document_title: The Book of Life (2014 film)

question_text: what is the name of the pig in the book of life

text: The Book of Life (2014 film)

text: Plot[edit]

text: Mary Beth, a museum tour guide, takes a group of school detention students on a secret museum tour, telling them, with wooden figures, the story of a Mexican town called San Angel from the Book of Life, holding every story in the world.

text: On the Day of the Dead, La Muerte, ruler of the Land of the Remembered, and Xibalba, ruler of the Land of the Forgotten, set a wager for their own worlds after seeing Manolo Sánchez and Joaquín Mondragon competing over María Posada. La Muerte bets on Manolo while Xibalba bets on Joaquín. However, Xibalba cheats by giving Joaquín his Medal of Everlasting Life, granting the wearer invincibility. María frees a herd of captive pigs, resulting her being sent to a boarding school in Spain. Parting ways, Manolo gives her one of the rescued baby pigs, which he named Chuy, and she gives him a guitar engraved with the phrase "Always play from the heart".

text: Years later, Manolo's dreams are suppressed by his father Carlos, who trains him to be a bullfighter to honor their family, while Joaquín becomes a hero with the Medal's aid. On Manolo's first bullfight, María returns. Manolo defeats the bull but refuses to kill it, dismaying Carlos and the crowd but impressing María. That night, María is pressured by her father and mayor, General Ramiro Posada, to marry Joaquín for his protection from the Bandit King Chakal. María and Manolo both profess their love before dawn but are interrupted when Xibalba sends his dual-headed snake staff who bites her once and sends her into a coma. Devastated by María's apparent death, Manolo allows Xibalba to kill him, believing he will be reunited with María in death.

text: At the Land of the Remembered, Manolo reunites with his mother Carmen and his ancestral family. They travel to La Muerte's castle, discovering Xibalba, now the new ruler of the Land of the Remembered, who explains the bet and that the snake only killed him. María awakens (thanks to Joaquín's Medal), learns of Manolo's death, and accepts Joaquín's proposal, despite Joaquín's protestation. Manolo, Carmen, and his grandfather Luis, travel to the Cave of Souls to reach La Muerte. Inside, they meet the Candle Maker, the overseer of mortal lives and the Book of Life's keeper. After seeing that Manolo's story in the Book of Life is blank and can be rewritten by himself, he takes them to the Land of the Forgotten. They find La Muerte at Xibalba's previous castle and expose his cheating. Furious, La Muerte lectures Xibalba before offering a new wager at Manolo's request: Manolo's life will be returned if he completes a challenge of Xibalba's choosing, but if he fails, he will be forgotten and Xibalba will keep both realms. Xibalba sets Manolo against a giant bull skeleton made from the skeletons of every bull slain by the Sanchez family, believing that to be his greatest fear.

text: In the Land of the Living, Chakal leads his army to San Angel (in middle of María and Joaquín's wedding) to find the Medal, which was previously his. Chakal kills Carlos, who arrives in the Land of the Remembered in time to see Manolo's fight. Manolo, realizing his fear is actually that of being himself, refuses to fight and instead sings an apology to the bull, appeasing it and touching his family, even the deities (especially Xibalba). Impressed, the deities restore Manolo to life and send him and his family to San Angel to protect it from Chakal and his army. Manolo is knocked unconscious when Chakal destructs himself, but he is protected by the Medal, which Joaquín had slipped him earlier. Joaquín returns it to Xibalba and resolves to be a true hero, while Manolo and María are happily married as Xibalba and La Muerte reconcile.

text: In the present, Mary Beth finishes the story, and the now-amazed children leave the museum. Mary Beth and an elderly security guard named Guicho reveal themselves to be La Muerte and Xibalba in disguise (and still very much in love). The Candle Maker appears and encourages the audience by showing them the Book of Life and telling them to write their own story.

text: Cast[edit]

text:
Diego Luna as Manolo Sánchez,[1] a torero with a guitar and two swords, and the youngest in a family of skilled bullfighters.

Emil-Bastien Bouffard as a young Manolo.
Joe Matthews as young Manolo's singing voice.

Zoe Saldana as María Posada, Manolo and Joaquín's best friend and love interest. She is also General Ramiro Posada's daughter.[1]

Genesis Ochoa as a young María

Channing Tatum as Joaquín Mondragon Jr., a young man who is Manolo's closest friend and the town hero of San Angel.[1]

Elias Garza as a young Joaquín

Ice Cube as the Candle Maker, a being who oversees the lives and stories of the living through candles and the Book of Life, which he also oversees.[1][7]
Ron Perlman as Xibalba, the ruler of the Land of the Forgotten and La Muerte's husband.[1]
Kate del Castillo as La Muerte, the ruler of the Land of the Remembered and Xibalba's wife.[1]

Christina Applegate as Mary Beth,[8] a museum tour guide, the story's narrator and one of La Muerte's disguises. [1]
Tonita Castro as La Muerte disguised as an old woman.

Héctor Elizondo as Carlos Sánchez, Manolo's well-meaning yet extremely harsh father.[9]
Ana de la Reguera as Carmen Sánchez, Manolo's deceased mother. She was credited as "Skeleton Carmen".[9]
Danny Trejo as Luis Sánchez, Manolo's deceased grandfather. He was credited as "Skeleton Luis".[9]
Grey Griffin as Grandma Anita Sanchez, Manolo's short great-grandmother who later dies due to cholesterol problems.
Carlos Alazraqui as General Ramiro Posada, Maria's father, who serves as the mayor of San Angel and the general of its army.

Alazraqui also voices Dali
Alazraqui also provides the vocal effects for Chuy, María's loyal pig pet who thinks that he is a goat.

Plácido Domingo as Jorge Sánchez, Manolo's deceased great-granduncle who wears an eyepatch over his left eye and swords on his right arm and left leg. He was credited as "Skeleton Jorge".[9]
Jorge R. Gutierrez as Carmelo Sánchez, Manolo's deceased tall and burly Aztec ancestor. He was credited as "Skeleton Carmelo".
Gabriel Iglesias as Pepe Rodríguez, Joaquín's larger brother.[9]
Cheech Marin as Pancho Rodríguez, Joaquin's medium-sized brother.[9]
Ricardo Sánchez as Pablo Rodriguez, Joaquin's short brother.[9]
Dan Navarro as Chakal, the Bandit King.[1]
Eugenio Derbez as Chato, a member and second of Chaka's group of bandits.[9]
Anjelah Johnson as Adelita, one of Manolo's deceased cousins and Scardelita's twin sister who perished during the Mexican Revolution while protecting Emiliano Zapata.[10]
Sandra Equihua as Scardelita, one of Manolo's deceased cousins and Adelita's twin sister who wears an eyepatch. She perished during the Mexican Revolution while protecting Emiliano Zapata.[10]
Miguel Sandoval as the Land of the Remembered Captain, the guide to the Land of the Remembered and the resident that Manolo meets first.
Angélica María Hartman Ortiz as Sister Ana, a Catholic sister who works in San Angel's church.
Sandra Echeverría as Claudia, a beautiful woman at San Angel and one of Joaquín's biggest fans.
Trey Bumpass as Luka Ramirez, a Mexican-American goth boy and one of the detention students in the present world who listens to Manolo's story from Mary Beth. He was credited as "Goth Kid".

Bumpass also voices an orphan in San Angel

Kennedy "KK" Peil as Sasha, a little Russian-American girl and one of the detention students in the present world who listens to Manolo's story from Mary Beth.
Ishan Sharma as Sanjay, an Indian-American boy and one of the detention students in the present who listens to Manolo's story from Mary Beth.
Callahan Clark as Jane, a Chinese-American girl and one of the detention students in the present who listens to Manolo's story from Mary Beth.
Eric Bauza as Father Domingo, a priest that works in San Angel's church.

Bauza also voices the Cave Guardian, the guardian of the Cave of Souls.

Aron Warner as Thomas, a male museum tour guide.
Troy Evans as Old Man Hemingway, an old man who lived at San Angel.
Guillermo del Toro as the Land of the Remembered Captain's Wife, the unnamed wife of the Land of Remembered Captain who died of a broken heart.
Brad Booker as a train conductor

text: Production[edit]

text: The Book of Life was originally optioned by DreamWorks Animation in 2007, but never went beyond development because of "creative differences".[6] From there the film went to Reel FX,[11] with 20th Century Fox handling distribution rights. The film was initially given a release date of October 10, 2014;[12] however, this was eventually moved back by a week.[13] On October 16, 2013, it was announced that Channing Tatum, Zoe Saldana, Diego Luna and Christina Applegate would star as voice actors in the film.[9]

text: Jorge Gutierrez, co-creator of Nickelodeon's El Tigre: The Adventures of Manny Rivera, wanted to make the final animation look like the concept artwork saying: "I saw every single one that comes out and my biggest heartbreak is that I see all this glorious art, and then the movie doesn't look like that! The mandate of this movie was: Our 'Art of' book is going to look exactly like the movie. And every artist poured their heart and soul into that idea."[14] Gutierrez did not permit his animation team to go on any research trips to Mexico, feeling that such trips often only covered very touristy aspects of the culture. Instead he had the team address any questions they had about the region to him.[15]

text: Release[edit]

text: The Book of Life made its world premiere in Los Angeles on October 12, 2014.[16] It was released on October 17, 2014 in North America.[17]

text: Home media[edit]

text: The Book of Life was released on DVD, Blu-ray and Blu-ray 3D on January 27, 2015 by 20th Century Fox Home Entertainment.[18] The special features included a 3-minute[19] short animated film, titled The Adventures of Chuy.[18]

text: Music[edit]

text:
The Book of Life

Soundtrack album by Gustavo Santaolalla

Released
September 26, 2014

Recorded
2014

Genre
Film score

Length
37:34

Label
Sony Masterworks

Gustavo Santaolalla film scores chronology

Wild Tales
(2014)Wild Tales2014
The Book of Life
(2014)

text: In April 2013, it was announced Gustavo Santaolalla and Paul Williams would be adapting pop songs for the film.[20] The soundtrack was released on September 29, 2014, on iTunes,[21] and was released on CD on October 27, 2014, by Sony Masterworks.[22]

text:
No.
Title
Performer
Length

1.
"Live Life"
Jesse & Joy
3:05

2.
"The Apology Song"
La Santa Cecilia
2:32

3.
"No Matter Where You Are"
Us The Duo
2:58

4.
"I Love You Too Much"
Diego Luna & Gustavo Santaolalla
2:35

5.
"I Will Wait"
Diego Luna, Joe Matthews & Gustavo Santaolalla
1:55

6.
"Más"
Kinky
4:20

7.
"Cielito Lindo"
Plácido Domingo
0:25

8.
"Creep"
Diego Luna & Gustavo Santaolalla
1:20

9.
"Can't Help Falling in Love"
Diego Luna
0:52

10.
"The Ecstasy of Gold"
Gustavo Santaolalla
2:05

11.
"Da Ya Think I'm Sexy?"
Gabriel Iglesias & Gustavo Santaolalla
0:20

12.
"Just a Friend"
Biz Markie & Cheech Marin
2:49

13.
"El Aparato / Land of the Remembering"
Café Tacuba & Gustavo Santaolalla
1:46

14.
"Visiting Mother"
Gustavo Santaolalla
1:43

15.
"The Apology Song"
Diego Luna & Gustavo Santaolalla
2:52

16.
"No Matter Where You Are"
Diego Luna & Zoe Saldana
1:37

17.
"Te Amo y Más"
Diego Luna & Gustavo Santaolalla
2:36

18.
"Si Puedes Perdonar"
Diego Luna & Gustavo Santaolalla
1:44

Total length:
37:34

text: Reception[edit]

text: Box office[edit]

text: The Book of Life grossed $50.2 million in North America and $49.6 million in other countries for a worldwide total of $99.8 million, against a production budget of $50 million.[5]

text: The Book of Life was released in the United States and Canada on October 17, 2014.[23][24] The film earned $300,000 from Thursday late night showings from 2,150 theatres[25][26] and $4.9 million on its opening day.[27][28] The film debuted at number three in its opening weekend earning $17 million at an average of $5,537 per theatre behind Fury ($23.5 million) and Gone Girl ($17.8 million).[29][30][31][32] The film played 57% female and 54% under the age of 25 years. It played 59% under 10-years old while 31% of tickets sold were in 3D.[33]

text: In other territories, The Book of Life earned $8.58 million from 3,654 screens in 19 markets. The highest debuts came from Mexico ($3.84 million) and Brazil ($1.98 million).[31] In Mexico, the film was number two behind the local film Perfect Dictatorship.[34]

text: Critical reception[edit]

text: On Rotten Tomatoes, the film has an approval rating of 82% based on 107 reviews, with an average rating of 7/10. The site's critical consensus reads "The Book of Life's gorgeous animation is a treat, but it's a pity that its story lacks the same level of craft and detail that its thrilling visuals provide."[35] On Metacritic, the film has a score of 67 out of 100, based on 27 critics, indicating "generally favorable reviews".[36]

text: Geoff Berkshire of Variety gave the film a positive review, saying "Repping a major step forward for Dallas-based Reel FX Animation Studios (after their anemic feature bow on last year's Free Birds), the beautifully rendered CG animation brings an unusually warm and heartfelt quality to the high-tech medium and emerges as the film's true calling card."[37] Frank Scheck of The Hollywood Reporter gave the film a positive review, saying "The Book of Life is a visually stunning effort that makes up for its formulaic storyline with an enchanting atmosphere that sweeps you into its fantastical world, or in this case, three worlds."[38] Simon Abrams of The Village Voice gave the film a negative review, saying "The Book of Life's hackneyed stock plot preaches tolerance while lamely reinforcing the status quo."[39] Marc Snetiker of Entertainment Weekly gave the film an A-, saying "Overflowing with hyperactive charm and a spectacular sea of colors, it showcases some of the most breathtaking animation we've seen this decade."[40] Claudia Puig of USA Today gave the film two and a half stars out of four, saying "The dizzying, intricate imagery is so beautiful, and the Latin-inspired songs catchy enough that the overall effect is often enchanting."[41] Sara Stewart of The New York Post gave the film two out of four stars, saying "Just in time for Mexico's Day of the Dead holiday comes this gloriously colorful animated musical, which almost (but not quite) makes up in visuals what it lacks in snappy dialogue."[42] Katie Rife of The A.V. Club gave the film a B-, saying "Ultimately, what drags The Book Of Life down is its insistence on trying to update an (original) folkloric story for a contemporary audience. In practice, this means adding some pop-cultural touches that only serve to take the viewer out of the fantastic setting."[43]

text: Michael Ordoña of the San Francisco Chronicle gave the film three out of five stars, saying "The vibrant animated feature The Book of Life is a cheeky celebration of Mexican folklore with a solid cast, an irreverent sensibility and gorgeous visuals."[44] Michael O'Sullivan of The Washington Post gave the film three out of five stars, saying "The Book of Life may use state-of-the-art animation, but it derives its strength from the wisdom of antiquity. It only looks new, but it's as old as life (and death) itself.[45] Bill Goodykoontz of The Arizona Republic gave the film four out of five stars, saying "A visually stunning, funny movie that trusts children to deal with subject matter that many films don't: specifically, death."[46] Frank Lovece of Newsday gave the film three out of four stars, saying "Funny without being frantic, seamlessly switching from dry humor to slapstick, it shows death as a part of life -- and, judging from a preview audience of very young tykes, does so in a gentle, delightful way."[47] Manohla Dargis of The New York Times gave the film a negative review, saying "This often beautiful and too-often moribund, if exhaustingly frenetic, feature tends to be less energetic than the dead people waltzing through it."[48] Conversely, Charles Solomon of the Los Angeles Times gave the film a negative review, saying "The Book of Life juxtaposes overwrought visual imagery with an undernourished, familiar story - regrettable flaws in one of the few animated films to focus on Latino characters and the rich heritage of Mexican folk culture."[49] Marjorie Baumgarten of The Austin Chronicle gave the film two and a half stars out of five, saying "Visually arresting but dramatically rote, The Book of Life at least introduces American kids to the Mexican holiday of Día de los Muertos and should score points with families looking for kid-friendly movies that reflect aspects of their Mexican cultural heritage."[50]

text: Calvin Wilson of the St. Louis Post-Dispatch gave the film two and a half stars out of five, saying "The Book of Life is a flawed but intriguing new chapter in animation."[51] James Berardinelli of ReelViews gave the film three out of four stars, saying "The Book of Life moves breezily from one scene to the next, keeping the pace brisk and rarely skipping a beat."[52] Laura Emerick of the Chicago Sun-Times gave the film three out of four stars, saying "Whether en ingles o en espanol, The Book of Life is a delight. In an animated universe cluttered with kung-fu pandas, ice princesses and video-game heroes, Gutierrez and del Toro have conjured up an original vision."[53] Tasha Robinson of The Dissolve gave the film three and a half stars out of five, saying "It's all flawed, and distracted, and conceptually messy, prioritizing color over common sense and energy over consistency. But as an afternoon's diversion for a handful of misbehaving kids—both within the movie, and within the movie theater—it's authentically winning."[54] Michael Ordona of the San Francisco Chronicle gave the film a positive review, saying "There are no great surprises, no shocking reveals (except to the characters themselves). But there's so much to appreciate along the way that it's a real page-turner."[44] Kenji Fujishima of Slant Magazine gave the film two out of four stars, saying "Jorge R. Gutierrez subsumes the film's darker themes in a relentlessly busy farrago of predictable kids'-movie tropes and annoying attempts at hipness."[55] Ben Sachs of the Chicago Reader gave the film a negative review, saying "This Pixar knockoff from 20th Century Fox is more imaginative than most, though like far too many of them, it's undone by a surfeit of glib one-liners and pop culture references."[56]

text: Accolades[edit]

text:
List of Awards and Nominations

Award
Category
Recipients and nominees
Results
Ref

42nd Annual Annie Awards
Best Animated Feature
The Book of Life
Nominated
[57]

Animated Effects in an Animated Production
Augusto Schillaci, Erich Turner, Bill Konersman, Chris Rasch, Joseph Burnette
Nominated

Character Design in an Animated Feature Production
Paul Sullivan, Sandra Equihua, Jorge R. Gutierrez
Won

Directing in an Animated Feature Production
Jorge R. Gutierrez
Nominated

Production Design in an Animated Feature Production
Simon Varela & Paul Sullivan
Nominated

4th Behind the Voice Actors Awards
Best Female Lead Vocal Performance in a Feature Film
Zoe Saldana
Nominated
[58]

Best Male Vocal Performance in a Feature Film in a Supporting Role
Ron Perlman
Nominated

Best Female Vocal Performance in a Feature Film in a Supporting Role
Kate del Castillo
Nominated

15th Black Reel Awards
Outstanding Voice Performance
Zoe Saldana
Nominated
[59]

30th Casting Society of America Awards
Outstanding Achievement in Casting - Animation Feature
Christian Kaplan
Nominated
[60]

13th Central Ohio Film Critics Association Awards
Best Animated Film
The Book of Life
Nominated
[61]

20th Critics' Choice Awards
Best Animated Feature
Nominated

4th Georgia Film Critics Association Awards
Best Animated Film
Nominated

72nd Golden Globe Awards
Best Animated Feature Film
Nominated
[62]

14th Golden Schmoes Awards
Best Animated Movie of the Year
Nominated
[63]

Hollywood Music in Media Awards
Best Original Score - Animated Film
Gustavo Santaolalla
Nominated
[64]

Outstanding Music Supervision - Film
John Houlihan
Nominated

8th Houston Film Critics Society Awards
Best Animated Film
The Book of Life
Nominated
[61]

6th International 3D & Advanced Imaging Society Awards
3D Feature - Animated
Nominated
[65]

62nd MPSE Golden Reel Awards
Best Sound Editing - Animated Feature
Nominated
[66]

46th NAACP Image Awards
Outstanding Character Voice-Over Performance
Zoe Saldana
Nominated
[67]

26th Producers Guild of America Awards
Best Outstanding Producer of Animated Theatrical Motion Pictures
Guillermo del Toro and Brad Booker
Nominated
[68]

19th Satellite Awards
Best Animated or Mixed Media Feature
The Book of Life
Nominated
[69]

11th St. Louis Film Critics Association Awards
Best Animated Film
Nominated
[61]

13th Visual Effects Society Awards
Outstanding Created Environment in an Animated Feature Motion Picture
"Magical Land of the Remembered"
Glo Minaya, Amy Chen, Sean McEwan, Jeff Masters
Nominated
[70]

13th Washington D.C. Area Film Critics Association Awards
Best Animated Feature
The Book of Life
Nominated
[61]

text: Sequels[edit]

text: Director Jorge Gutierrez revealed in an interview that one of the ideas for the next chapter in the story involves Joaquin and his relationship with his father. "I had always imagined the first movie to be about Manolo, the second to be about Joaquín and the third one to be about Maria...I've always conceived it as a trilogy."[71] In June 2017, Gutierrez and Reel FX Animation announced that the development on the sequel had begun.[72]


document_title: Death Note (2017 film)

question_text: who does the demon voice in death note

question_tokens: who does the demon voice in death note

root

text: Death Note (2017 film)

text: Plot[edit]

text: In Seattle, high school student Light Turner encounters a notebook marked "Death Note". He is visited by the death god Ryuk, who tells him that he can cause the death of anyone he wishes by writing their name in the book, as long as he knows their real name and face. Ryuk coaxes Light into testing it out on a bully. The bully is decapitated in a freak accident shortly afterwards. That evening, Light is compelled to write down the name of Antony Skomal, the man who killed his mother in a hit and run. Skomal dies in a similar freak accident at a restaurant. Ryuk explains other rules of the Death Note, including the ability to control the actions of the victim for up to 48 hours after their name is written before they die. Classmate Mia Sutton asks Light about the Death Note, and he demonstrates how it works. She encourages Light to use the Death Note with her to rid the world of criminals, improving the world together. They decide to work together under the guise of a god they call "Kira", using the book's coercion powers to have their victims reveal this name to the world.

tag: p

text: Kira becomes beloved by the public, as its killings are seen as righteous by the majority of law enforcement, and Light and Mia become lovers. Kira's actions draw the attention of "L", an enigmatic detective who is able to track down Kira's location to Seattle and his source to the city's police database. L and his assistant/father-figure Watari travel to Seattle and meet with James Turner, the chief of police and Light's father, to discuss how they will catch Kira. L gives a televised speech with his face concealed, taunting Kira to kill him, and when this fails to happen, L suspects that Kira must know a person's name and face to kill.

text: L has FBI agents follow Light and other suspects. Mia suggests killing the agents, but Light refuses. The FBI agents thereafter commit mass suicide and Light accuses Ryuk of killing them. James appears on television and vows to apprehend Kira. Mia urges Light to kill him for the greater good, but Light can't bring himself to do it. When James is not killed, L comes to the conclusion that Light must be Kira. L confronts Light, revealing his face to him. Realizing that L is closing in on him and with Mia motivating him, Light uses the Death Note to force Watari to uncover L's real name. As Ryuk explains, Light can burn the page with Watari's name on it within the 48 hours to cancel his impending death; however, this method can only be used to save a victim of the Death Note once. Watari leaves suddenly for the abandoned New York orphanage where he found L years before; L learns Watari has disappeared and orders Light's house to be searched; he finds nothing, as Mia was able to sneak the Death Note out.

text: Knowing that Light is still being followed, Mia helps him to sneak away at the school dance, allowing him to collect the Death Note and contact Watari via phone. Watari finds L's records moments before the 48-hour deadline, but Light finds Watari's page missing. Watari is then shot and killed by unknown soldiers before he can reveal L's name. Mia reveals that she used the Death Note to kill the FBI agents in order to protect herself and Light, took Watari's page, and has also written Light's name in the book, giving him until midnight before his heart stops. She offers to burn Light's page if he gives the Death Note to her, as she believes he is not capable of making the right decisions for the good of society. Meanwhile, L is devastated by Watari's death and goes on his own manhunt for Light.

text: Light tells Mia to meet him at the Seattle Great Wheel where he will turn over the book, and then flees from police, who are closing in on him. L catches up to him and prepares to kill him, but a passerby knocks L out after overhearing that Light is Kira. Pursued by police, Light meets Mia and takes her to the top of the ferris wheel. Light tries to convince Mia that they will be happier without the Death Note, at first seemingly dissuaded, Mia takes the Death Note when Light turns to look out, much to Light's intense dismay. Confused at first, she realised that Light must have wrote her name in the book, with her death contingent on her taking the Death Note from him. With both of them doomed, Ryuk causes the Ferris wheel to collapse. Mia falls to her death, while Light and the Death Note fall into the water. The page with Light's name on it drifts into a burn barrel, an event witnessed by L. Though Light is rescued from the water, he has fallen into a coma.

text: Two days later, a man leaves the Death Note at Light's bedside. When Light wakes up, he finds his father there, who tells him he knows that Light is Kira. James explains that he found a news clipping about Skomal's death in Light's room and realized that he was Kira's first victim. Light explains that he used the Death Note at the school to plan out Mia's death in a way that would ensure his own page got burned if she took the Death Note. He also manipulated several criminals to induce him into a medical coma, having them use the Death Note during his comatose absence to give himself an alibi. With Kira continuing to kill while Light was in a coma, L is taken off the case and forced to return to Japan. As his plane is about to take off, he ponders a comment Light made during their standoff, realizing Mia's involvement, he stops the plane and races to her home to search her possessions. He finds the Death Note page with the names of the FBI agents she killed on it, and in a hysterical fit, contemplates writing a name on the page. Back in Light's hospital room, Ryuk appears, laughing. When Light asks him why he's laughing, he simply comments "You humans are so interesting".

text: Cast[edit]

text:
Nat Wolff as Light Turner / "Kira": A high-school student who discovers the titular "Death Note" and uses it to kill criminals by writing their names and causes of death, and thus, alongside Mia Sutton, becoming the world-famous serial killer known as "Kira", while praised by law enforcement.
Lakeith Stanfield as L: A highly intelligent and skilled—but also arrogant and unhinged—FBI agent who is obsessively determined to capture Kira and end his reign.
Margaret Qualley as Mia Sutton / "Kira": Light's classmate and love interest, who becomes an ally in his mission to rid the world of criminals, eventually seeking to kill those who seek to stop them and becoming dangerously obsessed with the book's power. In an interview with io9, Adam Wingard revealed that rather than being based on original manga character Misa Amane, Sutton as a character is based on the sociopathic qualities of Light Yagami.[2]
Shea Whigham as James Turner: Light's father and a police officer who aids L in bringing down the mysterious Kira, unaware that he is Light.
Paul Nakauchi as Watari: L's assistant and father-figure.
Willem Dafoe and Jason Liles as Ryuk: A demonic god of death and the creator of the Death Note, who begins communicating with Light when he receives the book and warns him about its repercussions. Liles played the character in costume, while Dafoe provided voice work and performance capture for the facial elements.

tag: ul

text: Production[edit]

text: In 2007, the Malaysian newspaper The Star stated that more than ten film companies in the United States had expressed interest in the Death Note franchise.[3] The American production company Vertigo Entertainment was originally set to develop the remake, with Charley and Vlas Parlapanides as screenwriters and Roy Lee, Doug Davison, Dan Lin, and Brian Witten as producers.[4] On April 30, 2009, Variety reported that Warner Bros., the distributors for the original Japanese live-action films, had acquired the rights for an American remake, with the original screenwriters and producers still attached.[5] In 2009, Zac Efron responded to rumors that he would be playing the film's lead role by stating that the project was "not on the front burner".[6] On January 13, 2011, it was announced that Shane Black had been hired to direct the film, with the script being written by Anthony Bagarozzi and Charles Mondry.[7] Warner's studios planned to change the background story of Light Yagami into one of vengeance instead of justice and to remove Shinigami from the story. Black opposed this change, and it had not been green-lit.[8] Black confirmed in a 2013 interview with Bleeding Cool that he was still working on the film.[9] In July 2014, it was rumored that Gus Van Sant would replace Black as the film's new director, with Dan Lin, Doug Davison, Roy Lee and Brian Witten producing through Vertigo Entertainment, Witten Pictures and Lin Pictures.[10]

text: On April 27, 2015, The Hollywood Reporter revealed that Adam Wingard would direct the film, that Lin, Lee, Jason Hoffs and Masi Oka would produce, and that Niija Kuykendall and Nik Mavinkurve would oversee the studio.[11] Producers stated the film would receive an R rating.[12] In April 2016, TheWrap reported that because Warner Bros. had decided to make fewer films, the studio put the film into turnaround but allowed Wingard to take the project elsewhere. Within 48 hours, Wingard was reportedly approached by nearly every major film studio.[13] On April 6, 2016, it was confirmed that Netflix had bought the film from Warner Bros. with a budget of $40–50 million and a recent draft of the script being written by Jeremy Slater. Production officially began in British Columbia on June 30, 2016, overseen by DN (Canada) Productions, Inc.[14][15][16][17][18]

text: Casting[edit]

text: On September 29, 2015, Nat Wolff was cast in the lead role.[19] On November 12, 2015, Margaret Qualley joined the film as the female lead.[20] In June 2016, Lakeith Stanfield joined the cast.[21] On June 30, 2016, it was announced that Paul Nakauchi and Shea Whigham had joined the cast.[22] On August 2, 2016, Willem Dafoe was announced to voice the Shinigami Ryuk.[23] In the wake of Dafoe's casting, Brian Drummond, who voiced Ryuk in the English dub of the anime, voiced his approval citing the casting of Ryuk.[24]

text: Early casting announcements, similar to other Hollywood productions based on Japanese manga such as Dragonball Evolution and Ghost in the Shell, resulted in accusations of whitewashing.[25][26] In response, producers Roy Lee and Dan Lin stated that "Our vision for Death Note has always been to...introduce the world to this dark and mysterious masterpiece. The talent and diversity represented in our cast, writing, and producing teams reflect our belief in staying true to the story's concept of moral relevance—a universal theme that knows no racial boundaries."[18] Oka announced that he also has a role in the film.[27] Atticus Ross and Leopold Ross composed the score for the film.

text: Wingard addressed the concerns over the film, explaining that the film is an American take on the Death Note story, stating, "It's one of those things where the harder I tried to stay 100 percent true to the source material, the more it just kind of fell apart... You're in a different country, you're in a different kind of environment, and you're trying to also summarize a sprawling series into a two-hour-long film. For me, it became about; what do these themes mean to modern day America, and how does that affect how we tell the story."[28]

text: Release[edit]

text: The film was released on Netflix on August 25, 2017. On July 20, 2017, the film was screened early for audiences at San Diego Comic-Con International 2017.

text: Marketing[edit]

text: On March 22, 2017, Netflix released a teaser of the film on YouTube.[29] An additional trailer was released on June 29, 2017.

text: Critical reception[edit]

text: Death Note received mixed to negative reviews, with critics calling it "a bad decision on top of a festering pile of bad decisions", "a lazy, unambitious, forgettable movie" and "boring",[30][31] though the direction and the cast received some praise.[31] On review aggregation website Rotten Tomatoes, the film has an approval rating of 40% based on 53 reviews, and an average rating of 4.6/10. The site's critical consensus reads, "Death Note benefits from director Adam Wingard's distinctive eye and a talented cast, but they aren't enough to overcome a fatally overcrowded canvas."[32] On Metacritic, which assigns a normalized rating to reviews, the film has a score of 43 out of 100, based on 14 critics, indicating "mixed or average reviews".[33]

text: Jeanette Catsoulis for The New York Times wrote that the film "feels rushed and constricted" compared to the volume of the source material, but praised how Wingard's direction focused on "mood over mayhem" to make the adaptation his own.[34] Peter Debruge for Variety said that he felt that Wingard took the film adaptation towards a Donnie Darko-styled work that would capture the interest of more Western audiences compared to the original work, but made the work capture the feel of a theatrical film rather than just a made-for-television work. Debruge also wrote that despite the philosophical concepts of murdering via the Death Note, "the movie never quite reckons with just how twisted a concept it’s peddling, and that’s easily the scariest thing about it".[35] Brian Tallerico for Rogerebert.com gave the film one of four stars, stating that the changes that Wingard had made from the original work did not serve any artistic or thematic purpose, nor captured the cat-and-mouse game between Light and L that was core to the original work, and because the producers "refused to make Light the antihero he needed to be", the addition of Mia as a love interest "[left] the project hollow at its center".[36]

text: Tsugumi Ohba and Takeshi Obata, the original creators of Death Note, have praised the film, with the former stating, "In a good way, it both followed and diverged from the original work so the film can be enjoyed, of course by not only the fans, but also by a much larger and wider audience".[37]

text: Possible sequel[edit]

text: In an interview with Heat Vision, director Adam Wingard stated that Netflix has wanted to make at least two films, if enough people watch the first one. He said: "There are definitely lots of places to go, and we know generally where we would take it. Hopefully people will watch it and Netflix will order a sequel. They definitely are ready to. They just need people to watch it."[38]


document_title: Magic in Harry Potter

question_text: who is the defense against the dark arts teacher

question_tokens: who is the defense against the dark arts teacher

text: Magic in Harry Potter

text: Using magic[edit]

text: Witches and wizards need training to learn how to control their magic. With young and untrained children, magic will manifest itself subconsciously in moments of strong apprehension, fear, anger and sadness.[4] For example, Harry Potter once made his hair grow back after a bad haircut, set a boa constrictor on his cousin Dudley at the London Zoo, and made Aunt Marge inflate to an enormous size. While this reaction is usually uncontrollable, as an untrained child, Lord Voldemort was able to make things move without touching them, make animals do what he wanted without training them, make "bad things happen to people" who annoyed him, or make them hurt if he wanted to.[5] In addition, Lily Potter was able to guide and control the blooming of a flower by wanting to.

text: Almost all magic is done with the use of a wand. On the subject of wandless magic, Rowling says:[6]

text:
“
You can do unfocused and uncontrolled magic without a wand (for instance when Harry blows up Aunt Marge) but to do really good spells, yes, you need a wand.
”

tag: table

text: A wizard or witch is only at their best when using their own wand. When using another's wand, one's spells are not as strong as they normally would be.[HP1]

text: Within the books, technical details of magic are obscure. Of Harry's lessons, only those involving magical creatures, potions or divination are given in any detail.

text: Severus Snape once told Harry Potter that "Time and space matter in magic" during Harry's first Occlumency lesson in Harry Potter and the Order of the Phoenix and Albus Dumbledore told Harry after finding the magically concealed boat to reach the locket Horcrux that "Magic always leaves traces, sometimes very distinctive traces."[HP6]

text: Spellcasting[edit]

text: Spells are the every-purpose tools of a wizard or witch; short bursts of magic used to accomplish single specialised tasks such as opening locks or creating fire. Typically casting requires an incantation, most often in a modified form of Latin (see Dog Latin), and gesturing with a wand. However, Rowling has revealed that particularly talented wizards can cast spells without the aid of wand, although magic produced with one is generally more precise and powerful.[7] Spells can also be cast non-verbally, but with a magical wand. This special technique is taught in the sixth year of study at Hogwarts and requires the caster to concentrate on the incantation. Some spells (e.g. Levicorpus) are apparently designed to be used non-verbally. While most magic shown in the books requires the caster to use their voice, some do not (and this may depend on the witch or wizard). Dumbledore has been known to do impressive feats of magic without speaking, such as conjuring enough squashy purple sleeping bags to accommodate the entire student population[HP3] or during his duel with Voldemort towards the end of Order of the Phoenix.

text: It is possible to use a wand without holding it. In Order of the Phoenix, Harry himself performs Lumos to light his wand when it is lying on the ground somewhere near him.[HP5] Additionally, Animagi and Metamorphmagi do not need wands to undergo their transformations.

text: Spells are divided into rough categories, such as "charms", "curses", "hexes", or "jinxes". Although offensive and potentially dangerous curses exist in number, three are considered usable only for great evil, which earns them the special classification of "Unforgivable Curses".

text: The limits of magic[edit]

text: Before publishing the first Harry Potter novel, Rowling spent five years establishing the limitations of magic—determining what it could and could not do. "The most important thing to decide when you're creating a fantasy world," she said in 2000, "is what the characters CAN'T do." For instance, while it is possible to conjure things out of thin air, it is far more tricky to create something that fits an exact specification rather than a general one; moreover, any objects so conjured tend not to last.[8]

text: Death[edit]

text: Rowling has described death as the most important theme in the books.[9] Consequently, as Dumbledore states in Harry Potter and the Goblet of Fire, there is no spell that can truly bring the dead back to life. While corpses can be transformed into obedient Inferi on a living wizard's command, they are little more than zombies with no soul or will of their own. However, there are some methods of communicating with the dead, though with limited results. For example, all Hogwarts headmasters appear in a portrait when they die, allowing consultation by future generations. It is also possible through the rare Priori Incantatem effect to converse with ghost-like "shadows" of magically murdered people. The Resurrection Stone also allows one to talk to the dead, but those brought back by the Stone are not corporeal, nor do they wish to be disturbed from their peaceful rest. Throughout the series, this limit is continually mentioned, and wizards try to transcend it at their own folly.

text: Likewise, it is not possible to make oneself immortal unless one makes use of an object of great power to sustain life, such as the Philosopher's Stone or horcruxes. If one were to possess the three Deathly Hallows, it is fabled that they would possess the tools to become the "master of death". However, it is hinted that to be a true "master of death" is to be willing to accept that death is inevitable. Other methods of extending life include drinking unicorn blood, which will keep a person alive even if death is imminent, but at the terrible price of being cursed forever. Being magical can contribute to one's longevity, as there are several characters in the series who are unusually long-lived (such as Griselda Marchbanks, who was an invigilator during Albus Dumbledore's O.W.L examinations). It is revealed by Nearly Headless Nick in the fifth book that all witches and wizards have the choice of becoming ghosts upon dying; however, it is described as "a pale imitation of life". Snape states that a ghost is merely "the imprint of a departed soul left upon the earth".

text: Death is studied at the Department of Mysteries in a chamber containing an enigmatic veil, which Rowling has described as "the divide between life and death". With regard to what is on the other side, she elaborated: "Do I believe you go on? Yes, I do believe you go on. I do believe in an afterlife, although I'm absolutely doubt-ridden and always have been but there you are."[10] Sirius falls through this veil in Order of the Phoenix after he is hit with a curse from Bellatrix.

text: Principal Exceptions to Gamp's Law of Elemental Transfiguration[edit]

text: The Principal Exceptions to Gamp's Law of Elemental Transfiguration is a magical theory mentioned by Hermione and later repeated by Ron in the final book. She explains that food is one of these: witches or wizards can cook and prepare food using magic, and even multiply it, but not create it out of nothing. There are numerous examples in the series of food appearing to have been conjured from nothing, such as the sudden materialisation of ingredients in the pots of Molly Weasley's kitchen and when Professor McGonagall creates a self-refilling plate of sandwiches for Harry and Ron in Chamber of Secrets. In all cases, these events can be reasonably explained as food either being multiplied or transported from elsewhere. One example of the latter is banqueting at Hogwarts—the food is prepared by elves in the kitchens and laid onto four replica tables, directly below the actual house tables in the Great Hall. The food is then magically transported to the tables.

text: This is the only exception mentioned explicitly in the series. However, Rowling herself has stated once in an interview that money is something wizards cannot simply materialise out of thin air,[8] or the economic system of the wizarding world would then be gravely flawed and disrupted. While the Philosopher's Stone does permit alchemy, this is portrayed as an extremely rare, even unique, object, whose owner does not exploit its powers.

text: Emotion[edit]

text: As explained earlier, young untrained wizards can trigger uncontrolled magic when they are in the state of heightened emotions. But emotions also affect trained witches and wizards and their magical abilities. For instance, in Half-Blood Prince, a heartbroken Nymphadora Tonks temporarily loses her power as a Metamorphmagus when Remus Lupin starts distancing himself from her. The form of her Patronus changes to reflect her depression. Another example is Merope Gaunt, who only demonstrated any magical ability when removed from her father's oppression, but then lost it again when her husband abandoned her.

text: Several magical spells require the use of certain emotions when casting them. The Patronus charm, for example, requires the caster to concentrate on a happy memory. (Force of will, under extenuating circumstances, helps a lot. An example of this is when Harry is able to conjure a corporeal Patronus when Sirius is in danger of being administered the Dementor's Kiss.)[HP3] Another example is the Cruciatus Curse, which causes immense pain; as Harry discovers during a duel with Bellatrix Lestrange, effective use of this forbidden dark magic requires sadistic desires.[HP5]

text: Love (in its broadest meaning) is depicted as a particularly powerful form of magic. According to Dumbledore, love is a "force that is at once more wonderful and more terrible than death, than human intelligence, than forces of nature."[HP5] Lily's voluntary sacrifice on Harry's behalf saves him from Voldemort as a baby, and Harry makes a similar sacrifice to save his friends at the end of Deathly Hallows.[HP7] A certain key prophecy in the series describes Harry as having "power the Dark Lord knows not", referencing his capacity for love.[HP5]

text: True love is impossible to create magically; Amortentia, a love potion, can only create a powerful sense of infatuation and obsession.

text: Magical abilities[edit]

text: The following is a list of special abilities that a wizard or witch in the Harry Potter universe may have.

text: Animagi[edit]

text: An Animagus (portmanteau of animal and magus) is a witch or wizard who can turn into a particular animal or magical creature at will. This ability is not innate: it must be acquired by magical means. All Animagi must register at a central authority by law, though a number of characters are revealed over the course of the series to have remained unregistered illegally: James Potter, Sirius Black, Peter Pettigrew and Rita Skeeter.

text: Animagi transformation can be performed wandlessly. Sirius and Peter are left wandless for over 10 years, but both retain the ability with no apparent ill effects. When Animagi transform, they take on the appearance of a normal animal. However, in Harry Potter and the Prisoner of Azkaban, it is noted that Ron's pet rat Scabbers (later revealed as Peter Pettigrew's Animagus form) has lived over twelve years when only expected to live three. Also, an Animagus in animal form retains the ability to think like a human, which is the principal difference between being an animagus and being transfigured into an animal. Otherwise, they would forget that they were a wizard and be trapped, unknowingly, in this form unless transformed back by another wizard. Characteristics of an Animagus' human form can manifest themselves in the animal transformation; for example, the markings around McGonagall's eyes as a cat resemble her glasses. When an Animagus registers, they must record all the defining physical traits of their animal form so that the Ministry can identify them.

text: Each Animagus has a specific animal form, and cannot transform into any other animal. The animal cannot be chosen: it is uniquely suited to that individual's personality, and in most cases the Animagus will change into the same animal used in the person's Patronus Charm.[11]

text: Explicit emphasis is placed in the books on the differences between Animagi and werewolves. Animagi have full control over their transformations and retain their minds, whereas werewolves' transformations are involuntary and include severe changes in personality. After the person has transformed into a werewolf, he no longer remembers who he is; he would kill his best friend if he got anywhere near him. A werewolf only responds to the call of his own kind. The only way that a werewolf can retain his sanity, intelligence and memory while transformed is using the Wolfsbane Potion.

text: Metamorphmagi[edit]

text: A Metamorphmagus (a portmanteau of metamorph and magus) is a witch or wizard born with the innate ability to change some or all of their appearance at will. The talent cannot be acquired; a witch or wizard who has it must be born with it.

text: Nymphadora Tonks and her son, Teddy Lupin are currently the only known Metamorphmagi in the series; it is a very rare ability, possibly hereditary. Tonks is known to change her hair colour and style according to her mood. She even appears as an old woman on occasion. She can also change her nose appearance, as she does when eating with the Weasley family to entertain Ginny and Hermione. Her son, Teddy Lupin, also inherited this trait, as his hair is mentioned repeatedly changing colour.

text: The extent of these appearance-altering abilities and the limits thereof are not entirely clear. According to Rowling, a Metamorphmagus can alter his or her appearance completely, for instance, from black to white, young to old, handsome to plain and so on.[12] In one example, Tonks changes her facial appearance by reshaping her nose into "a beaklike protuberance like Snape's", to "something resembling a button mushroom", and "one like a pig snout" which reminded Harry of his cousin Dudley.[13] The emotional state of a Metamorphmagus can affect their abilities.

text: Parseltongue[edit]

text: Parseltongue is the language of snakes. It is often associated with Dark Magic, although Dumbledore stated that it is not necessarily an evil quality. Those possessing the ability to speak it ("Parselmouths") occur very rarely. People apparently acquire the skill through learning or via a method of xenoglossia, such as through genetic inheritance (or by use of Dark or dangerous Magic). Harry was a Parselmouth until the age of 18. Harry Potter and the Chamber of Secrets explains this was because of Voldemort's passing on some of his abilities to Harry the night he tried to kill him. Deathly Hallows reveals that a part of Voldemort's soul within Harry grants him this ability, which is later destroyed leaving Harry stripped of the ability.[14]

text: Other known Parselmouths include Salazar Slytherin and his descendants, including the Gaunts and Voldemort. Dumbledore can also understand Parseltongue; however, he learned it and did not naturally possess the ability.[15] In Half-Blood Prince he repeats Morfin Gaunt's words "the big house over the way", which were spoken in Parseltongue.

text: Ron uses Parseltongue in the final book to reopen the Chamber of Secrets, but he is only imitating the sound of a phrase Harry used earlier in the book.

text: Rowling borrowed the term from "an old word for someone who has a problem with the mouth, like a hare lip".[16]

text: Professor Francis Nolan, Professor of Phonetics at University of Cambridge, designed the version of Parseltongue used in the films as an ergative-absolutive language featuring geminate consonants and VSO word order. It has a high frequency of fricative and pharyngeal consonants to acoustically approximate the physiology of a snake.[citation needed]

text: Seers[edit]

text: A Seer is a witch or wizard with the clairvoyant ability to predict future events. The predictions given through this ability can sometimes be self-fulfilling prophecies, and Dumbledore states in Order of the Phoenix that not all of them come true, depending on the choices made by those mentioned. This would seem to indicate that a Seer predicts possible or likely events, at least in some cases.

text: In the Hall of Prophecy at the Department of Mysteries, thousands upon thousands of glass spheres are imbued with records of prophecies made by Seers. Only a person mentioned in a prophecy can safely retrieve it; anyone else who tries to do so will be driven insane.

text: According to McGonagall, true Seers are extremely rare. Sybill Trelawney is the only Seer portrayed in the books, although it is mentioned that Sybill's great-great-grandmother, Cassandra Trelawney, was a renowned Seer in her day. Trelawney is considered an "old fraud" by her students, and is sacked by Dolores Umbridge in the fifth book for it. However, she has twice made true prophecies. Sybill Trelawney is noted to never remember that she has made a prophecy when it is a true one. She speaks in a hoarse voice, and only if a wizard is present will anyone know about it.

text: Legilimency and Occlumency[edit]

text: Legilimency is the magical skill of extracting feelings and memories from another person's mind—a form of magical "telepathy" (although Snape, an able practitioner of the art, dismisses the colloquial term "mind-reading", as a drastic oversimplification). It also allows one to convey visions or memories to another person, whether real or imaginary. A witch or wizard possessing this skill is called a Legilimens, and can, for example, detect lies and deceit in another person, witness memories in another person's past, or "plant" false visions in another's mind.

text: The counter-skill to Legilimency is Occlumency (and its user, known as an Occlumens), by which one can compartmentalize one's emotions, or prevent a Legilimens from discovering thoughts or memories which contradict one's spoken words or actions. An advanced form of Occlumency is planting false temporary memories inside an Occlumens' own head while blocking all other true memories, so if a Legilimens, even a highly skilled one, were to attempt to read the mind, he or she would find false memories only and believe everything was right.

text: The skills are first elaborated in Order of the Phoenix. Legilimency and Occlumency are not part of the normal curriculum at Hogwarts, and most students would graduate without learning them.

text: Voldemort, Snape, and Dumbledore are all known to be skilled in Legilimency and Occlumency. Voldemort is said to be the master of Legilimency by Snape, as he, in almost all cases, immediately knows if someone lied to him. In addition, in Deathly Hallows, Voldemort repeatedly uses Legilimency to interrogate his victims. Voldemort practices Occlumency throughout the period of Half-Blood Prince to deny Harry access to his thoughts and emotions. However, in Deathly Hallows, Voldemort repeatedly loses grip, resulting in occasional but very powerful burst of thoughts, visions and emotions to be sent to Harry.

text: Throughout the books, Snape is repeatedly said to be highly skilled in Occlumency.[17] This is how Snape was able to lie to Voldemort for years. Even before Order of Phoenix, Harry repeatedly gets the impression that Snape can read minds.

text: Bellatrix Lestrange and Draco also have skill in Occlumency, since Bellatrix was clearly said to have taught Draco to shield his thoughts from Snape.[HP6]

text: During the Order of Phoenix Snape is instructed by Dumbledore to give Harry lessons in Occlumency. Whether as a result of Snape's poor instruction, or poor aptitude on Harry's part, Harry did not make any progress. (Only once did Harry manage to overcome Snape with the use of Occlumency.)[18] In Deathly Hallows, Harry finally masters Occlumency—shutting his mind to Voldemort—when Dobby dies. He realises that his grief—or as Dumbledore calls it, love—is what can block out the Dark Lord.

text: Queenie Goldstein, in Fantastic Beasts and Where to Find Them, is shown to be a proficient Legilimens, as she was easily able to read the minds of Jacob Kowalski and others in the film, as well as sense and hear them through their thoughts. However, she says she has problems with Brits like Newt Scamander, because of the accent.

text: Apparition and Disapparition[edit]

text: Apparition is a magical form of teleportation, through which a witch or wizard can disappear ("Disapparate") from one location and reappear ("Apparate") in another. It is sometimes accompanied by a distinctive cracking or popping sound, though the most skilled wizards can Apparate "so suddenly and silently" that they seem to have "popped out of the ground" (Dumbledore). The act is also accompanied by a very unpleasant squeezing sensation, as though being sent through a tight rubber tube, according to Harry.[HP6]

text: The Ministry of Magic licenses Apparition. A witch or wizard must be 17 years old or older and have a licence to Apparate as a means of transportation in much the same way real-world governments require individuals to have a licence to drive a motor vehicle. Students at Hogwarts may attend Ministry-administered Apparition lessons during their sixth year, and take their examination once they turn seventeen. It is shown that although it is possible to Apparate without a licence, it is not usually done (unless in lessons) and is illegal. In Deathly Hallows, Harry does not possess a licence, but since his Trace has been lifted, the Ministry is likely unaware that he does it.

text: Learning to Apparate is difficult, and students run the risk of splinching—being physically split between the origin and destination—which requires the assistance of the Ministry's Accidental Magic Reversal Squad to undo properly, although essence of dittany can also mend certain wounds. Splinching is quite common during lessons, and can be uncomfortable (and at times rather gruesome) depending on the body parts splinched, but is ultimately harmless if properly reversed. It is implied that though Ron can Apparate, he isn't terribly skilled at it, seeing as he splinches himself at least three times (once losing half an eyebrow, two fingernails and part of his arm.); Harry and Hermione both pick up the skill quickly in comparison. As explained in the Half-Blood Prince, there is no word spell to Apparate or Disapparate, but the caster has to concentrate on the location on which he has to apparate, needs to be fully focused on the spell, and also has to "feel" it through the whole body.

text: It has been indicated that it is considered rude to Apparate directly into a private area, such as a home. Dumbledore states in Half-Blood Prince that it would be "quite as rude as kicking down the front door". For this reason, and for reasons of security, many homes have Anti-Apparition spells protecting them from uninvited intrusions. The accepted way to travel to a home is to Apparate to a nearby location and continue to the final destination on foot. Apparition is considered unreliable over long distances, and even experienced users of the technique sometimes prefer other means of transport, such as broomsticks. Rowling has stated that Apparating over long distances depends on the skill of the wizard, and "Cross-continental Apparition would almost certainly result in severe injury or death."[19] Indeed, even the prodigiously skilled Lord Voldemort elects to fly back to England after visiting the far-flung Nurmengard.

text: For reasons of security, the grounds and buildings of Hogwarts are protected by ancient Anti-Apparition and Anti-Disapparition spells, which prevent humans from Apparating on the school grounds. There is also a spell that prevents individuals from Disapparating, which Dumbledore places on the Death Eaters captured at the Ministry in Order of the Phoenix; a sister spell, which allows one to Apparate into a location but prevents them from Disapparating out of it, is cast by the Death Eaters in Hogsmeade in concordance with the Caterwauling Charm. Dumbledore is the only person who can both Apparate and Disapparate from the school grounds, since he is the headmaster.

text: A witch or wizard can use Side-Along Apparition to take others with them during Apparition. Dumbledore successfully transports Harry this way several times in Half-Blood Prince, and notably, Harry's first non-lesson attempt at the skill is the Side-Along Apparition with the weakened Dumbledore when they return from the seaside cave.

text: In the Order of the Phoenix film, Death Eaters and Order members Apparate and Disapparate in clouds of smoke. Death Eaters appear and disappear in black smoke, Order members in white. In the film, both sides also appear to be able to "half-apparate" in which their bodies were made out of smoke, giving them the ability to fly. Interestingly, both times Fred and George apparated and disapparated, they did it with a pop as in the books.

text: In the books, the words "Apparate" and "Disapparate", like many other neologisms used by Rowling, are capitalised, whereas established English words such as "jinx" and "hex" are not. The words themselves are most likely derived from the French apparaître and disparaître, meaning 'to appear' and 'to disappear'. Another possible derivation is from the English word "apparition", meaning "a supernatural appearance of a person or thing; anything that appears, especially something remarkable or startling; an act of appearing", which comes from the Latin "apparitio", meaning attendance. "Disapparate" probably comes from the same word but with the prefix: "dis-" expressing negation or reversal.

text: Other teleportation[edit]

text: Some magical creatures have their own forms of instantaneous travel, such as a house elf's ability to teleport or a phoenix's ability to appear and disappear in a burst of flame. Unlike wizards, these creatures are not restricted by anti-Apparition magic. Dobby, Kreacher and the rest of the house-elf population can Apparate within the Hogwarts grounds, as is demonstrated on multiple occasions, most notably when Dobby visits Harry in the hospital wing, and when Dobby and Kreacher are summoned by Harry and assigned to tail Draco Malfoy. Fawkes disapparates from the headmaster's office at Hogwarts along with Dumbledore when the latter manages to evade arrest at the hands of Ministry officials in Order of the Phoenix.

text: Some magical devices like the Floo Network, Portkeys and Vanishing Cabinets also provide forms of magical teleportation.

text: Veela charm[edit]

text: An ability attributed to Veela and those of Veela heritage, such as Fleur Delacour. It is used to charm males, much like the Sirens in The Odyssey. Men who are exposed to it over time become more resistant to it, although the Veela charm takes full effect if the Veela surprises the man, as noted by Ron in Half-Blood Prince.

text: As shown in Goblet of Fire, Veela hair can be used as cores to create magical wands. According to famed wandmaker Mr. Ollivander, these wands are a little "temperamental".

text: Magical resistance[edit]

text: This refers to a certain degree of immunity against hexes and spells found in powerful creatures such as trolls, dragons, and giants. Hagrid is resistant to certain spells, like the Stunning Spell, due to his giant blood. This type of resistance is not insurmountable; if enough Stunning Spells, for example, are fired at a creature with magical resistance at once, the creature may still be rendered unconscious. Also, wizards and witches can resist certain spells with the power of their own sheer will, such as Harry did in Goblet of Fire, when Barty Crouch Jr. disguised as Alastor Moody tried to control Harry with the Imperius curse and Harry resisted.

text: Subjects at Hogwarts[edit]

text: At Hogwarts, students must study a core group of subjects for the first two years, after which they must choose between several electives. During their final two years, students are permitted to take more specialized subjects such as Alchemy.

text: Transfiguration, Defence Against the Dark Arts, Charms, Potions, Astronomy, History of Magic, and Herbology are compulsory subjects for the first five years, as well as flying lessons. At the end of their second year, students are required to add at least two optional subjects to their syllabus for the start of the third year. The five choices are Arithmancy, Muggle Studies, Divination, Study of Ancient Runes and Care of Magical Creatures. Very specialised subjects such as Alchemy are sometimes offered in the final two years, if there is sufficient demand. There is a total of twelve named Professors at Hogwarts, each specializing in one of these subjects.

text: Transfiguration[edit]

text: Transfiguration is essentially the art of changing the properties of an object.[20] Transfiguration is a theory-based subject, including topics such as "Switching Spells" (altering only a part of some object, such as when Hagrid gave Dudley a pig tail); Vanishing Spells (causing an object to completely disappear);[OotP Ch.13] and Conjuring Spells (creating objects out of thin air).[OotP Ch.13] It is possible to change inanimate objects into animate ones and vice versa—Minerva McGonagall, the class's teacher, transfigures her desk into a pig and back in Philosopher's Stone.[PS Ch.8]

text: Defence Against the Dark Arts[edit]

text: Defence Against the Dark Arts, commonly shortened to D.A.D.A.,[21] is the class that teaches students defensive techniques to defend against the Dark Arts, and to be protected from Dark creatures. In Harry Potter and the Deathly Hallows, with Death-Eaters in charge of the school, the subject is renamed the Dark Arts, and involves pupils practicing the Cruciatus Curse on those who have earned detentions.[DH Ch.29] The subject has an extraordinarily high turnover of staff members—throughout the series no Defence Against the Dark Arts teacher has retained the post for more than one school year. Harry is exceptionally skilled in this subject. During the period the story takes place, the class is taught by Quirinus Quirrell (book one), Gilderoy Lockhart (book two), Remus Lupin (book three), Bartemius Crouch Jr impersonating Alastor "Mad-eye" Moody (book four), Dolores Umbridge (book five), Severus Snape (book six), and Amycus Carrow (book seven). Hagrid suggests in Harry Potter and the Chamber of Secrets that "They're startin' ter think the job's jinxed. No one's lasted long for a while now." In Half-Blood Prince, Dumbledore suggests that Voldemort cursed the position because his application for it was rejected.[HBP Ch.20] The existence of the jinx was eventually confirmed by Rowling. The position had also been coveted by Snape, but he was denied the position as well. Snape was finally appointed D.A.D.A. professor in Half-Blood Prince. Rowling announced in an interview that once Voldemort had died, the jinx he placed on the office was lifted and a permanent professor had been teaching the subject between the end of Deathly Hallows and the epilogue, set nineteen years afterwards. Furthermore, she imagines that Harry Potter occasionally comes to the class to give lectures on the subject.[22]

text: Charms[edit]

text: Charms is the class that teaches how to develop incantations for the uses of bewitchment. Rowling has described Charms as a type of magic spell concerned with giving an object new and unexpected properties.[20] Charms classes are described as notoriously noisy and chaotic, as the lessons are largely practical.[OotP Ch.18] Many of the exposition sequences in the books are set in Charms classes, which are on the second floor of Hogwarts. The class is taught by Filius Flitwick.

text: Potions[edit]

text: Potions is described as the art of creating mixtures with magical effects. It requires the correct mixing and stirring of ingredients at the right times and temperatures. As to the question of whether a muggle could brew a potion, given the correct magical ingredients, Rowling has said, "Potions seems, on the face of it, to be the most muggle-friendly subject. But there does come a point in which you need to do more than stir."[23] Rowling later confirmed on Pottermore that "There is always some element of wandwork necessary to make a potion."[24] Snape's lessons are depicted as unhappy, oppressing times set in a gloomy dungeon in the basement of the castle, whilst Slughorn's, who replaces Snape as Potions Master, are shown as more cheerful and even fun at times.

text: Astronomy[edit]

text: Astronomy classes take place in the Astronomy Tower, the tallest tower in Hogwarts, and are taught by Professor Aurora Sinistra. Lessons involve observations of the night skies with telescopes. No astronomy lessons are shown in the books, but they are frequently referenced. Rowling describes one of Harry's Astronomy exams in Harry Potter and the Order of the Phoenix. Also, bits of the Astronomy Tower are seen throughout the film series, such as HP2 and HP3, and featured in Half-Blood Prince, as the place where Dumbledore died, and seen in Deathly Hallows. Known student homework activities include learning the names of stars, constellations and planets, and their location, movements, and environments.

text: History of Magic[edit]

text: History of Magic is the study of magical history. Cuthbert Binns' lessons are depicted as some of the most boring at Hogwarts. They are only lectures, given without pause, about significant events in wizarding history. Topics have included goblin rebellions, giant wars, and the origins of wizarding secrecy. This is the only class at Hogwarts that is taught by a ghost, as the professor never noticed he had died and simply continued teaching as if nothing had changed.

text: Herbology[edit]

text: Herbology is the study of magical plants and how to take care of, utilise and combat them. There are at least three greenhouses described in the books, holding a variety of magical plants. Herbology is also the only subject Neville excels in. The epilogue to Deathly Hallows explains that he later replaces Professor Sprout as the Herbology teacher.

text: Arithmancy[edit]

text: Arithmancy is a branch of magic concerned with the magical properties of numbers. As neither Harry nor Ron take this class; almost nothing is known about it. It is, however, a favourite subject of Hermione. Arithmancy is reportedly difficult, as it requires memorising or working with many charts. In Order of the Phoenix, it is mentioned that the study of Arithmancy is required to become a Curse-Breaker for Gringotts. The subject is taught by Professor Septima Vector.

text: Study of Ancient Runes[edit]

text: Study of Ancient Runes, more commonly known as Ancient Runes, is a generally theoretical subject that studies the ancient runic scripts. Because only Hermione studies it, little else is known about this subject, taught by Professor Bathsheba Babbling.[25] In Deathly Hallows Dumbledore bequeaths his copy of The Tales of Beedle the Bard, which is written in ancient runes, to Hermione.

text: Divination[edit]

text: Divination is the art of predicting the future. Various methods are described, including tea leaves, fire omens, crystal balls, palmistry, cartomancy (including the reading of conventional playing cards and the tarot), astrology, and dream interpretations. Divination is described by Professor McGonagall as "one of the most imprecise branches of magic".[PA Ch.6] Supporters of the subject claim that it is an inexact science that requires innate gifts such as the "Inner Eye". Those opposed claim that the subject is irrelevant and fraudulent. Harry is first taught Divination by Professor Trelawney, and then later by Firenze after Trelawney is sacked by Dolores Umbridge in Harry's fifth year. In the sixth (and presumably seventh) year, Firenze and Professor Trelawney share Divination classes, divided by year.

text: Care of Magical Creatures[edit]

text: Care of Magical Creatures is the class which instructs students on how to care for magical beasts. Classes are held outside the castle. In Harry's first two years, the class is taken by Professor Silvanus Kettleburn who then retires "in order to enjoy more time with his remaining limbs". Dumbledore then recruits the gamekeeper Rubeus Hagrid to accept a teaching position along with his gamekeeping duties. Although Hagrid is obviously very experienced and knowledgeable, he doesn't "have a normal person's view of what's dangerous", an example being that the Care of Magical Creatures students were required to get a literally ferocious textbook called the "Monster Book of Monsters", and so consistently misjudges the risk that the animals he uses in his lessons pose to his students[PA Ch.6][GF Ch.13], which sometimes results in chaos. When Hagrid is absent, his lessons are taken over by Wilhelmina Grubbly-Plank, a witch and an acquaintance of Dumbledore's.

text: Muggle Studies[edit]

text: Muggle Studies is a class which involves the study of the muggle (non-magical) culture "from a wizarding point of view." The only need for witches and wizards to learn about muggle ways and means is to ensure they can blend in with muggles while needing to do so (for example, at the 1994 Quidditch World Cup). As the class is only mentioned as being taken by Hermione, and for just one year, little is known about its curriculum. In the opening chapter of the final book, Voldemort murders Professor Charity Burbage because she portrays muggles in a positive light and is opposed to limiting wizardry to only people of pure-blood origins. For the rest of the academic year covered by Deathly Hallows, the Death Eater Alecto Carrow teaches Muggle Studies. However, her lessons (which are made compulsory) mainly describe muggles and muggle-borns as subhuman and worthy of persecution.

text: Alchemy[edit]

text: Alchemy classes are not mentioned in the Harry Potter series; however, Rowling has used Alchemy as an example of a 'specialized' subject offered when there is sufficient demand. Alchemy is a philosophical tradition searching for the philosopher's stone, which is said to have the power to turn base metals into gold and to contain the elixir of life, which makes or keeps the drinker young and immortal. As mentioned in Harry Potter and the Philosopher's Stone, Nicholas Flamel created a Philosopher's Stone, but it was destroyed at the end of Harry's first year.

text: Flying[edit]

text: Flying is the class that teaches the use of broomsticks made for the use of flying and is taught only to Hogwarts first years by Rolanda Hooch. The subject is the only one that requires physicality. The only flying lesson depicted in the Harry Potter series is in Harry Potter and the Philosopher's Stone.

text: Apparition[edit]

text: Apparition is an optional class for those in the sixth and seventh years at Hogwarts, in preparation for obtaining their licence. In Harry's sixth year, Wilkie Twycross, a Ministry of Magic Apparition instructor, teaches the lessons. Magical enchantments on Hogwarts castle and grounds prevent Apparition and Disapparition inside the castle; however Half-Blood Prince explains that these protections are temporarily relaxed within the Great Hall for short periods to permit students to practice. Students are warned, though, that they will not be able to Apparate outside of the Great Hall and that it would be unwise to try.

text: Spell-like effects[edit]

text: Unbreakable Vow[edit]

text: The Unbreakable Vow is a voluntary agreement made between two witches or wizards. It must be performed with a witness ("Bonder") on hand, holding their wand on the agreeing persons' linked hands to bind them with magic as a tongue of flame. The Vow is not literally "unbreakable" as the person taking it is still able to go back on his or her word, but doing so will cause instant death. The Unbreakable Vow was first introduced in Half-Blood Prince, in which Snape made a promise to Narcissa Malfoy to protect Draco, with Bellatrix as the "Bonder", as her son attempted to fulfil the Dark Lord's task, and for Snape to fulfil the task if something should prevent Draco from doing it. Another example in Half-Blood Prince occurs when Ron tells Harry how Fred and George tried to make him undertake an Unbreakable Vow, but because of their father's intervention, they did not succeed.

text: Priori Incantatem[edit]

text: Priori Incantatem, or the Reverse Spell Effect, is used to detect the spells cast by a wand. The spells cast by the wand will emerge in smoky or ghost-like replicas in reverse order, with the latest spell emerging first. It is first encountered in Goblet of Fire when the house elf Winky is found holding Harry's wand. This spell is used to reveal that it was indeed Harry's wand that cast the Dark Mark. In Harry Potter and the Half Blood Prince, it is revealed that the teenage Voldemort murdered his father and grandparents using his uncle Morfin's wand, knowing that, when examined, the wand would incriminate Morfin as the murderer. In Deathly Hallows, Harry fears that a Priori Incantatem spell will be used on Hermione's wand after the Death Eaters get hold of it. This would reveal that she had accidentally broken his holly-and-phoenix-feather wand when a curse misfired and they both narrowly escaped Voldemort earlier. As a result, the protection of the shared cores was lost and, worse still, this would now be made known to Voldemort. During the final duel between Harry and Voldemort, the latter mentions that he knows that the holly and phoenix wand is destroyed, implying that the Priori Incantatem has indeed been performed on Hermione's wand, as they had feared.

text: Forcing two wands that share the source of their cores to do battle can also cause a more potent form of Priori Incantatem. The tips of the two wands will connect, forming a thick golden "thread" of energy, and the two wands' masters fight a battle of wills. The loser's wand will regurgitate shadows of spells that it has cast in reverse order. This phenomenon occurs during the duel between Harry and Voldemort at the end of Goblet of Fire. Their simultaneous spells (Harry and Voldemort cast "Expelliarmus" and "Avada Kedavra" respectively) trigger the threads, and as Voldemort loses the battle of wills, his wand regurgitates, in reverse order, echoes of the people his wand had last murdered: Cedric Diggory; Frank Bryce; Bertha Jorkins; as well as Harry's parents. Harry was previously informed by Mr. Ollivander that the holly wand that "chose" Harry was the "brother" of the yew wand that gave him the lightning-shaped scar on his forehead, although the significance of this was not discussed then. Dumbledore later reveals to Harry that his and Voldemort's wands both contain a tail feather given by Dumbledore's pet phoenix, Fawkes.

text: Dark Arts[edit]

text: The Dark Arts are those magical spells and practices that are usually used for malicious purposes. Practitioners of Dark Arts are referred to as Dark witches or wizards. The most prominent of these is Voldemort, known to them as the Dark Lord. His followers, known as Death Eaters, practice the Dark Arts while doing his bidding.

text: The type of spells characteristic of Dark Arts are known as curses,[26] which usually cause harm to the target. All, to a certain degree, are in some circumstances justifiable. The motivation of the caster affects a curse's result. This is most notable in the case of Cruciatus: when cast by Harry, angered by the death of his godfather at Bellatrix's hands and desiring to punish her, it causes a short moment of pain. As Bellatrix herself comments, righteous anger does not allow the spell to work for long. When cast by figures such as Voldemort, who desire to inflict pain for its own sake, it causes intense agony that can last as long as the Dark witch or wizard desires. Use of Dark Magic can corrupt the soul and body; Voldemort has used such magic in his quest to prolong his life and obtain great power. The Dark Arts also cause Voldemort to look deformed and inhuman, a side effect of splitting his soul into Horcruxes.

text: According to Snape, the Dark Arts "are many, varied, ever-changing and eternal... unfixed, mutating, indestructible".[27] In magical dueling, there are any number of spells that may be used to attack, immobilise, or disarm an opponent without causing pain or lasting harm; however, spells such as the Cruciatus Curse or Sectumsempra, judged to be Dark by reliable authorities, wound or seriously distress a victim in some way. Dark spells can be classified into three groups: jinxes, hexes & curses.

text: In the wizarding world, use of the Dark Arts is strongly stigmatised and even illegal; however, these spells are prevalent enough that even before the rise of Voldemort, many schools, (including Hogwarts), taught Defence Against the Dark Arts as a standard subject. Techniques include anti-curses and simple spells to disable or disarm attackers or fight off certain creatures. Some schools, such as Durmstrang, teach Dark Magic. A Dark Arts class is also taught at Hogwarts while it is under Death Eater control.

text: Unforgivable Curses[edit]

text: The Unforgivable Curses are some of the most powerful known Dark Arts spells. They were first classified as unforgivable in 1717. Used by the books' villains, such as Voldemort and the Death Eaters and in some cases the Ministry of Magic, their use inspires horror and great fear amongst others. The curses are so named because their use is forbidden and unforgivable in the wizarding world and is punishable by a life sentence in Azkaban. The only exception is if a person is proved to have done them under the influence of mind control. These curses are thus very rarely used openly.

text: The Unforgivable Curses include:

text:
Avada Kedavra, the Killing Curse. The curse is used for murder. This is one of the most powerful curses. Normally, it cannot be stopped or deflected, but it can be dodged or obstructed with a physical object. The spell causes immediate, painless death, and cannot be reversed. Casting it requires immense magical power, so much so that the combined power of an entire class of 4th year students is not sufficient for it. The curse, when summoned, is shown as a bright green light (a bolt or beam of green light in the films). Harry Potter is the only person known to have survived (twice), nullified (once) and deflected (once) this curse.
Crucio, the Cruciatus Curse. The curse is used for torturing a person by causing them physical pain and agony. The strength of the curse is determined by the person who cast it. The curse is so powerful that it can even torture a person to the point that they are exhausted to death, or in a more sadistic case, it causes permanent amnesia and insanity (the case of Neville's parents, who were tortured by Bellatrix Lestrange). Effective casting requires the caster to have sadistic desires. Harry finds out in Order of the Phoenix while attempting to use the Cruciatus Curse on Bellatrix that the caster must truly want their victim to suffer for the spell to work, and that his righteous anger is not enough. The curse, when summoned, is shown in a bright-faded blue light (though it is usually invisible or even a red bolt of light in the films). When Hogwarts was under Death Eater control, the Dark Arts teacher forced the students in his class to use the Cruciatus Curse on students who had been assigned detention.
Imperio, the Imperius Curse. The curse is used for mind control or hypnosis and can force the victim to do things he/she would be unwilling to do or even incapable of under normal circumstances. The strength (and also the duration) of the curse is determined by the determination of the person who cast it, as well as by the level of resistance of the victim. The curse, when summoned, is shown in a bright haze (while it was either invisible or green, mist-like haze in the films). Harry Potter resisted an Imperius Curse cast by Voldemort.

text: The use of the Unforgivable Curses was authorised against Voldemort and his followers by Bartemius Crouch Sr, during the First Wizarding War. (Shortly after his resurrection, Voldemort names two Death Eaters "killed by Aurors".) In addition, in Deathly Hallows, the Unforgivable Curses are used liberally by good characters, ranging from Professor McGonagall with the Imperius Curse, to Harry effectively using the Cruciatus Curse. He also uses the Imperius Curse on a goblin and a suspicious Death Eater during their disguised attack upon Gringotts Bank.

text: Dark Mark[edit]

text: The Dark Mark is the symbol of Voldemort and the Death Eaters and takes the form of a skull with a snake coming out of the mouth in place of a tongue. The mark is cast into the sky by Death Eaters whenever they have murdered someone. The spell used by Death Eaters to conjure the Mark is Morsmordre. It first appears in Goblet of Fire and is described as a "colossal skull, composed of what looked like emerald stars, with a serpent protruding from its mouth like a tongue". Once in the sky it was "blazing in a haze of greenish smoke". Dark Marks are also branded on the left forearm of the closest followers of Voldemort. The mark serves as a connection between Voldemort and each who bears it; he can summon them by touching his mark, causing it and those of his followers to burn and change colour. Death Eaters can summon Voldemort in the same fashion. Following Voldemort's ultimate defeat, the Dark Marks on his Death Eaters fade into a scar "similar" to Harry's.[14] In the books, the Dark Mark is described as green; however, in the films, it was only green at the Quidditch World Cup. In all other film appearances it has been grey.

text: Inferius[edit]

text: An Inferius (plural: Inferi) is a corpse controlled through a Dark wizard's spells. An Inferius is not alive, but a dead body that has been bewitched into acting like a puppet for the witch or wizard; this manifests itself as a white mist in the controlled corpse's eyes. They cannot think for themselves: they are created to perform a specific duty assigned by the Dark wizard who commands them, and as seen in the Inferi guarding Voldemort's Horcrux in a seaside cave, remain idle until their task can be performed. This task is then thoughtlessly carried out, whether or not it will produce any result. Inferi are difficult to harm by magic; however, they can be repelled by fire or any other forms of heat or light, as the Inferi in Voldemort's cave had never been exposed to either of these elements. When defeated, they return to their idle state.

text: Inferi are considered dangerous and frightening enough by the magical world that impersonating an Inferius (as Mundungus Fletcher does in Half-Blood Prince) is an offence worthy of imprisonment in Azkaban.

text: The Ministry of Magic fears that Voldemort is killing enough people to make an army of Inferi: as they are dead, they are very difficult to stop. When Voldemort was hiding one of his Horcruxes in the past, he filled a lake in a cave with many Inferi, which were to attack and drown anyone but Voldemort who came into the cavern and took the locket. When Harry and Dumbledore took the locket, the Inferi attacked Harry; Dumbledore repelled them with a rope of fire. It is also revealed that the Inferi almost killed Kreacher after he drank from the basin to help Voldemort hide his Horcruxes, but having been ordered to return to his master after his task with Voldemort was complete, he was able to apparate out of the cave. These Inferi later killed Regulus Black when he stole the Horcrux and ordered Kreacher to destroy it.

text: In Latin, the word inferus (plural: inferi) means "below", often referring in the plural to "the gods below" (see di inferi) or the spirits of the dead.[28] Inferius is a neuter singular form of inferior, a comparative adjective meaning "lower".[28][29]

text: Horcrux[edit]

text: A horcrux is an object created using dark magic to attain effective immortality. The concept is first introduced in the sixth novel, Harry Potter and the Half-Blood Prince, although horcruxes are present in earlier novels without being described or expanded upon.

text: A horcrux is created when a soul-shard split from a murderer's soul is infused into an object, which is then hidden or in some other manner kept safe. (When a person commits murder, his soul becomes traumatized and splits into more than one piece. A horcrux is nothing more than the fused object/soul-shard created when the portion of the murderer's soul that was split off is infused into some material object.) The point of creating a horcrux is to prevent the passage of a soul to the afterlife (death) by anchoring a portion of the soul in the material world.

text: Ordinarily, when one's body is killed, the soul departs for the next world. If, however, the body of a horcrux owner is killed, that portion of his soul which had remained in his body will not pass on to the next world, but will rather exist in a non-corporeal form capable of being resurrected by another wizard, as in Half-Blood Prince and Deathly Hallows. If all of someone's horcruxes are destroyed, then his soul's only anchor in the material world would be his body, the destruction of which would then cause his final death.

text: Portraits[edit]

text: In the Harry Potter series the subjects of magical portraits (even those of characters that are dead) can move, interact with living observers, speak and demonstrate apparent emotion and personality. Some can even move to other portraits to visit each other, or relay messages, or (if more than one painting of the subject exists) move between separate locations by way of their portraits. An example of this is Phineas Nigellus Black, who has a painting in the Headmaster's office and at Number 12 Grimmauld Place. Many such portraits are found on the walls of Hogwarts.

text: Some portraits are used to conceal the entrance of a room or passageway. For example, the Fat Lady's portrait covers the entrance to the Gryffindor common room, and she can swing the portrait open when given the correct password or close to prevent entry. In Harry Potter and the Deathly Hallows, there is a portrait of Ariana Dumbledore in the Room of Requirement that conceals a secret passageway to the Hog's Head. There is also a painting of a large fruit bowl in front of the Hogwarts kitchen, which will swing open if the pear is tickled to reveal a hidden door.

text: Portraits are enchanted to move by the artist, but the degree to which they can interact with others depends on the power of the subject.[30] Rowling has commented that a portrait is merely a faint imprint of the deceased subject, imitating their basic personality and thought patterns. They are therefore "not as fully realised as ghosts".[31] In Harry Potter and the Cursed Child the portrait of Albus Dumbledore describes himself as only "paint and memory" and Professor McGonagall (his successor as headteacher of Hogwarts) comments that, although she speaks to Dumbledore to help her in making decisions, she is careful to remember that "portraits don't represent even half of their subjects".

text: Portraits in the Headmaster's office[edit]

text: The portraits in the Headmaster's office depict all the former Heads of Hogwarts, with the exception of Dolores Umbridge. They advise the Headmaster and are "honour-bound to give service to the present headmaster" (according to Armando Dippet). Rowling has explained that portraits of past headteachers tend to be more realistic than most, as the subject in question usually imparts knowledge and teaches them how to behave before their death.[30]

text: The Fat Lady[edit]

text: The portrait of the Fat Lady covers the door to Gryffindor Tower. She will open it (sometimes grudgingly) when the correct password is uttered. She is often upset after being awoken, and is sometimes seen drunk with her best friend, Violet. The Fat Lady has no other known name -- even the unfailingly polite Albus Dumbledore refers to her only as "the Fat Lady" -- and it may be that she does not represent a real person but is instead an invention of her portrait's artist. In Philosopher's Stone, she leaves her portrait in the middle of the night, locking Harry, Ron, Hermione, and Neville out of Gryffindor Tower, forcing them to run across the school. Luckily for them, when they return, she has returned to her portrait, allowing them to escape into Gryffindor Tower. In Prisoner of Azkaban, Sirius Black slashes the Fat Lady's portrait when she won't let him in without a password and it is some time before she dares to guard Gryffindor Tower again. After her portrait is restored, she requests protection in case someone tries to attack her portrait again. Thus, two security trolls are hired. In Half Blood Prince, she gets so annoyed with Harry's late return that she pretends the password has changed and tries to call him back when he heads off to talk to Dumbledore. When Harry later confirms Dumbledore's death, she lets out a sob and, for the only time in the series, she opens without the password for Harry in her grief.

text: In the first film the Fat Lady is played by Elizabeth Spriggs, and by Dawn French in the third film.

text: Photographs[edit]

text: Wizarding photographs of people have similar properties to magical painted portraits: the figures within move about or even sometimes leave the frame. They appear in wizard newspapers and other print media, as well as on Chocolate Frog cards.[HP1] Colin Creevey mentions in Chamber of Secrets that a boy in his dormitory said that if he develops the film from his Muggle camera 'in the right potion', the pictures will move.[32] However, unlike portraits, figures in wizarding pictures cannot speak and display little sentience. It appears that they do have some knowledge of current events, as in Order of the Phoenix, the family photograph on Arthur's desk shows everyone except Percy "who appeared to have walked out of it",[33] mirroring the deterioration of Percy's relationship with his family. It is also mentioned that in a photo taken by Colin Creevey of Gilderoy Lockhart and Harry, Harry's picture had walked out and was resisting all of Lockhart's efforts to pull him back in.


document_title: Landscape with the Fall of Icarus (poem)

question_text: when was landscape with the fall of icarus written

text: "Landscape with the Fall of Icarus" is an ecphrastic poem by the 20th-century American poet William Carlos Williams that was written in response to Landscape with the Fall of Icarus, traditionally attributed to Pieter Bruegel. Williams first published the poem as part of a sequence in The Hudson Review in 1960,[1] subsequently using the sequence as the basis for his final book, Pictures from Brueghel and Other Poems, published in 1962.[2]

text: The poem, as indicated by the title, touches upon the Greek tragedy of Icarus, the story in which Icarus, the son of Daedalus, took flight from Crete, where he and his father were trapped in exile, wearing wings made from wax and feathers. Icarus, disregarding his father's wishes that he not fly too close to the sun, did just that and melted his way to a feathery demise, drowning in the sea. This subject—and Bruegel's painting—are also treated by another Modernist poet, W. H. Auden, in "Musée des Beaux Arts".