enough, the footage would come back and look just like it."[6] The frames could be processed further to generate a TIFF file for viewing on the lighting station computer monitors so lighting, composition and color could be previewed.[6]

text: Visual effects[edit]

text: Visual effects were delivered by London's Moving Picture Company (MPC), and were applied to the 1,000 or so shots in the film, though most of the effects simply painted out puppet supports and similar set equipment. Some visual effects elements—groups of birds and butterflies, were created completely in CG, though others were composited as visual effects from real-life elements.[6] Pete Kozachik explained that the trick for shooting the characters by themselves was obtaining visually interesting shots that would dependably support the director's storytelling, saying: "The challenge is keeping the action clear and simple with lighting and composition. There's a discipline to clear storytelling with these puppets. You want to be abstract, but one can easily go overboard with these critters because they aren't as familiar to the audience as real humans. The characters don't necessarily translate the same as if you're shooting a real person. You have to consciously balance arty atmosphere and graphic clarity so as to not confuse the audience about what it is they're looking at."[6]

text: In a 2005, interview with About.com, Burton spoke about the differences between directing Corpse Bride and The Nightmare Before Christmas, saying: "The difference on that was that one I had designed completely. It was a very completed package in my mind. I felt like it was there. I felt more comfortable with it. With this, it was a bit more organic. It was based on an old folk tale. We kept kind of changing it but, you know, I had a great co-director with Mike Johnson. I feel like we complemented each other quite well. It was just a different movie, a different process."[7] He also spoke about casting Johnny Depp as Victor, saying: "It was weird because we were doing both at the same time. He was Willy Wonka by day and Victor by night so it might have been a little schizophrenic for him. But he’s great. It's the first animated movie he's done and he's always into a challenge. We just treat it like fun and a creative process. Again, that’s the joy of working with him. He's kind of up for anything. He just always adds something to it. The amazing thing is all the actors never worked [together]. They were never in a room together, so they were all doing their voices, except for Albert [Finney] and Joanna [Lumley] did a few scenes together, everybody else was separate. They were all kind of working in a vacuum, which was interesting. That’s the thing that I felt ended up so beautifully, that their performances really meshed together. So he was very canny, as they all were, about trying to find the right tone and making it work while not being in the same room with each other."[7]

text: Music[edit]

text:
Tim Burton's Corpse Bride

Film score by Danny Elfman

Released
September 20, 2005

Recorded
2005

Genre
Soundtrack

Length
59:42

Label
Warner Bros.

Producer
Danny Elfman

Danny Elfman chronology

Charlie and the Chocolate Factory
(2005)Charlie and the Chocolate Factory2005
Corpse Bride
(2005)
Serenada Schizophrana
(2006)Serenada Schizophrana2006

text: The soundtrack was produced by Danny Elfman with the help of John August and released on September 20, 2005.[8] It contains all of the music from the film including score music and four songs with lyrics sung by voice actors.[8]

text: All tracks written by Danny Elfman and John August. All scores written by Elfman.

text:
No.
Title
Performer(s)
Length

1.
"Main Title" (Score)
Elfman
2:05

2.
"According to Plan"
Albert Finney, Joanna Lumley, Tracey Ullman, Paul Whitehouse
3:44

3.
"Victor's Piano Solo" (Score)
Elfman
1:17

4.
"Into the Forest" (Score)
Elfman
4:34

5.
"Remains of the Day"
Elfman, Jane Horrocks, Paul Baker, Alison Jiear, Gary Martin
3:26

6.
"Casting a Spell" (Score)
Elfman
1:25

7.
"Moon Dance" (Score)
Elfman
1:27

8.
"Victor's Deception" (Score)
Elfman
3:59

9.
"Tears to Shed"
Helena Bonham Carter, Horrocks, Enn Reitel
2:45

10.
"Victoria's Escape" (Score)
Elfman
2:30

11.
"The Piano Duet" (Score)
Elfman
1:53

12.
"New Arrival" (Score)
Elfman
0:41

13.
"Victoria's Wedding" (Score)
Elfman
3:14

14.
"The Wedding Song"
Elfman, Horrocks, Baker, Jier, Martin
3:00

15.
"The Party Arrives" (Score)
Elfman
3:20

16.
"Victor's Wedding" (Score)
Elfman
2:08

17.
"Barkis's Bummer" (Score)
Elfman
2:07

18.
"The Finale" (Score)
Elfman
2:35

19.
"End Credits" (Part 1) (Score)
Elfman
1:49

20.
"End Credits" (Part 2) (Score)
Elfman
2:32

text:
Bonus Tracks from Bonejangles and his Bone Boys

No.
Title
Performer(s)
Length

21.
"Ball & Socket Lounge Music #1" (Band Version) (Score)
Elfman
2:15

22.
"Remains of the Day" (Combo Lounge Version) (Score)
Elfman
3:06

23.
"Ball & Socket Lounge Music #2" (Score)
Elfman
1:10

24.
"Ball & Socket Lounge Music #1" (Combo Version) (Score)
Elfman
2:14

Total length:
59:42

text: Release[edit]

text: Corpse Bride premiered on September 7, 2005 at the Venice International Film Festival. The film was released on September 23, 2005 in United States and on October 13, 2005 in the United Kingdom.[9]

text: Box office[edit]

text: Corpse Bride grossed $53,359,111 in North America, and $63,835,950 in other territories, for a worldwide total of $117,195,061.[3]

text: In North America, the film opened to number two in its first weekend, with $19,145,480, behind Flightplan.[10] In its second weekend, the film dropped to number three, grossing an additional $10,033,257.[11] In its third weekend, the film dropped to number six, grossing $6,511,336.[11] In its fourth weekend, the film dropped to number nine, grossing $3,577,465.[11]

text: The biggest market in other territories being France, UK and Japan where the film grossed $8.88 million, $8.57 million and $7.1 million respectively.[12]

text: Reception[edit]

text: Corpse Bride received positive reviews from critics. The review aggregator website Rotten Tomatoes reported an 83% approval rating with an average rating of 7.2/10 based on 187 reviews.[13] The site's consensus reads: "As can be expected from a Tim Burton movie, Corpse Bride is whimsically macabre, visually imaginative, and emotionally bittersweet."[13] Another review aggregator, Metacritic, which assigns a rating out of 100 based on top reviews from mainstream critics, calculated a score of 83 based on 35 reviews, indicating "universal acclaim".[14] The film was nominated for the 78th Academy Award for Best Animated Feature, but lost to Wallace & Gromit: The Curse of the Were-Rabbit.[15] In 2008, the American Film Institute nominated this film for its Top 10 Animation Films list.[16]

text: Justin Chang of Variety gave the film a positive review, saying "This macabre musical about a young bridegroom who mistakenly weds a girl from beyond the grave is an endearingly schizoid Frankenstein of a movie, by turns relentlessly high-spirited and darkly poignant."[17] Kirk Honeycutt of The Hollywood Reporter gave the film a positive review, calling it "A wondrous flight of fancy, a stop-motion-animated treat brimming with imaginative characters, evocative sets, sly humor, inspired songs and a genuine whimsy that seldom finds its way into today's movies."[18] Michael Atkinson of The Village Voice gave the film a positive review, saying "The variety of its cadaverous style is never less than inspired; never has the human skull's natural grin been redeployed so exhaustively for yuks."[19] Owen Gleiberman of Entertainment Weekly gave the film a B, saying "As an achievement in macabre visual wizardry, Tim Burton's Corpse Bride has to be reckoned some sort of marvel."[20] Manohla Dargis of The New York Times gave the film four out of five stars, saying "Cinema's reinvigorated fixation with the living dead suggests that we are in the grip of an impossible longing, or perhaps it's just another movie cycle running its course. Whatever the case, there is something heartening about Mr. Burton's love for bones and rot here, if only because it suggests, despite some recent evidence, that he is not yet ready to abandon his own dark kingdom."[21] Moira MacDonald of The Seattle Times gave the film three and a half stars out of four, saying "What makes Corpse Bride sing, ultimately, is the breadth of imagination that it demonstrates; creating a cluttered, textured and mysteriously beautiful world that we're loathe to leave at the end."[22]

text: Liam Lacey of The Globe and Mail gave the film three out of four stars, saying "Ghoulishness and innocence walk hand-in-hand in Tim Burton's Corpse Bride, a movie that digs into Hollywood's past to resurrect the antique art of stop-motion animation and create a fabulous bauble of a movie."[18] Jack Mathews of the New York Daily News gave the film three and a half stars out of four, saying "Stop-motion animation may be the hardest and most tedious job in Hollywood, but the makers of Tim Burton's Corpse Bride deserve a couple of years in Tahiti celebrating their effort."[18] Lou Lumenick of the New York Post gave the film three and a half stars out of four, saying "Tim Burton's Corpse Bride is an instant classic."[18] Lisa Rose of the Newark Star-Ledger gave the film three out of five stars, saying "Corpse Bride offers unclassifiable enchantment."[18] James Berardinelli of ReelViews gave the film three out of four stars, saying "As animated films go, this is easily the best of a weak year."[23] Peter Howell of the Toronto Star gave the film four out of four stars, saying "If his The Nightmare Before Christmas from a dozen years back was a treat for the eyes and mind, Tim Burton's Corpse Bride goes double or nothing by being a delight for the ears and also the heart."[18] Joe Williams of the St. Louis Post-Dispatch gave the film a B+, saying "Beneath the bone pile of allusions, Corpse Bride is a darkly enchanting fable in its own right."[18]

text: Andrew Sarris of The New York Observer gave the film a negative review, saying "Corpse Bride turns out to be a ponderous mixture of puppetry and animation that is far too technologically complex and laborious for this hopelessly Luddite reviewer."[18] Roger Ebert gave the film three out of four stars, calling it "A sweet and visually lovely tale of love lost."[24] Roger Moore of the Orlando Sentinel gave the film four out of five stars, saying "The sweetness, the visual flourishes and inspired pieces of casting carry the Corpse Bride, if not all the way down the primrose path, then at least across the threshold."[25] Robert K. Elder of the Chicago Tribune gave the film three and a half stars out of four, saying "If Nightmare Before Christmas was a jazzy pop number, Corpse Bride is a waltz--an elegant, deadly funny bit of macabre matrimony."[26] Kenneth Turan of the Los Angeles Times gave the film two out of five stars, saying "The film does have a fairy-tale aspect, but, like many of its characters, it is more dead and buried than fully alive."[18] Claudia Puig of USA Today gave the film three and a half stars out of four, saying "Corpse Bride is an unexpectedly touching celebration of love told in a quirky and inventive style."[27] Peter Travers of Rolling Stone gave the film three and a half stars out of five, saying "In the guise of a family film, Burton evokes a darkly erotic obsession that recalls Edgar Allan Poe and Hitchcock's Vertigo. It would be a test for any filmmaker, and Burton aces it."[18]

text: Steven Rea of The Philadelphia Inquirer gave the film three and a half stars out of four, saying "Tim Burton's Corpse Bride is easily the best stop-motion animated necrophiliac musical romantic comedy of all time. It is also just simply, wonderful: a morbid, merry tale of true love that dazzles the eyes and delights the soul."[18] Bill Muller of The Arizona Republic gave the film four out of five stars, saying "Corpse Bride is a delightful mix of strange goings-on and imaginatively crafted puppetry, a wild ride through Burton's chaotic, splendidly original world."[18] Michael Booth of The Denver Post gave the film three and a half stars out of four, saying "Corpse Bride will win your heart, if it doesn't rip it out of your chest first."[28] Terry Lawson of the Detroit Free Press gave the film three out of four stars, saying "There's a happy Halloween in store even for children who aren't allowed to trick or treat, and it's courtesy of Tim Burton's animated Corpse Bride."[18] Bruce Westbrook of The Houston Chronicle gave the film three and a half stars out of four, saying "Amazingly fluid and drop-dead gorgeous, Tim Burton's Corpse Bride is the best-looking, stop-motion animation film ever."[29] Rene Rodriguez of the Miami Herald gave the film two and a half stars out of four, saying "Corpse Bride suffers from the same problem that has plagued Burton's recent live-action films: for all its formidable razzle-dazzle, it doesn't engage the heart."[18] Colin Covert of the Star Tribune gave the film three and a half stars out of four, saying "This vibrantly imaginative mix of horror and humor puts the f-u-n in funeral."[18]

text: Home media[edit]

text: Corpse Bride was released on DVD and HD DVD on January 16, 2006.[30] It was released on Blu-ray on September 26, 2006.[31] As of February 3, 2015, the film has sold 2,777,736 DVDs and 40,411 Blu-ray Discs totaling a gross of $53,359,111 and $61,411,543 respectively for a total gross of $114,770,654 in North America.[32]


document_title: Stephen Schnetzer

question_text: actor who played cass winthrop on another world

text: Stephen Schnetzer

text: Life and career[edit]

text: Schnetzer was born in Canton, Massachusetts, the son of Thomas A. Schnetzer.[1] He attended Catholic Memorial School.[4] After playing the role of Julie Olson Williams' brother, Steven Olson, on Days of Our Lives, he joined the cast of the ABC soap opera One Life to Live as fitness expert Marcello Salta.[5] He later played attorney Cass Winthrop on Another World (1982–86, 1987–99).[5] After the cancellation of Another World, he made guest appearances as Cass Winthrop on the CBS soap opera As the World Turns (1999–2002; 2005; 2006) and on Guiding Light (2002).[5] He can also been seen in a commercial for an allergy nasal spray called Astepro. He has also been billed as Stephen St. Paul.

text: Schnetzer has recently become a prolific voiceover talent advertising for many companies, such as Mercedes-Benz, and various prescription and over the counter medications. His voice is frequently heard today on radio and television.[citation needed]

text: He has appeared in numerous recent regional theater productions, including The Quality of Life (2009),[6] Legacy of Light (world premiere)(2009)[7] and Noises Off (2006–2007)[8] at Arena Stage. On Broadway, he was in The Goat, or Who Is Sylvia?; A Talent for Murder; and Filumena, directed by Laurence Olivier.[9]

text: Personal life[edit]

text: Schnetzer married Amy Ingersoll in 1976, and in 1982 married his second wife, actress Nancy Snyder, whom he met while she was playing Katrina Karr on One Life to Live. The two married in 1982. They have two children, Max and Ben Schnetzer, who is also an actor.

text: Filmography[edit]


document_title: Classification of obesity

question_text: obesity is defined as having a bmi greater than or equal to

text: Classification of obesity

text: BMI[edit]

text: Body mass index or BMI is a simple and widely used method for estimating body fat mass.[8] BMI was developed in the 19th century by the Belgian statistician and anthropometrist Adolphe Quetelet.[9] BMI is an accurate reflection of body fat percentage in the majority of the adult population. It however is less accurate in people such as body builders and pregnant women.[10] A formula combining BMI, age, and gender can be used to estimate a person's body fat percentage to an accuracy of 4%.[11] An alternative method, body volume index (BVI), is being developed in an effort to better take into account different body shapes.[12]

text:
BMI
Classification

< 18.5
underweight

18.5–24.9
normal weight

25.0–29.9
overweight

30.0–34.9
class I obesity

35.0–39.9
class II obesity

≥ 40.0
  class III obesity

text: BMI is calculated by dividing the subject's mass by the square of his or her height, typically expressed either in metric or US "Customary" units:

text: The most commonly used definitions, established by the World Health Organization (WHO) in 1997 and published in 2000, provide the values listed in the table at right.[13]

text: Some modifications to the WHO definitions have been made by particular bodies. The surgical literature breaks down class III obesity into further categories, though the exact values are still disputed.[14]

text:
Any BMI ≥ 35 or 40 is severe obesity
A BMI of ≥ 35 or 40–44.9 or 49.9 is morbid obesity
A BMI of ≥ 45 or 50 is super obese

text: As Asian populations develop negative health consequences at a lower BMI than Caucasians, some nations have redefined obesity. The Japanese have defined obesity as any BMI greater than 25[15] while China uses a BMI of greater than 28.[16]

text: The BMI-based definition is easy to use and it is particularly convenient for statistical purposes, since it only depends on two commonly measured quantities, one's height and weight. However, it ignores variations between individuals in amounts of lean body mass, particularly muscle mass. Individuals involved in heavy physical labor or sports may have high BMI values despite having little fat. For example, more than half of all NFL players are classified as "obese" (BMI ≥ 30), and 1 in 4 are classified as "extremely obese" (BMI ≥ 35), according to the BMI metric.[17] However, their mean body fat percentage, 14%, is well within what's considered a healthy range.[18]

text: The preferred obesity metric in scholarly circles is the body fat percentage (BF%) - the ratio of the total weight of person's fat to his or her body weight, and BMI is viewed merely as a way to approximate BF%.[19] Levels in excess of 32% for women and 25% for men are generally considered to indicate obesity. However, accurate measurement of body fat percentage is much more difficult than measurement of BMI. Several methods of varying accuracy and complexity exist.

text: Other proposed but less common obesity measures include waist circumference and waist–hip ratio. These measure a common form of obesity known as abdominal or central obesity, characterized by excess deposits of fat in the abdominal region and inside peritoneal cavity. They have been shown to be comparable to BMI in their power to predict the risk of metabolic abnormalities such as type II diabetes,[20] and possibly superior to BMI as predictors of cardiovascular disease.[21]

text: Waist circumference and waist–hip ratio[edit]

text: In the United States a waist circumference of >102 cm (~40") in men and >88 cm (~34.5") in women[22] or the waist–hip ratio (the circumference of the waist divided by that of the hips of >0.9 for men and >0.85 for women) are used to define central obesity.[23]

text: In the European Union waist circumference of ≥ 94 cm(~37") in men and ≥ 80 cm(~31.5") in non pregnant women are used as cut offs for central obesity.[24]

text: A lower cut off of 90 cm has been recommended for South Asian and Chinese men, while a cut off of 85 cm has been recommended for Japanese men.[24]

text: In those with a BMI under 35, intra-abdominal body fat is related to negative health outcomes independent of total body fat.[25] Intra-abdominal or visceral fat has a particularly strong correlation with cardiovascular disease.[23] In a study of 15,000 people, waist circumference also correlated better with metabolic syndrome than BMI.[26] Women with abdominal obesity have a cardiovascular risk similar to that of men.[27] In people with a BMI over 35, measurement of waist circumference however adds little to the predictive power of BMI as most individuals with this BMI have abnormal waist circumferences.[28]

text: Body fat percentage[edit]

text: Body fat percentage is total body fat expressed as a percentage of total body weight. There is no generally accepted definition of obesity based on total body fat. Most researchers have used >25% in men, and >30% in women, as cut-points to define obesity.[29]

text: Body fat percentage can be estimated from a person's BMI by the following formula:

text: This formula takes into account the fact that body fat percentage tends to be 10 percentage points greater in women than in men for a given BMI. It recognizes that a person's percentage body fat tends to increase as they age, even if their weight and BMI remain constant. The results of this formula have been shown to have an accuracy of 4% in one group of individuals.[30]

text: There are many other methods used to determine body fat percentage. Hydrostatic weighing, one of the most accurate methods of body fat calculation, involves weighing a person underwater. Two other simpler and less accurate methods have been used historically but are now not recommended.[31] The first is the skinfold test, in which a pinch of skin is precisely measured to determine the thickness of the subcutaneous fat layer.[32] The other is bioelectrical impedance analysis which uses electrical resistance. Bioelectrical impedance has not been shown to provide an advantage over BMI.[33]

text: Body fat percentage measurement techniques used mainly for research include computed tomography (CT scan), magnetic resonance imaging (MRI), and dual energy X-ray absorptiometry (DEXA).[25] These techniques provide very accurate measurements, but it can be difficult to obtain in the severely obese due to weight limits of most equipment and insufficient diameter of many CT or MRI scanners.[34]

text: Childhood obesity[edit]

text: The healthy BMI range varies with the age and sex of the child. Obesity in children and adolescents is defined as a BMI greater than the 95th percentile.[35] The reference data that these percentiles are based on is from 1963 to 1994 and thus has not been affected by the recent increases in rates of obesity.[36]

text: Childhood obesity has reached epidemic proportions in 21st century with rising rates in both the developed and developing world.[citation needed] Rates of obesity in Canadian boys have increased from 11% in 1980s to over 30% in 1990s, while during this same time period rates increased from 4 to 14% in Brazilian children.[37]

text: As with obesity in adults many different factors contribute to the rising rates of childhood obesity. Changing diet and decreasing physical activity are believed to be the two most important in causing the recent increase in the rate of obesity. Activities from self-propelled transport, to school physical education, and organized sports has been declining in many countries.[38]

text: Because childhood obesity often persists into adulthood, and is associated with numerous chronic illnesses, it is important that children who are obese be tested for hypertension, diabetes, hyperlipidemia, and fatty liver.[39]

text: Treatments used in children are primarily lifestyle interventions and behavioral techniques. Medications are not FDA approved for use in this age group.[37]


document_title: Mammalian eye

question_text: the middle layer of the eye is the quizlet

text: Mammalian eye

text: Three layers[edit]

text: The structure of the mammalian eye can be divided into three main layers or tunics whose names reflect their basic functions: the fibrous tunic, the vascular tunic, and the nervous tunic.[1][2][3]

text:
The fibrous tunic, also known as the tunica fibrosa oculi, is the outer layer of the eyeball consisting of the cornea and sclera.[4] The sclera gives the eye most of its white color. It consists of dense connective tissue filled with the protein collagen to both protect the inner components of the eye and maintain its shape.[5]
The vascular tunic, also known as the tunica vasculosa oculi or the "uvea", is the middle vascularized layer which includes the iris, ciliary body, and choroid.[4][6][7] The choroid contains blood vessels that supply the retinal cells with necessary oxygen and remove the waste products of respiration. The choroid gives the inner eye a dark color, which prevents disruptive reflections within the eye.  The iris is seen rather than the cornea when looking straight in one's eye due to the latter's transparency, the pupil (central aperture of iris) is black because there is no light reflected out of the interior eye.  If an ophthalmoscope is used, one can see the fundus, as well as vessels (which supply additional blood flow to the retina) especially those crossing the optic disk—the point where the optic nerve fibers depart from the eyeball—among others[8]
The nervous tunic, also known as the tunica nervosa oculi, is the inner sensory layer which includes the retina.[4][7]
Contributing to vision, the retina contains the photosensitive rod and cone cells and associated neurons. To maximise vision and light absorption, the retina is a relatively smooth (but curved) layer.  It has two points at which it is different; the fovea and optic disc. The fovea is a dip in the retina directly opposite the lens, which is densely packed with cone cells. It is largely responsible for color vision in humans, and enables high acuity, such as is necessary in reading. The optic disc, sometimes referred to as the anatomical blind spot, is a point on the retina where the optic nerve pierces the retina to connect to the nerve cells on its inside. No photosensitive cells exist at this point, it is thus "blind".  Continuous with the retina are the ciliary epithelium and the posterior epithelium of the iris.
In addition to the rods and cones, a small proportion (about 1-2% in humans) of the ganglion cells in the retina are themselves photosensitive through the pigment melanopsin.  They are generally most excitable by blue light, about 470–485 nm.  Their information is sent to the SCN (suprachiasmatic nuclei), not to the visual center, through the retinohypothalamic tract which is formed as melanopsin-sensitive axons exit the optic nerve.  It is primarily these light signals which regulate circadian rhythms in mammals and several other animals.[9]  Many, but not all, totally blind individuals have their circadian rhythms adjusted daily in this way.  The ipRGCs have other functions as well, such as signaling the need for changing the diameter of the pupil in changing light conditions.

text: Anterior and posterior segments[edit]

text: The mammalian eye can also be divided into two main segments: the anterior segment and the posterior segment.[10]

text: The human eye is not a plain sphere but is like two spheres combined, a smaller, more sharply curved one and a larger lesser curved sphere.  The former, the anterior segment is the front sixth[8] of the eye that includes the structures in front of the vitreous humour: the cornea, iris, ciliary body, and lens.[6][11]

text: Within the anterior segment are two fluid-filled spaces:

text:
the anterior chamber between the posterior surface of the cornea (i.e. the corneal endothelium) and the iris.
the posterior chamber between the iris and the front face of the vitreous.[6]

text: Aqueous humor fills these spaces within the anterior segment and provides nutrients to the surrounding structures.

text: Some ophthalmologists specialize in the treatment and management of anterior segment disorders and diseases.[11]

text: The posterior segment is the back  five-sixths[8] of the eye that includes the anterior hyaloid membrane and all of the optical structures behind it: the vitreous humor, retina, choroid, and optic nerve.[12]

text: The radii of the anterior and posterior sections are 8 mm and 12 mm, respectively.  The point of junction is called the limbus.

text: On the other side of the lens is the second humour, the aqueous humour, which is bounded on all sides by the lens, the ciliary body, suspensory ligaments and by the retina. It lets light through without refraction, helps maintain the shape of the eye and suspends the delicate lens. In some animals, the retina contains a reflective layer (the tapetum lucidum) which increases the amount of light each photosensitive cell perceives, allowing the animal to see better under low light conditions.

text: The tapetum lucidum, in animals that have it, can produce eyeshine, for example as seen in cat eyes at night.  Red-eye effect, a reflection of red blood vessels, appears in the eyes of humans and other animals that have no tapetum lucidum, hence no eyeshine, and rarely in animals that have a tapetum lucidum. The red-eye effect is a photographic effect, not seen in nature.

text: Some ophthalmologists specialise in this segment.[13]

text: Extraocular anatomy[edit]

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text: Lying over the sclera and the interior of the eyelids is a transparent membrane called the conjunctiva. It helps lubricate the eye by producing mucus and tears. It also contributes to  immune surveillance and helps to prevent the entrance of microbes into the eye.

text:
In many animals, including humans, eyelids wipe the eye and prevent dehydration. They spread tears on the eyes, which contains substances which help fight bacterial infection as part of the immune system.  Some species have a nictitating membrane for further protection.
Some aquatic animals have a second eyelid in each eye which refracts the light and helps them see clearly both above and below water. Most creatures will automatically react to a threat to its eyes (such as an object moving straight at the eye, or a bright light) by covering the eyes, and/or by turning the eyes away from the threat. Blinking the eyes is, of course, also a reflex.

text: In many animals, including humans, eyelashes prevent fine particles from entering the eye. Fine particles can be bacteria, but also simple dust which can cause irritation of the eye, and lead to tears and subsequent blurred vision.

text: In many species, the eyes are inset in the portion of the skull known as the orbits or eyesockets. This placement of the eyes helps to protect them from injury. For some, the focal fields of the two eyes overlap, providing them with binocular vision. Although most animals have some degree of binocular vision the amount of overlap largely depends on behavioural requirements.

text: In humans, the eyebrows redirect flowing substances (such as rainwater or sweat) away from the eye.

text: Function of the mammalian eye[edit]

text: The structure of the mammalian eye owes itself completely to the task of focusing light onto the retina. This light causes chemical changes in the photosensitive cells of the retina, the products of which trigger nerve impulses which travel to the brain.

text: In the human eye, light enters the pupil and is focused on the retina by the lens. Light-sensitive nerve cells called rods (for brightness), cones (for color) and non-imaging ipRGC (intrinsincally photosensitive retinal ganglion cells) react to the light. They interact with each other and send messages to the brain.  The rods and cones enable vision.  The ipRGCs enable entrainment to the Earth's 24-hour cycle, resizing of the pupil and acute suppression of the pineal hormone melatonin.

text: Retina[edit]

text: The retina contains three forms of photosensitive cells, two of them important to vision, rods and cones, in addition to the subset of ganglion cells involved in adjusting circadian rhythms and pupil size but probably not involved in vision.

text: Though structurally and metabolically similar, the functions of rods and cones are quite different. Rod cells are highly sensitive to light, allowing them to respond in dim light and dark conditions; however, they cannot detect color differences. These are the cells that allow humans and other animals to see by moonlight, or with very little available light (as in a dark room). Cone cells, conversely, need high light intensities to respond and have high visual acuity. Different cone cells respond to different wavelengths of light, which allows an organism to see color.  The shift from cone vision to rod vision is why the darker conditions become, the less color objects seem to have.

text: The differences between rods and cones are useful; apart from enabling sight in both dim and light conditions, they have further advantages. The fovea, directly behind the lens, consists of mostly densely packed cone cells. The fovea gives humans a highly detailed central vision, allowing reading, bird watching, or any other task which primarily requires staring at things. Its requirement for high intensity light does cause problems for astronomers, as they cannot see dim stars, or other celestial objects, using central vision because the light from these is not enough to stimulate cone cells. Because cone cells are all that exist directly in the fovea, astronomers have to look at stars through the "corner of their eyes" (averted vision) where rods also exist, and where the light is sufficient to stimulate cells, allowing an individual to observe faint objects.

text: Rods and cones are both photosensitive, but respond in different ways to different frequencies of light. They contain different pigmented photoreceptor proteins. Rod cells contain the protein rhodopsin and cone cells contain different proteins for each color-range. The process through which these proteins go is quite similar — upon being subjected to electromagnetic radiation of a particular wavelength and intensity, the protein breaks down into two constituent products. Rhodopsin, of rods, breaks down into opsin and retinal; iodopsin of cones breaks down into photopsin and retinal. The breakdown results in the activation of Transducin and this activates cyclic GMP Phosphodiesterase, which lowers the number of open Cyclic nucleotide-gated ion channels on the cell membrane, which leads to hyperpolarization; this hyperpolarization of the cell leads to decreased release of transmitter molecules at the synapse.

text: Differences between the rhodopsin and the iodopsins is the reason why cones and rods enable organisms to see in dark and light conditions — each of the photoreceptor proteins requires a different light intensity to break down into the constituent products. Further, synaptic convergence  means that several rod cells are connected to a single bipolar cell, which then connects to a single ganglion cell by which information is relayed to the visual cortex. This convergence is in direct contrast to the situation with cones, where each cone cell is connected to a single bipolar cell. This divergence results in the high visual acuity, or the high ability to distinguish detail, of cone cells compared to rods. If a ray of light were to reach just one rod cell, the cell's response may not be enough to hyperpolarize the connected bipolar cell. But because several "converge" onto a bipolar cell, enough transmitter molecules reach the synapses of the bipolar cell to hyperpolarize it.

text: Furthermore, color is distinguishable due to the different iodopsins of cone cells; there are three different kinds, in normal human vision, which is why we need three different primary colors to make a color space.

text: A small percentage of the ganglion cells in the retina contain melanopsin and, thus, are themselves photosensitive.  The light information from these cells is not involved in vision and it reaches the brain not directly via the optic nerve but via the retinohypothalamic tract, the RHT.  By way of this light information, the body clock's inherent approximate 24-hour cycling is adjusted daily to nature's light/dark cycle.  Signals from these photosensitive ganglion cells have at least two other roles in addition.  They exercise control over the size of the pupil, and they lead to acute suppression of melatonin secretion by the pineal gland.

text: Accommodation[edit]

text: The purpose of the optics of the mammalian eye is to bring a clear image of the visual world onto the retina. Because of limited depth of field of the mammalian eye, an object at one distance from the eye might project a clear image, while an object either closer to or further from the eye will not. To make images clear for objects at different distances from the eye, its optical power needs to be changed. This is accomplished mainly by changing the curvature of the lens. For distant objects, the lens needs to be made flatter; for near objects the lens needs to be made thicker and more rounded.

text: Water in the eye can alter the optical properties of the eye and blur vision. It can also wash away the tear fluid—along with it the protective lipid layer—and can alter corneal physiology, due to osmotic differences between tear fluid and freshwater. Osmotic effects are made apparent when swimming in freshwater pools, because the osmotic gradient draws water from the pool into the corneal tissue (the pool water is hypotonic), causing edema, and subsequently leaving the swimmer with "cloudy" or "misty" vision for a short period thereafter. The edema can be reversed by irrigating the eye with hypertonic saline which osmotically draws the excess water out of the eye.