document_title: List of Indian folk dances

question_text: the folk dance form tehra thali belongs to which state

question_tokens: the folk dance form tehra thali belongs to which state

text: List of Indian folk dances

text: Arunachal Pradesh[edit]

text: Bardo Chham is a folk dance of Sherdukpens, a small community of West Kameng District of Arunachal Pradesh, Bardo Chham depicts the victory of good over evil. The dance has an interesting background. According to the local beliefs, forces — both good and evil, rule mankind. The folks believe that in one year, twelve different types of stupid things, representing evil forces, appear each month and get together. The Sherdukpens mask themselves representing the different animals and dance to the accompaniment of drums.

text: Assam[edit]

text:
Bagurumba is a folk dance performed by women of the indigenous Bodo tribe in Assam and Northeast India. It is accompanied by musical instruments such as the kham (a long drum, made of wood and animal skin), sifung (flute), jota (made of iron/tama), serja (a bowed instrument, made of wood and animals skin), gongwna (made of bamboo), and tharkha (a piece of split bamboo).
The Bihu dance is a folk dance related to the festival of Bihu. It is performed by both young men and women, and is characterised by brisk dance steps, and rapid hand movement. The instruments used are the dhol (drum), pepa (horn), baahi (flute) and gagana (an instrument made of bamboo). The clothing is also traditional: women wear mustard- and red-coloured mekhela chadors and the men wear a dhoti, a head-band similar colouring.
Jhumair, also found in Bangladesh, is performed by young girls. They are also accompanied by a few men who maintain the rhythm with musical instruments and vocals.

text: Bihar[edit]

text: Jat-Jatin is the most popular folk dance of North Bihar, especially in Mithila and Koshi region. It is performed by a pair of man and woman. Man goes to far-off place to earn livelihood. Jat-Jatin is a folk dance of the same emigrant husband accompanied by his spouse. Apart from poverty and sorrow, this dance reflects a rainbow of the sweet and tender quarrel as well as some complaints between husband and wife. The folk mocks to comfort the hurdles of life with a smile. The headlines of the lyrics is “ Tikwa-jab-jab Maugailion re jatwa - Tikwa kahe na lawle re … ”

text: Bideshiya a form of dance drama which holds a unique place amongst folk dances from Bihar. It is believed to be created by Bhikhari Thakur, a person who was barber by profession and left everything for his passion of drama. Bidesia deals with social issues & conflict between the traditional and modern, the rich and the poor and delicate matters like emotional battles. In old days, Bidesia was famous as it gave voice to many social concerned topics like the cause of poor laborers and tried to create awareness about the poor status of women in Bhojpuri society. Sometimes, the tone of Bidesia is sarcastic but it uses vibrant dance moves and music with emotional stories.

text: Jhijhian sung when there is no rain for a long time. Through `Jhijhian` people try to portray drought where there is no rain. They pray to Lord Indra for rain. This dance is ritualistic in nature with the songs showing deep devotion to Lord Indra. The musicians are usually a lead singer and harmonium player with a drummer.

text: Domkach is perferm by women during marriage in house of Bridegroom.

text: Painki - It is another popular dance form of Bihar. The dance reminds us of infantry and its agility, courage, and excitement.  A flat ground is essential for its performance. This dance displays the skills & the ability of the dancers to handle these weapons.

text: Chhattisgarh[edit]

text: Raut Nacha is a traditional folk dance usually done by Yadavs (a caste which considers itself as descendants of Krishna) as symbol of worship to Krishna. Done at the time of 'Dev Udhni Ekadashi' (time of awakening of Gods after brief rest) according to Hindu panchang (calendar). The dance is a close resemblance of Krishna's Raas leela (dance of lord with his village's girls called gopis) with gopis.

text: Goa[edit]

text: Popular folk dances are:[1][2]

text: Fugdi

text: Gujarat[edit]

text:
Dandiya Raas is an energetic, vibrant dance originating in the state of Gujarat. Often called the "stick dance" because it uses polished sticks or dandiya, it represents a mock-fight between Durga and Mahishasura, the mighty demon-king. It is nicknamed "The Sword Dance" because the dandiya represent the sword of Durga and are hit together.[3][4] The combination of garba and raas has become very popular at the collegiate level in the United States. Garba-Raas competitions are increasing in number. Popular ones include Dandia Dhamaka,[5] Raas Chaos,[6] Garba With Attitude, Dandia on Fire and Maryland Masti among others.[7]
Garba is customarily performed by women, the dance involves circular patterns of movement and rhythmic clapping. It popularly performed during Navratri. The word comes from "garbha deep" which is translated as either light in the inner sanctum of the temple or lamp inside a perforated earthen pot (which is often used in the dance).[3][8]
The Tippani dance originated from the Chorwad region of Saurashtra. Labourer women take a wooden rod, sometimes tipped with iron at one end, to beat the floor.[9]
Other folk dances include the Padhar dance, Siddi Dhamal, Hudo, Matukadi, and Aagawa.
Kolis of Saurashtra and Padhiyar also perform folk and classical dances.

text: Himachal Pradesh[edit]

text:
Nati is a dance style of Himachal Pradesh.
Charba dance normally perfermed during celebration of dussehra festival.

text: Haryana[edit]

text: Dance forms of Haryana include:[10][11]

text:
Theatrical
Ras Leela
Ragini

text:
Devotional
Chaupaiya (on verses)
Holi festival
Manjira (type of Cymbal)
Ras Leela (of Krishna and Gopis)
Ragini

text:
Festive seasonal
Gogaji and Gugga
Holi
Phaag,
Sawan
Teej

text:
Ceremonial and recreational
Legendary bravery
Kissa
Ragini
Love and romance
Been (including its variant Nāginī dance)
Ragini
Ceremonial
Dhamal Dance,
Ghoomar
Jhoomar (sway, male only)
Khoria dance
Loor dance
Ragini

text: Karnataka[edit]

text: Veeragase is a vigorous dance performed by women. Based on Hindu mythology, it involves intense energy-sapping movements and is performed during festivals mainly in the Hindu months of Shravana and Karthika.

text: Jammu and Kashmir[edit]

text:
Dumhal is a dance performed by men of the Wattal tribe on specific occasions. The performers wear long colourful robes and tall conical caps that are studded with beads and shells. The party moves in a procession carrying a banner in a  ceremonial fashion. The banner is then dug into the ground and the men dance, forming a circle. The accompaniment comprises a drum and the singing of the participants. Dumhal is performed on set occasions and at set locations.
Rauf The Rauf is a folk dance form which is mainly practiced by the women folk of the Kashmir valley. There are several folk dance forms which have particularly originated and flourished in the state of Jammu and Kashmir. In this beautiful dance form, there are women who line up in two rows facing each other and perform this beautiful dance during the spring time in beautiful costumes.

text: Jharkhand[edit]

text:
Jhumair is popular folk dance of Jharkhand. It is performed during harvest season, festival and social gatherings.
Mardana Jhumair is Nagpuri folk dance mostly perfermed by men.
Janani Jhumair is Nagpuri Folk dance mostly perfermed by women.
Domkach folk dance is perfermed during marriage by bride groom family.
Lahasua folk dance perfermed by both men and women accompanied by musical instruments Mandar, Dhol and Bansi.
Painki is a Nagpuri ceremonial martial dance.
Fagua is a folk dance perfermed during festival of Fagua or Holi.
Karma Naach perfermed during Karam festival.

text:
Chhau dance is a semi classical Indian dance with martial, tribal and folk traditions, with origins in the eastern Indian states of Jharkhand, West Bengal, and Odisha. It is found in three styles named after the location where they are performed, i.e. the Purulia Chau of Bengal, the Seraikella Chau of Jharkhand, and the Mayurbhanj Chau of Odisha.
Santali dance - Santali dance  perfermed by Santal tribe.
Munda dance - Munda dance perfermed by Munda tribe.

text: Kerala[edit]

text:
Chakyar Koothu is primarily a highly refined monologue where the performer narrates episodes from Hindu epics (such as the Ramayana and the Mahabharata) and stories from the Puranas.  And sometimes, however, it is also a traditional equivalent of the modern stand-up comedy act, incorporating commentary on current socio-political events (and personal comments directed at the members of the audience).
Duffmuttu (also known as Aravanmuttu or Arbanamuttu) is a dance form particular to the Muslim community of Kerala. The origin of Duffmutt can be traced back to the Arabs. It is still accompanied by Arabic music. The name Duffmuttu is attributed to the use of an instrument called duff or tap. Daff is a round percussion instrument with one side covered with hide and is used to produce rhythm.
Margamkali is a very ancient and the most popular artistic performance prevalent among the Syrian Christians of Kerala. Margamkali is performed mainly by women on festive occasions, especially during the time of marriage.
Oppana is a dance form specific to the Muslim community of Kerala. Oppana is usually a bridal group dance performed the day before the wedding day. It is a dance form essential to the wedding entertainment and festivities of the Muslims especially in the Malabar region of Kerala. Oppana is generally presented by young female relatives of the bride, who sing and dance around the bride clapping their hands.
Padayani or Padeni in colloquial speech is one of the most colourful and spectacular folk arts associated with the festivals of certain temples in southern Kerala. The word Padayani literally means military formations or rows of army, but in this folk art we have mainly a series of divine and semi-divine impersonations wearing huge masks or kolams of different shapes, colors and designs painted on the stalks of areca nut fronds. The most important of the kolams usually presented in a Padayani performance are Bhairavi (Kali), Kalan (god of death), Yakshi (fairy), Pakshi (bird) etc.
Theyyam, otherwise known as Kaliyattam, is a sacred ritual dance performed to glorify the goddess Kaali. The term 'Theyyam' is supposed to be the corrupt form of the Malayalam word 'Daivam', meaning God.

text:
Thirayattam, is a ritualistic performing ethnic art form of north Kerala. It blends dance, theatre, music, satire, facial painting, body painting, masking, martial art and ritualistic function. It has a great resemblance to the tradition and customs of the ancient civilization "Thirayattam". This divine ritualistic  art form enacted in courtyards of "kaavukal" (sacred groves) and village shrines of south malabar (calicut & malappuram dt:)region in kerala state.[13] [14]
Thitambu Nritham is mainly performed by Nambudiris of North Kerala.[15]
The word 'Thullal' means 'Caper' or 'to leap or jump about playfully'. This art form emerged in the 18th century. A solo performance combining both dance and recitation, thullal is the explication of a tale - normally drawn from the Puranas, narrated in verse.

text: Madhya Pradesh[edit]

text:
Grida Dance - crops sway in the fields in the  full bloom, the parties from different villages join together and perform the Grida dance. It continues from morning till evening. The host village returns the visit next year by going to the village of their guests of the preceding year. The dance has three distinct phases:
(1) Sela -  feet movements are slow and comparatively rigid.
(2) Selalarki - The feet movements become brisker and faster.
(3) Selabhadoni - With the acceleration of the tempo, every limb of the body begins to sway in mood of exaltation.
Maanch is a lyrical folk drama and a form of operatic ballet that is very popular in Malwa in Madhya Pradesh. "Maanch" means the stage or place of performance and as an indigenous and distinct folk-form.

text:
The tableland of Malwa has comparatively very few dances. On wedding occasions, the countryside women of this part perform the Matki dance with an earthen pot balanced on the head, the Matki is mostly danced solo. Sometimes just for merriment a couple of women join the main dancer who usually dances with a veil on her face. The two other variations of the Matki are the Aada and Khada Nach.
The Phulpati dance is exclusively for semi-rural unmarried girls. The agriculturist class of Malwa is not very much inclined to any dance by nature but during the Holi festival revelers perform this to the uneven manipulation of drums.
The Kamar tribe performs the Tertali, which is an elaborate ritual with many elements of dance. It is generally performed by two or three women who sit on the ground. Manjiras, or small metal cymbals are tied to different parts of the body, mostly the legs, and with a cymbal in either hand the dancer strikes these in rhythm. The head is covered with a veil, and at times a small sword is clenched between the teeth and an ornamental pot balanced on the head.

text: Maharashtra[edit]

text:
In the hilly regions of the north west, the Kokna tribal dance to the accompaniment of the tarpha or pavri, a wind instrument made of dried gourd. Because of this, the dance is known as Tarpha Nach or Pavri Nach.
Lavani is a combination of traditional song and dance, which is particularly performed to the beats of Dholki, a percussion instrument. Lavani is noted for its powerful rhythm and erotic sentiment. Lavani has contributed substantially to the development of Marathi folk theatre. In Maharashtra and southern Madhya Pradesh, it is performed by the female performers wearing nine-yard long saris. The songs are sung in a quick tempo.

text: Meghalaya[edit]

text:
Shad sukmysiem
Shad nongkrem
Derogata
Do dru Sua
Laho
Wangala

text: Mizoram[edit]

text: Cheraw dance is a combination of rhythm and skill. Four people hold two pairs of long bamboos across one another on the ground. As the bamboo sticks are clapped together, the main dancers in traditional attires weave patterns through them in time to the rhythm. Cheraw is a major attraction during all festive occasions in Mizoram.

text: Nagaland[edit]

text: The Chang Lo (also known as Sua Lua) is a dance of the Chang tribe of Nagaland. It was performed to celebrate the victory over enemies in the earlier times. Presently, it forms a part of all the community celebrations, such as Poanglem, a three-day festival preceding the harvest season. There are dramatic costumes of the traditional Naga warrior and finery of womenfolk.

text: Odisha[edit]

text: Chhau dance[edit]

text: Chhau dance originated and performed in the Mayurbhanj District, Purulia District and Saraikela district and Nilagiri region of  Odisha, West Bengal and Jharkhand respectively. It has its base in the martial arts tradition. The dance is a stylised mock battle in which two groups of dancers armed with swords and shields, alternatively attack and defend themselves with vigorous movements and elegant stances. Especially notable is the accompanying music, noted for its rhythmic complexities and vigorous percussion. The instruments include 'Mahuri' - a double reeded instrument, 'Dhola' - a barrel shaped two-sided drum, 'Dhumsa' - a hemispherical drum and 'Chadchadi' - a short cylindrical drum.

text: Goti Pua[edit]

text: The Gotipuas are boy dancers who dress up as girls. They are students of the akhadas, or gymnasia, established by Ramachandradeva in Puri, in the periphery of the temple. As they were offshoots of the akhada system, goti puas also came to be known as akhada pilas - boys attached to akhadas. Another reason often given to justify the emergence of the goti pua system is that some followers of the Vaishnava religion disapproved of dancing by women as a pretext for worship - they introduced the practice of dancing by boys dressed as girls.

text: The word goti means 'one', 'single' and pua, 'boy', but the goti puas always dance in pairs. Boys are recruited about the age of six and continue to perform till they are 14, then become teachers of the dance or join drama parties. Goti puas are now part of professional teams, known as dals, each headed by a guru.

text: The boys are trained for about two years, during which, after having imbibed the basic technique, they learn items of dance, ornamental and expressional. The goti puas, being youngsters in their formative years, can adapt their bodies to the dance in a far more flexible manner as opposed to the maharis.

text: A goti pua presentation is ably supported by a set of three musicians, who play the pakhawaj, the geeni, or cymbals and the harmonium. The boys do the singing themselves, though at times the group has an additional singer.

text: Baagh Naach or Tiger Dance[edit]

text: The Baagh Naach or Tiger Dance is performed in Binka and Sonepur of Subarnapur district during the month of chaitra. The male dancer paints his bare body with yellow and black stripes like that of a tiger and attaches a suitable tail. One or more dancers move from house to house and after a crowd gathers the dance begins. The dancers are accompanied by a drummer and a bell player who provides the music. The dance is nothing but acrobatic movement in rhythm. They make hissing sounds while dancing. The tiger dance is also performed in Berhampur during the Thakurani Jatra.

text: Dalkhai[edit]

text: Though Dusserah is the occasion of the Sambalpuri folk dance Dalkhai, it is often performed at other festivals such as Bhaijiuntia, Phagun Puni, and Nuakhai. It is mostly danced by young women of Binjhal, Kuda, Mirdha, Sama and some other tribes of Sambalpur, Balangir, Sundargarh, Bargarh, Nuapada and Kalahandi districts. During this dance men join them as drummers and musicians. The dance is accompanied by a rich orchestra of folk music played by a number of instruments known as Dhol, Nisan, Tamki, Tasa and Mahuri. The dhol player controls the tempo while dancing in front of the girls.

text: Dhap[edit]

text: Dhap is a Sambalpuri folk dance mostly performed by the Kandha tribe of Kosal region. Men of one village dance with women of another village. Usually unmarried boys and girls take part. The dance is performed during marriage ceremony and more often for the sake of recreation. The dance is so named because of the accompanying instrument, the dhap. The dhap is in the shape of a Khanjari made up of wood with one side open and the other side covered with a piece of animal skin. The dhap dancer holds the dhap with his left hand, the sling slung over his left shoulder, and beats with both hands.

text: Ghumra[edit]

text: The Sambalpuri folk dance called Ghumra is also known as vira-badya of the Odisha region. It was used during war to encourage soldiers. It is also used to give social message like forestation, saving girls, literacy, etc. It uses a typical drum: just like a big pitcher with a long stem made of clay. The mouth is covered with the skin of a godhi (a reptile). When played with both hands, it produces a peculiar sound quite different from other drums.

text: The dance performed to the accompaniment of this drum is called Ghumra Naat. It begins 15 days before the Gamha Puni (full moon in September) and culminates on that night in a ceremonial performance. Young men of the communities fix a Ghoomra each on the chest with string on body and simultaneously dance and play.

text: The performance begins with slow circular movements. The nisan is a smaller variety of kettle-drum played with two leather sticks. The player always places himself in the centre and controls the tempo of the dance. He also indicates change over the movements. After a brief dance sequence in rhythmic patterns, all the dancers move in a concentric circle and then stand erect in a line. Then enters the singer who first sings in praise of Saraswati and other gods and goddesses. During the song, the drums remain silent. After the prayer-song Chhanda, Chaupadi and other literary folk-songs are sung. Each couplet of a song is followed by a dance. At the end of the each couplet the singer adds 'Takita Dhe' which is a numonic syllable for the time-beats and indicates the dance to begin. Ghumra dancers are basically from Kalahandi and Balangir district.

text: Karma Naach[edit]

text: The Karma Naach folk dance of the Sambalpuri is performed during the period of worship of the god or goddess of fate (Karam Devta or Karamsani Devi), whom the people consider the cause of good and bad fortune. The worship lasts for several days from Bhadra Shukla Ekadasi, the eleventh day of the full moon in the month of Bhadra.

text: Jhumair[edit]

text: The Jhumair is a folk dance of North Odisha and Western Odisha. It is perfermed during harvest season and Festivals.

text: Keisabadi[edit]

text: Only men can take part in the Keisabadi, a form of the Sambalpuri folk dance. Some of them hold a stick two feet long. They dance in different forms by striking the sticks according to the rhythms of the song they sing. The leader sings first and others follow him. They sing in Kosli and in every stanza they shout "Haido". The main theme of the song is derived from the love story of Radha and Krishna.

text: Odishi Nritya[edit]

text: It is one of the most important dance performed in Odisha. This dance is dedicated to Lord Jagannath or Lord Vishnu. This dance also explains the love story of Lord Krishna and Radha.

text: Puducherry[edit]

text: Garadi is a well-known dance of Puducherry. It is believed to have a mythological origin. As the legend goes, when Rama - the epic hero of Ramayana defeated Ravana then the vanars (monkeys) performed this dance to celebrate his victory. Garadi is performed during all festivals and usually continues for five to eight hours. The dancers are disguised as 'vanars' and carry sticks in their hands as they dance to the beat of two big drums, called ' Ramadolus'. A distinctive feature of this dance is the iron rings called 'anjali' which dancers wear on their legs - ten on each leg. As the dancer proceeds, these rings produce a melodious sound.

text: Punjab[edit]

text: Bhangra[edit]

text: The dance known as Bhangra is one of Punjab's most popular dances and the name of the music style. Bhangra is done with classic style Punjabi dresses, and with instruments including a Dhool, Chimta, Algoza etc. It was originally danced during the harvest season, but now is a popular form of celebration at any time such as weddings and festivals. Bhangra is a very popular style of music and dance in Punjab, but is also very popular in the diaspora, specifically in Canada and the U.K. where many Bhangra competitions are now held. Creating Bhangra teams has become very popular and influential with teenagers.It is a mixture of many steps like dhamaal, jutti, Fulka, Sialkoti, Dankare, Jugni, Mirzi, Fumnian. Other folk dance of Punjab like Jhummar, Sammi, are included in Bhangra.

text: Giddha[edit]

text: The counterpart to male bhangra, giddha is a female folk dance from Punjab. It is an energetic dance derived from ancient ring dancing that highlights feminine grace and elasticity. It is often accompanied by singing folk couplets known as bolliyan.

text: Malwai Giddha[edit]

text: Malwai Giddha is a form of Giddha in which only male members participates.

text: Kikkli[edit]

text: Kikkli is normally performed by two girls holding hands and twirling each other in circle and balancing their positions in circular motions. The two people pair up and hold each other's hands (right with right and left with left) and spin around at high speed without leaving hands. Sometimes one of the partners bends knees (goes down and comes up) or even lifts both feet off the floor (spinning in the air changing to various foot patterns) while spinning and performs different antics if the other partner is strong enough to hold on.

text: Rajasthan[edit]

text: Ghoomar[edit]

text: Ghoomar is a traditional women's folk dance of Rajasthan. It is performed by groups of women in swirling robes accompanied by men and women singing together. This folk dance gets its name from ‘ghoomna’, the pirouetting which displays the spectacular colours of the flowing ‘ghaghara’, the long skirt of the Rajasthani women. There is an amazing grace as the skirt flair slowly while the women twirl in circles, their faces covered with the help of the veil. They dance in measured steps and graceful inclinations of body, beating palms or snapping fingers at particular cadences, while singing some lilting songs.

text: Kalbelia[edit]

text: Kalbelia is performed by Naachato Rajasthan the women's group of the Kalbelia community of Rajasthan. The main occupation of the community is catching snakes and trading snake venom. Hence, the dance movements and the costumes bear resemblance to that of the serpents. Dancers attired in traditional black swirling skirts sway sinuously to the plaintive notes of the 'been' — the wooden instrument of the snake charmers.

text: Kachchhi Ghodi[edit]

text: Ghodi and Kachchhi Ghodi is an Indian folk dance that originates from the Shekhawati region of Rajasthan. Dancers wear novelty horse costumes and participate in mock fights while a singer narrates folk tales about local bandits. It is commonly performed during wedding ceremonies to welcome and entertain the bridegroom's party, and during other social settings.

text: Tera Tali[edit]

text:
Tera Tali is another famous folk dance of Rajasthan. Performed by the ‘Kamar‘ tribe.
The women folk sit on the ground while performing the Tera Tali. Men? Well they just sing.
An interesting part of the Tera Tali dance is tying of metal cymbals (Manjiras) to different parts of the body, mostly on the legs.
On many occasions the women clasp a sword in between their teeth and balance a decorative pot on their head.

text: Sikkim[edit]

text: Singhi Chham is a masked dance of Sikkim, depicting snow lion - the cultural symbol of the state. (Snow lion was decreed the guardian deity of the people of Sikkim by Guru Padamsambhava). The third highest mountain in the world - Kanchenjunga(Khang-Chen Dzong Pa), standing sentinel over the state of Sikkim, is believed to resemble the legendary snow lion. The natives display their cultural symbol by dressing up in furry costumes and performing this majestic masked dance.

text: Tamil Nadu[edit]

text: Parai Attam or Thappattam[edit]

text: Parai Attam, or Thappattam, is a dance in which folks beat Parai and dance to its rhythm. It is one of the oldest traditional dances, originally performed for multiple reasons, ranging from warning people about the upcoming war, requesting the civilians to leave the battlefield, announcing victory or defeat, stopping a breach of water body, gathering farmers for farming activities, warning the wild animals about people's presence, during festivals, wedding, celebrations, worship of nature and so on.

text: Kummi[edit]

text: The womenfolk of Tamil Nadu have three closely related dances, which can be performed at any time but are seen at their best during festivities. The simplest of these is the Kummi, in which the dancers gather in a circle and clap their hands as they dance.

text: Kolattam[edit]

text: Kolattam is an ancient village art. This is mentioned in Kanchipuram as 'Cheivaikiyar Kolattam', which proves its antiquity. This is performed by women only, with two sticks held in each hand, beaten to make a rhythmic sound. Pinnal Kolattam is danced with ropes which the women hold in their hands, the other of which are tied to a tall pole. With planned steps, the women skip over each other, which forms intricate lace-like patterns in the ropes. As coloured ropes are used, this lace looks extremely attractive. Again, they unravel this lace reversing the dance steps. This is performed for ten days, starting with the Amavasi or Newmoon night after Deepavali.

text: Karagattam or Karagam[edit]

text: Karagattam or Karagam is a folk dance of Tamil country performed by villagers perform in praise of the rain goddess Mari Amman. The performers balance a water pot on their head very beautifully. Traditionally, this dance is performed in two types - Aatta Karagam is danced with decorated pots on the head and symbolises joy and happiness, while the Sakthi Karagam is performed only in temples and is mainly danced for entertainment. Earlier it was performed only with the accompaniment of the Naiyandi Melam, but now it also includes songs. Most expert artistes are from the regions of Thanjavur, Pudukottai, Ramanathapuram, Madurai, Tirunelveli, and Pattukottai and Salem.

text: Mayil Attam or Peacock dance[edit]

text:
This is done by girls dressed as peacocks, resplendent with peacock feathers and a glittering head-dress complete with a beak. This beak can be opened and closed with the help of a thread tied to it, and manipulated from within dress.
Other similar dances are, Kaalai Attam (dressed as a bull), Karadi Attam (dressed as a bear) and Aali Aattam (dressed as a demon) which are performed in the villages during village get-togethers. Vedala Aattam is performed wearing a mask depicting demons.

text: Paambhu attam or Snake Dance[edit]

text: The Paambhu attam or snake-dance arises from the popularity of the snake as a protective divinity, safeguarding the health and happiness of the rural folk. Usually danced by young girls dressed in a tight-fighting costume designed like the snake-skin. The dancer simulates the movements of the snake, writhing and creeping, at times making quick biting movements with head and hands. The raised hands held together look like the hood of a snake.

text: Oyilattam[edit]

text: Meaning Dance of Grace, was traditionally a dance where a few men would stand in a row and perform rhythmic steps to the musical accompaniment, with the number of dancers increasing; over the past ten years women have also started performing this dance. Typically, the musical accompaniment is the Thavil and the performers have coloured handkerchiefs tied to their fingers[3] and wear ankle bells.

text: Puliyattam[edit]

text: Puli Attam is a Folk Dance of early Tamil country. This Dance forms "a play of the Tigers". Normally the performers make movements of the majestic tigers.Their bodies are painted by local artists in vibrant yellow and black to resemble replica of a tiger. The music instruments used are Tharai, Thappu or Thappattai. Performed during temple festivals on the village streets.

text: Poikal Kudirai Attam[edit]

text: Poikal attam refers to the dance of "false legs". Here dancers are attached to a dummy horse at the waist. Instead of 4 legs of a horse only 2 legs of the person with the prop on his body is present. The image is similar to a rider on a horse (albeit a two legged horse and thus the name Poikal attam). This is a popular folklore dance with themes often on "Raja Desingu" - a once popular Rajput ruler called Tej Singh who invaded areas all the way up until Tamil Nadu.[16]

text: Bommalattam[edit]

text: Puppet  shows are held in every village during festivals and fairs. Many different kinds of puppets are used for this show - cloth, wood, leather, etc. They are manipulated through strings or wires. The persons stand behind a screen and the puppets are held in front. The stories enacted in the puppet shows are from puranas, epics and folklore. These shows are very entertaining and hold both adults and children enthralled for many hours.[17]

text: Theru Koothu[edit]

text: Normally conducted during village festivals, during the months of Panguni and Aadi. This is performed where three or four streets meet. Here, make-up and costumes are considered of prime importance. Only men take part; the female roles also played by them. The performance consists of story-telling, dialogue-rendering, songs and dance, all performed by the artistes. The stories are taken from Puranas, epics such as Ramayana and Mahabharata, and also local folklore. The play starts in the late evening and gets over only during the small hours of the nights. Theru Koothu is popular in the northern districts of Tamil Nadu. The Koothu can be categorised as Nattu Koothu, including Vali Koothu, Kuravai Koothu etc. Samaya Koothu dealing with religious topics, Pei Koothu including Thunangai Koothu and Porkala Koothu dealing with martial events.[18]

text: Telangana[edit]

text: Perini Shivatandavam[edit]

text: Perini Sivatandavam or Perini Thandavam is an ancient dance form from Telangana which has been revived in the recent times.[19]

text: Tripura[edit]

text: Hojagiri is a reflection of the age-old culture and the unique style of dance of the Reang community of Tripura. Only lower half of the body is moved to create rhythmic movements. Dancers performing unusually amazing acrobatic feats is the main highlight of the dance. Reang girls twist and turn and dance in time to the compelling rhythm, sometimes dancing on an earthen pitcher or balancing a bottle on the head with a lighted lamp on top of it.

text: Uttar Pradesh[edit]

text: Mayur Nritya or Peacock Dance[edit]

text: This is a folk dance from Brij region of Uttar Pradesh. This is done by girls dressed as peacocks, resplendent with peacock feathers and a glittering head-dress complete with a beak. This beak can be opened and closed with the help of a thread tied to it, and manipulated from within dress. This dance is associated with Lord Krishna and Radha. It is considered that when Radharani wanted to see Mayur Nritya, Lord Krishna used to portray himself as a peacock and performs dance like Mayur.

text: This is a folk dance from Brij region of Uttar Pradesh. This is done by veiled women. They balance large multi-tiered circular wooden pyramids on their heads, alight with 108 oil lamps, dance to the strains of 'rasia' - songs of Lord Krishna. This dance is performed during various festivities in India.

text: Rasleela[edit]

text: The Rasleela is most popular form of folk dance of India, especially during the festivals of Krishna Janmashtami and Holi in the regions of Mathura and Vrindavan in Uttar Pradesh. Rasa Lila is a popular form of folk theatre in the regions of Mathura, Vrindavana in Uttar Pradesh, especially during the festivals of Krishna Janmashtami and Holi, and amongst various followers of Gaudiya Vaishnavism in the region. Raas Leela (Raax Mahotsav) is also observed as one of the State Festivals of Assam which usually is celebrated during Late November or Early December. During Raas Mahotsava, several thousand devotees visit the holy temples and Xatras of Assam every year.

text: West Bengal[edit]

text:
The folk dance/theatre of Gambhira originated among the Hindu community of Maldah in West Bengal. After Partition of India, Chapai Nawabganj in Rajshahi became the main center of Gambhira. With time, Gambhira has undergone many changes in terms of theme and style of its presentation. Muslims also became the custodian of the dance, and thereby it became an integral part of their culture. May be for that reason the dancer now wears the Lungi. Gambhira comprises a few characters with dialogues in an atmosphere of music, its themes now being contemporary social problems, fakeness and selfishness of people and so on.
Alkap is a rural performance, popular in many places of Bengal, especially in Rajshahi, Maldah and Murshidabad districts, and the Rajmahal Hills in the state of Jharkhand. This is associated with the Gajan Festival of Shiva around the middle of April. The beginning of this form was in the late nineteenth century. It has no written script, but scenarios based on popular love stories, which the actors elaborate with extreme dialogues, breaking up for songs, dances and comic or satirical sketches called Kap. It is a composite performance comprising acting, dancing, singing and recitation. Each Alkap group consists of ten to twelve dancers, under the leadership of a 'Sorkar' or 'Guru'. The group includes two or three 'Chhokras', one or two lead singers called 'Gayen' or 'Gayok'. Also, there remain 'Dohars', the chorus called 'Gayokdol' and instrumentalists called 'Bajnadars'. Alkap performances take place at night on an open stage.
Domni is performed in Malda district. A Domni performance starts with a Vandana dedicated to God. Then the 'Mool Gayen' (Lead Character/Protagonist) and 'Chhokras' (Supporting Characters) offer devotional prayers. The dance performances of the Chhokras are called 'Nachari' or 'Lachari'. The main characters are the roles of husbands, wives, mothers, greedy moneylenders, peasant- girls and so on. The plays are composed taking extracts from small events of everyday life and are presented in a satirical manner. The musical instruments are Harmonium, Dholak, Kartal, flute and so on. With change on social life and popular taste/culture, this folk form is becoming extinct.
Dhunachi is a dance performed in Bengal for the Durga Pooja at the time of Dussehra. Women and Men wear traditional Bengali dresses and dance with a mud pot filled with burnt coconut shavings. This is known as a tribute to Maa Durga.
Jhumair: Jhumair is folk dance of Western parts of West Bengal perfermed during harvest season and festivals.
Santali dance: Santali dance perfermed by Santal tribe.


document_title: 3D television

question_text: when did the first 3d tv come out

question_tokens: when did the first 3d tv come out

root

text: 3D television

text: History[edit]

text: The stereoscope was first invented by Sir Charles Wheatstone in 1838.[2][3] It showed that when two pictures are viewed stereoscopically, they are combined by the brain to produce 3D depth perception. The stereoscope was improved by Louis Jules Duboscq, and a famous picture of Queen Victoria was displayed at The Great Exhibition in 1851. In 1855 the Kinematoscope was invented. In the late 1890s, the British film pioneer William Friese-Greene filed a patent for a 3D movie process. On 10 June 1915, former Edison Studios chief director Edwin S. Porter and William E. Waddell presented tests in red-green anaglyph to an audience at the Astor Theater in New York City and in 1922 the first public 3D movie The Power of Love was displayed.

tag: p

text: Stereoscopic 3D television was demonstrated for the first time on 10 August 1928, by John Logie Baird in his company's premises at 133 Long Acre, London.[4] Baird pioneered a variety of 3D television systems using electro-mechanical and cathode-ray tube techniques. The first 3D TV was produced in 1935, and stereoscopic 3D still cameras for personal use had already become fairly common by the Second World War. Many 3D movies were produced for theatrical release in the US during the 1950s just when television started to become popular. The first such movie was Bwana Devil from United Artists that could be seen all across the US in 1952. One year later, in 1953, came the 3D movie House of Wax which also featured stereophonic sound. Alfred Hitchcock produced his film Dial M for Murder in 3D, but for the purpose of maximizing profits the movie was released in 2D because not all cinemas were able to display 3D films. In 1946 the Soviet Union also developed 3D films, with Robinzon Kruzo being its first full-length 3D movie.[5] People were excited to view the 3D movies, but were put off by their poor quality. Because of this, their popularity declined quickly. There was another attempt in the 1970s and 80s to make 3D movies more mainstream with the releases of Friday the 13th Part III (1982) and Jaws 3-D (1983).[6] 3D showings became more popular throughout the 2000s, culminating in the success of 3D presentations of Avatar in December 2009 and January 2010.[7]

text: Though 3D movies were generally well received by the public, 3D television did not become popular until after the CES 2010 trade show, when major manufacturers began selling a full lineup of 3D televisions.[8] According to DisplaySearch, 3D television shipments totaled 41.45 million units in 2012, compared with 24.14 in 2011 and 2.26 in 2010.[9] In late 2013, the number of 3D TV viewers started to decline,[10][11][12][13][14] and as of 2016, development of 3D TV is limited to a few premium models.[15]

text: Technologies[edit]

text: There are several techniques to produce and display 3D moving pictures. The following are some of the technical details and methodologies employed in some of the more notable 3D movie systems that have been developed.

text: The future of 3D television is also emerging as time progresses. New technology like WindowWalls (wall-size displays) and Visible light communication are being implemented into 3D television as the demand for 3D TV increases. Scott Birnbaum, vice president of Samsung's LCD business, says that the demand for 3D TV will skyrocket in the next couple of years, fueled by televised sports. One might be able to obtain information directly onto their television due to new technologies like the Visible Light Communication that allows for this to happen because the LED lights transmit information by flickering at high frequencies.[16]

text: Displaying technologies[edit]

text: The basic requirement is to display offset images that are filtered separately to the left and right eye. Two strategies have been used to accomplish this: have the viewer wear eyeglasses to filter the separately offset images to each eye, or have the light source split the images directionally into the viewer's eyes (no glasses required).[17] Common 3D display technology for projecting stereoscopic image pairs to the viewer include:

text:
With filters/lenses:

Anaglyph 3D – with passive color filters
Polarized 3D system – with passive polarization filters
Active shutter 3D system – with active shutters
Head-mounted display – with a separate display positioned in front of each eye, and lenses used primarily to relax eye focus

Without lenses: Autostereoscopic displays, sometimes referred to commercially as Auto 3D.
Others:

tag: ul

text: In a CEATEC 2011 exhibition, Hitachi released glasses-free 3D projection systems that use a set of 24 projectors, lenses, and translucent half mirrors to superimpose 3D images with a horizontal viewing angle of 60 degrees and a vertical viewing angle of 30 degrees. Besides Hitachi, Sony is also working on similar technologies.[18]

text: Single-view displays project only one stereo pair at a time. Multi-view displays either use head tracking to change the view depending on the viewing angle, or simultaneous projection of multiple independent views of a scene for multiple viewers (automultiscopic). Such multiple views can be created on the fly using the 2D-plus-depth format.

text: Various other display techniques have been described, such as holography, volumetric display, and the Pulfrich effect; which was used in Doctor Who Dimensions in Time, in 1993, by 3rd Rock From The Sun in 1997, and by the Discovery Channel's Shark Week in 2000.

text: Producing technologies[edit]

text: Stereoscopy is the most widely accepted method for capturing and delivering 3D video. It involves capturing stereo pairs in a two-view setup, with cameras mounted side by side and separated by the same distance as is between a person's pupils. If we imagine projecting an object point in a scene along the line-of-sight for each eye, in turn; to a flat background screen, we may describe the location of this point mathematically using simple algebra. In rectangular coordinates with the screen lying in the Y–Z plane, with the Z axis upward and the Y axis to the right, with the viewer centered along the X axis; we find that the screen coordinates are simply the sum of two terms. One accounting for perspective and the other for binocular shift. Perspective modifies the Z and Y coordinates of the object point, by a factor of D/(D–x), while binocular shift contributes an additional term (to the Y coordinate only) of s·x/(2·(D–x)), where D is the distance from the selected system origin to the viewer (right between the eyes), s is the eye separation (about 7 centimeters), and x is the true x coordinate of the object point. The binocular shift is positive for the left-eye-view and negative for the right-eye-view. For very distant object points, it is obvious that the eyes will be looking along essentially the same line of sight. For very near objects, the eyes may become excessively "cross-eyed". However, for scenes in the greater portion of the field of view, a realistic image is readily achieved by superposition of the left and right images (using the polarization method or synchronized shutter-lens method) provided the viewer is not too near the screen and the left and right images are correctly positioned on the screen. Digital technology has largely eliminated inaccurate superposition that was a common problem during the era of traditional stereoscopic films.[19][20]

text: Multi-view capture uses arrays of many cameras to capture a 3D scene through multiple independent video streams. Plenoptic cameras, which capture the light field of a scene, can also be used to capture multiple views with a single main lens.[21] Depending on the camera setup, the resulting views can either be displayed on multi-view displays, or passed along for further image processing.

text: After capture, stereo or multi-view image data can be processed to extract 2D plus depth information for each view, effectively creating a device-independent representation of the original 3D scene. These data can be used to aid inter-view image compression or to generate stereoscopic pairs for multiple different view angles and screen sizes.

text: 2D plus depth processing can be used to recreate 3D scenes even from a single view and convert legacy film and video material to a 3D look, though a convincing effect is harder to achieve and the resulting image will likely look like a cardboard miniature.

text: 3D production[edit]

text: Production of events such as live sports broadcasts in 3D differs from the methods used for 2D broadcasting. A high technical standard must be maintained because any mismatch in color, alignment, or focus between two cameras may destroy the 3D effect or produce discomfort in the viewer. Zoom lenses for each camera of a stereo pair must track over their full range of focal lengths.

text: Addition of graphical elements (such as a scoreboard, timers, or logos) to a 3D picture must place the synthesized elements at a suitable depth within the frame, so that viewers can comfortably view the added elements as well as the main picture. This requires more powerful computers to calculate the correct appearance of the graphical elements. For example, the line of scrimmage that appears as a projected yellow line on the field during an American football broadcast requires about one thousand times more processing power to produce in 3D compared to a 2D image.

text: Since 3D images are effectively more immersive than 2D broadcasts, fewer fast cuts between camera angles are needed. 3D National Football League broadcasts cut between cameras about one-fifth as often as in 2D broadcasting. Rapid cuts between two different viewpoints can be uncomfortable for the viewer, so directors may lengthen the transition or provide images with intermediate depth between two extremes to "rest" the viewers eyes. 3D images are most effective if the cameras are at a low angle of view, simulating presence of the viewer at the event; this can present problems with people or structures blocking the view of the event. While fewer camera locations are required, the overall number of cameras is similar to a 2D broadcast because each position needs two cameras. Other live sport events have additional factors that affect production; for example, an ice rink presents few cues for depth due to its uniform appearance.[22]

text: TV sets[edit]

text: These TV sets were high-end and generally include Ethernet, USB player and recorder, Bluetooth and USB Wi-Fi.

text: 3D-ready TV sets[edit]

text: 3D-ready TV sets are those that can operate in 3D mode (in addition to regular 2D mode) using one of several display technologies to recreate a stereoscopic image. These TV sets usually support HDMI 1.4 and a minimum output refresh rate of 120 Hz; glasses may be sold separately.

text: Philips was developing a 3D television set that would be available for the consumer market by about 2011 without the need for special glasses (autostereoscopy).[23] However it was canceled because of the slow adoption of customers going from 2D to 3D. (Citation needed)

text: In August 2010, Toshiba announced plans to bring a range of autosteroscopic TVs to market by the end of the year.[24]

text: The Chinese manufacturer TCL Corporation has developed a 42-inch (110 cm) LCD 3D TV called the TD-42F, which is currently available in China. This model uses a lenticular system and does not require any special glasses (autostereoscopy). It currently[when?] sells for approximately $20,000.[25][26]

text: Onida, LG, Samsung, Sony, and Philips intended to increase their 3D TV offering with plans to make 3D TV sales account for over 50% of their respective TV distribution offering in 2012. It was expected that the screens will use a mixture of technologies until there is standardization across the industry.[27] Samsung offers the LED 7000, LCD 750, PDP 7000 TV sets and the Blu-ray 6900.[28]

text: Full 3D TV sets[edit]

text: Full 3D TV sets include Samsung Full HD 3D (1920×1080p, 600 Hz) and Panasonic Full HD 3D (1920×1080p, 600 Hz).[citation needed]

text: A September 2011 Cnet review touted Toshiba's 55ZL2 as "the future of television". Because of the demanding nature of auto-stereoscopic 3D technology, the display features a 3840x2160 display; however, there is no video content available at this resolution. That said, it utilizes a multi-core processor to provide excellent upscaling to the "4k2k" resolution. Using a directional lenticular lenslet filter, the display generates nine 3D views. This technology commonly creates deadspots, which Toshiba avoids by using an eye-tracking camera to adjust the image. The reviewers also note that the 3D resolution for a 1080p signal looks more like 720p and lacks parallax, which reduces immersion. [29]

text: Standardization efforts[edit]

text: The entertainment industry is expected to adopt a common and compatible standard for 3D in home electronics. To present faster frame rate in high definition to avoid judder (non-smooth, linear motion), enhancing 3-D film, televisions and broadcasting, other unresolved standards are the type of 3D glasses (passive or active), including bandwidth considerations, subtitles, recording format, and a Blu-ray standard. With improvements in digital technology, in the late 2000s, 3D movies have become more practical to produce and display, putting competitive pressure behind the creation of 3D television standards. There are several techniques for Stereoscopic Video Coding, and stereoscopic distribution formatting including anaglyph, quincunx, and 2D plus Delta.

text: Content providers, such as Disney, DreamWorks, and other Hollywood studios, and technology developers, such as Philips, asked[when?] SMPTE for the development of a 3DTV standard in order to avoid a battle of formats and to guarantee consumers that they will be able to view the 3D content they purchase and to provide them with 3D home solutions for all pockets. In August 2008, SMPTE established the "3-D Home Display Formats Task Force" to define the parameters of a stereoscopic 3D mastering standard for content viewed on any fixed device in the home, no matter the delivery channel. It explored the standards that need to be set for 3D content distributed via broadcast, cable, satellite, packaged media, and the Internet to be played-out on televisions, computer screens and other tethered displays. After six months, the committee produced a report to define the issues and challenges, minimum standards, and evaluation criteria, which the Society said would serve as a working document for SMPTE 3D standards efforts to follow. A follow-on effort to draft a standard for 3D content formats was expected to take another 18 to 30 months.[citation needed]

text: Production studios are developing an increasing number of 3D titles for the cinema and as many as a dozen companies are actively working on the core technology behind the product. Many have technologies available to demonstrate, but no clear road forward for a mainstream offering has emerged.

text: Under these circumstances, SMPTE's inaugural meeting was essentially a call for proposals for 3D television; more than 160 people from 80 companies signed up for this first meeting. Vendors that presented their respective technologies at the task force meeting included SENSIO Technologies,[30] Philips, Dynamic Digital Depth (DDD),[31] TDVision,[32] and Real D, all of which had 3D distribution technologies.

text: There are many active 3D projects in SMPTE for both TV and filmmakers. The SMPTE 35PM40 Working Group decided (without influence from the SMPTE Board or any other external influence) that the good progress being made on 3D standards within other SMPTE groups (including the IMF Interoperable Master Format) means that its "overview" project would be best published as an Engineering Report. Broadcasters and other participants are still very active in 3D development, and SMPTE continues to be the forum where everyone from content creator to consumer manufacturer has a voice.[33]

text: However, SMPTE is not the only 3D standards group. Other organizations such as the Consumer Electronics Association (CEA),[34] 3D@Home Consortium,[35] ITU and the Entertainment Technology Center (ETC),[36] at USC School of Cinematic Arts have created their own investigation groups and have already offered to collaborate to reach a common solution. The Digital TV Group (DTG), has committed to profiling a UK standard for 3DTV products and services. Other standard groups such as DVB, BDA, ARIB, ATSC, DVD Forum, IEC and others are to be involved in the process.[citation needed]

text: MPEG has been researching multi-view, stereoscopic, and 2D plus depth 3D video coding since the mid-1990s;[37] the first result of this research is the Multiview Video Coding extension for MPEG-4 AVC that is currently undergoing standardization. MVC has been chosen by the Blu-ray disc association for 3D distribution. The format offers backwards compatibility with 2D Blu-ray players.[38]

text: HDMI version 1.4, released in June 2009, defines a number of 3D transmission formats. The format "Frame Packing" (left and right image packed into one video frame with twice the normal bandwidth) is mandatory for HDMI 1.4 3D devices. All three resolutions (720p50, 720p60, and 1080p24) have to be supported by display devices, and at least one of those by playback devices. Other resolutions and formats are optional.[39] While HDMI 1.4 devices will be capable of transmitting 3D pictures in full 1080p, HDMI 1.3 does not include such support. As an out-of-spec solution for the bitrate problem, a 3D image may be displayed at a lower resolution, like interlaced or at standard definition.

text: DVB 3D-TV standard[edit]

text: DVB has established the DVB 3D-TV Specification. The following 3D-TV consumer configurations will be available to the public:[40]

text:
3D-TV connected to 3D Blu-ray Player for packaged media.
3D-TV connected to HD Games Console, e.g. PS3 for 3D gaming.
3D-TV connected to HD STB for broadcast 3D-TV.
3D-TV receiving a 3D-TV broadcast directly via a built-in tuner and decoder.

text: For the two broadcast scenarios above, initial requirements are for Pay-TV broadcasters to deliver 3D-TV services over existing HD broadcasting infrastructures, and to use existing receivers (with firmware upgrade, as required) to deliver 3D content to 3D-TV sets, via an HDMI or equivalent connection, if needed. This is termed Frame Compatible. There are a range of Frame Compatible formats. They include the Side by Side (SbS) format, the Top and Bottom (TaB) format, and others.

text: Broadcasts[edit]

text: 3D Channels[edit]

text: As of 2008[update], 3D programming is broadcast on Japanese satellite BS11 approximately four times per day.[41]

text: Cablevision launched a 3D version of its MSG channel on 24 March 2010, which was a limited service that was only available only to Cablevision subscribers on channel 1300.[42][43] The channel was dedicated primarily to sports broadcasts, including MSG's 3D broadcast of a New York Rangers-New York Islanders game, limited coverage of the 2010 Masters Tournament, and (in cooperation with YES Network) a game between the New York Yankees and Seattle Mariners.[44]

text: The first Australian program broadcast in high-definition 3D was Fox Sports coverage of the soccer game Australia-New Zealand on 24 May 2010.[45]

text: Also in Australia, the Nine Network and Special Broadcasting Service will be bringing the State of Origin (matches on 26 May, 16 June and 7 July 2010) (Nine) and FIFA World Cup (SBS) in 3D on Channel 40 respectively.[46]

text: In early 2010, Discovery Communications, Imax, and Sony announced plans to launch a 3D TV channel in the US with a planned launch in early 2011. At the same time, a Russian company Platform HD and its partners – General Satellite and Samsung Electronics – announced about their 3D television project, which would be the first similar project in Russia.

text: In Brazil Rede TV! became the first Terrestrial television to transmit 3D signal freely for all 3D enabled audience on 21 May.[47][48][49][50]

text: Starting on 11 June 2010, ESPN launched a new channel, ESPN 3D, dedicated to 3D sports with up to 85 live events a year in 3D.[51]

text: On 1 January 2010, the world's first 3D channel, SKY 3D, started broadcasting nationwide in South Korea by Korea Digital Satellite Broadcasting. The channel's slogan is "World No.1 3D Channel". This 24/7 channel uses the Side by Side technology at a resolution of 1920x1080i. 3D contents include education, animation, sport, documentary and performances.[52]

text: A full 24-hour broadcast channel was announced at the 2010 Consumer Electronics show as a joint venture from IMAX, Sony, and the Discovery channel.[53] The intent is to launch the channel in the United States by year end 2010.

text: DirecTV and Panasonic plan to launch 2 broadcast channels and 1 Video on demand channel with 3D content[54] in June 2010. DirecTV previewed a live demo of their 3D feed at the Consumer Electronics Show held 7–10 January 2010.[55]

text: In Europe, British Sky Broadcasting (Sky) launched a limited 3D TV broadcast service on 3 April 2010. Transmitting from the Astra 2A satellite at 28.2° east, Sky 3D broadcast a selection of live English Premier League football matches to over 1000 British pubs and clubs equipped with a Sky+HD Digibox and 3D Ready TVs, and preview programmes provided for free to top-tier Sky HD subscribers with 3D TV equipment. This was later expanded to include a selection of films, sports, and entertainment programming launched to Sky subscribers on 1 October 2010.[56]

text: On 28 September 2010, Virgin Media launched a 3D TV on Demand service.[57]

text: Several other European pay-TV networks are also planning 3D TV channels and some have started test transmissions on other Astra satellites, including French pay-TV operator Canal+ which has announced its first 3D channel is to be launched in December 2010. Also the Spanish Canal+ has started the first broadcastings on 18 May 2010 and included 2010 FIFA World Cup matches in the new Canal+ 3D channel.[58] Satellite operator SES started a free-to-air 3D demonstration channel on the Astra satellite at 23.5° east on 4 May 2010 for the opening of the 2010 ANGA Cable international trade fair[59] using 3D programming supplied by 3D Ready TV manufacturer Samsung under an agreement between Astra and Samsung to co-promote 3D TV.[60]

text: As of November 2010, there were eight 3D channels broadcasting to Europe from three Astra satellite positions, including demonstrations provided by Astra, pay-TV from BSkyB, Canal+ and others, and the Dutch Brava3D cultural channel, which provides a mix of classical music, opera and ballet free-to-air across Europe from Astra 23.5°E.[61]

text: In April 2011, HIGH TV (a 3D family entertainment channel) launched. Headquartered in NY with offices in Hong Kong and London, the channel broadcasts through eight satellites round the world, covering Europe, Asia, the Nordic region, Russia, South America, Africa, Middle East and North America.

text: 3flow is a 3D channel that began broadcasting on Freebox in France on 1 April 2011. Made up entirely of native stereoscopic programming produced and owned by WildEarth and Sasashani (WildEarth's parent company). Initially the focus was mostly safari and has now widened to include underwater, extreme sports and other 3D content from around the world. WildEarth and Sasashani also distribute 3D series and shows through 3D Content Hub.

text: On 1 January 2012, China's first 3D Test Channel launched on China Central Television and 5 other networks.[62]

text: On 1 February 2012: The Extreme Sports Channel – the home of Extreme Sports launched in Italy on Sky Italia marking its international début in high definition (HD).[63]

text: The channel's HD feed will be a simulcast of the standard definition feed launched in 1999, which now broadcasts to subscribers in 66 territories and in 12 languages across Europe, the Middle East and Africa (EMEA). The inaugural launch on Italy's Sky platform sees the channel's entrance into the HD market and from there it will begin rolling out to operators across the EMEA region.

text: In February 2012 Telecable de Tricom, a major Dominican cable TV provider, announced the launch of the first 3D TV programming package in Latin America. As of 3 July 2012, the only 3D channels available are 3flow and HIGH TV 3D.[64]

text: In July 2013 the BBC announced that it would be indefinitely suspending 3D programming due to a lack of uptake. Only half of the estimated 1.5 million households in the UK with a 3D-enabled television watched the 2012 summer's Olympics opening ceremony in 3D.[65]

text: In 2013, in the US, ESPN 3D was shut down due to lack of demand, followed by Xfinity 3D and all DirecTV 3D programming in 2014.

text: List of 3D Channels[edit]

text:
Channel
Country(s)
Note(s)
Status

3flow
Worldwide
Wildlife and Entertainment
Active

HIGH TV 3D
Worldwide
Entertainment
Active

Penthouse 3D HD
United States
Porn

n3D
United States
DirecTV only
Defunct

Cinema 3D
United States
DirecTV only
Defunct

3net
United States
DirecTV only
Defunct

MSG 3D
United States
Cablevision only
Limited service

ESPN 3D
United States
Sport
Defunct

Xfinity 3D
United States
Comcast only
Defunct

Sky 3D
United Kingdom and Ireland
Sky only
Active

Foxtel 3D
Australia
Foxtel only
Defunct

HD1
Belgium (and other European countries)
Free-to-air

Sky 3D
Germany and Austria
Sky Deutschland only
Defunct

Anixe 3D
German-speaking countries
Free-to-air
Defunct

Nova 3D
Greece
Entertainment

Sport 5 3D
Israel
Sport
Defunct

Sky 3D
Italy
Sky Italia only

Brava3D
Europe
Free-to-air
Defunct

Hustler HD 3D
Italy
Porn

Canal+ 3D
France
Canal+ only
Defunct

LaTV3D
Worldwide – France
LaTV3D OTT
Active

Canal+ 3D España
Spain
Canal+ only
Active

CANAL+ 3D
Poland
CYFRA+ only

NEXT Man 3D
Poland

NEXT Lejdis 3D
Poland

NEXT Young 3D
Poland

nShow 3D
Poland
ITI Group only
Defunct

Viasat 3D
Sweden
Viasat only
Defunct[66]

Teledünya 3D
Turkey
Teledünya only

Digitürk 3D
Turkey
Digitürk only

Smart 3D
Turkey
Presentations

Sky 3D
South Korea
SkyLife only

SBS 3D
South Korea
Free-to-air

TV Azteca 3D
Mexico
Free-to-air

Sukachan 3D169
Japan
Sky PerfecTV! only
Defunct

BS11
Japan

RedeTV!
Brazil

Active 3D
India
Videocon d2h only

MOBILESTAR 3D TV
India
First HD 3D Channel in India

Zhongguo 3D dianshi shiyan pindao
China
Made up by 6 different TV companies

tag: table

text: Standard HD channels have also broadcast in 3D. BBC HD occasionally broadcast high-profile events in 3D including the Wimbledon men's & ladies' singles finals and the opening and closing ceremonies of the 2012 Summer Olympics. However the BBC abandoned 3D broadcasting following the 2013 Wimbledon tennis championships.[67]

text: 3D episodes and shows[edit]

text: There have been several notable examples in television where 3D episodes have been produced, typically as one-hour specials or special events.

text: The first-ever 3D broadcast in the UK was an episode of the weekly science magazine The Real World, made by Television South and screened in the UK in February 1982. The program included excerpts of test footage shot by Philips in the Netherlands. Red/green 3D glasses were given away free with copies of the TV Times listings magazine, but the 3D sections of the programme were shown in monochrome. The experiment was repeated nationally in December 1982, with red/blue glasses allowing colour 3D to be shown for the first time. The programme was repeated the following weekend followed by a rare screening of the Western Fort Ti starring George Montgomery and Joan Vohs.

text: In 1985 Portugal's national TV channel RTP 1 broadcast the movie Creature from the Black Lagoon in anaglyph format. Red/cyan 3D glasses were sold with magazines.[68][69]

text: In November 1993, the BBC announced a one-off week of 3D programming filmed using the pioneering Pulfrich 3D technique. 3D glasses were sold in shops around the UK, a percentage of the sales going to the Children In Need charity. The week's programming concluded with a screening of the 3D Doctor Who special Dimensions In Time as well as specially shot segments of Noel's House Party and the annual Children In Need charity appeal.

text: 3D television episodes were a brief fad on U.S. television during the May 1997 sweeps. The sitcom 3rd Rock from the Sun showed a two-part episode, "Nightmare On Dick Street", where several of the characters' dreams are shown in 3D. The episode cued its viewers to put on their 3D glasses (which used the Pulfrich effect) by including "3D on" and "3D off" icons in the corner of the screen as a way to alert them as to when the 3D sequences would start and finish. Customers were given free glasses courtesy of a joint venture between Little Caesars pizza and Barq's Root Beer. Also in May 1997, ABC had a special line-up of shows that showcased specific scenes in 3D. The shows included Home Improvement, Spin City, The Drew Carey Show, Ellen, Family Matters, Step by Step, Sabrina, The Teenage Witch, and America's Funniest Home Videos. Similar to 3rd Rock, an icon alerted viewers when to put on the 3D glasses. Customers were given free anaglyph glasses at Wendy's for the promotion. Nickelodeon had a special lineup of shows in 1997 that also showcased specific scenes in 3D promoted as Nogglevision; ChromaDepth was the technology of choice for Nickelodeon's 3D .

text: Recent uses of 3D in television include the drama Medium and the comedy Chuck (Season 2, episode 12).

text: Channel 4 in the UK ran a short season of 3D programming in November 2009 including Derren Brown and The Queen in 3D. Unlike previous British 3D TV experiments, the programmes were transmitted in ColorCode 3D. [70]

text: In May 2006 Portugal's national TV channel RTP 1 broadcast several shows in anaglyph format ("Real 3D") for a week. Red/cyan 3D glasses were sold exclusively by a hypermarket chain.[68]

text: On 31 January 2010, BSKYB became the first broadcaster in the world to show a live sports event in 3D when Sky Sports screened a football match between Manchester United and Arsenal to a public audience in several selected pubs.[71]

text: On 31 January 2010, the 52nd Grammy Awards featured a Michael Jackson Tribute Sequence in 3D, using anaglyph format.

text: The very first stereoscopic indie live action comedy one-hour show called Safety Geeks : SVI : 3D specifically for 3DTV and 3D VOD was produced and released in March 2010 through Digital Dynamic Depth / Yabazam and their Yabazam website portal.[72] Safety Geeks:SVI is the comic adventures of an elite force of safety experts, the P.O.S.H. (Professional Occupational Safety Hazard) team. Obsessed with making the world safer, the CSI-like team investigates accidents to find out what went wrong and who is to blame. It won the Los Angeles 3D film Festival in 2010 as best pilot or series in 3D.

text: In April 2010, the Masters Tournament was broadcast in live 3D on DirecTV, Comcast, and Cox.

text: The Roland Garros tennis tournament in Paris, from 23 May to 6 June 2010, was filmed in 3D (center court only) and broadcast live via ADSL and fiber to Orange subscribers throughout France in a dedicated Orange TV channel.[73]

text: Fox Sports broadcasts the first program in 3D in Australia when the Socceroos played The New Zealand All Whites at the MCG on 24 May 2010.

text: The Nine Network broadcasts the first Free-to-air 3D telecast when the Queensland Maroons faced the New South Wales Blues at ANZ Stadium on 26 May 2010.

text: On 29 May 2010, Sky broadcasts Guinness Premiership Final in 3D in selected pubs and clubs.[74]

text: 25 matches in the FIFA World Cup 2010 were broadcast in 3D.

text: The Inauguration of Philippine President Noynoy Aquino on 30 June 2010 was the first presidential inauguration to telecast in live 3D by GMA Network. However, the telecast was only available in select places.

text: The 2010 Coke Zero 400 was broadcast in 3D on 3 July on NASCAR.com and DirecTV along with Comcast, Time Warner, and Bright House cable systems.

text: Astro broadcast the 2010 FIFA World Cup Final on 11 July 2010 in 3-D on their B.yond service.

text: Satellite delivered Bell TV in Canada began to offer a full-time pay-TV, 3D channel to its subscribers on 27 July 2010.

text: The 2010 PGA Championship was broadcast in 3D for four hours on 13 August 2010, from 3–7 pm EDT. The broadcast was available on DirecTV, Comcast, Time Warner Cable, Bright House Networks, Cox Communications, and Cablevision.[75]

text: In September 2010, the Canadian Broadcasting Corporation's first 3D broadcast was a special about the Canadian monarch, Elizabeth II, and included 3-D film footage of the Queen's 1953 coronation as well as 3D video of her 2010 tour of Canada. This marks the first time the historical 3D images have been seen anywhere on television as well as the first broadcast of a Canadian produced 3D programme in Canada.[76]

text: FioS and the NFL partnered to broadcast 2 September 2010, pre-season game between the New England Patriots and the New York Giants in 3D. The game was only broadcast in 3D in the northeast.[77]

text: The 2010 AFL Grand Final, on 25 September 2010, was broadcast in 3D from the Seven Network.

text: Rachael Ray aired a 3D Halloween Bash on 29 October 2010.

text: The first Japanese television series in 3D, Tokyo Control, premiered on 19 January 2011.[78]

text: In May 2011, 3net released the first docu-reality TV series entitled Bullproof filmed in native 3D made by Digital Revolution Studios.

text: The 2011 3D Creative Arts Awards "Your World in 3D" was the first award show filmed in native 3D and televised on 3net 3D channel broadcast on DirectTV. The production was filmed at the Grauman's Chinese Theatre in Hollywood.

text: On 16 July 2011 – The Parlotones (South African Rock Act) became the first band to broadcast a Live Rock Opera to Terrestrial CInema in 3D, a Live 3D feed to DIRECT TV in the USA and Facebook pay per view. It was called "Dragonflies & Astronauts".

text: The semi-finals, Bronze Final and Final matches of the 2011 Rugby World Cup will be broadcast in 3D.

text: Singapore based Tiny Island Productions is currently producing Dream Defenders, which will be available in both autostereoscopic and stereoscopic 3D formats.[79] 3net, which acquired the series, describes it as the first stereoscopic children's series and will air on 25 September 2011.[80]

text: In July 2011, the BBC announced that the grand final of Strictly Come Dancing in December 2011 will air in 3-D.

text: The BBC broadcast the 2011 finals of the Wimbledon Lawn Tennis Championships in 3D.[81]

text: In February 2012 Telecable de Tricom, a major Dominican cable TV provider, announced the launch of the first 3D TV programming package in Latin America. As of 10 August 2012 the only 3D channels available are Wildearth, 3 Flow 3D, and High TV 3D.[82]

text: Avi Arad is currently developing a 3D Pac-Man TV show.[83]

text: The Xbox Live broadcasts of the 2012 Miss Universe and Miss USA beauty pageants were available in RealD 3D.

text: In 2013, in Brazil, NET HD pay-per-view broadcastes of the thirteenth season of Big Brother Brasil were available in 3D.[84][85]

text: In July 2013, the BBC announced that they were putting 3D broadcasts on hold due to lack of audience interest, even from those who owned 3D TV displays.[86]

text: As one of their final 3D broadcasts, 23 November 2013, the BBC aired a special 3D episode of Doctor Who in celebration of that show's fiftieth anniversary. That episode, The Day of the Doctor, was filmed and produced in 3D, and broadcast in 2D and 3D in the UK, with simultaneous showings in 3D in cinemas around the world. It has since been made available on 3D Blu-ray.[87]

text: The Fall of 3D Television[edit]

text: As early as 2013, 3D televisions were being seen as a fad.[88][89] Direct TV had stopped broadcasting 3D programs in 2012 while ESPN stopped in 2013.[1]

text: Fewer and fewer 3D TVs were sold and soon TV manufactures stopped making them. Vizio stopped production in 2014 and was followed by others.[90] In January 2017, the last two major television manufacturers still producing 3D televisions, Sony and LG, announced they would stop all 3D support.[1]

text: World record[edit]

text: The 2011 UEFA Champions League Final match between Manchester United and Barcelona was broadcast live in 3D format on a Ukrainian-produced EKTA screen in Gothenburg, Sweden. The screen made it to The Guinness Book of World Records as the world's biggest screen.[91][92] The live 3D broadcast was provided by the company Viasat.[93]

text: Health effects[edit]

text: Some viewers have complained of headaches, seizures and eyestrain after watching 3D films.[94][95] There have been several warnings, especially for the elderly.[96] Motion sickness, in addition to other health concerns,[97] is more easily induced by 3D presentations.

text: There are primarily two effects of 3D TV that are unnatural for the human vision: crosstalk between the eyes caused by imperfect image separation and the mismatch between convergence and accommodation caused by the difference between an object's perceived position in front of or behind the screen and the real origin of that light on the screen.[98]

text: It is believed that approximately 12% of people are unable to properly see 3D images, owing to a variety of medical conditions.[99][100] According to another experiment, up to 30% of people have very weak stereoscopic vision preventing depth perception based on stereo disparity. This nullifies or greatly decreases immersion effects of digital stereo to them.[101]


document_title: Chitty Chitty Bang Bang

question_text: who is the actor in chitty chitty bang bang

text: Chitty Chitty Bang Bang

text: Plot[edit]

text: Set in the 1910s, the story opens with a montage of European Grand Prix races in which one particular car appears to win every race. In the final race, the car crashes and catches fire, ending its racing career. The car ends up in an old garage in rural England, where two children, Jeremy (Adrian Hall) and Jemima Potts (Heather Ripley), have grown fond of it. However, a man in the junkyard intends to buy the car from the garage owner, Mr. Coggins (Desmond Llewelyn), for scrap. The children, who live with their widowed father Caractacus Potts (Dick Van Dyke), an eccentric inventor, and the family's equally peculiar grandfather, implore their father to buy the car, but Caractacus can't afford it. While playing hooky from school, they meet Truly Scrumptious (Sally Ann Howes), a beautiful upper-class woman with her own motorcar, who brings them home to report their truancy to their father. After she leaves, Caractacus promises the children that he will save the car, but is taken aback at the cost he has committed himself to. He looks for ways to raise money to avoid letting them down.

text: The next morning, Caractacus discovers that the sweets produced by a machine he has invented can be played like a flute. He tries to sell the "Toot Sweets" to Truly's father, Lord Scrumptious (James Robertson Justice), a major confectionery manufacturer. He is almost successful until the whistle attracts a pack of dogs who overrun the factory, resulting in Caractacus's proposition being rejected.

text: Caractacus next takes his automatic hair-cutting machine to a carnival to raise money, but his invention accidentally ruins the hair of a customer. Caractacus eludes the man by joining a song-and-dance act. He becomes the centre of the show and earns enough in tips to buy the car and rebuild it. They name the car "Chitty Chitty Bang Bang" for the unusual noise of its engine. In the first trip in the car, Caractacus, the children, and Truly picnic on the beach. Caractacus tells them a tale about nasty Baron Bomburst (Gert Fröbe), the tyrant of fictional Vulgaria, who wants to steal Chitty Chitty Bang Bang.

text: As Caractacus tells his story, the quartet and the car are stranded by high tide and are attacked by pirates working for the Baron. All of a sudden, Chitty deploys huge flotation devices and transforms into a power boat, and they escape Bomburst's yacht and return to shore. The Baron sends two spies to capture the car, but they capture Lord Scrumptious, then Grandpa Potts (Lionel Jeffries), mistaking each for the car's creator. Caractacus, Truly, and the children see Grandpa being taken away by airship, and they give chase. When they accidentally drive off a cliff, Chitty sprouts wings and propellers and begins to fly. They follow the airship to Vulgaria and find a land without children; the Baroness Bomburst (Anna Quayle) abhors them and imprisons any she finds. Grandpa has been ordered by the Baron to make another floating car, and he bluffs his abilities to avoid being executed. The Potts' party is hidden by the local Toymaker (Benny Hill), who now works only for the childish Baron. Chitty is discovered and taken to the castle. While Caractacus and the toymaker search for Grandpa and Truly searches for food, the children are caught by the Baron's Child Catcher (Robert Helpmann).

text: The Toymaker takes Truly and Caractacus to a grotto beneath the castle where the townspeople have been hiding their children. They concoct a scheme to free the children and the village from the Baron. The Toymaker sneaks them into the castle disguised as life-size dolls for the Baron's birthday. Caractacus snares the Baron, and the children swarm into the banquet hall, overcoming the Baron's palace guards and guests. In the ensuing chaos, the Baron, Baroness, and the evil Child Catcher are captured. The Pottses and Truly fly back to England. When they arrive home, Lord Scrumptious surprises Caractacus with an offer to buy the Toot Sweet as a canine confection. Caratacus, realising that he will be rich, rushes to tell Truly the news. They kiss, and Truly agrees to marry him. As they drive home, he acknowledges the importance of pragmatism, as the car takes off into the air again.

text: Cast[edit]

text: The cast includes:[5]

text:
Dick Van Dyke as Caractacus Potts
Sally Ann Howes as Truly Scrumptious
Adrian Hall as Jeremy Potts
Heather Ripley as Jemima Potts
Lionel Jeffries as Grandpa Bungie Potts
Gert Fröbe as Baron Bomburst
Anna Quayle as Baroness Bomburst
Benny Hill as the Toymaker
James Robertson Justice as Lord Scrumptious
Robert Helpmann as the Evil Child Catcher
Barbara Windsor as Blonde
Davy Kaye as Admiral
Stanley Unwin as the Chancellor
Peter Arne as the Captain of Bomburst's Army
Desmond Llewelyn as Mr. Coggins
Victor Maddern as Junkman
Arthur Mullard as Big Man
Max Wall as Inventor
Gerald Campion as Minister
Max Bacon as Orchestra Leader
Alexander Doré as First Spy
Bernard Spear as Second Spy
Richard Wattis as Sweet Factory Secretary (uncredited)
Phil Collins as Vulgarian Child (scene cut)

text: The part of Truly Scrumptious had originally been offered to Julie Andrews, to reunite her with Van Dyke after their success in Mary Poppins. Andrews rejected the role specifically because she considered that the part was too close to the Poppins mould.[6] Instead, Sally Ann Howes was given the role. Dick Van Dyke was cast after he turned down the role of Fagin from another 1968 musical Oliver! (which ended up going to Ron Moody).

text: Production[edit]

text: The Caractacus Potts inventions in the film were created by Rowland Emett; by 1976, Time magazine, describing Emett's work, said no term other than "Fantasticator...could remotely convey the diverse genius of the perky, pink-cheeked Englishman whose pixilations, in cartoon, watercolor and clanking 3-D reality, range from the celebrated Far Tottering and Oyster Creek Railway to the demented thingamabobs that made the 1968 movie Chitty Chitty Bang Bang a minuscule classic."[7]

text: Six Chitty-Chitty Bang-Bang cars were created for the film, only one of which was fully functional. At a 1973 auction in Florida, one of them sold for $37,000, equal to $199,617 today.[8] The original "hero" car, in a condition described as fully functional and road-going, was offered at auction on 15 May 2011 by a California-based auction house.[9] The car sold for $805,000, less than the $1–2 million it was expected to reach.[10] It was purchased by New Zealand film director Sir Peter Jackson.[11]

text: Locations[edit]

text:
Scrumptious Sweet Co. factory (exterior) – Kempton Waterworks, Snakey Lane, Hanworth, Middlesex, England.[12] This location now includes a steam museum open to the public.
Scrumptious Mansion – Heatherden Hall at Pinewood Studios in Iver Heath, Buckinghamshire, England.[12]
Windmill/Cottage – Cobstone Windmill in Ibstone, near Turville, Buckinghamshire, England.[12]
Duck Pond – Russell's Water, Oxfordshire, England.[12]
Train scene – The Longmoor Military Railway.
Beach – Cap Taillat in St. Tropez, France.
Bridge (river) where spies attempt to blow up Chitty – Iver Bridge, Iver, Buckinghamshire, England.
Bridge (railway) where spies kidnap Lord Scrumptious – Ilmer Bridge, Ilmer, Buckinghamshire, England.
White rock spires in the ocean and lighthouse – The Needles stacks, Isle of Wight, England.
White cliffs – Beachy Head, East Sussex, England.
Baron Bomburst's castle – Neuschwanstein Castle, Bavaria, Germany.
Vulgarian village – Rothenburg ob der Tauber, Germany.

text: Reception[edit]

text: Box office[edit]

text: The film was the tenth most popular at the US box office in 1969.[13]

text: Critical[edit]

text: Time began its review saying the film is a "picture for the ages—the ages between five and twelve" and ends noting that "At a time when violence and sex are the dual sellers at the box office, Chitty Chitty Bang Bang looks better than it is simply because it's not not all all bad bad"; the film's "eleven songs have all the rich melodic variety of an automobile horn. Persistent syncopation and some breathless choreography partly redeem it, but most of the film's sporadic success is due to Director Ken Hughes's fantasy scenes, which make up in imagination what they lack in technical facility."[14]

text: The New York Times critic Renata Adler wrote, "in spite of the dreadful title, Chitty Chitty Bang Bang ... is a fast, dense, friendly children's musical, with something of the joys of singing together on a team bus on the way to a game"; Adler called the screenplay "remarkably good" and the film's "preoccupation with sweets and machinery seems ideal for children"; she ends her review on the same note as Time: "There is nothing coy, or stodgy or too frightening about the film; and this year, when it has seemed highly doubtful that children ought to go to the movies at all, Chitty Chitty Bang Bang sees to it that none of the audience's terrific eagerness to have a good time is betrayed or lost."[15]

text: Film critic Roger Ebert reviewed the film (Chicago Sun Times, 24 December 1968). He wrote: "Chitty Chitty Bang Bang contains about the best two-hour children's movie you could hope for, with a marvelous magical auto and lots of adventure and a nutty old grandpa and a mean Baron and some funny dances and a couple of [scary] moments."

text: Film critic and historian Leonard Maltin considered the picture "one big Edsel, with totally forgettable score and some of the shoddiest special effects ever."[16] In 2008, Entertainment Weekly called Helpmann's depiction of the Child Catcher one of the "50 Most Vile Movie Villains."[17]

text: As of March 2014, the film has a 65% "Fresh" rating (17 of 26 reviews) on Rotten Tomatoes.[18]

text: Accolades[edit]

text: The film was nominated for the American Film Institute's 2006 AFI's Greatest Movie Musicals list.[19]

text: Soundtrack[edit]

text: The original soundtrack album, as was typical of soundtrack albums, presented mostly songs with very few instrumental tracks. The songs were also edited, with specially recorded intros and outros and most instrumental portions removed, both because of time limitations of the vinyl LP and the belief that listeners would not be interested in listening to long instrumental dance portions during the songs.

text: The soundtrack has been released on CD four times, the first two releases using the original LP masters rather than going back to the original music masters to compile a more complete soundtrack album with underscoring and complete versions of songs. The 1997 Rykodisc release included several quick bits of dialogue from the film between some of the tracks and has gone out of circulation. On 24 February 2004, a few short months after MGM released the movie on a 2-Disc Special Edition DVD, Varèse Sarabande reissued a newly remastered soundtrack album without the dialogue tracks, restoring it to its original 1968 LP format.

text: In 2011, Kritzerland released the definitive soundtrack album[20], a 2-CD set featuring the Original Soundtrack Album plus bonus tracks, music from the Song and Picture Book Album on disc 1, and the Richard Sherman Demos, as well as six Playback Tracks (including a long version of international covers of the theme song). Inexplicably, this release was limited to only 1,000 units.

text: In April 2013, Perseverance Records re-released the Kritzerland double CD set with expansive new liner notes by John Trujillo and a completely new designed booklet by Perseverance regular James Wingrove.

text: Home video releases[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2010) (Learn how and when to remove this template message)

text: Chitty Chitty Bang Bang was released numerous times in the VHS format. In 1998 the film saw its first DVD release. The year 2003 brought a two-disc "Special Edition" release. On 2 November 2010, 20th Century Fox released a two-disc Blu-ray and DVD combination set featuring the extras from the 2003 release as well as new features. The 1993 LaserDisc release by MGM/UA Home Video was the first home video release with the proper 2.20:1 Super Panavision 70 aspect ratio.

text: Adaptations[edit]

text: Novelisation of film[edit]

text: The film did not follow Fleming's novel closely. A separate novelisation of the film was published at the time of the film's release. It basically followed the film's story but with some differences of tone and emphasis, e.g. it mentioned that Caractacus Potts had had difficulty coping after the death of his wife, and it made it clearer that the sequences including Baron Bomburst were extended fantasy sequences. It was written by John Burke.[21]

text: Comic book adaption[edit]

text: Gold Key: Chitty Chitty Bang Bang. Gold Key Comics. February 1969. [22]