document_title: Religion in The Chronicles of Narnia

question_text: religion in the lion the witch and the wardrobe

text: Religion in The Chronicles of Narnia

text: Christian parallels[edit]

text: C.S. Lewis was an adult convert to Christianity and had previously authored some works on Christian apologetics and fiction with Christian themes. However, he did not originally set out to incorporate Christian theological concepts into his Narnia stories; it is something that occurred as he wrote them. As he wrote in Of Other Worlds (1982):

text: Some people seem to think that I began by asking myself how I could say something about Christianity to children; then fixed on the fairy tale as an instrument, then collected information about child psychology and decided what age group I’d write for; then drew up a list of basic Christian truths and hammered out 'allegories' to embody them. This is all pure moonshine. I couldn’t write in that way. It all began with images; a faun carrying an umbrella, a queen on a sledge, a magnificent lion. At first there wasn't anything Christian about them; that element pushed itself in of its own accord.[citation needed]

text: Lewis, an expert on the subject of allegory[1] and the author of The Allegory of Love, maintained that the books were not allegory, and preferred to call the Christian aspects of them "suppositional". This indicates Lewis' view of Narnia as a fictional parallel universe. As Lewis wrote in a letter to a Mrs Hook in December 1958:

text: If Aslan represented the immaterial Deity in the same way in which Giant Despair [a character in The Pilgrim's Progress] represents despair, he would be an allegorical figure. In reality, however, he is an invention giving an imaginary answer to the question, 'What might Christ become like if there really were a world like Narnia, and He chose to be incarnate and die and rise again in that world as He actually has done in ours?' This is not allegory at all.[2]

text: Although Lewis did not consider them allegorical, and did not set out to incorporate Christian themes in Wardrobe, he was not hesitant to point them out after the fact. In one of his last letters, written in March 1961, Lewis writes:

text: With the release of the 2005 film there was renewed interest in the Christian parallels found in the books. Some find them distasteful, while noting that they are easy to miss if one is not familiar with Christianity.[4] Alan Jacobs, author of The Narnian: The Life and Imagination of C. S. Lewis, implies that through these Christian aspects, Lewis becomes "a pawn in America's culture wars".[5] Some Christians see the Chronicles as excellent tools for Christian evangelism.[6] The subject of Christianity in the novels has become the focal point of many books.

text: Rev. Abraham Tucker pointed out that "While there are in the Narnia tales many clear parallels with Biblical events, they are far from precise, one-on-one parallels. (...) Aslan sacrifices himself in order to redeem Edmund, the Traitor, who is completely reformed and forgiven. That is as if the New Testament were to tell us that Jesus Christ redeemed Judas Iscariot and that Judas later became one of the Apostles. (...) There had been times in Christian history when Lewis might have been branded a heretic for far smaller creative innovations in theology."[7]

text: Alan Jacobs, professor of English at Wheaton College, describes The Lion, the Witch, and the Wardrobe as "a twofold story: the rightful king of Narnia returns to re-establish his kingdom and bring peace; and that same king sacrifices himself to save a traitor . . . kingdom and salvation are what the story is all about." The similarity between the death and resurrection of Aslan and the death and resurrection of Jesus in the Bible has been noted; one author has noted that like Jesus, Aslan was ridiculed before his death, mourned, and then discovered to be absent from the place where his body had been laid.[8][9][10] Other authors have likened the character of Edmund to the Judas of the four Gospels.[11][8][10] Stanley Mattson, president of the Redlands, Calif.-based C.S. Lewis Foundation, states that the “Deeper Magic” referred to in the book “is all about redemption, it's all about reconciliation, it's all about healing, and it's all about . . . death being swallowed up in victory."[12]

text: Paganism[edit]

text: Lewis has also received criticism from some Christians and Christian organizations who feel that The Chronicles of Narnia promotes "soft-sell paganism and occultism", because of the recurring pagan themes and the supposedly heretical depictions of Christ as an anthropomorphic lion. The Greek god Dionysus and the Maenads are depicted in a positive light (with the caveat that meeting them without Aslan around would not be safe), although they are generally considered distinctly pagan motifs. Even an animistic "River god" is portrayed in a positive light.[13][14] According to Josh Hurst of Christianity Today, "not only was Lewis hesitant to call his books Christian allegory, but the stories borrow just as much from pagan mythology as they do the Bible".[15]

text: Lewis himself believed that pagan mythology could act as a preparation for Christianity, both in history and in the imaginative life of an individual, and even suggested that modern man was in such a lamentable state that perhaps it was necessary "first to make people good pagans, and after that to make them Christians".[16] He also argued that imaginative enjoyment of (as opposed to belief in) classical mythology has been a feature of Christian culture through much of its history, and that European literature has always had three themes: the natural, the supernatural believed to be true (practiced religion), and the supernatural believed to be imaginary (mythology). Colin Duriez, author of three books on Lewis, suggests that Lewis believed that to reach a post-Christian culture one needed to employ pre-Christian ideas.[17] Lewis disliked modernity, which he regarded as mechanized and sterile and cut off from natural ties to the world. By comparison, he had hardly any reservations about pre-Christian pagan culture. As Christian critics have pointed out,[18] Lewis disdained the non-religious agnostic character of modernity, but not the polytheistic character of pagan religion.[19]

text: Calormen is the only openly pagan society within the fictional Narnian world. Their practices centre around Tash, a god who is imagined to be an ancestor of the Calormene royal family. Additionally, there are lesser gods like Azaroth and Zardeenah. The Calormene religion can be compared to pre-Islamic Middle Eastern paganism.

text: Religious and secular reception[edit]

text: The initial critical reception was generally positive, and the series quickly became popular with children.[20] In the time since then, it has become clear that reaction to the stories, both positive and negative, cuts across religious viewpoints. Although some saw in the books potential proselytising material, others insisted that non-believing audiences could enjoy the books on their own merits.[21]

text: The Narnia books have a large Christian following, and are widely used to promote Christian ideas. Churches like Memorial Drive United Methosist are even putting on Narnia musicals to teach Christian themes. Narnia 'tie-in' material is marketed directly to Christian, even to Sunday school, audiences.[22] As noted above, however, a number of Christians have criticized the series for including pagan imagery, or even for misrepresenting the Christian story.[23] Christian authors who have criticised the books include fantasy author J.K. Rowling on ethical grounds[24][25] and literary critic John Goldthwaite in The Natural History of Make-Believe for elitism and snobbery in the books.[citation needed]

text: J. R. R. Tolkien was a close friend of Lewis, a fellow author and was instrumental in Lewis' own conversion to Christianity.[26] As members of the Inklings literary group the two often read and critiqued drafts of their work. Nonetheless, Tolkien was not enthusiastic about the Narnia stories, in part due to the eclectic elements of the mythology and their haphazard incorporation, in part because he disapproved of stories involving travel between real and imaginary worlds.[27] Though a Catholic himself, Tolkien felt that fantasy should incorporate Christian values without resorting to the obvious allegory Lewis employed.[28]

text: Reaction from non-Christians has been mixed as well. Philip Pullman, an atheist supporter of secularism and humanism, has serious objections to the Narnia series[citation needed]. On the other hand, the books have appeared in Neo-pagan reading lists[29][better source needed] (by the Wiccan author Starhawk,[30] among others). Positive reviews of the books by authors who share few of Lewis' religious views can be found in Revisiting Narnia, edited by Shanna Caughey.

text: The producers of the 2005 film hoped to tap into the large religious audience revealed by the success of Mel Gibson's film The Passion of the Christ, and at the same time hoped to produce an adventure film that would appeal to secular audiences; but they (and the reviewers as well) worried about aspects of the story that could variously alienate both groups.[31]

text: Two full-length books examining Narnia from a non-religious point of view take diametrically opposite views of its literary merits. David Holbrook has written many psychoanalytic treatments of famous novelists, including Dickens, Lawrence, Lewis Carroll, and Ian Fleming. His 1991 book The Skeleton in the Wardrobe treats Narnia psychoanalytically, speculating that Lewis never recovered from the death of his mother and was frightened of adult female sexuality. He characterises the books as Lewis' failed attempt to work out many of his inner conflicts. Holbrook does give higher praise to The Magician's Nephew and Till We Have Faces (Lewis' reworking of the myth of Cupid and Psyche), as reflecting greater personal and moral maturity. Holbrook also plainly states his non-belief in Christianity.

text: In contrast to Holbrook, Laura Miller's The Magician's Book: A Skeptic's Guide to Narnia (2008) finds in the Narnia books a deep spiritual and moral meaning from a non-religious perspective. Blending autobiography and literary criticism, Miller (a co-founder of Salon.com) discusses how she resisted her Catholic upbringing as a child; she loved the Narnia books but felt betrayed when she discovered their Christian subtext. As an adult she found deep delight in the books, and decided that these works transcend their Christian elements. Ironically, a section in His Dark Materials by Philip Pullman, one of Narnia's severest critics, about how children acquire grace from innocence but adults from experience, had a profound influence on Miller's later appreciation of the Narnia books.[32]


document_title: Sleepy Hollow (film)

question_text: who plays ichabod crane's mom in sleepy hollow

question_tokens: who plays ichabod crane 's mom in sleepy hollow

root

text: Sleepy Hollow (film)

text: Plot[edit]

text: In 1799, New York City police constable Ichabod Crane is deployed to the Westchester County hamlet of Sleepy Hollow, New York, which has been plagued by a series of brutal slayings in which the victims are found decapitated: Peter Van Garrett, a wealthy farmer; his son Dirk; and the widow Emily Winship. Crane learns that locals believe the killer is the undead apparition of a headless Hessian mercenary from the American Revolutionary War who rides a black steed in search of his missing head.

tag: p

text: Crane begins his investigation, remaining skeptical about the paranormal elements until he actually encounters the Headless Horseman, who kills the town magistrate, Samuel Phillipse. Boarding at the home of the town's richest family, the Van Tassels, Crane is taken with their daughter, Katrina. Crane and Young Masbath, the son of one of the Horseman's victims, go to the cave dwelling of a reclusive witch. She reveals the location of the Tree of the Dead, which marks the Horseman's grave, as well as his portal into the natural, living world.

text: Crane discovers that the ground is freshly disturbed and the Horseman's skull is missing. That night, the family of the village midwife is killed by the Horseman and Katrina's suitor, Brom van Brunt is also killed trying to stop the Horseman. The Horseman doesn't attempt to interact with or harm van Brunt until he has no choice; from this, Crane hypothesizes that the Horseman is attacking select targets, and that whoever dug up and stole the skull is the person controlling the Horseman.

text: Crane starts to believe that a conspiracy links all the deaths together, so he looks into Van Garrett's last will. Van Garrett had made a new will just before he died, leaving all his possessions to his secret new bride, Emily Winship, whom Crane discovered was pregnant with Van Garrett's child. Crane deduces that all who knew about the new will, the marriage and the pregnancy were the victims of the Horseman and that Katrina's father Baltus Van Tassel, who would have inherited the fortune, is the person holding the skull. Katrina, finding out that Crane suspects her father, burns all the evidence that Crane has accumulated.

text: A council is held in the church. The Horseman seemingly kills Katrina's stepmother, Lady Van Tassel, and heads off to the church to get Baltus. Crane realizes the Horseman can't enter the church due to it being holy ground. A fight breaks out between the village elders in the church resulting in the deaths of Reverend Steenwyck and Doctor Lancaster, only ending when the Horseman harpoons Baltus through a window, dragging him out and acquiring his head. The next day, Crane believes Katrina to be the one who controls the Headless Horsemen.

text: Crane later becomes suspicious when he realizes the diagram made by Katrina he thought summoned the Horseman is really one of protection, and also that the corpse of Lady Van Tassel has a wound that seems to have been caused post-mortem. The corpse is revealed as that of a servant when Lady Van Tassel emerges alive to ambush Katrina. Lady Van Tassel tells Katrina that her family was driven from their ancestral home by the Van Garretts, who then sold it to the Van Tassels. She proceeded to pledge her soul to Satan and become a witch, summoning the Horseman to kill Van Garrett, his son, new wife, unborn child, every villager who knew about his new will, marriage, and child, and her own sister in order to be able to claim everything that she deemed to be rightfully hers uncontested. She then sends the Horseman after Katrina to remove the last obstacle to inheriting the combined Van Garrett and Van Tassel estates.

text: Following a fight and a stagecoach chase, Crane eventually thwarts Lady Van Tassel by throwing the skull to the Horseman, who reattaches his head to his body and breaks Lady Van Tassel's curse. The Horseman, no longer under her control, hoists Van Tassel up on his horse and gives her a bloody kiss against her will.[4] He then rides to Hell, taking her with a smile, fulfilling her end of the bargain. Crane returns home to New York City with Katrina and Young Masbath, just in time for the new century.

text: Cast[edit]

text:
Johnny Depp as Ichabod Crane
Christina Ricci as Katrina Van Tassel
Christopher Walken and Ray Park as the Headless Horseman
Marc Pickering as Young Masbath
Casper Van Dien as Brom Van Brunt
Michael Gambon as Baltus Van Tassel
Miranda Richardson as Lady Mary Van Tassel and her sister
Jeffrey Jones as Reverend Steenwyck
Richard Griffiths as Magistrate Samuel Philipse
Ian McDiarmid as Dr. Thomas Lancaster
Michael Gough as Notary James Hardenbrook
Christopher Lee as the Burgomaster
Claire Skinner as Beth Killian, the Midwife
Steven Waddington as Killian, Beth's husband
Alun Armstrong as the High Constable
Martin Landau as Peter Van Garrett
Peter Guinness as Lord Crane, Ichabod's father
Lisa Marie as Lady Crane, Ichabod's mother
Jessica Oyelowo as Sarah
Michael Feast as Spotty Man
Jamie Foreman as Thuggish Constable
Sean Cronin as Prisoner

tag: ul

text: Production[edit]

text: Development[edit]

text: In 1993, Kevin Yagher, a make-up effects designer who had turned to directing with Tales from the Crypt, had the notion to adapt Washington Irving's short story "The Legend of Sleepy Hollow" into a feature film. Through his agent, Yagher was introduced to Andrew Kevin Walker; they spent a few months working on a film treatment[5] that transformed Ichabod Crane as a schoolmaster from Connecticut to a banished New York City detective.[6] Yagher and Walker subsequently pitched Sleepy Hollow to various studios and production companies, eventually securing a deal with producer Scott Rudin,[5] who had been impressed with Walker's unproduced spec script for Seven.[7] Rudin optioned the project to Paramount Pictures in a deal that had Yagher set to direct, with Walker scripting; the pair would share story credit.[5] Following the completion of Hellraiser: Bloodline, Yahger had planned Sleepy Hollow as a low-budget production—"a pretentious slasher film with a spectacular murder every five minutes or so." Paramount disagreed on the concept and demoted Yagher's involvement to prosthetic makeup designer.[8] "They never really saw it as a commercial movie," producer Adam Schroeder noted. "The studio thinks 'old literary classic' and they think The Crucible. We started developing it before horror movies came back."[9]

text: Paramount CEO Sherry Lansing revived studio interest in 1998.[7] Schroeder, who shepherded Tim Burton's Edward Scissorhands as a studio executive at 20th Century Fox in 1990, suggested that Burton direct the film.[10] Francis Ford Coppola's minimal production duties came from American Zoetrope; Burton only became aware of Coppola's involvement during the editing process when he was sent a copy of Sleepy Hollow's trailer and saw Coppola's name on it.[10] Burton, coming off the troubled production of Superman Lives, was hired to direct in June 1998.[11] "I had never really done something that was more of a horror film," he explained, "and it's funny, because those are the kind of movies that I like probably more than any other genre."[5] His interest in directing a horror film influenced by his love for Hammer Film Productions and Black Sunday—particularly the supernatural feel they evoked as a result of being filmed primarily on sound stages.[9] As a result, Sleepy Hollow is a homage to various Hammer Film Productions, including Dr. Jekyll and Sister Hyde,[12] and other films such as Frankenstein, Bride of Frankenstein, various Roger Corman horror films,[13] Jason and the Argonauts, and Scream Blacula Scream.[7] The image of the Headless Horseman had fascinated Burton during his apprenticeship as a Disney animator at CalArts in the early 1980s.[13] "One of my teachers had worked on the Disney version as one of the layout artists on the chase, and he brought in some layouts from it, so that was exciting. It was one of the things that maybe shaped what I like to do."[5] Burton worked with Walker on rewrites, but Rudin suggested that Tom Stoppard rewrite the script[14] to add to the comical aspects of Ichabod's bumbling mannerisms, and emphasize the character's romance with Katrina. His work went uncredited through the WGA screenwriting credit system.[7]

text: While Johnny Depp was Burton's first choice for the role of Ichabod Crane, Paramount required him to consider Brad Pitt, Liam Neeson and Daniel Day-Lewis.[9][15] Depp was cast in July 1998 for his third collaboration with Burton.[16] The actor wanted Ichabod to parallel Irving's description of the character in the short story. This included a long prosthetic snipe nose, huge ears, and elongated fingers. Paramount turned down his suggestions,[17] and after Depp read Tom Stoppard's rewrite of the script, he was inspired to take the character even further. "I always thought of Ichabod as a very delicate, fragile person who was maybe a little too in touch with his feminine side, like a frightened little girl," Depp explained.[7] He did not wish to portray the character as a typical action star would have, and instead took inspiration by Angela Lansbury's performance in Death on the Nile.[7] "It's good," Burton reasoned, "because I'm not the greatest action director in the world, and he's not the greatest action star."[10] Depp modeled Ichabod's detective personality from Basil Rathbone in the 1939 Sherlock Holmes film series. He also studied Roddy McDowall's acting for additional influence.[17] Burton added that "the idea was to try to find an elegance in action of the kind that Christopher Lee or Peter Cushing or Vincent Price had."[10] Christina Ricci, who worked with producer Scott Rudin on The Addams Family, was cast as Katrina Van Tassel.[9] Sleepy Hollow also reunited Burton with Jeffrey Jones (from Beetlejuice and Ed Wood) as Reverend Steenwyck, Christopher Walken (Max Schreck in Batman Returns) as the Hessian Horseman, Martin Landau (Ed Wood) in a cameo role, and Hammer veteran Michael Gough (Alfred in Burton's Batman films), whom Burton tempted out of retirement.[10] The Hammer influence was further confirmed by the casting of Christopher Lee in a small role as the Burgomaster who sends Crane to Sleepy Hollow.[18]

text: Filming[edit]

text: The original intention had been to shoot Sleepy Hollow predominantly on location with a $30 million budget.[19] Towns were scouted throughout Upstate New York along the Hudson Valley,[5] and the filmmakers decided on Tarrytown[11] for an October 1998 start date.[16] The Historic Hudson Valley organization assisted in scouting locations, which included the Philipsburg Manor House and forests in the Rockefeller State Park Preserve.[6] "They had a wonderful quality to them," production designer Rick Heinrichs reflected on the locations, "but it wasn't quite lending itself to the sort of expressionism that we were going for, which wanted to express the feeling of foreboding."[20] Disappointed, the filmmakers scouted locations in Sturbridge, Massachusetts, and considered using Dutch colonial villages and period town recreations in the Northeastern United States. When no suitable existing location could be found, coupled with a lack of readily available studio space in the New York area needed to house the production's large number of sets, producer Scott Rudin suggested the UK.[5]

text: Rudin believed Britain offered the level of craftsmanship in period detail, painting and costuming that was suitable for the film's design.[21] Having directed Batman entirely in Britain, Burton agreed, and designers from Batman's art department were employed by Paramount for Sleepy Hollow.[10] As a result, principal photography was pushed back[22] to November 20, 1998 at Leavesden Film Studios, which had been recently vacated by Star Wars: Episode I – The Phantom Menace.[19] The majority of filming took place at Leavesden, with studio other work at Shepperton Studios,[5] where the massive Tree of the Dead set was built using Stage H.[7] Production then moved to the Hambleden estate at Lime Tree Valley for a month-long shoot in March, where the town of Sleepy Hollow was constructed.[5] "We came to England figuring we would find a perfect little town," producer Adam Schroeder recalled, "and then we had to build it anyway." Filming in Britain continued through April,[5] and a few last minute scenes were shot using a sound stage in Yonkers, New York the following May.[6][23]

text: Design[edit]

text: Responsible for the film's production design was Rick Heinrichs, who Burton intended to use on Superman Lives. While the production crew was always going to build a substantial number of sets, the decision was taken early on that to fulfill Burton's vision best would necessitate shooting Sleepy Hollow in a totally controlled environment at Leavesden Film Studios.[25] The production design was influenced by Burton's love for Hammer Film Productions and Black Sunday—particularly the supernatural feel they evoked as a result of being filmed primarily on sound stages. Heinrichs was also influenced by American colonial architecture, German Expressionism, Dr. Seuss illustrations, and Hammer's Dracula Has Risen from the Grave.[9] One sound stage at Leavesden was dedicated to the "Forest to Field" set, for the scene in which the Headless Horseman races out of the woods and into a field. This stage was then transformed into, variously, a graveyard, a corn field, a field of harvested wheat, a churchyard, and a snowy battlefield. In addition, a small backlot area was devoted to a New York City street and waterfront tank.[19]

text: Cinematography[edit]

text: Burton was impressed by the cinematography in Great Expectations, and hired Emmanuel Lubezki as Sleepy Hollow's director of photography. Initially, Lubezki and Burton contemplated shooting the film in black and white and in old square Academy ratio. When that proved unfeasible, they opted for an almost monochromatic effect which would enhance the fantasy aspect.[10] Burton and Lubezki intentionally planned the over-dependency of smoke and soft lighting to accompany the film's sole wide-angle lens strategy. Lubezki also used Hammer horror[26] and Mexican lucha films from the 1960s, such as Santo Contra los Zombis and Santo vs. las Mujeres Vampiro.[9] Lighting effects increased the dynamic energy of the Headless Horseman, while the contrast of the film stock was increased in post-production to add to the monochromatic feel.[26]

text: Leavesden Studios, a converted airplane factory, presented problems because of its relatively low ceilings. This was less of an issue for The Phantom Menace, in which set height was generally achieved by digital means. "Our visual choices get channeled and violent," Heinrichs elaborated, "so you end up with liabilities that you tend to exploit as virtues. When you've got a certain ceiling height, and you're dealing with painted backings, you need to push atmosphere and diffusion."[19] This was particularly the case in several exteriors that were built on sound stages. "We would mitigate the disadvantages by hiding lights with teasers and smoke."[19]

text: Visual effects[edit]

text: The majority of Sleepy Hollow's 150 visual effects shots were handled by Industrial Light & Magic (ILM),[27] while Kevin Yagher supervised the human and creature effects. Framestore also assisted on digital effects, and The Mill handled motion control photography.[28] In part a reaction to the computer-generated effects in Mars Attacks!, Burton opted to use as limited an amount of digital effects as possible.[10] Ray Park, who served as the Headless Horseman stunt double, wore a blue ski mask for the chroma key effect, digitally removed by ILM.[14] Burton and Heinrichs applied to Sleepy Hollow many of the techniques they had used in stop motion animation on Vincent—such as forced perspective sets.[25]

text: The windmill was a 60-foot-tall forced-perspective exterior (visible to highway travellers miles away), a base and rooftop set and a quarter-scale miniature. The interior of the mill, which was about 30-feet high and 25-feet wide, featured wooden gears equipped with mechanisms for grinding flour. A wider view of the windmill was rendered on a Leavesden soundstage set with a quarter-scale windmill, complete with rotating vanes, painted sky backdrop and special-effects fire. "It was scary for the actors who were having burning wood explode at them," Heinrichs recalled. "There were controls in place and people standing by with hoses, of course, but there's always a chance of something going wrong."[29] For the final shot of the burning mill exploding, the quarter-scale windmill and painted backdrop were erected against the outside wall of the "flight shed", a spacious hangar on the far side of Leavesden Studios. The hangar's interior walls were knocked down to create a 450-foot run, with a 40-foot width still allowing for coach and cameras. Heinrichs tailored the sets so cinematographer Emmanuel Lubezki could shoot from above without seeing the end of the stage.[29]

text: Actor Ian McDiarmid, who portrayed Dr. Lancaster, had just finished another Leavesden production with Star Wars: Episode I – The Phantom Menace. He compared the aesthetics of the two films, stating that physical sets helped the actors get into a natural frame of mind. "Having come from the blue-screen world of Star Wars it was wonderful to see gigantic, beautifully made perspective sets and wonderful clothes, and also people recreating a world. It's like the way movies used to be done."[21]

text: Musical score[edit]

text:
Sleepy Hollow: Music from the Motion Picture

Soundtrack album by Danny Elfman

Released
November 16, 1999 (1999-11-16)

Length
67:52

Label
Hollywood Records

tag: table

text: The film score was written and produced by Danny Elfman. It won the Golden Satellite Award and was also nominated by the Las Vegas Film Critics.

text: Track listing[edit]

text: Tracks marked with ♦ are only available as a bonus track on disc 8 of the Danny Elfman / Tim Burton 25th Anniversary Music Box.

text: The track numbers listed here do not therefore correspond to the original 1999 album.

text:
Introduction
Main Titles
Young Ichabod
The Story...
Masbath's Terrible Death
Young Masbath ♦
Phony Chase ♦
Sweet Dreams
A Gift
Phillipse's Death ♦
Into the Woods / The Witch
Mysterious Figure ♦
More Dreams
The Tree of Death
Bad Dreams / Tender Moment
Evil Eye
The Church Battle
Love Lost
The Windmill
The Chase
The Final Confrontation
A New Day!
End Credits

tag: ol

text: Release[edit]

text: To promote Sleepy Hollow, Paramount Pictures featured the film's trailer at San Diego Comic-Con International in August 1999.[30] The following October, the studio launched a website, which Variety described as being the "most ambitious online launch of a motion picture to date."[31] The site (sleepyhollowmovie.com) offered visitors live video chats with several of the filmmakers hosted by Yahoo! Movies and enabled them to send postcards, view photos, trailers and a six-minute behind-the-scenes featurette edited from a broadcast that aired on Entertainment Tonight. Extensive tours of 10 sets where offered, where visitors were able to roam around photographs, including the sets for the entire town of Sleepy Hollow, forest, church, graveyard and covered bridge. Arthur Cohen, president of worldwide marketing for Paramount, explained that the "Web-friendly" pre-release reports[31] from websites such as Ain't It Cool News and Dark Horizons[32][33] encouraged the studio to create the site.[31] In the weeks pre-dating the release of Sleepy Hollow, a toy line was marketed by McFarlane Toys.[34] Simon & Schuster also published The Art of Sleepy Hollow (ISBN 0671036572), which included the film's screenplay and an introduction by Tim Burton.[35] A novelization, also published by Simon & Schuster, was written by Peter Lerangis.[36]

text: Sleepy Hollow was released in the United States on November 19, 1999 in 3,069 theaters, grossing $30,060,467 in its opening weekend[2] at the #2 spot behind The World Is Not Enough.[37] Sleepy Hollow eventually earned $101,071,502 in domestic gross, and $105 million in foreign sales, coming to a worldwide total of $206,071,502.[2] David Walsh of the National Institute on Media and the Family criticized the film's financial success from the exaggeration of gore. "The real impact is not so much that violent images create violent behavior," Walsh explained, "but that they create an atmosphere of disrespect." Burton addressed the concerns as a matter of opinion. "Everyone has a different perception of things. When I was a kid," Burton continued, "I was probably more scared by seeing John Wayne or Barbra Streisand on the big screen than by seeing violence."[38]

text: Paramount Home Video first released Sleepy Hollow on DVD in the United States on May 23, 2000.[39] The HD DVD release came in July 2006,[40] while the film was released on Blu-ray Disc two years later, in June 2008.[41]

text: Reception[edit]

text: Film review aggregator Rotten Tomatoes reports that 67% of critics gave the film a "Certified Fresh" rating, based on 126 reviews with an average score of 6.2/10, with the site's consensus stating, "Sleepy Hollow entertains with its stunning visuals and creepy atmosphere." [42] Metacritic, another review aggregator, assigned the film a weighted average score of 65 (out of 100) based on 35 reviews from mainstream critics, considered to be "generally favorable".[43] Audiences polled by CinemaScore gave the film an average grade of "B-" on an A+ to F scale.[44]

text: Roger Ebert praised Johnny Depp's performance and Tim Burton's methods of visual design. "Johnny Depp is an actor able to disappear into characters," Ebert continued, "never more readily than in one of Burton's films."[45] Richard Corliss wrote, in his review for TIME Magazine, "Burton's richest, prettiest, weirdest [film] since Batman Returns. The simple story bends to his twists, freeing him for an exercise in high style."[46]

text: David Sterritt of The Christian Science Monitor highly praised Burton's filmmaking and the high-spirited acting of cast, but believed Andrew Kevin Walker's writing was too repetitious and formulaic for the third act.[47] "You go into a Tim Burton film wanting to be transported, but Sleepy Hollow is little more than a lavish, art-directed slasher movie."

text: Owen Gleiberman from Entertainment Weekly wrote Sleepy Hollow is "a choppily plotted crowd-pleaser that lacks the seductive, freakazoid alchemy of Burton's best work." Gleiberman compared the film to The Mummy, and said "it feels like every high-powered action climax of the last 10 years. Personally, I'd rather see Burton so intoxicated by a movie that he lost his head."[48]

text: Andrew Johnston of Time Out New York wrote: "Like the best of Burton's films, Sleepy Hollow takes place in a world so richly imagined that, despite its abundant terrors, you can't help wanting to step through the screen."[49]

text: Mick LaSalle, writing in the San Francisco Chronicle, criticized Burton's perceived image as a creative artist. "All Sleepy Hollow has going for it is art direction, and even in that it falls back on cliché."[50] Doug Walker linked the film to the Hammer Films style of horror cinematography, considering it an homage to those movies, comparing the usage of dignified British actors, choices in color and movie sets and character relations. Walker gave it the merit of recreating the "very specific genre" of Hammer Films, citing the skill and "clever casting" Burton used to manage this.[51]

text: Jonathan Rosenbaum from the Chicago Reader called Sleepy Hollow "a ravishing visual experience, a pretty good vehicle for some talented American and English actors," but concluded that the film was a missed opportunity to depict an actual representation of the short story. "Burton's fidelity is exclusively to the period feeling he gets from disreputable Hammer horror films and a few images culled from Ichabod and Mr. Toad. When it comes to one of America's great stories, Burton obviously couldn't care less."[52]

text: Accolades[edit]

text:
Awards

Award
Date of ceremony
Category
Recipients and nominees
Result

Academy Awards[53]
March 26, 2000
Best Art Direction
Rick Heinrichs, Peter Young
Won

Best Cinematography
Emmanuel Lubezki
Nominated

Best Costume Design
Colleen Atwood
Nominated

British Academy Film Awards[54]
April 9, 2000
Best Production Design
Rick Heinrichs
Won

Best Costume Design
Colleen Atwood
Won

Best Visual Effects
Jim Mitchell, Kevin Yagher, Joss Williams, Paddy Eason
Nominated

Academy of Science Fiction, Fantasy & Horror Films[55]
June 6, 2000
Best Horror Film
Scott Rudin, Adam Schroeder
Nominated

Best Director
Tim Burton
Nominated

Best Writing
Andrew Kevin Walker
Nominated

Best Actor
Johnny Depp
Nominated

Best Actress
Christina Ricci
Won

Best Supporting Actor
Christopher Walken
Nominated

Best Supporting Actress
Miranda Richardson
Nominated

Best Music
Danny Elfman
Won

Best Costume
Collen Atwood
Nominated

Best Make-up
Kevin Yagher, Peter Owen
Nominated

Best Special Effects
Jim Mitchell, Kevin Yagher, Joss Williams, Paddy Eason
Nominated

American Society of Cinematographers[56]
February 20, 2000
Outstanding Achievement in Cinematography
Emmanuel Lubezki
Nominated

Art Directors Guild[57]
February 8, 2000
Excellence in Production Design for a Feature Film
Rick Heinrichs, Les Tompkins, John Dexter, Kevin Phipps, John Wright Stevens, Ken Court, Andrew Nicholson, Bill Hoes, Julian Ashby, Gary Tompkins, Nick Navarro
Won

BMI Film & Television Awards[58]
December 8, 2014
BMI Film Music Award
Danny Elfman
Won

Blockbuster Entertainment Awards[59]
May 9, 2000
Favorite Actor - Horror
Johnny Depp
Won

Favorite Actress - Horror
Christina Ricci
Won

Favorite Supporting Actress - Horror
Miranda Richardson
Won

Favorite Supporting Actor - Horror
Marc Pickering
Nominated

Boston Society of Film Critics Awards[59]
December 12, 1999
Best Cinematography
Emmanuel Lubezki
Won

Chicago Film Critics Association[59]
March 13, 2000
Best Cinematography
Emmanuel Lubezki
Nominated

Costume Designers Guild[60]
February 25, 2000
Excellence in Period/Fantasy Costume Design for Film
Colleen Atwood
Won

Hollywood Makeup Artist and Hair Stylist Guild Awards[61]
March 19, 2000
Best Character Makeup - Feature
Kevin Yagher, Peter Owen, Liz Tagg, Paul Gooch
Won

International Film Music Critics Association[62]
February 23, 2012
Best Archival Release of an Existing Score
Danny Elfman (also for Pee-wee's Big Adventure, Beetlejuice, Batman, Edward Scissorhands, The Nightmare Before Christmas, Big Fish, Charlie and the Chocolate Factory, Corpse Bride and Alice in Wonderland)
Won

International Film Music Critics Association[63]
February 4, 1999
Film Score of the Year
Danny Elfman
Nominated

International Horror Guild[64]
May 12, 2000
Best Film

Nominated

Italian National Syndicate of Film Journalists[65]
May 12, 2000
Best Foreign Director
Tim Burton
Nominated

Las Vegas Film Critics Society Awards[66]
January 18, 2000
Best Score
Danny Elfman
Nominated

Best Cinematography
Emmanuel Lubezki
Nominated

Best Costume Design
Colleen Atwood
Nominated

Best Production Design
Rick Heinrichs
Won

Los Angeles Film Critics Association Awards[67]
December 12, 1999
Best Production Design
Rick Heinrichs
Won

MTV Movie Awards[68]
June 5, 2000
Best Villain
Christopher Walken
Nominated

Motion Picture Sound Editors[69]
December 15, 1999
Best Sound Editing - Effects & Foley
Skip Lievsay, Thomas W. Small, Sean Garnhart, Lewis Goldstein, Paul Urmson, Craig Berkey, Richard L. Anderson, John Pospisil, Michael Dressel, Scott Curtis, Matthew Harrison, Tammy Fearing
Nominated

National Society of Film Critics[70]
January 8, 2000
Best Cinematography
Emmanuel Lubezki
Nominated

New York Film Critics Circle Awards[71]
January 9, 2000
Best Cinematographer
Emmanuel Lubezki
Runner-up

Online Film & Television Association[72]
January 12, 2000
Best Original Score
Danny Elfman
Nominated

Best Cinematography
Emmanuel Lubezki
Nominated

Best Production Design
Rick Heinrichs, Ken Court, John Dexter, Andy Nicholson, Kevin Phipps, Leslie Tomkins, Peter Young
Won

Best Costume Design
Colleen Atwood
Nominated

Best Makeup and Hairstyling
Kevin Yagher, Peter Owen, Liz Tagg, Paul Gooch, Susan Parkinson, Bernadette Mazur, Tamsin Dorling
Nominated

Best Sound Mixing
Lee Dichter, Robert Fernandez, Skip Lievsay, Frank Morrone
Nominated

Best Sound Effects
Skip Lievsay
Nominated

Best Visual Effects
James Mitchell, Kevin Yagher, Joss Williams, Paddy Eason
Nominated

Best Official Film Website
www.sleepyhollow.com
Nominated

Online Film Critics Society[73]
January 2, 2000
Best Cinematography
Emmanuel Lubezki
Won

Santa Fe Film Critics Circle Awards[74]
January 9, 2000
Best Cinematography
Emmanuel Lubezki
Won

Satellite Awards[75]
January 16, 2000
Best Actor - Musical or Comedy
Johnny Depp
Nominated

Best Original Score
Danny Elfman
Won

Best Cinematography
Emmanuel Lubezki
Won

Best Art Direction
Ken Court, John Dexter, Rick Heinrichs and Andy Nicholson
Won

Best Costume Design
Colleen Atwood
Won

Best Editing
Chris Lebenzon
Nominated

Best Sound
Gary Alpers, Skip Lievsay, Frank Morrone
Won

Best Visual Effects
Jim Mitchell, Joss Williams
Nominated

Teen Choice Awards[76]
August 6, 2000
Film - Choice Actress
Christina Ricci
Nominated

Young Artist Awards[77]
March 19, 2000
Best Performance in a Feature Film: Leading Young Actress
Christina Ricci
Nominated

text: American Film Institute recognition:

text:
AFI's 100 Years...100 Thrills – Nominated
AFI's 100 Years...100 Heroes and Villains:

The Headless Horseman – Nominated Villain[78]


document_title: Sample-return mission

question_text: what real life mission returned a sample from a comet

text: Sample-return mission

text: Scientific use[edit]

text: Samples available on Earth can be analyzed in laboratories, so we can further our understanding and knowledge as part of the discovery and exploration of the Solar System. Until now many important scientific discoveries about the Solar System were made remotely with telescopes, and some Solar System bodies were visited by orbiting or even landing spacecraft with instruments capable of remote sensing or sample analysis. While such an investigation of the Solar System is technically easier than a sample-return mission, the scientific tools available here on Earth to study such samples are far more advanced and diverse than those that can go on spacecraft. Analysis of samples on Earth allows to follow up any findings with different tools, including tools that have yet to be developed; in contrast, a spacecraft can carry only a limited set of analytic tools, and these have to be chosen and built long before launch.

text: Samples analyzed on Earth can be matched against findings of remote sensing, for more insight into the processes that formed the Solar System. This was done, for example, with findings by the Dawn spacecraft, which visited the asteroid Vesta from 2011 to 2012 for imaging, and samples from HED meteorites (collected on Earth until then), which were compared to data gathered by Dawn.[1] These meteorites could then be identified as material ejected from the large impact crater Rheasilvia on Vesta. This allowed deducing the composition of crust, mantle and core of Vesta. Similarly some differences in composition of asteroids (and, to a lesser extent, different compositions of comets) can be discerned by imaging alone. However, for a more precise inventory of the material on these different bodies, more samples will be collected and returned in the future, to match their compositions with the data gathered through telescopes and astronomical spectroscopy.

text: One further focus of such investigation—besides the basic composition and geologic history of the various Solar System bodies—is the presence of the building blocks of life on comets, asteroids, Mars or the moons of the gas giants. Several sample-return missions to asteroids and comets are currently in the works. More samples from asteroids and comets will help determine whether life formed in space and was carried to Earth in the form of meteorites. Another question under investigation is whether extraterrestrial life formed on other Solar System bodies like Mars or on the moons of the gas giants, and whether life might even exist there today. The result of NASA's last "Decadal Survey" was to prioritize a Mars sample-return mission, as Mars has a special importance: it is comparatively "nearby", might have harbored life in the past, and might even be able to sustain life today. Jupiter's moon Europa is another important focus in the search for life in the Solar System. However, due to the distance and other constraints, Europa might not be the target of a sample-return mission in the foreseeable future.

text: Planetary protection[edit]

text: Planetary protection aims to prevent biological contamination of both the target celestial body and the Earth—in the case of sample-return missions. No sample has yet been returned with alien life in it. A sample-return from Mars or other location with potential to host life, is a category V mission under COSPAR which directs to containment of any unsterilized sample returned to Earth. This is because it is unknown the effects of such hypothetical life would be on humans or on the biosphere of Earth.[2] For this reason, Carl Sagan and Joshua Lederberg argued in the 1970s that we should do sample-return missions classified as category V missions with extreme caution, and later studies by the NRC and ESF agreed.[2][3][4][5][6]

text: Sample-return missions[edit]

text: First missions[edit]

text: The manned US Apollo 11 mission in July 1969 achieved the first successful sample return from another Solar System body. It returned approximately 22 kilograms (49 lb) of Lunar surface material. This was followed by 34 kilograms (75 lb) of material from Apollo 12 and a further 326 kilograms (719 lb) of material from four more missions from the manned Apollo program.

text: Perhaps one of the most significant advances in sample-return missions occurred in 1970 when the robotic Soviet mission known as Luna 16 successfully returned 101 grams (3.6 oz) of lunar soil. Likewise, Luna 20 returned 55 grams (1.9 oz) in 1974, and Luna 24 returned 170 grams (6.0 oz) in 1976. Although they recovered far less than the Apollo missions, they did this fully automatically. Apart from these three successes, other attempts under the Luna programme failed. The first two missions were intended to outstrip Apollo 11 and were undertaken shortly before them in June and July 1969: Luna E-8-5 No. 402 failed at start, and Luna 15 crashed on the Moon. Later, other sample-return missions failed: Kosmos 300 and Kosmos 305 in 1969, Luna E-8-5 No. 405 in 1970, Luna E-8-5M No. 412 in 1975 at unsuccessful launches, and Luna 18 in 1971 and Luna 23 in 1974 at unsuccessful landings on the Moon.[7]

text: In 1970, the Soviet Union planned for a 1975 first Martian sample-return mission in the Mars 5NM project. This mission was planned to use an N1 rocket, but as this rocket never flew successfully, the mission evolved into the Mars 5M project, which would use a double launch with the smaller Proton rocket and an assembly at a Salyut space station. This Mars 5M mission was planned for 1979, but got canceled in 1977 due to technical problems and complexity; all hardware was ordered destroyed.[8]

text: New missions after a 20-year hiatus[edit]

text: This section's factual accuracy is disputed. Relevant discussion may be found on Talk:Sample-return mission. Please help to ensure that disputed statements are reliably sourced. (September 2016) (Learn how and when to remove this template message)

text: NASA has a long-term stratospheric flight program to collect cosmic dust.[9][10][11]

text: The 1984 LDEF mission returned chondritic and iron-nickel impactors,[12] as did the 1992 EURECA mission.

text: The Earth-Orbital Debris Collection (ODC) experiment was deployed on the Mir space station for 18 months during 1996–1997 and used aerogel to capture particles from low Earth orbit, consisting of interplanetary dust and man-made particles. Far from being "the last sample-return mission... in... twenty years", ODC was a portable version of an LDEF collector, decreasing collection time significantly, and effective area by orders of magnitude.

text: The next mission to return extraterrestrial samples was known as Genesis—it was able to return solar wind samples to Earth from beyond Earth orbit. Unfortunately, the Genesis capsule failed to open its parachute while re-entering the Earth's atmosphere and crash-landed in the Utah desert in 2004. There were fears of severe contamination or even total mission loss, but scientists have managed to save many of the samples, which were the first to be collected from beyond lunar orbit. Genesis used a collector array made of wafers of ultra-pure silicon, gold, sapphire, and diamond. Each different wafer was used to collect a different part of the solar wind.

text: Genesis was followed by NASA's Stardust spacecraft, which returned comet samples to Earth on January 15, 2006. It safely passed by Comet Wild 2 and collected dust samples from the comet's coma while imaging the comet's nucleus. Stardust used a collector array made of low-density aerogel (99% of which is empty space), which has about 1/1000 of the density of glass. This permits the ability to collect the cometary particles without damaging them due to high impact velocities. Particle collisions with even slightly porous solid collectors would result in destruction of those particles and damage to the collection apparatus. During cruise, the second side of the array collected at least seven interstellar dust particles.[13]

text: In June 2010 the Japan Aerospace Exploration Agency (JAXA) Hayabusa probe returned asteroid samples to Earth after a rendezvous with (and a landing on) S-type asteroid 25143 Itokawa. In November 2010, scientists at the agency confirmed that, despite failure of the sampling device, the probe retrieved micrograms of dust from the asteroid, the first ever brought back to Earth in pristine condition.[14]

text: The Russian Fobos-Grunt was a failed sample-return mission that was supposed to return samples from Phobos, one of the moons of Mars. It was launched on November 8, 2011. However, the probe failed to leave Earth orbit and crashed after several weeks into the southern Pacific Ocean.[15][16]

text: Current missions[edit]

text: The Japan Aerospace Exploration Agency (JAXA) launched the improved Hayabusa2 space probe on December 3, 2014 and plans to return asteroid samples by 2020. Hayabusa2 arrived at the target asteroid  C-type asteroid 162173 Ryugu (formerly designated 1999 JU3) on 27 June 2018[17]. It is expected to survey the asteroid, which is a near-Earth asteroid, for a year and a half during which time it will collect samples multiple times, depart in December 2019, and return the samples to Earth in December 2020.[18]

text: The OSIRIS-REx mission was launched in September 2016 on a mission to return samples from the asteroid 101955 Bennu.[19][20] The samples are expected to enable scientists to learn more about the time before the birth of the Solar System, initial stages of planet formation, and the source of organic compounds that led to the formation of life.[21]

text: Future missions[edit]

text: This section needs attention from an expert in Solar System or Spaceflight. See the talk page for details. WikiProject Solar System or WikiProject Spaceflight may be able to help recruit an expert. (October 2012)

text: There were plans to launch a Mars Sample Return (MSR) mission in 2004, but following the twin-failures of the Mars Climate Orbiter and Mars Polar Lander, MSR was cancelled. NASA has long planned a Martian sample-return mission, but has yet to secure the budget to successfully design, build, launch, and land a probe that would do just that. There have been mission proposals in the past, but most have not made it far beyond the drawing boards. The mission remained on NASA's roadmap for planetary science as of the 2013 Planetary Science Decadal Survey.[23] A Mars sample-return mission in collaboration with Europe (as part of the Aurora programme) was proposed launch around 2018. Due to budget cuts at NASA, the future of this mission is uncertain.[needs update]

text: China is planning to conduct a Chang'e 5 lunar sample return around 2019. If successful, it would make the first lunar sample return in over 40 years. Russia has plans for Luna-Grunt mission to return samples from the Moon by 2021 and Mars-Grunt to return samples from Mars 5–10 years later. Also, Russia plans to repeat Fobos-Grunt mission near 2024.

text: In September 2012, NASA announced concept studies on several strategies of returning a sample of Mars to Earth—including a multiple-launch scenario, a single-launch scenario and a multiple-rovers scenario—for a mission beginning as early as 2018.[24] JAXA is developing the MMX mission, a sample-return mission to Phobos that will be launched in 2024.[25] Of the two moons, Phobos's orbit is closer to Mars and its surface may have adhered particles blasted from the red planet; thus the Phobos samples collected by MMX may contain material originating from Mars itself.[26]

text: China has plans for a Mars sample-return mission by 2030.[27][28] Also, the Chinese Space Agency is designing a sample-retrieval mission from Ceres that would take place during the 2020s.[29]

text: Methods of sample return[edit]

text: Sample-return methods include, but are not restricted to the following:

text: Collector array[edit]

text: A collector array may be used to collect millions or billions of atoms, molecules, and fine particulates by using a number of wafers made of different elements. The molecular structure of these wafers allows the collection of various sizes of particles. Collector arrays, such as those flown on Genesis, are ultra-pure in order to ensure maximal collection efficiency, durability, and analytical distinguishability.

text: Collector arrays are useful for collecting tiny, fast-moving atoms such as those expelled by the Sun through solar wind, but can also be used for collection of larger particles such as those found in the coma of a comet. The NASA spacecraft known as Stardust implemented this technique. However, due to the high speeds and size of the particles that make up the coma and the area nearby, a dense solid-state collector array was not viable. As a result, another means for collecting samples had to be designed as to preserve the safety of the spacecraft and the samples themselves.

text: Aerogel[edit]

text: Aerogel is a silicon-based porous solid with a sponge-like structure, 99.8% of whose volume is empty space. Aerogel has about 1/1000 of the density of glass. An aerogel was used in the Stardust spacecraft because the dust particles the spacecraft was to collect would have an impact speed of about 6 km/s.[30] A collision with a dense solid at that speed could alter their chemical composition or perhaps vaporize them completely.

text: Since the aerogel is mostly transparent, and the particles leave a carrot-shaped path once they penetrate the surface, scientists can easily find and retrieve them. Since its pores are on the nanometer scale, particles, even ones smaller than a grain of sand, do not merely pass through the aerogel completely. Instead, they slow to a stop and then are embedded within it.

text: The Stardust spacecraft has a tennis-racket-shaped collector with aerogel fitted to it. The collector is retracted into its capsule for safe storage and delivery back to Earth. Aerogel is quite strong and easily survives both launching and outer-space environments.

text: Robotic excavation and return[edit]

text: Some of the most risky and difficult types of sample-return missions are those that require landing on an extraterrestrial body such as an asteroid, moon, or planet. It takes a great deal of time, money, and technical ability in order to even initiate such plans. It is a difficult feat that requires that everything from launch to landing to retrieval and launch back to Earth be planned out with high precision and accuracy.

text: This type of sample return, although having the most risks, is the most rewarding for planetary science. Furthermore, such missions carry a great deal of public outreach potential, which is an important attribute for space exploration when it comes to public support. The only successful robotic sample-return missions of this type have been the Soviet Luna landers.[citation needed]

text: List of missions[edit]

text: Crewed missions[edit]

text:
Launch date

Operator

Name

Sample origin

Samples returned

Recovery date

Mission result

16 July 1969

 United States

Apollo 11

Moon

22 kilograms (49 lb)

24 July 1969

Successful

14 November 1969

 United States

Apollo 12

Moon

34 kilograms (75 lb)

24 November 1969

Successful

11 April 1970

 United States

Apollo 13

Moon

—

17 April 1970

Failed

31 January 1971

 United States

Apollo 14

Moon

43 kilograms (95 lb)

9 February 1971

Successful

26 July 1971

 United States

Apollo 15

Moon

77 kilograms (170 lb)

7 August 1971

Successful

16 April 1972

 United States

Apollo 16

Moon

95 kilograms (209 lb)

27 April 1972

Successful

7 December 1972

 United States

Apollo 17

Moon

111 kilograms (245 lb)

19 December 1972

Successful

22 March 1996

 United States /  Russia

Earth-Orbital Debris Collection

Low Earth orbit

Particles

6 October 1997

Successful[31]

14 April 2015

 Japan /  United States

Tanpopo mission

Low Earth orbit

Particles

February 2018[32]

Successful

text: Robotic missions[edit]

text:
Launch date

Operator

Name

Sample origin

Samples returned

Recovery date

Mission result

14 June 1969

 Soviet Union

Luna E-8-5 No. 402

Moon

 —

 —

Failure

13 July 1969

 Soviet Union

Luna 15

Moon

 —

 —

Failure

23 September 1969

 Soviet Union

Cosmos 300

Moon

 —

 —

Failure

22 October 1969

 Soviet Union

Cosmos 305

Moon

 —

 —

Failure

6 February 1970[7]

 Soviet Union

Luna E-8-5 No. 405

Moon

 —

 —

Failure

12 September 1970

 Soviet Union

Luna 16

Moon

101 grams (3.6 oz)

24 September 1970

Success

2 September 1971

 Soviet Union

Luna 18

Moon

 —

 —

Failure

14 February 1972

 Soviet Union

Luna 20

Moon

55 grams (1.9 oz)

25 February 1972

Success

2 November 1974

 Soviet Union

Luna 23

Moon

 —

 —

Failure

16 October 1975

 Soviet Union

Luna E-8-5M No. 412

Moon

 —

 —

Failure

9 August 1976

 Soviet Union

Luna 24

Moon

170 grams (6.0 oz)

22 August 1976

Success

7 February 1999

 United States

Stardust

81P/Wild

Particles

15 January 2006

Success

8 August 2001

 United States

Genesis

Solar wind

Particles

9 September 2004

Success (partial)

9 May 2003

 Japan

Hayabusa

25143 Itokawa

Particles

13 June 2010

Success (partial)

8 November 2011

 Russia

Fobos-Grunt

Phobos

 —

 —

Failure

3 December 2014

 Japan

Hayabusa2

162173 Ryugu

 —

December 2020

Ongoing

8 September 2016

 United States

OSIRIS-REx

101955 Bennu

 —

2023

Ongoing

2019

 China

Chang'e 5

Moon

 —

2019

Planned

2024

 Japan

MMX

Phobos

 —

2029

Planned

text: Comet sample return[edit]

text: This section may require copy editing for non-standard characters, and incomplete and ungrammatical sentences.  (July 2018) (Learn how and when to remove this template message)

text: Various comets have been studied for sample return including:[33] The Stardust mission returned coma samples, Deep Impact collided with a nucleus, and Rosetta's lander landed, but to date no sample return mission has been conducted. Scavenging space dust for comet debris

text:
9P/Tempel 1 (Deep Impact target)
19P/Borrelly (DS1 target)
81P/Wild 2 (Stardust target)
67P/Churyumov–Gerasimenko (Rosetta target and possibly also CAESAR propoal)
21P/Giacobini-Zinner (ICE target)
22P/Kopff (CRAF target (not launched))
6P/d'Arrest (in-fulfilled target of the lost CONTOUR)
43P/Wolf-Harrington
46P/Wirtanen (former target of Rosetta)


document_title: Life imprisonment in South Africa

question_text: how long is life in prison in south africa

text: Life imprisonment in South Africa

text: Life imprisonment in South Africa has an indeterminate length and may last for the remainder of the offender's life. It is a mandatory punishment for premeditated murder, gang rape, serial rape and rape where the rapist knew they were HIV positive or if the victim was under 18 and/or mentally disabled. In certain circumstances, robberies and hijackings (and aircraft hijacking) also carry a mandatory life sentence.

text: Section 51 of South Africa's Criminal Law Amendment Act of 1997 prescribes the minimum sentences for other types of murders, rapes and robberies to 25, 15 and 10 years respectively, so parole is almost always granted to prisoners serving life sentences after the minimum sentence for the lesser crime has been served. However, a prisoner must be given a parole hearing after having served 25 years.

text: In special cases, life imprisonment without any possibility of parole or pardon for an extensively long period of time (such as 1,000 years) can be imposed, such as in the case of serial killer Moses Sithole.


document_title: List of Billboard Hot 100 number-one singles of 2017

question_text: what was the number one song on august 31st 2017

text: The Billboard Hot 100 is a chart that ranks the best-performing songs in the United States. Its data, published by Billboard magazine and compiled by Nielsen SoundScan, is based collectively on each song's weekly physical and digital sales, as well as the amount of airplay received on American radio stations and streaming on online digital music outlets.

text: During 2017, eleven singles reached number one on the Hot 100; a twelfth single, "Black Beatles" by Rae Sremmurd featuring Gucci Mane, began its run at number one in November 2016. Of those eleven number-one singles, six were collaborations. In total, nineteen acts topped the chart as either lead or featured artists, with twelve—Daft Punk, Migos, Lil Uzi Vert, Ed Sheeran, DJ Khaled, Quavo, Chance the Rapper, Luis Fonsi, Daddy Yankee, Cardi B, Post Malone, and 21 Savage—achieving their first Hot 100 number-one single. "Despacito" by Luis Fonsi and Daddy Yankee featuring Justin Bieber was the longest-running number-one of the year, leading the chart for sixteen weeks and tying the record for longest-running number-one single in the history of the chart; despite this, Ed Sheeran's "Shape of You" topped the Billboard Year-End Hot 100.

text: Chart history[edit]

text:
Key

Indicates best-performing single of 2017[1]

text:
Issue date

Song

Artist(s)

Reference(s)

January 7

"Starboy"

The Weeknd featuring Daft Punk

[2]

January 14

"Black Beatles"

Rae Sremmurd featuring Gucci Mane

[3]

January 21

"Bad and Boujee"

Migos featuring Lil Uzi Vert

[4]

January 28

"Shape of You"

Ed Sheeran

[5]

February 4

"Bad and Boujee"

Migos featuring Lil Uzi Vert

[6]

February 11

[7]

February 18

"Shape of You"

Ed Sheeran

[8]

February 25

[9]

March 4

[10]

March 11

[11]

March 18

[12]

March 25

[13]

April 1

[14]

April 8

[15]

April 15

[16]

April 22

[17]

April 29

[18]

May 6

"Humble."

Kendrick Lamar

[19]

May 13

"That's What I Like"

Bruno Mars

[20]

May 20

"I'm the One"

DJ Khaled featuring Justin Bieber, Quavo, Chance the Rapper and Lil Wayne

[21]

May 27

"Despacito"

Luis Fonsi and Daddy Yankee featuring Justin Bieber

[22]

June 3

[23]

June 10

[24]

June 17

[25]

June 24

[26]

July 1

[27]

July 8

[28]

July 15

[29]

July 22

[30]

July 29

[31]

August 5

[32]

August 12

[33]

August 19

[34]

August 26

[35]

September 2

[36]

September 9

[37]

September 16

"Look What You Made Me Do"

Taylor Swift

[38]

September 23

[39]

September 30

[40]

October 7

"Bodak Yellow (Money Moves)"

Cardi B

[41]

October 14

[42]

October 21

[43]

October 28

"Rockstar"

Post Malone featuring 21 Savage

[44]

November 4

[45]

November 11

[46]

November 18

[47]

November 25

[48]

December 2

[49]

December 9

[50]

December 16

[51]

December 23

"Perfect"

Ed Sheeran duet with Beyoncé

[52]

December 30

[53]


document_title: Karnataka State Human Rights Commission

question_text: who appoints the members of state human rights commission in india

text: Karnataka State Human Rights Commission

text:
Karnataka State Human Rights Commission
ಕರ್ನಾಟಕ ರಾಜ್ಯ ಮಾನವ ಹಕ್ಕು ಆಯೋಗ

Agency overview

Formed
28 June 2005 (Notification: LAW 20 LAG 05)

Preceding agency
National Human Rights Commission of India

Legal personality
Governmental: Government agency

Jurisdictional structure

Federal agency
India

Size
191,791 km2 (74,051 sq mi)

Population
61,130,704 (2011)

General nature

Federal law enforcement
Civilian agency

Operational structure

Headquarters
Bangalore (Bengaluru) , Karnataka

Agency executives

Smt. Meera C Saksena, Acting Chairperson
Shri. C.G Hungund, Member

Website

Official website

text: The Karnataka State Human Rights Commission was formally constituted by the Government order No. LAW 20 LAG 05 dated 28 June 2005. However, the present chairperson and members were appointed by the Governor of Karnataka vide notification No. LAW 17 HRC 2005 Dt. 23.07.2007 & 28.07.2007 [1]

text: Functions[edit]

text: According to TPHRA, 1993[2] (with amendment act 2006), the commission is entitled to perform any of the following functions:

text: Autonomously investigate on a petition filed by a victim or any person on his/her behalf as a complaint of

text:
Violation of human rights and instigation or
Negligence in the prevention of such violations by any public servant.

text:
Get involved in any proceeding under allegation or violation of human right pending before a court with the approval of that court.
Inspect living conditions of the inmates in any jail or any other institution under the control of the State Government where persons are detained or lodged for purposes of treatment, reformation or protection.
Review the safeguards provided in the constitution or any other law for the time it is in force to ensure the protection of human rights
Review the factors that inhibit the enjoyment of human rights
Undertake and promote research and awareness programs in the field of human right
Promote human right awareness through literacy campaigns, publications, seminars etc. for the protection and safeguards available under human rights practices.
Encourage involvement of Non-Government Organizations and individuals for expansion work in the field of human rights awareness.
Perform any other functions that may be considered necessary for the promotion of human rights.

text: It is clarified that though the Commission has the power to inquire in violation of human rights (or instigation thereof) by a public servant. Instances where the human rights are violated by any individual citizen then the Commission can intervene, if there is failure or negligence on the part of a public servant to prevent any such violation.

text: Judicial Powers[edit]

text: While enquiring into the complaint, the Commission is vested with all the powers of a civil court in the matter of trial of a suit under the Code of Civil Procedure 1908. In particular, it has power to -

text:
Summon and enforce the attendance of witnesses and examine them on oath;
Order discovery and production of any document;
Receive evidence on affidavits;
Demand any public record from any court or office; and
Issue Commission for examination of witnesses or documents.

text:
The Commission has its own investigating staff headed by police officer of the rank of Inspector General for investigating into complaints of human rights violation. It is also open to the Commission to utilize the office of any officer or investigating agency of a Central Government or State Government. It can also associate NGOs in their investigation work.
The Commission while enquiring into the complaints of violation of human rights may call for information or report from the Central Government or State Government or any other authority or organization subordinate to them within the time specified. If the information or report is not received within the specified time, the Commission may proceed to enquire into complaint on its own. If on the receipt of information or report the Commission is satisfied that no further enquiry is required or that the required action has been initiated or taken by the concerned government or authority it may not proceed with the complaint.
Where the enquiry discloses commission of violation of human rights or failure or negligence in the prevention of violation of human rights by a public servant, it may recommend to the concerned government or authority, initiation of proceeding or prosecution or such other action as the Commission may deem fit against the concerned person or persons.
The Commission may also approach the Supreme Court or the High Court for such direction, orders or writs as may be deemed necessary. The Commission may also recommend to the concerned government or authority grant of relief to the victim or members of his family as the Commission may consider necessary.
The concerned government or authority, as the case may be, has to intimate the action taken on the report or on recommendation of the Commission within a period of one month.
Jurisdiction of the Commission ordinarily extends to violation of human rights or negligence in the prevention of violation of human rights in the State. However, even where such violation or negligence/ failure to prevent such violation takes place outside the State, in appropriate cases the Commission may either entertain the complaint or initiate action on its own initiative (suo motu) provided the National Human Rights Commission or the State Human Rights Commission of the concerned State (where violation or negligence/ failure to prevent the violation had taken place) has not initiated any proceeding with respect to such violation or negligence/ failure to prevent it.


question_text: who played the warden in cool hand luke

question_tokens: who played the warden in cool hand luke

text:
"What we've got here is failure to communicate"

The Captain (Strother Martin) delivers the quote.

Character
The Captain
Luke

Actor
Strother Martin
Paul Newman

First used in
Cool Hand Luke

Voted No. 11 in AFI's 100 Movie Quotes poll

text: The phrase "What we've got here is failure to communicate"[1] is a quotation from the 1967 film Cool Hand Luke, spoken in the movie first by Strother Martin (as the Captain, a prison warden) and, later, paraphrased by Paul Newman (as Luke, a stubborn prisoner).

text: The context of the first delivery of the line is:

text: The Captain's line is often misquoted as "What we have here is a failure to communicate".[2] This is actually a quote by Zero Mostel in the 1969 comedy movie The Great Bank Robbery.

text: Towards the end of the movie, Luke takes a final stab at freedom – stealing a dump truck and taking flight. After his dramatic escape from the Florida chain gang prison, Luke abandons the truck and enters a church, only to be surrounded by police moments later. Feeling that his life is no longer worth living, he walks to a window facing the police and mocks the Captain by repeating the first part of his speech ("What we got here is a failure to communicate.").[2] He is immediately shot in the neck by Boss Godfrey.

text: The phrase ranks at number 11 on the American Film Institute list, AFI's 100 Years... 100 Movie Quotes.[1]

text: In popular culture[edit]

text:
When Strother Martin hosted Saturday Night Live on April 19, 1980 (his last television appearance before his death that August), Martin, in one of the skits, played the strict owner of a French language camp for children, parodying his Cool Hand Luke role. He paraphrased his line from the movie as, "What we have here is failure to communicate BI-LINGUALLY!"
Guns N' Roses included the quotation, sampled from Martin's speech in the film, in the opening of their song "Civil War" (1990), and later remixed it in "Madagascar" (2008).[3][4][5]
Hank Moody, portrayed by David Duchovny, quotes this phrase in Californication (TV series)'s Season 2, Episode 11, "Blues from Laurel Canyon".