document_title: Despicable Me

question_text: what part does russell brand play in despicable me

text: Despicable Me

text: Plot[edit]

text: Gru, a supervillain, is disheartened when an unknown supervillain steals the Great Pyramid of Giza. Gru, with the assistance of his colleague Dr. Nefario and his Minions, resolves to one-up this mystery rival by shrinking and stealing the Moon. As it would be costly to steal the moon, Gru seeks a loan from the Bank of Evil. Bank president Mr. Perkins is impressed by the plan but will provide the money only if Gru can obtain the necessary shrink ray first. Upon learning that an up-and-coming villain named Vector was responsible for the pyramid theft, Gru starts a rivalry with him.

text: Gru and the Minions steal the shrink ray from a secret base in East Asia, but Vector intercepts them and steals it for himself. Gru attempts to break into Vector's fortress to recover the shrink ray but is defeated by numerous booby traps. However, he notices three orphan girls, Margo, Edith, and Agnes, who are able to easily walk into the base because they are selling cookies. Gru disguises himself and adopts the girls, planning on using them to infiltrate Vector's base so he can get the shrink ray back. However, Gru has trouble nurturing them properly due to their rambunctiousness, their ballet classes, and his own ineptitude as a parent.

text: Eventually, Gru and the girls arrive at Vector's fortress, and Gru steals the shrink ray. The girls then suggest a day at a theme park; Gru agrees, believing he can abandon the girls there, but instead he warms up to them. Later, Gru contacts Perkins via video chat, stating that he finally has the shrink ray. Margo, Edith, and Agnes interrupt the meeting, and Perkins announces that he has lost confidence in Gru and will no longer fund his operations. As Gru tells the Minions he can no longer pay them for their services, the girls offer the contents of their piggy bank. Gru, inspired, sells parts of his lair to construct a spacecraft. Gru plans to steal the Moon when it is nearest the Earth, but this is the same day as the girls' ballet recital. Gru becomes conflicted, and Dr. Nefario, seeing the recital as interfering with the plan, arranges for the girls to be returned to the orphanage. At the same time, Perkins informs Vector, revealed to be Perkins' son, of Gru's possession of the shrink ray and the adoption of the three girls, encouraging Vector to act.

text: Gru successfully shrinks and steals the Moon, and rushes back to Earth to attend the recital—only to find a ransom note from Vector, who has kidnapped the girls. After arriving at Vector's headquarters, Gru surrenders the Moon, but Vector reneges on the deal, flying off with the girls and the Moon. Meanwhile, Dr. Nefario has discovered that the effects of the shrink ray are temporary; the bigger the object's original size, the faster the shrinkage will wear off. As the Moon starts to expand in Vector's ship, Gru, Dr. Nefario, and the Minions execute a daring mid-air rescue of the girls just as the Moon explodes out of Vector's ship and launches itself back into orbit, with Vector trapped on it.

text: Sometime later, Gru has returned the Great Pyramid and re-adopted the girls, writing them a bedtime storybook framed around his own experience. The film ends with the girls performing their own ballet recital for Gru, his mother Marlena, Dr. Nefario, and the Minions.

text: Cast[edit]

text:
Steve Carell as Gru, a mean supervillain
Jason Segel as Victor "Vector" Perkins, Mr. Perkins' son and Gru's archenemy
Russell Brand as Dr. Nefario, Gru's elderly gadget man and a friendly scientist
Miranda Cosgrove as Margo, the oldest of the three girls
Dana Gaier as Edith, the middle sister of the three girls
Elsie Fisher as Agnes, the youngest of the three girls
Will Arnett as Mr. Perkins, the President of the Bank of Evil and Vector's father
Kristen Wiig as Miss Hattie, owner of the orphanage Miss Hattie's Home for Girls
Julie Andrews as Marlena, Gru's mother
Pierre Coffin as Kevin, Tim, Bob, Mark, Phil and Stuart, six of Gru's Minions
Chris Renaud as Dave, one of Gru's Minions
Jemaine Clement as Jerry, one of Gru's Minions
Jack McBrayer as a carnival barker/tourist Father
Danny McBride as Fred McDade, Gru's neighbor
Mindy Kaling as a tourist mother, Justin's mother
Rob Huebel as an anchorman[9]
Ken Daurio as an Egyptian guard[9]
Ken Jeong as a talk-show host[9]

text: Production[edit]

text: This section needs expansion. You can help by adding to it. (April 2014)

text: Despicable Me was initially developed by Sergio Pablos under the original title Evil Me. He later participated in development during the early stages of the production and took the package unsolicited to Universal Pictures where he became the first of several screenwriters on the project as well as executive producer.[10] In November 2008, Illumination Entertainment announced the beginning of the development on its first CGI animated film Despicable Me.[11][12]

text: Music[edit]

text: Despicable Me: Original Motion Picture Soundtrack is the soundtrack to the film of the same name, and it was released on July 6, 2010.[13] It featured new songs from the film written and performed by Pharrell Williams, and performances by Destinee & Paris, The Sylvers, Robin Thicke and the Bee Gees.[13]

text: Release[edit]

text: Marketing[edit]

text: NBC (which is owned by Universal) had an extensive marketing campaign leading up to the film's release. Sneak peeks were shown in episodes of The Biggest Loser.[14] Despicable Me was also featured on Last Comic Standing when Gru comes in to audition.[14] IHOP restaurants promoted the film by introducing three new menu items, a kids' breakfast meal, and a drink all having the word "minion" in them.[15] Best Buy released a free smartphone application called "Best Buy Movie Mode", which translated what the Minions were saying during the end credits of the 3D theatrical release.[16] For the home media release of the film, the application was updated to translate the Minions' language throughout the entire film.[16]

text: Books[edit]

text: In May 2010, three books related to the movie were published, as well as the children's puppet book featured in the film. The first, My Dad the Super Villain (ISBN 0-316-08382-8), was rated as a preschool book.[17] The second, Despicable Me: The Junior Novel (ISBN 0-316-08380-1), was rated as being a Junior Reader for ages 8 to 12.[18] The third, Despicable Me: The World's Greatest Villain (ISBN 0-316-08377-1), was rated for ages 3–6 years.[19] The puppet book Sleepy Kittens (ISBN 0-316-08381-X) was written by Cinco Paul and Ken Daurio and illustrated by Eric Guillon.[20]

text: Video games[edit]

text: A video game titled Despicable Me: The Game was released for the PlayStation 2, PlayStation Portable and Wii.[21] A Nintendo DS version was released under the name Despicable Me: Minion Mayhem.[22] Namco also released a version for the iPhone and iPad platform entitled Despicable Me: Minion Mania, developed by Anino Games.[23] An application for iOS and Androids was also released under the name Despicable Me: Minion Rush. It was developed by Gameloft and made available to the public in 2013.[24]

text: Home media[edit]

text: Despicable Me was released on DVD, Blu-ray, and Blu-ray 3D on December 14, 2010. The release included three new short films, titled Home Makeover, Orientation Day and Banana.[25] The film was released on Ultra HD Blu-ray on June 6, 2017.[26]

text: Reception[edit]

text: Critical reception[edit]

text: Review aggregation website Rotten Tomatoes gives a rating of 81% based on 192 reviews and an average rating of 6.8/10. The site's critical consensus reads, "Borrowing heavily (and intelligently) from Pixar and Looney Tunes, Despicable Me is a surprisingly thoughtful, family-friendly treat with a few surprises of its own."[27] Metacritic, another review aggregation website, assigned the film a score of 72 out of 100 based on 35 critics, indicating "generally favorable reviews".[28]

text: Peter Travers of Rolling Stone gave the film three out of four stars, saying the directors were skilled at "springing surprises" from the writers' "ingenious" screenplay.[29] Peter Debruge of Variety wrote, "Since villains so often steal the show in animation, Despicable Me smartly turns the whole operation over to megalomaniacal rogue Gru."[30] Robert Wilonsky of The Village Voice wrote, "The result is pleasant and diverting, if ultimately forgettable, and it's one of the rare instances in the recent history of 3-D's resurrection as The Savior of Cinema in which the technology doesn't dim the screen or distract the focus."[31] Keith Uhlich of Time Out New York gave the film three out of five stars, saying, "The setup is pure Looney Tunes, and indeed, Despicable Me is at its best when trading in the anything-for-a-laugh prankery that was a specialty of the Termite Terrace crowd."[32] Roger Moore of the Orlando Sentinel gave the film three out of four stars, saying, "Despicable Me is a 3D cartoon comedy of whiplash-quick laughs, funny punch lines and a wickedly gimmicky appreciation for 3D."[33] Christy Lemire of the Associated Press wrote, "Kids will dig it, adults will smile with amusement, and no one will be any different afterward than they were walking into the theater."[34] Bill Goodykoontz of The Arizona Republic gave the film three and a half stars out of five, saying, "Neither as rich in story nor stunning in animation as Pixar offerings, Despicable Me instead settles for simply being goofy good fun, and it hardly seems like settling at all."[35]

text: Carrie Rickey of The Philadelphia Inquirer gave the film two and a half stars out of four, saying, "Short, sweet-and-sour, and amusing rather than funny, Despicable Me can't help but be likable."[36] Colin Covert of the Star Tribune gave the film two and a half stars out of four, saying "You'll probably leave the theater smiling, but don't expect to be emotionally engaged, Pixar-style. You'll be tickled, not touched."[37] Claudia Puig of USA Today gave the film three out of four stars, saying, "A whip-smart family movie that makes inventive use of the summer's ubiquitous 3-D technology is something worth cheering."[38] Tom Keogh of The Seattle Times gave the film three out of four stars, saying "Despicable Me appeals both to our innocence and our glee over cartoon anarchy."[39] Jason Anderson of the Toronto Star gave the film three out of four stars, saying, "Despicable Me may not match the stratospherically high standards set by Up and WALL-E but that hardly matters when it’s this much fun."[40] Ty Burr of The Boston Globe gave the film three out of four stars, saying, "Despicable Me has enough visual novelty and high spirits to keep the kiddies diverted and just enough wit to placate the parents."[41] Roger Ebert gave the film three out of four stars, saying, "The film is funny, energetic, teeth-gnashingly venomous and animated with an eye to exploiting the 3-D process with such sure-fire techniques as a visit to an amusement park."[42] Michael Phillips of the Chicago Tribune gave the film two and a half stars out of four, saying, "By taking the "heart" part just seriously enough, and in the nick of time, the movie saves itself from itself."[43]

text: Kim Newman of Empire gave the film three out of five stars, saying, "It's no first-rank CGI cartoon, but shows how Pixar's quality over crass is inspiring the mid-list. Fun, with teary bits, for kids; fresh and smart for adults."[44] Kenneth Turan of the Los Angeles Times gave the film two and a half stars out of four, saying, "The film throws so much ersatz cleverness and overdone emotion at the audience that we end up more worn out than entertained."[45] Stephen Whitty of the Newark Star-Ledger gave the film two and a half stars out of four, saying, "Unfortunately Despicable Me is just, predictably -- eh. And the one thing the larcenous Gru never steals is our heart."[46] Elizabeth Weitzman of the New York Daily News gave the film three out of five stars, saying, "Right now, any excuse for air conditioning will do. So it's a happy bonus to find that Despicable Me is more than just a heat-busting baby-sitter."[47] James Berardinelli of ReelViews gave the film three out of four stars, saying, "This is a smartly written comedy with a soft emotional core."[48] Kyle Smith of the New York Post gave the film three out of four stars, saying, "Despicable Me may not be the most sophisticated kids movie ever, but it stacks up against recent animated fare like How To Train Your Dragon the way The New York Review of Books compares to USA Today."[49] Ann Hornaday of The Washington Post gave the film three out of four stars, saying, "An improbably heartwarming, not to mention visually delightful, diversion."[50] Rick Groen of The Globe and Mail gave the film four out of four stars, saying, "This animated thing pretty near out-Pixars Pixar."[51] Mick LaSalle of the San Francisco Chronicle gave the film two out of four stars, saying, "When compared with the ambition and achievement of recent animated films, such as Coraline and Toy Story 3, Despicable Me hardly seems to have been worth making, and it's barely worth watching."[52]

text: Bob Mondello of NPR gave the film an eight out of ten, saying, "It's all thoroughly adorable, and with an overlay that's nearly as odd as Carell's accent: Despicable Me looks a lot like other computer-animated pictures."[53] Mary F. Pols of MSN Movies gave the film four out of five stars, saying, "The movie finishes strong, managing to be sweet without being saccharine. It's no Toy Story 3, but Despicable Me is a solid alternative."[54] A. O. Scott of The New York Times gave the film two out of five stars, saying, "So much is going on in this movie that, while there's nothing worth despising, there's not much to remember either."[55] Laremy Legel of Film.com gave the film an A-, saying, "Despicable Me is darned cute. I know cute isn't to the lofty level of "message storytelling" but it can be entertaining to watch when done correctly."[56] Kirk Honeycutt of The Hollywood Reporter wrote, "Despicable doesn't measure up to Pixar at its best. Nonetheless, it's funny, clever and warmly animated with memorable characters."[57] Steve Persall of the Tampa Bay Times gave the film a B, saying, "Directors Pierre Coffin and Chris Renaud craft a fun stretch run, wrapping the story with warm, fuzzy funnies and nothing to suggest a sequel, which is probably wise."[58] Tasha Robinson of The A.V. Club gave the film a B, saying, "Until the "creep + orphans = happy family" formula starts demanding abrupt, unconvincing character mutations, Despicable Me is a giddy joy."[59] Marjorie Baumgarten of The Austin Chronicle gave the film three out of five stars, saying, "Everyone knows that the villains are usually the most interesting characters in any movie. So the makers of Despicable Me were wise to cut to the chase and make the megalomaniacal Gru the central character in this animated film."[60]

text: Box office[edit]

text: Released on July 9, 2010, in the United States, Despicable Me opened at the number one spot at the box office and pulled in $56.3 million, making it the third-biggest opening grossing for an animated film in 2010 behind Toy Story 3 and Shrek Forever After.[61] In its second weekend, the film dipped 42% to second place behind Inception with $32.8 million earned. The film then had another drop of 27% in its third weekend and finished in third place with $23.8 million. On August 5, 2010, the film crossed the $200 million mark, becoming the first Universal film to reach the milestone since 2007's The Bourne Ultimatum.[62]

text: On the weekend lasting from September 3–5, 2010, it surpassed Shrek Forever After to become the second-highest-grossing animated film of 2010 in the United States and Canada, behind Toy Story 3.[63] It was also the highest-grossing non-DreamWorks/non-Disney·Pixar animated film of all time in these territories, since overtaken by its sequel.[63] The film has made $251,513,985 in the United States and Canada as well as an estimated $291.6 million internationally for a worldwide total of $546,010,705, against its $69 million budget.[5] This film is also Universal's sixth-highest-grossing film (unadjusted for inflation)[64] and the tenth-highest-grossing animated feature of all time in North America.[65] In worldwide earnings, it is the sixth-biggest film of Universal Studios,[66] the fourth-highest-grossing animated film of 2010 trailing Toy Story 3, Shrek Forever After, and Tangled, the 25th-highest-grossing animated film of all time and the 9th-highest-grossing film of 2010.[67]

text: Accolades[edit]

text:
Award
Category/Recipient(s)
Result

Annie Awards[68]
Best Animated Feature
Nominated

Voice Acting in a Feature Production (Steve Carell)

Character Design In an Animated Film (Carter Goodrich)

Directing in a Feature Production (Pierre Coffin)

Music in a Feature Production (Pharrell Williams and Heitor Pereira)

Production Design in a Feature Production (Yarrow Cheny and Eric Guillon)

Alliance of Women Film Journalists[69]
Best Animated Feature

Best Animated Female (Miranda Cosgrove as Margo, Dana Gaier as Edith, and Elsie Fisher as Agnes)

BAFTA Awards[70]
Best Animated Film

Critics' Choice Movie Awards[71]
Best Animated Film

Golden Globe Awards[72]
Best Animated Feature Film

Heartland Film Festival 2010[73]
Truly Moving Picture Award
Won

Kids Choice Awards[74]
Favorite Animated Movie
Won

Favorite Buttkicker (Steve Carell)
Nominated

Peoples Choice Awards[75]
Favorite Family Movie

Satellite Awards[76]
Best Animated or Mixed Media Film

Saturn Awards
Best Animated Film[77]

Teen Choice Awards[78]
Choice Summer: Movie

Washington D.C. Area Film Critics Association Awards[79]
Best Animated film

Women Film Critics Circle[80]
Best Animated Females
Won

text: Sequels[edit]

text: A sequel, titled Despicable Me 2, was released on July 3, 2013. It is produced by the same team that was behind the first film—along with directors Pierre Coffin and Chris Renaud, and writers Cinco Paul and Ken Daurio. Steve Carell, Russell Brand, and Miranda Cosgrove reprise their roles; Kristen Wiig and Ken Jeong returned but voiced new characters (Lucy Wilde and Floyd Eagle-san). New cast members include Benjamin Bratt as Eduardo, Gru's nemesis, and Steve Coogan as Silas Ramsbottom.[81]

text: Another sequel, titled Despicable Me 3, was released on June 30, 2017.[82]

text: Prequel[edit]

text: A prequel feature film titled Minions, featuring the Minions as the main characters, was released on July 10, 2015.[83] Written by Brian Lynch, it is directed by Pierre Coffin and Kyle Balda, and produced by Chris Meledandri and Janet Healey.[83] The film, set in the 1960s, focuses on the Minions before they met Gru, where they compete for the right to become henchmen of an ambitious villain, Scarlet Overkill, voiced by Sandra Bullock.[84]


document_title: List of FIFA World Cup finals

question_text: who has been in the world cup final the most

root

text: List of FIFA World Cup finals

text: List of finals[edit]

text:
Key to the list of finals

Match was won during extra time

Match was won on a penalty shoot-out

tag: table

text: The "Year" column refers to the year the World Cup was held, and wikilinks to the article about that tournament. The wikilinks in the "Final score" column point to the article about that tournament's final game. Links in the "Winners" and "Runners-up" columns point to the articles for the national football teams of the countries, not the articles for the countries.

tag: ul

text:
List of finals matches, their venues and locations, the finalists, and final scores

Year

Winners

Final score[2]

Runners-up

Venue

Location

Attendance

References

1930

Uruguay

4–2

 Argentina

Estadio Centenario

Montevideo, Uruguay

80,000

[7][8]

1934

Italy

  2–1[n 3]

 Czechoslovakia

Stadio Nazionale PNF

Rome, Italy

50,000

[9][10]

1938

Italy

4–2

 Hungary

Stade Olympique de Colombes

Paris, France

45,000

[11][12]

1950[n 4]

Uruguay

2–1[n 5]

 Brazil

Estádio do Maracanã

Rio de Janeiro, Brazil

199,854[13]

[14][15]

1954

West Germany

3–2

 Hungary

Wankdorf Stadium

Bern, Switzerland

60,000

[16][17]

1958

Brazil

5–2

 Sweden

Råsunda Stadium

Solna, Sweden

51,800

[18][19]

1962

Brazil

3–1

 Czechoslovakia

Estadio Nacional

Santiago, Chile

69,000

[20][21]

1966

England

  4–2[n 6]

 West Germany

Wembley Stadium

London, England

93,000

[22][23]

1970

Brazil

4–1

 Italy

Estadio Azteca

Mexico City, Mexico

107,412

[24][25]

1974

West Germany

2–1

 Netherlands

Olympiastadion

Munich, West Germany

75,200

[26][27]

1978

Argentina

  3–1[n 7]

 Netherlands

Estadio Monumental

Buenos Aires, Argentina

71,483

[28][29]

1982

Italy

3–1

 West Germany

Santiago Bernabéu

Madrid, Spain

90,000

[30][31]

1986

Argentina

3–2

 West Germany

Estadio Azteca

Mexico City, Mexico

114,600

[32][33]

1990

West Germany

1–0

 Argentina

Stadio Olimpico

Rome, Italy

73,603

[34][35]

1994

Brazil

  0–0[n 8]

 Italy

Rose Bowl

Pasadena, United States

94,194

[36][37]

1998

France

3–0

 Brazil

Stade de France

Saint-Denis, France

80,000

[38][39]

2002

Brazil

2–0

 Germany

International Stadium

Yokohama, Japan

69,029

[40][41]

2006

Italy

  1–1[n 9]

 France

Olympiastadion

Berlin, Germany

69,000

[42][43]

2010

Spain

  1–0[n 10]

 Netherlands

Soccer City

Johannesburg, South Africa

84,490

[44][45]

2014

Germany

  1–0[n 11]

 Argentina

Estádio do Maracanã

Rio de Janeiro, Brazil

74,738

[46][47]

2018

France

4–2

 Croatia

Luzhniki Stadium

Moscow, Russia

78,011

Upcoming finals

Year

Team 1

v

Team 2

Venue

Location

Attendance

References

2022

Lusail Iconic Stadium

Lusail, Qatar

2026

TBD

United States

text: Results[edit]

text:
Results by nation

National team

Wins

Runners-up

Total finals

Years won

Years runners-up

 Brazil

5

2

7

1958, 1962, 1970, 1994, 2002

1950, 1998

 Germany

4

4

8

1954, 1974, 1990, 2014

1966, 1982, 1986, 2002

 Italy

4

2

6

1934, 1938, 1982, 2006

1970, 1994

 Argentina

2

3

5

1978, 1986

1930, 1990, 2014

 France

2

1

3

1998, 2018

2006

 Uruguay

2

0

2

1930, 1950

–

 England

1

0

1

1966

–

 Spain

1

0

1

2010

–

 Netherlands

0

3

3

–

1974, 1978, 2010

 Czechoslovakia

0

2

2

–

1934, 1962

 Hungary

0

2

2

–

1938, 1954

 Sweden

0

1

1

–

1958

 Croatia

0

1

1

–

2018

text:
Results by confederation

Confederation

Appearances

Winners

Runners-up

UEFA

28

12

16

CONMEBOL

14

9

5

text: Footnotes[edit]

text:
Jump up ^ This follows FIFA's consideration that the national teams of West Germany/Germany, Czechoslovakia/Czech Republic, Yugoslavia/Serbia and Montenegro/Serbia, and USSR/Russia are combined respectively for record-keeping.[3]

Jump up ^ Technically the 1958 final was also between two first timers, but Brazil's 1950 group game defeat is generally counted as a previous "final" appearance for the team.

Jump up ^ Score was 1–1 after 90 minutes.[9][10]

Jump up ^ The 1950 FIFA World Cup did not have a final, rather, the tournament was decided by a 4-team round robin phase.

Jump up ^ Not the final but the decisive match of the final group stage.

Jump up ^ Score was 2–2 after 90 minutes.[22][23]

Jump up ^ Score was 1–1 after 90 minutes.[28][29]

Jump up ^ Score was 0–0 after 120 minutes. Brazil won 3–2 on penalties.[36][37]

Jump up ^ Score was 1–1 after 120 minutes. Italy won 5–3 on penalties.[42][43]

Jump up ^ Score was 0–0 after 90 minutes.[44][45]

Jump up ^ Score was 0–0 after 90 minutes.[46][47]

tag: ol


document_title: Photography

question_text: what greek roots were used to create the word photography

question_tokens: what greek roots were used to create the word photography

text: Photography

text: Etymology

text: The word "photography" was created from the Greek roots φωτός (phōtos), genitive of φῶς (phōs), "light"[2] and γραφή (graphé) "representation by means of lines" or "drawing",[3] together meaning "drawing with light".[4]

tag: p

text: Several people may have coined the same new term from these roots independently. Hercules Florence, a French painter and inventor living in Campinas, Brazil, used the French form of the word, photographie, in private notes which a Brazilian historian believes were written in 1834.[5] This claim is widely reported but apparently has never been independently confirmed as beyond reasonable doubt.[citation needed] The German newspaper Vossische Zeitung of 25 February 1839 contained an article entitled Photographie, discussing several priority claims - especially Talbot's - regarding Daguerre's claim of invention.[6] The article is the earliest known occurrence of the word in public print. It was signed "J.M.", believed to have been Berlin astronomer Johann von Maedler.[7] Credit has traditionally been given to Sir John Herschel both for coining the word and for introducing it to the public. His uses of it in private correspondence prior to 25 February 1839 and at his Royal Society lecture on the subject in London on 14 March 1839 have long been amply documented and accepted as settled facts.[citation needed]

text: The inventors Niépce, Talbot and Daguerre seem not to have known or used the word "photography", but referred to their processes as "Heliography" (Niépce), "Photogenic Drawing" / "Talbotype" / "Calotype" (Talbot) and "Daquerreoype" (Daguerre).[7]

text: History

text: Precursor technologies

text: Photography is the result of combining several technical discoveries. Long before the first photographs were made, ancient Han Chinese philosopher Mo Di from the Mohist School of Logic was the first to discover and develop the scientific principles of optics, camera obscura, and pinhole camera. Later Greek mathematicians Aristotle and Euclid also independently described a pinhole camera in the 5th and 4th centuries BCE.[8][9] In the 6th century CE, Byzantine mathematician Anthemius of Tralles used a type of camera obscura in his experiments.[10] Both the Han Chinese polymath Shen Kuo (1031–95) and Arab physicist Ibn al-Haytham (Alhazen) (965–1040) independently invented the camera obscura and pinhole camera,[9][11] Albertus Magnus (1193–1280) discovered silver nitrate,[12] and Georg Fabricius (1516–71) discovered silver chloride.[13] Shen Kuo explains the science of camera obscura and optical physics in his scientific work Dream Pool Essays while the techniques described in Ibn al-Haytham's Book of Optics are capable of producing primitive photographs using medieval materials.[14][15][16]

text: Daniele Barbaro described a diaphragm in 1566.[17] Wilhelm Homberg described how light darkened some chemicals (photochemical effect) in 1694.[18] The fiction book Giphantie, published in 1760, by French author Tiphaigne de la Roche, described what can be interpreted as photography.[17]

text: The discovery of the camera obscura that provides an image of a scene dates back to ancient China. Leonardo da Vinci mentions natural camera obscura that are formed by dark caves on the edge of a sunlit valley. A hole in the cave wall will act as a pinhole camera and project a laterally reversed, upside down image on a piece of paper. So the birth of photography was primarily concerned with inventing means to capture and keep the image produced by the camera obscura.

text: Renaissance painters used the camera obscura which, in fact, gives the optical rendering in color that dominates Western Art. The camera obscura literally means "dark chamber" in Latin. It is a box with a hole in it which allows light to go through and create an image onto the piece of paper.

text: Invention of photography

text: Around the year 1800, British inventor Thomas Wedgwood made the first known attempt to capture the image in a camera obscura by means of a light-sensitive substance. He used paper or white leather treated with silver nitrate. Although he succeeded in capturing the shadows of objects placed on the surface in direct sunlight, and even made shadow copies of paintings on glass, it was reported in 1802 that "the images formed by means of a camera obscura have been found too faint to produce, in any moderate time, an effect upon the nitrate of silver." The shadow images eventually darkened all over.[20]

text: The first permanent photoetching was an image produced in 1822 by the French inventor Nicéphore Niépce, but it was destroyed in a later attempt to make prints from it.[19] Niépce was successful again in 1825. In 1826 or 1827, he made the View from the Window at Le Gras, the earliest surviving photograph from nature (i.e., of the image of a real-world scene, as formed in a camera obscura by a lens).[21]

text: Because Niépce's camera photographs required an extremely long exposure (at least eight hours and probably several days), he sought to greatly improve his bitumen process or replace it with one that was more practical. In partnership with Louis Daguerre, he worked out post-exposure processing methods that produced visually superior results and replaced the bitumen with a more light-sensitive resin, but hours of exposure in the camera were still required. With an eye to eventual commercial exploitation, the partners opted for total secrecy.

text: Niépce died in 1833 and Daguerre then redirected the experiments toward the light-sensitive silver halides, which Niépce had abandoned many years earlier because of his inability to make the images he captured with them light-fast and permanent. Daguerre's efforts culminated in what would later be named the daguerreotype process. The essential elements—a silver-plated surface sensitized by iodine vapor, developed by mercury vapor, and "fixed" with hot saturated salt water—were in place in 1837. The required exposure time was measured in minutes instead of hours. Daguerre took the earliest confirmed photograph of a person in 1838 while capturing a view of a Paris street: unlike the other pedestrian and horse-drawn traffic on the busy boulevard, which appears deserted, one man having his boots polished stood sufficiently still throughout the several-minutes-long exposure to be visible. The existence of Daguerre's process was publicly announced, without details, on 7 January 1839. The news created an international sensation. France soon agreed to pay Daguerre a pension in exchange for the right to present his invention to the world as the gift of France, which occurred when complete working instructions were unveiled on 19 August 1839. In that same year, American photographer Robert Cornelius is credited with taking the earliest surviving photographic self-portrait.

text: In Brazil, Hercules Florence had apparently started working out a silver-salt-based paper process in 1832, later naming it Photographie.

text: Meanwhile, a British inventor, William Fox Talbot, had succeeded in making crude but reasonably light-fast silver images on paper as early as 1834 but had kept his work secret. After reading about Daguerre's invention in January 1839, Talbot published his hitherto secret method and set about improving on it. At first, like other pre-daguerreotype processes, Talbot's paper-based photography typically required hours-long exposures in the camera, but in 1840 he created the calotype process, which used the chemical development of a latent image to greatly reduce the exposure needed and compete with the daguerreotype. In both its original and calotype forms, Talbot's process, unlike Daguerre's, created a translucent negative which could be used to print multiple positive copies; this is the basis of most modern chemical photography up to the present day, as Daguerreotypes could only be replicated by rephotographing them with a camera.[22] Talbot's famous tiny paper negative of the Oriel window in Lacock Abbey, one of a number of camera photographs he made in the summer of 1835, may be the oldest camera negative in existence.[23][24]

text: British chemist John Herschel made many contributions to the new field. He invented the cyanotype process, later familiar as the "blueprint". He was the first to use the terms "photography", "negative" and "positive". He had discovered in 1819 that sodium thiosulphate was a solvent of silver halides, and in 1839 he informed Talbot (and, indirectly, Daguerre) that it could be used to "fix" silver-halide-based photographs and make them completely light-fast. He made the first glass negative in late 1839.

text: In the March 1851 issue of The Chemist, Frederick Scott Archer published his wet plate collodion process. It became the most widely used photographic medium until the gelatin dry plate, introduced in the 1870s, eventually replaced it. There are three subsets to the collodion process; the Ambrotype (a positive image on glass), the Ferrotype or Tintype (a positive image on metal) and the glass negative, which was used to make positive prints on albumen or salted paper.

text: Many advances in photographic glass plates and printing were made during the rest of the 19th century. In 1891, Gabriel Lippmann introduced a process for making natural-color photographs based on the optical phenomenon of the interference of light waves. His scientifically elegant and important but ultimately impractical invention earned him the Nobel Prize in Physics in 1908.

text: Glass plates were the medium for most original camera photography from the late 1850s until the general introduction of flexible plastic films during the 1890s. Although the convenience of the film greatly popularized amateur photography, early films were somewhat more expensive and of markedly lower optical quality than their glass plate equivalents, and until the late 1910s they were not available in the large formats preferred by most professional photographers, so the new medium did not immediately or completely replace the old. Because of the superior dimensional stability of glass, the use of plates for some scientific applications, such as astrophotography, continued into the 1990s, and in the niche field of laser holography, it has persisted into the 2010s.

text: Film photography

text: Hurter and Driffield began pioneering work on the light sensitivity of photographic emulsions in 1876. Their work enabled the first quantitative measure of film speed to be devised.

text: The first flexible photographic roll film was marketed by George Eastman in 1885, but this original "film" was actually a coating on a paper base. As part of the processing, the image-bearing layer was stripped from the paper and transferred to a hardened gelatin support. The first transparent plastic roll film followed in 1889. It was made from highly flammable nitrocellulose ("celluloid"), now usually called "nitrate film".

text: Although cellulose acetate or "safety film" had been introduced by Kodak in 1908,[25] at first it found only a few special applications as an alternative to the hazardous nitrate film, which had the advantages of being considerably tougher, slightly more transparent, and cheaper. The changeover was not completed for X-ray films until 1933, and although safety film was always used for 16 mm and 8 mm home movies, nitrate film remained standard for theatrical 35 mm motion pictures until it was finally discontinued in 1951.

text: Films remained the dominant form of photography until the early 21st century when advances in digital photography drew consumers to digital formats.[26] Although modern photography is dominated by digital users, film continues to be used by enthusiasts and professional photographers. The distinctive "look" of film based photographs compared to digital images is likely due to a combination of factors, including: (1) differences in spectral and tonal sensitivity (S-shaped density-to-exposure (H&D curve) with film vs. linear response curve for digital CCD sensors) [27] (2) resolution and (3) continuity of tone.[28]

text: Black-and-white

text: Originally, all photography was monochrome, or black-and-white. Even after color film was readily available, black-and-white photography continued to dominate for decades, due to its lower cost and its "classic" photographic look. The tones and contrast between light and dark areas define black-and-white photography.[29] It is important to note that monochromatic pictures are not necessarily composed of pure blacks, whites, and intermediate shades of gray but can involve shades of one particular hue depending on the process. The cyanotype process, for example, produces an image composed of blue tones. The albumen print process first used more than 170 years ago, produces brownish tones.

text: Many photographers continue to produce some monochrome images, sometimes because of the established archival permanence of well-processed silver-halide-based materials. Some full-color digital images are processed using a variety of techniques to create black-and-white results, and some manufacturers produce digital cameras that exclusively shoot monochrome. Monochrome printing or electronic display can be used to salvage certain photographs taken in color which are unsatisfactory in their original form; sometimes when presented as black-and-white or single-color-toned images they are found to be more effective. Although color photography has long predominated, monochrome images are still produced, mostly for artistic reasons. Almost all digital cameras have an option to shoot in monochrome, and almost all image editing software can combine or selectively discard RGB color channels to produce a monochrome image from one shot in color.

text: Color

text: Color photography was explored beginning in the 1840s. Early experiments in color required extremely long exposures (hours or days for camera images) and could not "fix" the photograph to prevent the color from quickly fading when exposed to white light.

text: The first permanent color photograph was taken in 1861 using the three-color-separation principle first published by Scottish physicist James Clerk Maxwell in 1855.[30][31] The foundation of virtually all practical color processes, Maxwell's idea was to take three separate black-and-white photographs through red, green and blue filters.[30][31] This provides the photographer with the three basic channels required to recreate a color image. Transparent prints of the images could be projected through similar color filters and superimposed on the projection screen, an additive method of color reproduction. A color print on paper could be produced by superimposing carbon prints of the three images made in their complementary colors, a subtractive method of color reproduction pioneered by Louis Ducos du Hauron in the late 1860s.

text: Russian photographer Sergei Mikhailovich Prokudin-Gorskii made extensive use of this color separation technique, employing a special camera which successively exposed the three color-filtered images on different parts of an oblong plate. Because his exposures were not simultaneous, unsteady subjects exhibited color "fringes" or, if rapidly moving through the scene, appeared as brightly colored ghosts in the resulting projected or printed images.

text: Implementation of color photography was hindered by the limited sensitivity of early photographic materials, which were mostly sensitive to blue, only slightly sensitive to green, and virtually insensitive to red. The discovery of dye sensitization by photochemist Hermann Vogel in 1873 suddenly made it possible to add sensitivity to green, yellow and even red. Improved color sensitizers and ongoing improvements in the overall sensitivity of emulsions steadily reduced the once-prohibitive long exposure times required for color, bringing it ever closer to commercial viability.

text: Autochrome, the first commercially successful color process, was introduced by the Lumière brothers in 1907. Autochrome plates incorporated a mosaic color filter layer made of dyed grains of potato starch, which allowed the three color components to be recorded as adjacent microscopic image fragments. After an Autochrome plate was reversal processed to produce a positive transparency, the starch grains served to illuminate each fragment with the correct color and the tiny colored points blended together in the eye, synthesizing the color of the subject by the additive method. Autochrome plates were one of several varieties of additive color screen plates and films marketed between the 1890s and the 1950s.

text: Kodachrome, the first modern "integral tripack" (or "monopack") color film, was introduced by Kodak in 1935. It captured the three color components in a multi-layer emulsion. One layer was sensitized to record the red-dominated part of the spectrum, another layer recorded only the green part and a third recorded only the blue. Without special film processing, the result would simply be three superimposed black-and-white images, but complementary cyan, magenta, and yellow dye images were created in those layers by adding color couplers during a complex processing procedure.

text: Agfa's similarly structured Agfacolor Neu was introduced in 1936. Unlike Kodachrome, the color couplers in Agfacolor Neu were incorporated into the emulsion layers during manufacture, which greatly simplified the processing. Currently, available color films still employ a multi-layer emulsion and the same principles, most closely resembling Agfa's product.

text: Instant color film, used in a special camera which yielded a unique finished color print only a minute or two after the exposure, was introduced by Polaroid in 1963.

text: Color photography may form images as positive transparencies, which can be used in a slide projector, or as color negatives intended for use in creating positive color enlargements on specially coated paper. The latter is now the most common form of film (non-digital) color photography owing to the introduction of automated photo printing equipment. After a transition period centered around 1995–2005, color film was relegated to a niche market by inexpensive multi-megapixel digital cameras. Film continues to be the preference of some photographers because of its distinctive "look".

text: Digital photography

text: In 1981, Sony unveiled the first consumer camera to use a charge-coupled device for imaging, eliminating the need for film: the Sony Mavica. While the Mavica saved images to disk, the images were displayed on television, and the camera was not fully digital. In 1991, Kodak unveiled the DCS 100, the first commercially available digital single lens reflex camera. Although its high cost precluded uses other than photojournalism and professional photography, commercial digital photography was born.

text: Digital imaging uses an electronic image sensor to record the image as a set of electronic data rather than as chemical changes on film.[32] An important difference between digital and chemical photography is that chemical photography resists photo manipulation because it involves film and photographic paper, while digital imaging is a highly manipulative medium. This difference allows for a degree of image post-processing that is comparatively difficult in film-based photography and permits different communicative potentials and applications.

text: Digital photography dominates the 21st century. More than 99% of photographs taken around the world are through digital cameras, increasingly through smartphones.

text: Synthesis photography

text: Synthesis photography is part of computer-generated imagery (CGI) where the shooting process is modeled on real photography. The CGI, creating digital copies of real universe, requires a visual representation process of these universes. Synthesis photography is the application of analog and digital photography in digital space. With the characteristics of the real photography but not being constrained by the physical limits of real world, synthesis photography allows to get away from real photography.[33]

text: Photographic techniques

text: A large variety of photographic techniques and media are used in the process of capturing images for photography. These include the camera; stereoscopy; dualphotography; full-spectrum, ultraviolet and infrared media; light field photography; and other imaging techniques.

text: Cameras

text: The camera is the image-forming device, and a photographic plate, photographic film or a silicon electronic image sensor is the capture medium. The respective recording medium can be the plate or film itself, or a digital magnetic or electronic memory.[34]

text: Photographers control the camera and lens to "expose" the light recording material to the required amount of light to form a "latent image" (on plate or film) or RAW file (in digital cameras) which, after appropriate processing, is converted to a usable image. Digital cameras use an electronic image sensor based on light-sensitive electronics such as charge-coupled device (CCD) or complementary metal-oxide-semiconductor (CMOS) technology. The resulting digital image is stored electronically, but can be reproduced on a paper.

text: The camera (or 'camera obscura') is a dark room or chamber from which, as far as possible, all light is excluded except the light that forms the image. It was discovered and used in the 16th century by painters. The subject being photographed, however, must be illuminated. Cameras can range from small to very large, a whole room that is kept dark while the object to be photographed is in another room where it is properly illuminated. This was common for reproduction photography of flat copy when large film negatives were used (see Process camera).

text: As soon as photographic materials became "fast" (sensitive) enough for taking candid or surreptitious pictures, small "detective" cameras were made, some actually disguised as a book or handbag or pocket watch (the Ticka camera) or even worn hidden behind an Ascot necktie with a tie pin that was really the lens.

text: The movie camera is a type of photographic camera which takes a rapid sequence of photographs on recording medium. In contrast to a still camera, which captures a single snapshot at a time, the movie camera takes a series of images, each called a "frame". This is accomplished through an intermittent mechanism. The frames are later played back in a movie projector at a specific speed, called the "frame rate" (number of frames per second). While viewing, a person's eyes and brain merge the separate pictures together to create the illusion of motion.[35]

text: Stereoscopic

text: Photographs, both monochrome and color, can be captured and displayed through two side-by-side images that emulate human stereoscopic vision. Stereoscopic photography was the first that captured figures in motion.[36] While known colloquially as "3-D" photography, the more accurate term is stereoscopy. Such cameras have long been realized by using film and more recently in digital electronic methods (including cell phone cameras).

text: Dualphotography

text: Dualphotography consists of photographing a scene from both sides of a photographic device at once (e.g. camera for back-to-back dualphotography, or two networked cameras for portal-plane dualphotography). The dualphoto apparatus can be used to simultaneously capture both the subject and the photographer, or both sides of a geographical place at once, thus adding a supplementary narrative layer to that of a single image.[37]

text: Full-spectrum, ultraviolet and infrared

text: Ultraviolet and infrared films have been available for many decades and employed in a variety of photographic avenues since the 1960s. New technological trends in digital photography have opened a new direction in full spectrum photography, where careful filtering choices across the ultraviolet, visible and infrared lead to new artistic visions.

text: Modified digital cameras can detect some ultraviolet, all of the visible and much of the near infrared spectrum, as most digital imaging sensors are sensitive from about 350 nm to 1000 nm. An off-the-shelf digital camera contains an infrared hot mirror filter that blocks most of the infrared and a bit of the ultraviolet that would otherwise be detected by the sensor, narrowing the accepted range from about 400 nm to 700 nm.[38]

text: Replacing a hot mirror or infrared blocking filter with an infrared pass or a wide spectrally transmitting filter allows the camera to detect the wider spectrum light at greater sensitivity. Without the hot-mirror, the red, green and blue (or cyan, yellow and magenta) colored micro-filters placed over the sensor elements pass varying amounts of ultraviolet (blue window) and infrared (primarily red and somewhat lesser the green and blue micro-filters).

text: Uses of full spectrum photography are for fine art photography, geology, forensics and law enforcement.

text: Light field photography

text: Digital methods of image capture and display processing have enabled the new technology of "light field photography" (also known as synthetic aperture photography). This process allows focusing at various depths of field to be selected after the photograph has been captured.[39] As explained by Michael Faraday in 1846, the "light field" is understood as 5-dimensional, with each point in 3-D space having attributes of two more angles that define the direction of each ray passing through that point.

text: These additional vector attributes can be captured optically through the use of microlenses at each pixel point within the 2-dimensional image sensor. Every pixel of the final image is actually a selection from each sub-array located under each microlens, as identified by a post-image capture focus algorithm.

text: Other imaging techniques

text: Besides the camera, other methods of forming images with light are available. For instance, a photocopy or xerography machine forms permanent images but uses the transfer of static electrical charges rather than photographic medium, hence the term electrophotography. Photograms are images produced by the shadows of objects cast on the photographic paper, without the use of a camera. Objects can also be placed directly on the glass of an image scanner to produce digital pictures.

text: Modes of production

text: Amateur

text: An amateur photographer is one who practices photography as a hobby/passion and not necessarily for profit. The quality of some amateur work is comparable to that of many professionals and may be highly specialized or eclectic in choice of subjects. Amateur photography is often pre-eminent in photographic subjects which have little prospect of commercial use or reward. Amateur photography grew during the late 19th century due to the popularization of the hand-held camera.[40] Nowadays it has spread widely through social media and is carried out throughout different platforms and equipment, switching to the use of cell phone as a key tool for making photography more accessible to everyone.

text: Commercial

text: Commercial photography is probably best defined as any photography for which the photographer is paid for images rather than works of art. In this light, money could be paid for the subject of the photograph or the photograph itself. Wholesale, retail, and professional uses of photography would fall under this definition. The commercial photographic world could include:

text:
Advertising photography: photographs made to illustrate and usually sell a service or product. These images, such as packshots, are generally done with an advertising agency, design firm or with an in-house corporate design team.
Fashion and glamour photography usually incorporates models and is a form of advertising photography. Fashion photography, like the work featured in Harper's Bazaar, emphasizes clothes and other products; glamour emphasizes the model and body form. Glamour photography is popular in advertising and men's magazines. Models in glamour photography sometimes work nude.
Concert Photography focuses on capturing candid images of both the artist or band as well as the atmosphere (including the crowd). Many of these photographers work freelance and are contracted through an artist or their management to cover a specific show. Concert photographs are often used to promote the artist or band in addition to the venue.
Crime scene photography consists of photographing scenes of crime such as robberies and murders. A black and white camera or an infrared camera may be used to capture specific details.
Still life photography usually depicts inanimate subject matter, typically commonplace objects which may be either natural or man-made. Still life is a broader category for food and some natural photography and can be used for advertising purposes.
Food photography can be used for editorial, packaging or advertising use. Food photography is similar to still life photography but requires some special skills.
Editorial photography illustrates a story or idea within the context of a magazine. These are usually assigned by the magazine and encompass fashion and glamour photography features.

Photojournalism can be considered a subset of editorial photography. Photographs made in this context are accepted as a documentation of a news story.

Portrait and wedding photography: photographs made and sold directly to the end user of the images.
Landscape photography depicts locations.
Wildlife photography demonstrates the life of animals.
Paparazzi is a form of photojournalism in which the photographer captures candid images of athletes, celebrities, politicians, and other prominent people.
Pet photography involves several aspects that are similar to traditional studio portraits. It can also be done in natural lighting, outside of a studio, such as in a client's home.

text: The market for photographic services demonstrates the aphorism "A picture is worth a thousand words", which has an interesting basis in the history of photography. Magazines and newspapers, companies putting up Web sites, advertising agencies and other groups pay for photography.

text: Many people take photographs for commercial purposes. Organizations with a budget and a need for photography have several options: they can employ a photographer directly, organize a public competition, or obtain rights to stock photographs. Photo stock can be procured through traditional stock giants, such as Getty Images or Corbis; smaller microstock agencies, such as Fotolia; or web marketplaces, such as Cutcaster.

text: Art

text: During the 20th century, both fine art photography and documentary photography became accepted by the English-speaking art world and the gallery system. In the United States, a handful of photographers, including Alfred Stieglitz, Edward Steichen, John Szarkowski, F. Holland Day, and Edward Weston, spent their lives advocating for photography as a fine art. At first, fine art photographers tried to imitate painting styles. This movement is called Pictorialism, often using soft focus for a dreamy, 'romantic' look. In reaction to that, Weston, Ansel Adams, and others formed the Group f/64 to advocate 'straight photography', the photograph as a (sharply focused) thing in itself and not an imitation of something else.

text: The aesthetics of photography is a matter that continues to be discussed regularly, especially in artistic circles. Many artists argued that photography was the mechanical reproduction of an image. If photography is authentically art, then photography in the context of art would need redefinition, such as determining what component of a photograph makes it beautiful to the viewer. The controversy began with the earliest images "written with light"; Nicéphore Niépce, Louis Daguerre, and others among the very earliest photographers were met with acclaim, but some questioned if their work met the definitions and purposes of art.

text: Clive Bell in his classic essay Art states that only "significant form" can distinguish art from what is not art.

text: There must be some one quality without which a work of art cannot exist; possessing which, in the least degree, no work is altogether worthless. What is this quality? What quality is shared by all objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible — significant form. In each, lines and colors combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions.[42]

text: On 14 February 2004, Sotheby's London sold the 2001 photograph 99 Cent II Diptychon for an unprecedented $3,346,456 to an anonymous bidder, making it the most expensive at the time.

text: Conceptual photography turns a concept or idea into a photograph. Even though what is depicted in the photographs are real objects, the subject is strictly abstract.

text: Photojournalism

text: Photojournalism is a particular form of photography (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining.

text: Science and forensics

text: The camera has a long and distinguished history as a means of recording scientific phenomena from the first use by Daguerre and Fox-Talbot, such as astronomical events (eclipses for example), small creatures and plants when the camera was attached to the eyepiece of microscopes (in photomicroscopy) and for macro photography of larger specimens. The camera also proved useful in recording crime scenes and the scenes of accidents, such as the Wootton bridge collapse in 1861. The methods used in analysing photographs for use in legal cases are collectively known as forensic photography. Crime scene photos are taken from three vantage point. The vantage points are overview, mid-range, and close-up.[43]

text: In 1845 Francis Ronalds, the Honorary Director of the Kew Observatory, invented the first successful camera to make continuous recordings of meteorological and geomagnetic parameters. Different machines produced 12- or 24- hour photographic traces of the minute-by-minute variations of atmospheric pressure, temperature, humidity, atmospheric electricity, and the three components of geomagnetic forces. The cameras were supplied to numerous observatories around the world and some remained in use until well into the 20th century.[44][45] Charles Brooke a little later developed similar instruments for the Greenwich Observatory.[46]

text: Science uses image technology that has derived from the design of the Pin Hole camera. X-Ray machines are similar in design to Pin Hole cameras with high-grade filters and laser radiation.[47] Photography has become ubiquitous in recording events and data in science and engineering, and at crime scenes or accident scenes. The method has been much extended by using other wavelengths, such as infrared photography and ultraviolet photography, as well as spectroscopy. Those methods were first used in the Victorian era and improved much further since that time.[48]

text: The first photographed atom was discovered in 2012 by physicists at Griffith University, Australia. They used an electric field to trap an "Ion" of the element, Ytterbium. The image was recorded on a CCD, an electronic photographic film.[49]

text: Social and cultural implications

text: There are many ongoing questions about different aspects of photography. In her writing "On Photography" (1977), Susan Sontag discusses concerns about the objectivity of photography. This is a highly debated subject within the photographic community.[50] Sontag argues, "To photograph is to appropriate the thing photographed. It means putting one's self into a certain relation to the world that feels like knowledge, and therefore like power."[51] Photographers decide what to take a photo of, what elements to exclude and what angle to frame the photo, and these factors may reflect a particular socio-historical context. Along these lines, it can be argued that photography is a subjective form of representation.

text: Modern photography has raised a number of concerns on its effect on society. In Alfred Hitchcock's Rear Window (1954), the camera is presented as promoting voyeurism. 'Although the camera is an observation station, the act of photographing is more than passive observing'.[51]

text: The camera doesn't rape or even possess, though it may presume, intrude, trespass, distort, exploit, and, at the farthest reach of metaphor, assassinate – all activities that, unlike the sexual push and shove, can be conducted from a distance, and with some detachment.[51]

text: Digital imaging has raised ethical concerns because of the ease of manipulating digital photographs in post-processing. Many photojournalists have declared they will not crop their pictures or are forbidden from combining elements of multiple photos to make "photomontages", passing them as "real" photographs. Today's technology has made image editing relatively simple for even the novice photographer. However, recent changes of in-camera processing allow digital fingerprinting of photos to detect tampering for purposes of forensic photography.

text: Photography is one of the new media forms that changes perception and changes the structure of society.[52] Further unease has been caused around cameras in regards to desensitization. Fears that disturbing or explicit images are widely accessible to children and society at large have been raised. Particularly, photos of war and pornography are causing a stir. Sontag is concerned that "to photograph is to turn people into objects that can be symbolically possessed." Desensitization discussion goes hand in hand with debates about censored images. Sontag writes of her concern that the ability to censor pictures means the photographer has the ability to construct reality.[51]

text: One of the practices through which photography constitutes society is tourism. Tourism and photography combine to create a "tourist gaze"[53] in which local inhabitants are positioned and defined by the camera lens. However, it has also been argued that there exists a "reverse gaze"[54] through which indigenous photographees can position the tourist photographer as a shallow consumer of images.

text: Additionally, photography has been the topic of many songs in popular culture.

text: Law

text: Photography is both restricted as well as protected by the law in many jurisdictions. Protection of photographs is typically achieved through the granting of copyright or moral rights to the photographer. In the United States, photography is protected as a First Amendment right and anyone is free to photograph anything seen in public spaces as long as it is in plain view.[55] In the UK a recent law (Counter-Terrorism Act 2008) increases the power of the police to prevent people, even press photographers, from taking pictures in public places.[56]


document_title: List of One Foot in the Grave episodes

question_text: one foot in the grave series 4 episode 1

text: List of One Foot in the Grave episodes

text: Series overview[edit]

text: All six series and specials were initially available on BBC Worldwide VHS video tapes. The Comic Relief Shorts from 1993 and 2001 have not been released on DVD. One Foot in the Grave Best-of was also released in Region 4, 8 July 2004.

text:
DVD Title

Discs

Year

Ep. No,

DVD releases

Notes

Region 1

Region 2

Region 4

Complete Series 1

1

1990

6

27 March 2007

2 August 2004

7 July 2005

Includes Britain's Best Sitcom feature.

Complete Series 2

2

1990

7

27 March 2007

9 May 2005

4 May 2006

Includes the 1990 Christmas special

Complete Series 3

2

1992

7

11 March 2008

8 August 2005

17 August 2006

Includes the 1991 Christmas special

Complete Series 4

2

1993

7

11 March 2008

24 April 2006

7 March 2007

Includes the 1993 Christmas special

Complete Series 5

2

1994-1995

7

10 February 2009

21 August 2006

1 August 2007

Includes the 1995 Christmas special

Complete Series 6

2

2000

6

10 February 2009

16 October 2006

3 October 2007

Includes the 2000 documentary "I Don't Believe It: The Story of One Foot in the Grave"

Complete Series 1-6

12

1990-2000

42

8 September 2009

16 October 2006/slim version 4 October 2010

6 March 2008

A 12-disc box set that includes the Christmas specials

Christmas Specials

1

1996-1997

2

8 September 2009

13 November 2006

6 November 2008

The 1996 and 1997 Christmas specials

text: Episodes[edit]

text: Series 1 (1990)[edit]

text:
Episode

Title

Directed by

Written by

Original airdate

Duration
Regular series
1"Alive and Buried"Susan BelbinDavid Renwick4 January 1990 (1990-01-04)30 minutes
60-year-old Victor Meldrew is made to retire from his job as a security guard after 26 years; he is replaced by a box and a recorded message. As he contemplates his future at home, he is visited by Nick Swainey from the Outward Bound Scheme for the elderly. Victor has a job interview, but arrives late. He practises magic tricks for a performance and is asked to rehearse his act during the evening. On his way, he approaches a woman who is standing on the street to help him fix his car. She is a policewoman posing as a prostitute and he is put on trial for kerb-crawling. He is acquitted, but fined for contempt of court because he threw a Bible at the judge.
2"The Big Sleep"Susan BelbinDavid Renwick11 January 1990 (1990-01-11)30 minutes
A young female window cleaner accuses Victor of flashing her when she sees him naked and drying his genitals with a flannel through his bathroom window. His cousin Geoffrey, who had also just taken early retirement at age 60, dies of a heart attack, and the Meldrews attend his atheist funeral. Jehovah's Witnesses visit the Meldrews; later, the Meldrews attend a fitness class, during which the instructor dies. Victor's been looking after a small bird that regularly perches in his garden; he finds it dead on his lawn and buries it. He falls asleep while sitting in his garden. He awakens to thick fog and thinks he has died in his sleep. He accidentally steps on a rake in his garden and wakes up in a hospital bed thinking he's dead and his roommate is God.
3"The Valley of Fear"Susan BelbinDavid Renwick18 January 1990 (1990-01-18)30 minutes
Victor is mugged while photographing a sunset and graffiti is sprayed on the Meldrews' house, so he decides to head a Neighbourhood Watch meeting. Also, there's a strange smell by the sideboard, a problem with the central heating, an old woman in the loft, and a cat in the freezer.
4"I'll Retire to Bedlam"Susan BelbinDavid Renwick25 January 1990 (1990-01-25)30 minutes
Victor is trapped in his shed for three hours thanks to a swarm of belligerent bees, stuck in the optician's for a day with his eyes shut, then stuck babysitting some unpleasant children.
5"The Eternal Quadrangle"Susan BelbinDavid Renwick1 February 1990 (1990-02-01)30 minutes
Margaret is pleased when Victor takes up painting—until she discovers that he has been painting a nude model named Doreen (Gillian Barge) and driving her home afterwards. Margaret suspects that Victor is having sex with Doreen. Meanwhile, a friend of Margaret's wrongly believes that she wants to have sex with him.
6"The Return of the Speckled Band"Susan BelbinDavid Renwick8 February 1990 (1990-02-08)30 minutes
Before the Meldrews can leave for their holiday in Athens, they must cope with Victor's fear of flying and Mrs Warboys' food poisoning. Meanwhile, a very tall man (Clive Mantle) reads their electricity meter; when he takes his shoes off they're accidentally taken to Oxfam and Victor gives him a pair of his uncle's very large shoes. Later, Victor wrongly assumes that a man who is sitting in a wheelchair is unable to walk and wheels him around and carries him up flights of stairs, until he stands up and tells Victor that it is his wife's wheelchair; and an Indian python escapes from a garden center and Victor unwittingly carries it into his house...into a suitcase...and to the airport.

text: Series 2 (1990-91)[edit]

text:
Episode

Title

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Duration
Regular series
7"In Luton Airport No-One Can Hear You Scream"Susan BelbinDavid Renwick4 October 1990 (1990-10-04)30 minutes
The Meldrews return from their holiday to find that their baggage has been sent to the other side of the world. Their house has also been demolished after it was badly damaged by fire. Six months later they move into a new house and hold a housewarming party.
8"We Have Put Her Living in the Tomb"Susan BelbinDavid Renwick11 October 1990 (1990-10-11)30 minutes
While organising their new house, the Meldrews are entrusted to look after Margaret's goddaughter's tortoise, who walks into a pile of garden rubbish which Victor burns. Margaret douses the tortoise in cold water when she realises that it had been burnt, but it has died. Victor informs their goddaughter's mother of the tortoise's death; unaware of this, Margaret buys a new tortoise for her. The mother thinks the tortoise in the box they receive is the dead one and buries it alive. Meanwhile, the wallpaper is stripped in the Meldrews' new home.
9"Dramatic Fever"Susan BelbinDavid Renwick18 October 1990 (1990-10-18)30 minutes
Victor writes a script for a new sitcom, but nobody else finds it very funny. Margaret also catches dramatic fever: she joins an amateur dramatic society and gets invited to local thespian Desiree Gibson (Fleur Chandler)'s Bergerac party. Meanwhile, Victor argues with a litterbug and gets back at him by tipping rubbish into his car...only it's another man's car.
10"Who Will Buy?"Susan BelbinDavid Renwick25 October 1990 (1990-10-25)30 minutes
Victor and Margaret are puzzled when a couple named Patrick and Pippa visit as they have no idea who they are; then Margaret remembers that they're their next-door neighbours who have been on holiday for a month. Victor is annoyed by a toy dinosaur salesman who comes to the house. Margaret befriends lonely elderly blind Albert (Jimmy Jewel). After burglars kill him in his flat, it is discovered that he was to have new locks fitted, but instead used his money to buy toy dinosaurs. A charity concert gives Victor the chance to share his ventriloquist skills, only to realise his act is part of a rock and death metal variety concert.
11"Love and Death"Susan BelbinDavid Renwick8 November 1990 (1990-11-08)30 minutes
The Meldrews are on holiday, staying with old friends Vince (Stephen Lewis) and April (Georgina Hale) in their boarding house on the south coast. During the weekend a set of unfortunate coincidences leave each member of the couple thinking they have been unfaithful. Also, Victor puts a pint of beer on his forehead while resting, not realising that Margaret has repaired it using superglue.
12"Timeless Time"Susan BelbinDavid Renwick15 November 1990 (1990-11-15)30 minutes
Victor is unable to sleep, so he keeps Margaret awake. He (almost) gets desperate enough to open last year's Christmas present from Ronnie and Mildred and puts his foot into a rotting hedgehog.

This episode is set entirely in the Meldrews' bedroom and is the only one in which they mention their late son.
Christmas specials
13"Who's Listening?"Susan BelbinDavid Renwick27 December 1990 (1990-12-27)60 minutes
Victor's wrong-number entry in a catalogue's order column results in the accidental delivery of 263 3-foot-tall garden gnomes. The Meldrews meet Pippa's father, Reverend Croker (Geoffrey Chater), a vicar who thinks he has lost his faith, and Victor learns more about Mrs Burridge (Cathy Shipton), a video-store worker with whom he had a conflict.
14"The Man in the Long Black Coat"Susan BelbinDavid Renwick30 December 1991 (1991-12-30)50 minutes
As Victor's feud with Patrick—now an expectant father—continues, they communicate via post-it notes. Victor learns that the horse manure that he bought for his allotment is radioactive. Pregnant Pippa attends an office party.

Guest appearance by Eric Idle.

text: Series 3 (1992)[edit]

text:
Episode

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Regular series
15"Monday Morning Will Be Fine"Susan BelbinDavid Renwick2 February 1992 (1992-02-02)30 minutes
Victor and Margaret return from a shopping trip to discover that the house has been burgled—and the neighbours helped. Victor decides not to replace the television to give them more opportunity to get out of the house. However, an evening trip to the pub results in a disconcerting experience with old acquaintances Billy (Richard Davies) and Meg (Diana Coupland).
16"Dreamland"Susan BelbinDavid Renwick9 February 1992 (1992-02-09)30 minutes
In a coffee shop, Mrs Warboys tells the story of how Margaret went missing following a series of haunting dreams in which she murders someone who looks exactly like Victor. Also, Mr. Swainey evades Victor's attempts to nail the fence closed and invites the Meldrews to see his pigeons.
17"The Broken Reflection"Susan BelbinDavid Renwick16 February 1992 (1992-02-16)30 minutes
Patrick and Pippa fear the worst when they ask Victor and Margaret to look after their house while they are on holiday. They are right to worry, because Victor's absent-minded brother Alfred (Richard Pearson) is visiting, so Victor's nerves are on edge more than usual.
18"The Beast in the Cage"Susan BelbinDavid Renwick23 February 1992 (1992-02-23)30 minutes
A day out turns into a nightmare for the Meldrews and Mrs Warboys when the Bank Holiday traffic comes to a standstill on the motorway and they spend four hours trapped in their car staring at a horse's backside. Attempting to lighten the mood with music, Victor find a song about him (to the tune of Cwn Rhondda) sung by his car mechanics.

This summer-set episode was filmed in winter near Luton—when, ironically, real cars were driving past the Meldrews when filming.[3] This episode is real time and is entirely set in the Meldrews' car on the motorway.
19"Beware the Trickster on the Roof"Susan BelbinDavid Renwick1 March 1992 (1992-03-01)30 minutes
Mr Swainey returns from holiday with an evil gift in the form of a paperweight. The thieves who burgled the Meldrews' house ring up asking for help programming the video recorder they stole from the Meldrews. Also, Patrick and Pippa attempt to sell their house, but prospective buyers are put off when they encounter Victor.
20"The Worst Horror of All"Susan BelbinDavid Renwick8 March 1992 (1992-03-08)30 minutes
Victor is delighted when he finally gets a decent job as the doorman at an expensive hotel—until he is insulted by a rich snob in an obvious toupee and cannot resist firing back. Mrs Warboys organizes a trip to the BBC, and the Meldrews try to fend off a visit from Ronnie (Gordon Peters) and Mildred (Jean Challis).

text: Series 4 (1993)[edit]

text:
Episode

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Duration
Regular series
21"The Pit and the Pendulum"Susan BelbinDavid Renwick31 January 1993 (1993-01-31)30 minutes
Victor decides that Patrick's cherry tree is the cause of his garden being dry and enlists a Neanderthal gardener (Daniel Peacock) to cut off the roots that are under Victor's garden. After Victor argues with the gardner, the man fills up the hole, burying Victor in it up to his neck. Meanwhile, Patrick adopts a dachshund puppy; and Margaret is stunned by tragic news.
22"Descent into the Maelstrom"Susan BelbinDavid Renwick7 February 1993 (1993-02-07)30 minutes
Margaret collapses from nervous exhaustion, which has been building up for the past 35 years. After a few days under Victor's "care," she decides that going to work would be more restful. Mrs Warboys visits, bringing Andrea Temple (Helen Lederer), whom Margaret knew as a girl, and Andrea's baby, who has a mysterious fondness for garden gnomes. Victor uncovers the disturbing truth about her, but decides not to tell Margaret.
23"Hearts of Darkness"Susan BelbinDavid Renwick14 February 1993 (1993-02-14)30 minutes
The Meldrews, Mrs Warboys, and Mr Swainey take a trip into the countryside, where they end up stranded in a river and play Trivial Pursuit, and Mrs Warboys is accidentally concreted to Victor. While going for help, Victor stumbles upon an old-people's home where the staff are abusing the residents and hatches a plot to liberate them.
24"Warm Champagne"Susan BelbinDavid Renwick21 February 1993 (1993-02-21)30 minutes
The Meldrews have returned from another holiday. Victor already has sunburnt feet, and a new lamppost outside the house causes even more problems. Margaret's annoyance at his incessant grumbling lures her into considering an affair with Ben (Tristram Jellinek), a holiday acquaintance. She meets him for drinks...and returns home to find a very old woman in her bed, to her surprise as much as Victor's. The old woman had been brought to the Meldrews' by a man who wrongly believed her to live there.
25"The Trial"Susan BelbinDavid Renwick28 February 1993 (1993-02-28)30 minutes
While on call for jury service, Victor spends a whole day home alone. He receives a letter from a disgruntled Jehovah's Witness, tackles a difficult crossword, tries to avoid hearing a recounting of Mrs Warboys' holiday in Cork, and contemplates his various ailments.
26"Secret of the Seven Sorcerers"Susan BelbinDavid Renwick7 March 1993 (1993-03-07)30 minutes
When the Meldrews invite Patrick and Pippa to dinner, Patrick is distinctly worried about what horrors might befall them. Meanwhile, Victor has a new job as a lollipop man, and hoax calls from the fire brigade slow down his preparations for hosting the next meeting of his magicians' club.
Comic Relief special
TBA"Victor in the Bath"Susan BelbinDavid Renwick12 March 1993 (1993-03-12)8 minutes
Victor muses about life while in the bath. This scene was originally filmed as part of the episode 'The Trial', broadcast a few weeks earlier, however this scene would have caused the episode to overrun its 30-minute time slot, so instead it was shown as a segment in Comic Relief. Annette Crosbie has only a brief voice role on the telephone answering machine.
Christmas special
27"One Foot in the Algarve"Susan BelbinDavid Renwick26 December 1993 (1993-12-26)90 minutes
The Meldrews and Mrs Warboys embark upon a hellish holiday to Portugal. After an entanglement with the police, they finally arrive at their unpleasant villa. Mrs Warboys finds love with her Portuguese penpal Alfonso (Edward de Souza), donkeys follow Victor around, a paparazzo (Peter Cook) pursues the group trying to retrieve some lucrative snaps, and a boxer (Eamonn Walker) tries to find his inner anger...which becomes much easier thanks to Victor's misadventures.

text: Series 5 (1994–97)[edit]

text:
Episode

Title

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Duration
Christmas special
28"The Man Who Blew Away"Susan BelbinDavid Renwick25 December 1994 (1994-12-25)40 minutes
The Meldrews get a surprise visit from Mr Foskett (Brian Murphy), whom they know only because they stayed in the same guesthouse 17 years ago. Also, someone has been tampering with Victor's Christmas crackers, and the Meldrews are distraught when their unreliable stolen car is returned just before the insurance policy is due to pay for a new one.
Regular series
29"Only a Story"Susan BelbinDavid Renwick1 January 1995 (1995-01-01)30 minutes
Mrs. Warboys stays with the Meldrews while her flat dries out after a flood; Victor has a run-in with a chimney sweep, and also tries reflexology after being recommended a woman by an acquaintance. Margaret informs Victor that the woman is a prostitute who was rubbing the soles of his feet with her breasts. He also has a run-in with a chimney sweep.
30"The Affair of the Hollow Lady"Susan BelbinDavid Renwick8 January 1995 (1995-01-08)30 minutes
Mrs Warboys has a wax model of herself made as the prize from a competition; local greengrocer Millicent (Barbara Windsor) takes a fancy to Victor and attempts to lure him to her house when he misses a football match.
31"Rearranging the Dust"Susan BelbinDavid Renwick15 January 1995 (1995-01-15)30 minutes
In their solicitor's waiting room, Victor and Margaret muse about life and observe the other visitors' bizarre habits.
32"Hole in the Sky"Susan BelbinDavid Renwick22 January 1995 (1995-01-22)30 minutes
Margaret and Pippa send Victor and Patrick to an Armenian restaurant to try to bury the hatchet, but instead their men have an unpleasant experience which leaves both of them rattled. Things go from bad to worse when some lost money causes Victor to think he has walked in on an affair. He also experiments with seafood cookery and restores a Dutch marionette, of which Margaret becomes jealous; and the Meldrews' loft is converted by identical twin builders (Christopher Ryan), one of whom plays pranks on Margaret.
33"The Exterminating Angel"Susan BelbinDavid Renwick29 January 1995 (1995-01-29)30 minutes
Mr Swainey takes a fancy to his mother's nurse Tania (Anita Chellamah) and Margaret encourages him to ask her out. Victor takes a job as a chauffeur for Lewis Atterbury (John Bird) and rapidly destroys his employer's beloved fleet of expensive cars.
Christmas specials
34"The Wisdom of the Witch"Susan BelbinDavid Renwick25 December 1995 (1995-12-25)60 minutes
When Cousin Ursula dies, Victor and Margaret must clear out her country house; before they go, a witch predicts an untimely end for Victor. Patrick and Pippa prepare to move far away from the Meldrews, then Patrick gets stuck with Victor while trying to escape his secretary's jealous boyfriend (Phil Daniels). When the boyfriend finally catches up with them, Victor manages to rescue Patrick by charging at the man, knocking both of them out of the window.
35"Starbound"Susan BelbinDavid Renwick26 December 1996 (1996-12-26)60 minutes
The The man (Ray Winstone) the Meldrews find living in their shed turns out to be a drug dealer; Victor takes a gardening job working for Patrick's new boss, Fenella Fortune (Rula Lenska) and dealing with very effective herbicide. Mr. Swainey's mother claims that she's being abducted by aliens every night.

Mr. Tambourine Man by The Byrds is used in the closing credits.
36"Endgame"Christine GernonDavid Renwick25 December 1997 (1997-12-25)70 minutes
The Meldrews make an effort to get on with their pleasant new neighbours Derek (Tim Brooke-Taylor) and Betty McVitie (Marian McLoughlin), and the two couples go on holiday together. Victor buys a haunted caravan and accidentally kidnaps the Indian mother of a millionaire.

text: Series 6 (2000)[edit]

text:
Episode

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Duration
Regular series
37"The Executioner's Song"Christine GernonDavid Renwick16 October 2000 (2000-10-16)35 minutes
Victor has a new job as a window cleaner. Patrick's plans for a quiet birthday are ruined after an unfortunate misunderstanding involving a modern art painting. A visit to a Chinese restaurant called Shaghai Express results in Pippa having a fling. Victor unwittingly discovers the restaurant's underground brothel and is questioned by police.
38"Tales of Terror"Christine GernonDavid Renwick23 October 2000 (2000-10-23)30 minutes
Victor is angry at the poor job builders have made of his new crazy paving. He also has a health scare--possibly due to his portrayal of an amateur-dramatic vampire; and the Meldrews try to get their new car's obscene number plates changed.
39"The Futility of the Fly"Christine GernonDavid Renwick30 October 2000 (2000-10-30)30 minutes
Victor hires attractive young cleaner Katy (Katy Carmichael) to help around the house and inadvertently gets Mrs Warboys tattooed. Meanwhile, a large plastic fly is delivered, and something's going on at the local takeaway.
40"Threatening Weather"Christine GernonDavid Renwick6 November 2000 (2000-11-06)30 minutes
After a power cut on the hottest day of the year, the Meldrews are visited by the incontinent Mr Smedley (Roy Hudd).
41"The Dawn of Men"Christine GernonDavid Renwick13 November 2000 (2000-11-13)30 minutes
A visit from Patrick's gay twin brother Nigel (Geoffrey Perkins) leaves Pippa mentally and physically exhausted, especially when Patrick sits on a cork; Victor takes up fishing.
42"Things Aren't Simple Any More"Christine GernonDavid Renwick20 November 2000 (2000-11-20)40 minutes
After a disappointing reunion dinner, Victor is knocked down and killed by a dangerous driver. Facing life without him, Margaret receives another shock when she discovers that Victor's killer is her new best friend Glynis (Hannah Gordon). How she handles this is left ambiguous.

text: Comic Relief special (2001)[edit]

text:
#

Title

Original airdate

Duration

—

Visiting Uncle Dick

16 March 2001

8 minutes.

Margaret is visiting a relative in hospital. Victor is his usual self, complaining about everything; and Margaret is her usual self, pretending not to hear him...or is she? Eric Sykes plays Uncle Dick, who has only one line in the sketch.
NOTE: Final appearances of Victor and Margaret Meldrew. Victor appears to be alive but Margaret does not acknowledge him, implying that he is a ghost after she complains about a cold air in the room.

text: Clip shows[edit]

text:
Title

Original airdate

Duration

One Foot in the Grave Selection Box

9 July 1997

35 minutes.

A clip show in which famous fans of the show choose their favourite moments. This was one of a series of similar clip shows covering various BBC sitcoms, and was subsequently released on VHS exclusively through Marks and Spencer. It is not available on DVD.

I Don't Believe It!: The One Foot in the Grave Story

20 November 2000

45 minutes.

A clip show presented by Angus Deayton featuring interviews with the people involved with the show, including: Richard Wilson, Annette Crosbie, David Renwick, Eric Idle, Tim Brooke-Taylor, Susie Blake, Owen Brenman, Janine Duvitski, Doreen Mantle and Paul Merton. It was originally broadcast immediately before the final episode, and was subsequently released as a standalone VHS and included on both the VHS and DVD issues of Series 6.

Britain's Best Sitcom: One Foot in the Grave

14 February 2004

60 minutes.

Rowland Rivron presents the case for One Foot in the Grave being voted Britain's Best Sitcom. Extracts of this programme are included on the Series 1 DVD.

Comedy Connections: One Foot in the Grave

12 January 2007

30 minutes.

Documentary including interviews with David Renwick, and cast and crew members.

text: Radio series (1995)[edit]

text: A series of remakes originally broadcast on BBC Radio 2, with Richard Wilson, Annette Crosbie, Owen Brenman and Doreen Mantle reprising their TV roles. Its original run coincided with the broadcast of TV series 5. All episodes are 30 minutes long and produced by Diane Messias. They were subsequently issued on audio cassette, CD and audio download.

text:
#

Title

Original airdate

Notes

1

Alive and Buried

21 January 1995

Remake of series 1, episode 1

2

Timeless Time

28 January 1995

Remake of series 2, episode 6

3

In Luton Airport No-One Can Hear You Scream

4 February 1995

Remake of series 2, episode 1

4

The Beast in the Cage

11 February 1995

Remake of series 3, episode 4