document_title: Canadian electoral calendar, 2018

question_text: when is the next municipal election in canada

root

text: Canadian electoral calendar, 2018

text: January to August[edit]

text:
January 10: Mayoral by-election in Gravelbourg, Saskatchewan[1]
January 17: Municipal by-election in the Rural Municipality of Torch River No. 488, Saskatchewan[2]
January 20: Municipal by-elections in Burns Lake and Hudson's Hope, British Columbia.
January 27: Saskatchewan Party leadership election, 2018
February 3: British Columbia Liberal Party leadership election, 2018
February 5: Municipal by-election in Beaumont, Alberta.[3]
February 10: Lennox Island First Nation band on-reserve councillor by-election.[4]
February 14:

Provincial by-election in Kelowna West, British Columbia
Municipal by-election in Leader, Saskatchewan[5]

February 22: Municipal by-election in Coalhurst, Alberta[6]
February 24: Municipal by-election in Port Alice, British Columbia
February 27: Alberta Party leadership election, 2018
February 28: Municipal by-election in Osler, Saskatchewan[7]
March 1: Provincial by-elections in Kindersley, Melfort and Swift Current, Saskatchewan.
March 3: Saskatchewan New Democratic Party leadership election, 2018
March 7: Municipal by-election in Naicam, Saskatchewan[8]
March 10: Progressive Conservative Party of Ontario leadership election, 2018
March 13: Municipal by-election in Happy Valley-Goose Bay[9]
April 7:

New Democratic Party of Newfoundland and Labrador leadership election, 2018
New Democratic Party of Prince Edward Island leadership election, 2018

April 10: Peter Ballantyne Cree Nation election for chief and 14 positions on the band council and 12 spots on the band’s elders’ council[10]
April 28: Progressive Conservative Party of Newfoundland and Labrador leadership election, 2018
May 7: Yukon School Council General Election[11]
May 17: Municipal by-elections in Bas-Caraquet, Dieppe, Florenceville-Bristol, Fredericton Junction, Grande-Anse, Hartland, Kedgwick, Pointe-Verte, Saint-André and St. George, New Brunswick[12]
June 7: Ontario general election, 2018
June 18: Federal by-election in Chicoutimi—Le Fjord, Quebec
June 19: Provincial by-election in Cumberland South, Nova Scotia
June 27: By-election in Codette, Saskatchewan, for three councillors and mayor[13]
June 30: Akwesasne District Council of Chiefs[14]
July 27: Municipal elections in Dunnottar, Victoria Beach and Winnipeg Beach, Manitoba.

tag: ul

text: September to December[edit]

text:
September 24: New Brunswick general election, 2018
October 1: Quebec general election, 2018
October 15:

Iqaluit municipal election, 2018
Northwest Territories municipal elections, 2018 (taxed communities)

October 18: Yukon municipal elections, 2018
October 20: British Columbia municipal elections, 2018
October 22: Ontario municipal elections, 2018
October 24: Manitoba municipal elections, 2018
November 3: Progressive Conservative Party of Saskatchewan leadership race[15]
November 5: Prince Edward Island municipal elections, 2018
December 3: Nunavut municipal elections, 2018 (hamlets)
December 10: Northwest Territories municipal elections, 2018 (hamlets)

text: To be determined[edit]

text:
A provincial by-election must be held in Regina Northeast (Saskatchewan) by mid-September 2018.[16]
A provincial by-election must be held in St. Boniface (Manitoba). No date has been set.[17]
A provincial by-election must be held in Innisfail-Sylvan Lake (Alberta) before August 5, 2018.[18]
A provincial by-election must be held in Fort McMurray-Conklin (Alberta).


document_title: The SpongeBob SquarePants Movie

question_text: where do spongebob and patrick go in the movie

text: The SpongeBob SquarePants Movie

text: Plot[edit]

text: A group of pirates find tickets to watch The SpongeBob SquarePants Movie in a treasure chest and enthusiastically sing the SpongeBob SquarePants theme song, enter a movie theater, raid it and sit down to watch the movie.

tag: p

text: SpongeBob SquarePants is dreaming about managing the Krusty Krab restaurant and saving the day during a crisis. He wakes up and cheerfully prepares for the opening ceremony for The Krusty Krab 2, expecting his boss Mr. Krabs to promote him to manager of the new restaurant. Instead Krabs names Squidward Tentacles as manager, believing SpongeBob is too immature to handle the role.

text: That night, SpongeBob goes to his favorite restaurant, Goofy Goober's, where he drowns his sorrows in ice cream with his best friend Patrick Star. Elsewhere, Mr. Krabs' business rival Plankton steals King Neptune's crown, leaving false evidence to frame Mr. Krabs for the crime, and sends the crown to Shell City, a distant, mysterious land from which no fish has returned. The next morning, Neptune barges into the Krusty Krab 2 and threatens Mr. Krabs for his alleged thievery. SpongeBob later arrives and chastises Krabs under the influence of an ice cream headache, but seeing his boss's life is at risk, he promises Neptune that he will retrieve the crown from Shell City. Neptune freezes Krabs and orders SpongeBob to return with the crown in six days for him to spare Krabs' life. Neptune's sympathetic daughter, Princess Mindy, gives SpongeBob a Bag of Winds so that they can return from Shell City once they find the crown. SpongeBob and Patrick leave for Shell City in the Patty Wagon, a car shaped like a Krabby Patty.

text: After SpongeBob and Patrick leave, Plankton steals the Krabby Patty formula and uses it to produce and sell Krabby Patties at his restaurant, the Chum Bucket, claiming that Krabs bequeathed him the recipe. As a contingency, he hires a hitman named Dennis to eliminate SpongeBob and Patrick. Squidward discovers the truth about Plankton stealing Neptune's crown and tries to alert Neptune. However, Plankton uses mind-controlling bucket helmets, disguised as souvenirs, to control Bikini Bottom's residents, including Squidward, and renames the city Planktopolis.

text: As their journey continues, SpongeBob and Patrick reach a dangerous trench, but Mindy helps them past it by making them think she can turn them into men. They are stopped by Dennis, who tries to crush them with his spiked boots, but he is in turn stepped on by a seemingly massive hardhat diver they believe to be a Cyclops. The diver grabs SpongeBob and Patrick, and takes them to his beachside store, revealed to be Shell City. At the store, SpongeBob and Patrick find the crown, but are nearly killed when the diver attempts to dry them out using a heat lamp. Their tears short-circuit the lamp's power cord, and its smoke activates the sprinkler system, reviving their bodies and the other dried sea creatures intended to be sold as souvenirs. As the sea creatures attack the diver, SpongeBob and Patrick take the crown and head for the beach. Patrick inadvertently loses the Bag of Winds while attempting to use it, but David Hasselhoff appears and offers them a ride; Dennis catches up to them but is knocked by a catamaran back into the sea. Hasselhoff opens up his rocket launching pecs to shoot SpongeBob and Patrick back to Bikini Bottom with the crown.

text: At the Krusty Krab 2, King Neptune arrives to execute Mr. Krabs. SpongeBob and Patrick return with the crown just in time and confront Plankton, who drops a mind-control bucket on Neptune, enslaving him. SpongeBob performs the song "Goofy Goober Rock" and transforms into an electric guitar-wielding wizard, freeing Neptune and Bikini Bottom's residents during of the song. Plankton is arrested, and Neptune thanks SpongeBob for his bravery and thaws Mr. Krabs and apologizes for falsely accusing him. Mr. Krabs and Squidward decide to make SpongeBob manager of the Krusty Krab 2 in gratitude.

text: Images which play over the credits show SpongeBob wearing a large hat bearing the title 'manager', performing menial tasks such as sweeping the chimney and taking out the garbage which are no different from his old job.

text: Cast[edit]

text:
Tom Kenny as SpongeBob SquarePants, Gary the Snail and the Narrator
Bill Fagerbakke as Patrick Star, SpongeBob's best friend and neighbor
Clancy Brown as Mr. Eugene Krabs, SpongeBob and Squidward's boss
Rodger Bumpass as Squidward Tentacles, SpongeBob's co-worker and neighbor
Mr. Lawrence as Plankton, Mr. Krabs' arch-rival and Karen's husband
Jill Talley as Karen, Plankton's computer wife
Carolyn Lawrence as Sandy Cheeks, SpongeBob's Texas squirrel friend
Mary Jo Catlett as Mrs. Puff, SpongeBob's boating school teacher
Jeffrey Tambor as King Neptune, the ruler of the sea
Scarlett Johansson as Princess Mindy, King Neptune's daughter
Alec Baldwin as Dennis, Plankton's hitman
David Hasselhoff as himself
Lori Alan as Pearl, Mr. Krabs' teenage daughter
Dee Bradley Baker as Perch Perkins, the Bikini Bottom News anchorman
Carlos Alazraqui as King Neptune's squire
Neil Ross as the Cyclops
Jim Wise as Goofy Goober Rock Singer
Kristopher Logan as Squinty the Pirate
D.P. FitzGerald as Bonesy the Pirate
Cole McKay as Scruffy the Pirate
Dylan Haggerty as Stitches the Pirate
Bart McCarthy as Captain Bart the Pirate
Henry Kingi as Inky the Pirate
Michael Patrick Bell as Fisherman

text: Production[edit]

text: Development[edit]

text: The SpongeBob SquarePants Movie was long-planned;[4] Nickelodeon and Paramount Pictures had approached series creator Stephen Hillenburg for a film based on the show, but he refused for more than a year.[5] Hillenburg was concerned, after watching The Iron Giant and Toy Story with his sons, about the challenge of SpongeBob and Patrick doing something more cinematically-consequential and inspiring without losing what he calls the SpongeBob "cadence."[5] He said, on a break from season-four post-production, "To do a 75-minute movie about SpongeBob wanting to make some jellyfish jelly would be a mistake, I think [...] This had to be SpongeBob in a great adventure. That's where the comedy's coming from, having these two naïve characters, SpongeBob and Patrick, a doofus and an idiot, on this incredibly dangerous heroic odyssey with all the odds against them."[5]

text:
I never wanted to do a movie because I didn't think that what we wanted to say needed to be in a movie. I like the short form for animation. Then this story idea came up that lent itself to a longer format. You can't do a road trip adventure in a short form.

— Stephen Hillenburg[6]

tag: table

text: In 2002, Hillenburg and the show's staff stopped making episodes to work on the film after the show's third season.[6] The film's plot originally had SpongeBob rescue Patrick from a fisherman in Florida;[6] an obvious reference to the 2003 film, Finding Nemo, this was later said by Tom Kenny (the voice of SpongeBob) to be a "joke" plot to keep fans busy.[6] Hillenburg wrote the film with five other writer-animators from the show (Paul Tibbitt, Derek Drymon, Aaron Springer, Kent Osborne and Tim Hill) over a three-month period in a room of a former Glendale, California bank.[5] Osborne said, "It was hugely fun [...] although it did get kind of gamy in there."[5] At the beginning of the series, Hillenburg screened a number of silent shorts (from Laurel and Hardy, Charlie Chaplin and Buster Keaton) and work by two modern comic actors: Jerry Lewis and Pee-wee Herman, both obvious inspirations for SpongeBob.[7] For the film, the writers created a mythical hero's quest: the search for a stolen crown, which brings SpongeBob and Patrick to the surface.[7] Bill Fagerbakke (the voice of Patrick) said about the plot, "It's just nuts. I'm continually dazzled and delighted with what these guys came up with."[8]

text: When the film was completed, Hillenburg wanted to end the series "so [it] wouldn't jump the shark". However, Nickelodeon desired more episodes;[9] Hillenburg stated: "Well, there was concern when we did the movie [in 2004] that the show had peaked. There were concerns among executives at Nickelodeon."[10][11] As a result, Hillenburg resigned as the series' showrunner,[12] appointing writer, director, and storyboard artist Paul Tibbitt to succeed him.[13] Tibbitt was one of Hillenburg's favorite crew members:[14] "[I] totally trusted him."[15] Tibbitt would remain showrunner until he was succeeded in 2015 by the show's creative director Vincent Waller and staff writer Marc Ceccarelli. He has also acted as an executive producer since 2008.[13][16] Hillenburg no longer writes or runs the show on a day-to-day basis, but reviews each episode and submitted suggestions: "I figure when I'm pretty old I can still paint [...] I don't know about running shows."[12][17] Tom Kenny, Bill Fagerbakke and the crew confirmed that they had completed four episodes for broadcast on Nickelodeon in early 2005,[18][19] and planned to finish a total of about 20 for the fourth season.[18][19] In 2015, Hillenburg returned to the show following the completion of the second movie as an executive producer, now having greater creative input and attending crew meetings.[20][21]

text: In September 2003, Jules Engel, Hillenburg's mentor when he studied experimental animation at the California Institute of the Arts, died.[22] Hillenburg dedicated the film to him: "He truly was the most influential artistic person in my life. I consider him my 'Art Dad.'"[23][24][25]

text: Animation[edit]

text: There were a number of stages involved in the making of the film, beginning with a rough animation process of ideas drawn on Post-it notes.[26] The writers drew, working from rough outlines rather than scripts (which made the humor more visual than verbal).[7] Hillenburg said, "It's in the characters' extreme body language, in how they slither capriciously around the deadpan frames."[7] The storyboard artists, including Sherm Cohen, then illustrated ideas conceived by the writers.[8] In the series Tom Yasumi and Andrew Overtoom do the animatics, but director Hillenburg and writer Derek Drymon did the animatics for the film.[27] Yasumi and Overtoom were the film's animation-timing directors, concentrating on the sheets.[27] The SpongeBob SquarePants Movie was animated at Rough Draft Studios in South Korea.[4] The animators worked semi-digitally; pencil-drawn poses would be composited into layouts in Photoshop.[28]

text: Series writer and storyboard artist Erik Wiese left the show for a year to work on Samurai Jack and Danny Phantom, but returned to do storyboards and character layout for the film.[9] He "always wanted to be a feature animator, and the movie felt like I was on the character animation end", describing the experience as "a blast—it felt like coming home."[9]

text: Hillenburg enjoyed the process of making the film:[6] "The TV schedule is tight, and you don't always have a lot of time to work on your drawings."[6] He appreciated the film's hand-drawn animation: "I think the movie's drawings are much superior than the TV show", although CGI animation was flourishing at the time of the film's release.[6] "There's a lot of talk about 2-D being dead, and I hope people don't think that. Even Brad Bird is a proponent of 2-D. He would agree with me that it's all about what you're trying to say. There are many ways to tell a story, and what's unique about animation is that there are many styles with which to tell a story."[6] The clay animation scenes were shot by Mark Caballero, Seamus Walsh and Chris Finnegan at Screen Novelties in Los Angeles.[25]

text: Filming[edit]

text: The film features live-action scenes directed by Mark Osborne in Santa Monica, California.[8][29] The ship used during the 30-second opening featuring the pirates singing the theme song was the Bounty,[30][31] a 180-foot (55 m)-long, enlarged reconstruction of the 1787 Royal Navy sailing ship HMS Bounty built for 1962's Mutiny on the Bounty. The ship has appeared in a number of other films, including Treasure Island (1999), Pirates of the Caribbean: Dead Man's Chest (2006) and Pirates of the Caribbean: At World's End (2007).[32][33] In film trailers, live-action scenes were taken from Das Boot (1981), The Hunt for Red October (1990) and U-571 (2000).[6]

text: Baywatch and Knight Rider actor David Hasselhoff made a cameo in the live-action scenes, offering SpongeBob and Patrick a ride to Bikini Bottom.[34] The scene was originally written before consulting Hasselhoff.[18][19] Hillenburg was pleased with the storyboards;[9] Lead storyboard artist Sherm Cohen said, "He had been wrestling with the ending for quite a while, and finally he was ready to pitch his ideas to some of the other board artists."[9] Hillenburg was counting on casting Hasselhoff, and the first question he asked him was "So, do we have Hasselhoff?"[9] He replied "No", with a grin.[9] Hasselhoff eventually agreed, before seeing the script.[18][19] Hillenburg said about the actor, "He's a great guy [...] He was great at making fun of himself."[18][19]

text: The crew built a 750-pound (340 kg), 12-foot (3.7 m) replica of Hasselhoff.[29][34][35] The $100,000 replica was kept at Hasselhoff's home;[36] he has said, "It freaked me out because it was so lifelike, with teeth, when you touch it [it] feels like real skin. It's soft, like your skin."[36] At the completion of filming, Hasselhoff said, "That's ridiculously awesome. What are you gonna do with it?"[36] Asked by the crew if he wanted to keep it, he answered, "Uh, yeah. Okay."[36] Hasselhoff filmed in cold water, where he was pulled by a sled nine yards across the sea;[8][34] he described the experience as "cold but [a] lot of fun."[26]

text: In late March 2014, Hasselhoff auctioned off the replica with other memorabilia collected during his career. Julien's Auctions handled the item's sale, which were expected to bring in between $20,000 and $30,000. The auction was scheduled to begin on April 11.[37][38]

text: Cast[edit]

text: The film stars the series' main cast members, Tom Kenny as SpongeBob SquarePants, Bill Fagerbakke as Patrick Star, Rodger Bumpass as Squidward Tentacles, Clancy Brown as Mr. Krabs, Carolyn Lawrence as Sandy Cheeks and Mr. Lawrence as Plankton. It also features Jill Talley as Karen, Mary Jo Catlett as Mrs. Puff, Lori Alan as Pearl, Dee Bradley Baker as Perch Perkins, Carlos Alazraqui as King Neptune's squire, Aaron Hendry as the Cyclops and Neil Ross as the voice of the Cyclops. In addition to the series' cast, it was reported on March 23, 2004 that Scarlett Johansson, Jeffrey Tambor and Alec Baldwin would play new characters princess Mindy, King Neptune and Dennis, respectively, and David Hasselhoff would appear as himself.[39][40]

text: Johansson accepted the role because she likes cartoons and was a fan of The Ren & Stimpy Show.[41] When Jeffrey Tambor signed for his voice cameo, he saw his character (King Neptune) and joked, "This is me."[41] He remembered the first cartoon he saw, Bambi: "My first cartoon, I had to be carried out crying [...] It was Bambi. It's like the great American wound: the death of Bambi's mother. 'Run, Bambi, run!'"[42] Another guest voice was Alec Baldwin;[40] Stephen Hillenburg said that the actor recorded his character Dennis on a "phone":[41] "I wouldn't say that about his performance. He might be mad if we said that. Technically, it was like he was in another booth in the studio."[41]

text: Baywatch and Knight Rider star David Hasselhoff accepted the role when his daughters, Taylor-Ann and Hayley, urged him:[43] "I got an offer to do a cameo in the SpongeBob Movie and I turned to my girls, who were like 16 and 14, and I said, 'Who's SpongeBob?' and they said, 'Oh my God, Dad, it's the number one cartoon in the world, you gotta do it.'"[43] Hasselhoff enjoyed his cameo: "It was great fun and to this day around the world kids stop me and say, 'Are you David Hasselhoff?' because I was the only human in the picture."[43] Hasselhoff said that the film gained him new fans: "It's amazing - so many of the kids were so young and didn't see Baywatch and Knight Rider so I got a whole new legion of fans."[43]

text: Music[edit]

text: Gregor Narholz composed the score for the film,[44][45][46] conducting the recording sessions (in 5.1 surround sound) with the London Metropolitan Orchestra at Abbey Road Studios in London.[47][48] Narholz was signed when series music editor Nick Carr recommended him to Hillenburg after they worked together at the Associated Production Music library.[9] Narholz was honored at the 2005 ASCAP Film and Television Music Awards for his work on the film,[49] and received a nomination for Music in an Animated Feature Production at the 32nd Annie Awards.[50][51]

text: American rock band The Flaming Lips recorded "SpongeBob & Patrick Confront the Psychic Wall of Energy".[52][53] They shot the song's music video, directed by band member Wayne Coyne and filmmaker Bradley Beesley, in Austin, Texas.[52] Coyne said, "Stephen [Hillenburg] seems to be a fan of the weirder music of the late '80s and early '90s [...] He wanted to evoke the music he got turned onto back then."[52] Coyne suggested a duet with Justin Timberlake, but Hillenburg refused,[54] saying "I don't want any of those sort of commercial weirdos on there. I don't like those commercial people. I like you guys, and Wilco and Ween."[54] American band Wilco wrote and recorded "Just a Kid".[53][55] One of the film's producers contacted frontman Jeff Tweedy after seeing a SpongeBob air freshener hanging from Tweedy's rearview mirror in I Am Trying to Break Your Heart: A Film About Wilco.[55] Tweedy said, "I fell in love with SpongeBob when I heard him describe the darkness at the bottom of the sea as 'advanced darkness' [...] How could I not write a song for this film? It automatically makes me the coolest dad on the block."[55] Avril Lavigne recorded the series' theme for the soundtrack.[56][57][58] Other artists contributing to the soundtrack were Motörhead, singing "You Better Swim" (a derivative of their 1992 song "You'd Better Run");[59][60][61] Prince Paul ("Prince Paul's Bubble Party");[59] Ween ("Ocean Man"),[59] and the Shins ("They'll Soon Discover", partially written in 2001).[62]

text: "The Best Day Ever", written by Tom Kenny (SpongeBob's voice actor) and Andy Paley, was featured in the film and on its soundtrack. Kenny and Paley were working on what would become the album The Best Day Ever, writing "The Best Day Ever" and "Under My Rock".[63] The film's production team needed two more tracks for the soundtrack;[63] Hillenburg heard the songs, and decided to include them.[63] "The Best Day Ever" ended up being played during the film's closing credits.[63]

text: Deleted scenes[edit]

text: The DVD and Blu-ray releases include animatics of deleted scenes from the film, including SpongeBob and Patrick's meeting with Sandy Cheeks (a squirrel) on the surface after their escape from Shell City.[64] Patrick repeatedly vomits, upset by Sandy's unusual appearance.[64] The squirrel is pursued by black-suited exterminators,[64] and defends herself with acorns.[64] She informs SpongeBob and Patrick that they can return to Bikini Bottom by taking a bus at the beach.[64] This idea was later used for the second film The SpongeBob Movie: Sponge Out of Water, where Sandy became a giant realistic squirrel.

text: When SpongeBob awakens with a hangover on the Goofy Goober party boat, he asks a waiter for a "Double-Fudge Spinny";[64] the rejected line was used in a tie-in book, Ice-Cream Dreams, which was based on the film.[64] In 2013 the film's lead storyboard artist, Sherm Cohen, released a storyboard panel of a deleted scene from the film with SpongeBob awakening from his dream saying "WEEEEE!" and Mr. Krabs holding a manager's hat.[65][66]

text: Release[edit]

text: The film's trailer was released on May 19, 2004, and was attached to Shrek 2.[67] The SpongeBob SquarePants Movie opened in theaters on November 19, 2004;[68] its yellow-carpet world premiere was at Grauman's Chinese Theatre in Hollywood on November 14, 2004.[69][70][71] Among celebrities who saw the premiere with their children were Ray Romano, Larry King, Ice Cube, CSI: Crime Scene Investigation's Gary Dourdan and Friends' Lisa Kudrow.[72] The carpet was a disturbing reminder of home for Tom Kenny, SpongeBob's voice actor; he said, "I have a 15-month-old daughter, so I'm no stranger to yellow carpets."[72]

text: Marketing[edit]

text: Julia Pistor, the film's co-producer, said that although Nickelodeon (which owns the SpongeBob trademark) wanted to sell character-themed backpacks, lunch boxes and wristwatches it respected Hillenburg's integrity and gave him control of merchandising.[7] Hillenburg had no problem with candy and ice cream tie-ins, Pistor said (because of the treats' simplicity),[7] but he had issues with fast food tie-ins; according to him, the latter was "full of hidden additives."[7] Pistor said, "The trouble is that you can't go out with animated films without a fast-food tie-in [...] People don't take you seriously."[7] Hillenburg replied, "Yeah, well, my take on that is that we shouldn't do that [...] We didn't want to suddenly become the people serving up food that's not that good for you - especially kids. We work with Burger King, and they make toys and watches. But to actually take the step of pushing the food, that's crossing the line. I don't want to be the Pied Piper of fast food."[7]

text: The film was promoted across the United States. Nickelodeon joined Burger King for a 12-figure toy line based on the film, and about 4,700 Burger King stores perched 9-foot (2.7 m), inflatable SpongeBob figures on their roofs as part of the promotion (one of the largest in fast-food history).[73] Customers could also purchase one of five different SpongeBob-themed watches for $1.99 with the purchase of a value meal.[73]

text: On November 11, 2004, it was reported that a number of the inflatables had been stolen from Burger King roofs nationwide.[73][74] Burger King chief marketing officer Russ Klein said, "As to the motives behind these apparent 'spongenappings', we can only speculate.[73][75] We did receive one ransom note related to an inflatable SpongeBob disappearance in Minnesota."[73][75] The chain offered a year's supply of Whopper sandwiches as a reward for information leading to the return of inflatables stolen in November.[73][75][76][77] One was found attached to a railing at the football-field 50-yard line at an Iowa college,[78] and another under a bed in Virginia.[78] A ransom note was found for a third: "We have SpongeBob. Give us 10 Krabby Patties, fries, and milkshakes."[78] Steven Simon and Conrad (C.J.) Mercure Jr. were arrested after stealing an inflatable from a Burger King in St. Mary's County, Maryland.[79][80] While facing up to 18 months in jail and a $500 fine, Simon and Mercure said they were proud of what they did;[80][81] Simon said, "Once we got caught by the police, we were like, now we can tell everybody."[80][81] The following year Burger King took "extra security precautions", when Stormtroopers from George Lucas' Star Wars guarded the delivery of Star Wars toys to a Burger King in North Hollywood.[82]

text: The Cayman Islands, a British Overseas Territory in the western Caribbean Sea, joined with Nickelodeon to create the first Cayman Islands Sea School with SpongeBob for the film.[83] The partnership was announced by Pilar Bush, Deputy Director of Tourism for Cayman Islands, on March 10, 2004.[83] As part of the agreement the Cayman partnership was seen on Nickelodeon's global multimedia platforms, including on-air, online and in magazines.[83]

text: In 2005, Nickelodeon and Simon Spotlight released a book, Ice-Cream Dreams, as a tie-in to the film.[84] It was written by Nancy E. Krulik and illustrated by Heather Martinez, with Krulik and Derek Drymon as contributors.[85][86][87]

text: SpongeBob SquarePants Movie 300[edit]

text: On October 15, 2004, the film was the first to sponsor a NASCAR race: the 300-mile (480 km), Busch Series SpongeBob SquarePants Movie 300 at Charlotte Motor Speedway in North Carolina.[88][89][90][91][92] It was the first race of its kind where children at the track could listen to a special, "kid-friendly" radio broadcast of the event.[88][91]

text: Kyle Busch and Jimmie Johnson debuted a pair of SpongeBob SquarePants-themed Lowe's Chevrolet race cars in the race. Johnson's No. 48 Chevrolet included an image of SpongeBob across the hood, and Busch's No. 5 Chevrolet featured Patrick Star.[88][91][93] Johnson said, "This sounds so cool [...] I know there are a lot of families who will be excited that Lowe's is doing this. The great thing is there will be something for every type of race fan. Plus how can we go wrong with SpongeBob helping us out on the car?"[88][91]

text: Home media[edit]

text: The film was released on VHS and DVD on March 1, 2005, in wide- and full-screen editions, by Paramount Home Entertainment.[94] It contains an 18-minute featurette, The Absorbing Tale Behind The SpongeBob SquarePants Movie, featuring interviews with most of the principal cast and crew; a 15-minute featurette, Case of the Sponge "Bob", hosted by Jean-Michel Cousteau; a 20-minute animatic segment featuring scenes from the film with dialogue by the original artists, and the film's trailer.[94] The film was released as a Blu-ray-plus-DVD combination pack on March 29, 2011.[95] A VHS version was released on March 1, 2005; it was the final VHS animated film from Nickelodeon Movies.[96] As a tie-in to the film's DVD release, 7-Eleven served a limited-edition Under-the-Sea Pineapple Slurpee in March 2005.[97][98][99]

text: It was re-released on Blu-ray on December 30, 2014.[100]

text: Reception[edit]

text: Box office[edit]

text: The SpongeBob SquarePants Movie earned $9,559,752 on its opening day in the United States, second behind Disney's National Treasure (which earned $11 million).[101][102] It grossed a combined total of $32,018,216 during its opening weekend, on 4,300 screens at 3,212 theaters, averaging $9,968 per venue (or $7,446 per screen,[103] again second to National Treasure).[103][104][105][106] The film dropped an unexpected 44 percent over the Thanksgiving weekend, and 57 percent the weekend after that.[107][108][109] The opening weekend earned 37.48 percent of the film's final gross.[107] It closed on March 24, 2005, failing to out-gross holiday animated competitors The Incredibles (from Disney-Pixar, grossing $261,441,092) and The Polar Express (Warner Bros., grossing $183,373,735). It was still profitable for distributor Paramount Pictures and producer Nickelodeon Movies, earning $85,417,988 in the United States and $140,161,792 worldwide on a budget of $30 million.[3] The film was the 29th-highest-grossing 2004 film domestically[110] and is the sixth-highest-grossing animated TV adaptation of all time.[111]

text: Critical response[edit]

text: On Rotten Tomatoes, the film has an approval rating of 68% based on 125 reviews and an average score of 6.2/10. The site's consensus read, "Surreally goofy and entertaining for both children and their parents."[112] Metacritic gave the film a score of 66 out of 100, based on reviews from 32 critics, indicating "generally favorable reviews".[113] According to CinemaScore, audiences gave the film a grade of "B+" on an A+ to F scale.[114]

text:
All of this happens in jolly animation with bright colors and is ever so much more entertaining than you are probably imagining. No doubt right now you're asking yourself why you have read this far in the review, given the near-certainty that you will not be going anywhere near a SpongeBob SquarePants movie, unless you are the parent or adult guardian of a SpongeBob SquarePants fan, in which case your fate is sealed. Assuming that few members of SpongeBob's primary audience are reading this (or can read), all I can tell you is, the movie is likely to be more fun than you expect.

Roger Ebert, in his review for the Chicago Sun-Times[115]

tag: div

text: Roger Ebert gave the film three out of four stars, calling it "the 'Good Burger' of animation ... plopping us down inside a fast-food war being fought by sponges, starfish, crabs, tiny plankton and mighty King Neptune."[115] Ed Park of The Village Voice wrote, "No Pixar? No problem! An unstoppable good-mood generator, the resolutely 2-D [The] SpongeBob SquarePants Movie has more yuks than Shark Tale and enough soul to swallow The Polar Express whole."[116] Michael Rechtshaffen of The Hollywood Reporter gave the film a positive review, calling it "an animated adventure that's funnier than Shark Tale and more charming than The Polar Express."[117] Randy Cordova of The Arizona Republic said, "Like the TV show it's based on, it's a daffy, enjoyable creation."[118] Jami Bernard of the New York Daily News gave the feature a score of three out of four: "It's not The Incredibles, or one of those animated features that spent zillions on character design, pedigree and verisimilitude. But SpongeBob is a sweet, silly thing with a child-friendly esthetic all its own."[119] Will Lawrence of Empire gave the film four out of five stars, calling it "a film for kids, students, stoners, anyone who enjoys a break from reality."[120] Lisa Schwarzbaum of Entertainment Weekly gave it a B-minus grade: "The best moments in his [SpongeBob SquarePants] first movie outing are those that feel most TV-like, just another day in the eternally optimistic undersea society created with such contagious silliness by Stephen Hillenburg."[121] Desson Thomson of The Washington Post enjoyed the film: "You gotta love SpongeBob. Coolest sponge in the sea, although this one has a suspiciously manufactured look."[122]

text: Carla Meyer of the San Francisco Chronicle wrote that "The SpongeBob SquarePants Movie retains the 2-D charm of the hugely popular Nickelodeon cartoon but adds a few tricks – a little 3-D here, a little David Hasselhoff there. The series' appeal never lay in its visuals, however. 'SpongeBob' endeared itself to kids and adults through sweetness and cleverness, also abundant here."[123] A. O. Scott of The New York Times gave it a score of four out of five: "If you're tired of ... bluster and swagger, SpongeBob is your man."[124] Tom Maurstad of The Dallas Morning News also gave the film a B-minus grade: "Being so good is what led to making the movie, and it's also the reason that many small-screen episodes are better than this big-screen venture."[125]

text: Some reviews praised David Hasselhoff's appearance in the film. Jennifer Frey of The Washington Post wrote, "Getting to see the hairs on Hasselhoff's back (and thighs, and calves) magnified exponentially is perhaps a bit creepy. Like the movie, it's all in good fun."[126] Nancy Basile of About.com, who gave the film four out of five stars, wrote that Hasselhoff "must have a great sense of humor."[127] Cinema Blend founder Joshua Tyler called Hasselhoff's role "the best movie cameo I've seen since Fred Savage stuck a joint in his crotch and played a clarinet to charm the resulting smoke like a snake."[128]

text:
There's plenty to treasure in The SpongeBob SquarePants Movie, but for all the spit-and-polish animation and the rollicking soundtrack (which includes an original song by the Flaming Lips, as well as Ween's gorgeous "Ocean Man," from their Mollusk album), this isn't the yellow one's most thrilling hour—or 80 minutes."

David Edelstein, in his Slate review[129]

text: David Edelstein of Slate criticized the film's plot, calling it a "big, heavy anchor of a story structure to weigh him down."[129] Mike Clark of USA Today called it "harmlessly off-the-cuff — but facing far more pedigreed multiplex competition ... SpongeBob barely rates as OK when compared with The Incredibles."[130] A reviewer noted in Time Out London, "Anyone expecting anything more risky will be sadly disappointed."[131] In his Variety review, Todd McCarthy said the film "takes on rather too much water during its extended feature-length submersion."[132] Internet Movie Database staff member David N. Butterworth gave it zero stars, saying that "For much like fish, The SpongeBob SquarePants Movie truly stinks."[133]

text: While the film was generally well received by fans of the show, it is considered a turning point in the show's history; many fans believe that the television series has declined in quality since the film's release.[134] While episodes aired before the film were praised for their "uncanny brilliance",[135] those aired after the film have been called "kid-pandering attention-waster[s]",[136] "tedious",[137] "boring", "dreck",[138] a "depressing plateau of mediocrity"[139] and "laugh-skimpy."[140] After the film's release, fans "began to turn away from the show," causing fansites to "bec[ome] deserted."[134] Some fans believe that the show's 2012 ratings decline correlates with a decline in quality, and "whatever fan support [the show] enjoys is not enough" to save it from its slide in ratings.[134]

text: Accolades[edit]

text:
Year
Award
Category
Recipients
Result
Ref(s).

2005
Annie Awards
Best Animated Feature

Nominated
[50]

2005
Directing in an Animated Feature Production
Stephen Hillenburg
Nominated
[50]

2005
Music in an Animated Feature Production
Gregor Narholz
Nominated
[50]

2005
ASCAP Film and Television Music Awards
Top Box Office Films
Gregor Narholz
Won
[141]

2005
Australian Kids' Choice Awards
Fave Movie

Won
[142][143]

2005
Fave Video Game
The SpongeBob SquarePants Movie video game
Won
[142][143]

2005
Golden Satellite Awards
Best Animated or Mixed Media Feature

Nominated
[144]

2005
Golden Trailer Awards
Best Animation (Family)

Nominated
[145]

2005
Most Original

Nominated
[145]

2006
MTV Russia Movie Awards
Best Cartoon

Nominated
[146]

2005
People's Choice Awards
Favorite Animated Movie

Nominated
[147]

2005
Young Artist Awards
Best Family Feature Film – Animation

Nominated
[148]

text: Video game[edit]

text: A video game based on the film was released for PlayStation 2[149] PC,[150] Game Boy Advance,[151] Xbox[152] and GameCube on October 27, 2004[153] for Mac OS X in 2005[154] and PlayStation 3 on February 7, 2012.[155] The home-console version was developed by Heavy Iron Studios;[156] the Game Boy Advance version was developed by WayForward Technologies[151] and published by THQ.[157][158]

text: It was created on the same engine as SpongeBob SquarePants: Battle for Bikini Bottom. Game developer Heavy Iron Studios tweaked the graphics to give the game a sharper and more-imaginative look than Battle for Bikini Bottom. It increased the polygon count, added several racing levels and incorporated many creatures from the film.[156] The game's plot was based on the film, with SpongeBob and Patrick on a mission taking them outside Bikini Bottom to retrieve Neptune's crown.[159] On October 4, 2004, THQ announced the game's mobile release.[160] Nickelodeon vice-president for new-media business development Paul Jelinek said, "As one of the leading publishers of wireless entertainment content, THQ Wireless is introducing the SpongeBob SquarePants license to a whole new audience of gamers [...] THQ has been a great partner to Nickelodeon over the years and we look forward to the same standard of excellence with these upcoming SpongeBob SquarePants games for wireless devices."[160] The mobile console was developed by Amplified Games.[161]

text: Sequels[edit]

text: On February 28, 2012, the production of a sequel was announced; it would be directed by Paul Tibbitt, written by Jonathan Aibel and Glenn Berger and produced by Stephen Hillenburg[162] for a late-2014 release.[163][164][165] On August 1, 2013, Paramount changed the sequel's release date to February 13, 2015.[166][167][168] It was announced in early June 2014 that the film would instead be released on February 6, 2015, to avoid competition with Universal Pictures' Fifty Shades of Grey, which was set for a February 13, 2015 release.[169] A third film has been announced and had a release date of February 8, 2019, but, in March 2017, it was pushed to August 2, 2019.[170]


document_title: Occupational therapy

question_text: when did arts and crafts became tools used in occupational therapy

text: Occupational therapy

text: History[edit]

text: Early history[edit]

text: The earliest evidence of using occupations as a method of therapy can be found in ancient times. In c. 100 BCE, Greek physician Asclepiades treated patients with a mental illness humanely using therapeutic baths, massage, exercise, and music. Later, the Roman Celsus prescribed music, travel, conversation and exercise to his patients. However, by medieval times the use of these interventions with people with mental illness was rare, if not nonexistent.[4]

text: In 18th-century Europe, revolutionaries such as Philippe Pinel and Johann Christian Reil reformed the hospital system. Instead of the use of metal chains and restraints, their institutions used rigorous work and leisure activities in the late 18th century. This was the Moral Treatment era, developed in Europe during the Age of Enlightenment, where the roots of occupational therapy lie.[5] Although it was thriving in Europe, interest in the reform movement fluctuated in the United States throughout the 19th century. It re-emerged in the early decades of the 20th century as Occupational Therapy.

text: The Arts and Crafts movement that took place between 1860 and 1910 also impacted occupational therapy. In the US, a recently industrialized country, the arts and crafts societies emerged against the monotony and lost autonomy of factory work.[6] Arts and crafts were used as a way of promoting learning through doing, provided a creative outlet, and served as a way to avoid boredom during long hospital stays.

text: Development into a health profession[edit]

text: The health profession of occupational therapy was conceived in the early 1910s as a reflection of the Progressive Era. Early professionals merged highly valued ideals, such as having a strong work ethic and the importance of crafting with one's own hands with scientific and medical principles.[4] The National Society for the Promotion of Occupational Therapy, now called the American Occupational Therapy Association (AOTA), was founded in 1917 and the profession of Occupational Therapy was officially named in 1920.[citation needed]

text: The emergence of occupational therapy challenged the views of mainstream scientific medicine. Instead of focusing purely on the medical model, occupational therapists argued that a complex combination of social, economic, and biological reasons cause dysfunction. Principles and techniques were borrowed from many disciplines—including but not limited to nursing, psychiatry, rehabilitation, self-help, orthopedics, and social work—to enrich the profession's scope. Between 1900 and 1930, the founders defined the realm of practice and developed supporting theories. By the early 1930s, AOTA had established educational guidelines and accreditation procedures. [7]

text: World War I forced the new profession to clarify its role in the medical domain and to standardize training and practice. In addition to clarifying its public image, occupational therapy also established clinics, workshops, and training schools nationwide. Due to the overwhelming number of wartime injuries, "reconstruction aides" (an umbrella term for occupational therapy aides and physiotherapy aides) were recruited by the Surgeon General. Between 1917 and 1920, nearly 148,000 wounded men were placed in hospitals upon their return to the states. The success of the reconstruction aides, largely made up of women trying to "do their bit" to help with the war effort, was a great accomplishment.[citation needed]

text: There was a struggle to keep people in the profession during the post-war years. Emphasis shifted from the altruistic war-time mentality to the financial, professional, and personal satisfaction that comes with being a therapist. To make the profession more appealing, practice was standardized, as was the curriculum. Entry and exit criteria were established, and the American Occupational Therapy Association advocated for steady employment, decent wages, and fair working conditions. Via these methods, occupational therapy sought and obtained medical legitimacy in the 1920s.[4]

text: The profession has continued to grow and expand its scope and settings of practice. Occupational science, the study of occupation, was created in 1989 as a tool for providing evidence-based research to support and advance the practice of occupational therapy, as well as offer a basic science to study topics surrounding "occupation".[8]

text: Philosophical underpinnings[edit]

text: The philosophy of occupational therapy has evolved over the history of the profession. The philosophy articulated by the founders owed much to the ideals of romanticism,[9] pragmatism[10] and humanism, which are collectively considered the fundamental ideologies of the past century.[11][12][13]

text: One of the most widely cited early papers about the philosophy of occupational therapy was presented by Adolf Meyer, a psychiatrist who had emigrated to the United States from Switzerland in the late 19th century and who was invited to present his views to a gathering of the new Occupational Therapy Society in 1922. At the time, Dr. Meyer was one of the leading psychiatrists in the United States and head of the new psychiatry department and Phipps Clinic at Johns Hopkins University in Baltimore, Maryland.[14][15]

text: William Rush Dunton, a supporter of the National Society for the Promotion of Occupational Therapy, now the American Occupational Therapy Association, sought to promote the ideas that occupation is a basic human need, and that occupation is therapeutic. From his statements came some of the basic assumptions of occupational therapy, which include:

text:
Occupation has a positive effect on health and well-being.
Occupation creates structure and organizes time.
Occupation brings meaning to life, culturally and personally.
Occupations are individual. People value different occupations.[16]

text: These assumptions have been developed over time and are the basis of the values that underpin the Codes of Ethics issued by the national associations. The relevance of occupation to health and well-being remains the central theme.

text: In the 1950s, criticism from medicine and the multitude of disabled World War II veterans resulted in the emergence of a more reductionistic philosophy. While this approach led to developments in technical knowledge about occupational performance, clinicians became increasingly disillusioned and re-considered these beliefs.[17][18] As a result, client centeredness and occupation have re-emerged as dominant themes in the profession.[19][20][21] Over the past century, the underlying philosophy of occupational therapy has evolved from being a diversion from illness, to treatment, to enablement through meaningful occupation.[16]

text: Three commonly mentioned philosophical precepts of occupational therapy are that occupation is necessary for health, that its theories are based on holism and that its central components are people, their occupations (activities), and the environments in which those activities take place. However, there have been some dissenting voices. Mocellin, in particular, advocated abandoning the notion of health through occupation as he proclaimed it obsolete in the modern world. As well, he questioned the appropriateness of advocating holism when practice rarely supports it.[22][23][24] Some values formulated by the American Occupational Therapy Association have been critiqued as being therapist-centric and do not reflect the modern reality of multicultural practice.[25][26][27]

text: In recent times occupational therapy practitioners have challenged themselves to think more broadly about the potential scope of the profession, and expanded it to include working with groups experiencing occupational injustice stemming from sources other than disability.[28] Examples of new and emerging practice areas would include therapists working with refugees,[29] children experiencing obesity,[30] and people experiencing homelessness.[31]

text: Practice frameworks[edit]

text: An occupational therapist works systematically with a client through a sequence of actions called the occupational therapy process. There are several versions of this process as described by numerous scholars. All practice frameworks include the components of evaluation (or assessment), intervention, and outcomes.This process provides a framework through which occupational therapists assist and contribute to promoting health and ensures structure and consistency among therapists.

text: The Occupational Therapy Practice Framework (OTPF) is the core competency of occupational therapy in the United States.The OPTF framework is divided into two sections: domain and process. The domain includes environment, client factors, such as the individual's motivation, health status, and status of performing occupational tasks. The domain looks at the contextual picture to help the occupational therapist understand how to diagnose and treat the patient. The process is the actions taken by the therapist to implement a plan and strategy to treat the patient. [32]

text: The Canadian Model of Client Centered Enablement (CMCE) embraces occupational enablement as the core competency of occupational therapy[16] and the Canadian Practice Process Framework (CPPF)[16] as the core process of occupational enablement in Canada.The Canadian Practice Process Framework (CPPF)[16] has eight action points and three contextual element which are: set the stage, evaluate, agree on objective plan, implement plan, monitor/modify, and evaluate outcome. A central element of this process model is the focus on identifying both client and therapists strengths and resources prior to developing the outcomes and action plan.

text: Occupations[edit]

text: The American Occupational Therapy Association's practice framework identifies the following Occupations:[32]

text:
Activities of daily living (ADLs)

Bathing, showering, Toileting and toilet hygiene, Dressing, Feeding, Functional mobility/transfers, Personal device care, Personal hygiene and grooming

Instrumental activities of daily living (IADLs)

Care of others, Care of pets, Child rearing, Communication management, Driving and community mobility, Financial management, Health management and maintenance, Home establishment and managements, Meal preparation and cleanup, Medication management, Religious and spiritual activities and expression, Safety and emergency maintenance, Shopping

Rest and sleep

Rest, Sleep preparation, Sleep participation

Education
Work

Employment interests and pursuits, Employment seeking and acquisition, Job performance, Retirement preparation and adjustment, Volunteer exploration, Volunteer participation

Play

Play exploration, Play participation

Leisure

Leisure exploration, Leisure participation

Social participation

Community, Family, Peer, friend

text: Practice settings[edit]

text: Occupational therapists work in a wide variety of practice settings, including: hospitals, long-term care facilities, schools, outpatient clinics, and the community (e.g. home care). The Canadian Institute for Health Information (CIHI) found that between 2006-2010 nearly half (45.6%) of occupational therapists worked in hospitals, 31.8% worked in the community, and 11.4% worked in a professional practice.[33]

text: Areas of practice[edit]

text: The broad spectrum of OT practice makes it difficult to categorize the areas of practice, especially considering the differing health care systems globally. In this section, the categorization from the American Occupational Therapy Association is used.

text: Children and youth[edit]

text: In 1951, Joan Erikson became director of activities for the “severely disturbed children and young adults” at the Austen Riggs Center. At that time, “occupational therapy” was used “for keeping patients busy on useless tasks.” Erikson “brought in painters, sculptors, dancers, weavers, potters and others to create a program that provided real therapy.”[34]

text: Occupational therapists work with infants, toddlers, children, and youth and their families in a variety of settings including schools, clinics, and homes.[35] Occupational therapists assist children and their caregivers to build skills that enable them to participate in meaningful occupations. These occupations may include: feeding, playing, socializing, and attending school.[36]

text: Occupational therapy with children and youth may take a variety of forms. For example:[35][36]

text:
Promoting a wellness program in schools to prevent childhood obesity
Facilitating handwriting development in school-aged children
Providing individualized treatment for sensory processing difficulties
Teaching coping skills to a child with generalized anxiety disorder

text: Health and wellness[edit]

text: The practice area of Health and Wellness is emerging steadily due to the increasing need for wellness-related services in occupational therapy. A connection between wellness and physical health, as well as mental health, has been found; consequently, helping to improve the physical and mental health of clients can lead to an increase in overall well-being.[37]

text: As a practice area, health and wellness can include a focus on:[37][38]

text:
Prevention of disease and injury
Prevention of secondary conditions (co-morbidity)
Promotion of the well-being of those with chronic illnesses
Reduction of health care disparities or inequalities
Enhancement of factors that impact quality of life
Promotion of healthy living practices, social participation, and occupational justice

text: Mental health[edit]

text: Mental health and the moral treatment era have been recognized as the root of occupational therapy.[39] According to the World Health Organization, mental illness is one of the fastest growing forms of disability.[40] OTs focus on prevention and treatment of mental illness in all populations.[41] In the U.S., military personnel and veterans are populations that can benefit from occupational therapy, but currently this is an under served practice area.[42]

text: Mental health illnesses that may require occupational therapy include schizophrenia and other psychotic disorders, depressive disorders, anxiety disorders, eating disorders, trauma- and stressor-related disorders (e.g. post traumatic stress disorder or acute stress disorder), obsessive-compulsive and related disorders such as hoarding, and neurodevelopmental disorders such as autism spectrum disorder, attention deficit/hyperactivity disorder and learning disorders.[43]

text: Productive aging[edit]

text: Occupational therapists work with older adults to maintain independence, participate in meaningful activities, and live fulfilling lives. Some examples of areas that occupational therapists address with older adults are driving, aging in place, low vision, and dementia or Alzheimer's Disease (AD).[44] When addressing driving, driver evaluations are administered to determine if drivers are safe behind the wheel. To enable independence of older adults at home, occupational therapists perform falls risk assessments, assess clients functioning in their homes, and recommend specific home modifications. When addressing low vision, occupational therapists modify tasks and the environment.[45] While working with individuals with AD, occupational therapists focus on maintaining quality of life, ensuring safety, and promoting independence.

text: Adult Rehabilitation[edit]

text: Occupational therapists address the need for rehabilitation following an injury or impairment. When planning treatment, occupational therapists address the physical, cognitive, psychosocial, and environmental needs involved in adult populations across a variety of settings.

text: Occupational therapy in adult rehabilitation may take a variety of forms:

text:
Working with adults with autism at day rehabilitation programs to promote successful relationships and community participation through instruction on social skills[46]
Increasing the quality of life for an individual with cancer by engaging them in occupations that are meaningful, providing anxiety and stress reduction methods, and suggesting fatigue management strategies[47]
Coaching individuals with hand amputations how to put on and take off a myoelectrically controlled limb as well as training for functional use of the limb[47]
As for paraplegics, there are such things as robotic legs. The ReWalk legs are FDA approved, but are not as comfortable as they could be for patients. The Phoenix legs appear more comfortable and will help patients cope mentally and emotionally. Both legs have benefits like maintaining bone density, exercising, and decreasing pain. Occupational Therapists work constantly with patients on improvements to make them more comfortable.

text:
Using and implementing new technology such as speech to text software and Nintendo Wii video games[48]
Communicating via telehealth methods as a service delivery model for clients who live in rural areas[49]
Working with adults who have had a stroke to regain strength, endurance, and range of motion on their affected side.[50]

text: Travel occupational therapy[edit]

text: Because of the rising need for occupational therapists in the U.S.,[51] many facilities are opting for travel occupational therapists—who are willing to travel, often out of state, to work temporarily in a facility. Assignments can range from 8 weeks to 9 months, but typically last 13–26 weeks in length.[52] Most commonly (43%), travel occupational therapists enter the industry between the ages of 21–30.[53]

text: Work and industry[edit]

text: Occupational therapists work with clients who have had an injury and are returning to work. OTs perform assessments to simulate work tasks in order to determine best matches for work, accommodations needed at work, or the level of disability. Work conditioning and work hardening are interventions used to restore job skills that may have changed due to an illness or injury. Occupational therapists can also prevent work related injuries through ergonomics and on site work evaluations.[54]

text: Education[edit]

text: Worldwide, there is a range of qualifications required to practice occupational therapy. Many countries require a bachelor's degree (e.g. Australia). In the United States and Canada, a master's degree is required to practice. In Europe, a bachelor's degree or a master's degree is accepted.[55]

text: The OT curriculum focuses on the theoretical basis of occupation and the clinical skills require to practice occupational therapy. Students must have knowledge of physiology, anatomy, medicine, psychology, and neurology to understand interventions and their client's medical history. All OT education programs include periods of clinical education, consisting of direct work with a practicing OT.[55] In countries such as Canada and the United States, OT students must pass a national qualifying examination in order to practice.

text: Theoretical frameworks[edit]

text: Occupational therapists use theoretical frameworks to frame their practice. Note that terminology differs between scholars. An incomplete list of theoretical bases for framing a human and their occupations include the following:

text: Frames of reference and generic models[edit]

text: Frames of reference or generic models are the overarching title given to a collation of compatible knowledge, research and theories that form conceptual practice.[56] More generally they are defined as "those aspects which influence our perceptions, decisions and practice".[57]

text:
Person Environment Occupation Performance Model

The Person Environment Occupation Performance model (PEOP) was originally published in 1991 (Charles Christiansen & M. Carolyn Baum[58]) and describes an individual's performance based on four elements including: environment, person, performance and occupation. The model focuses on the interplay of these components and how this interaction works to inhibit or promote successful engagement in occupation.[59]

text: Occupation-Focused Practice Models

text:
Occupational Therapy Intervention Process Model (OTIPM) (Anne Fisher and others)
Occupational Performance Process Model (OPPM)
Model of Human Occupation (MOHO) (Gary Kielhofner and others)

MOHO was first published in 1980. It explains how people select, organise and undertake occupations within their environment. The model is supported with evidence generated over thirty years and has been successfully applied throughout the world.[60]

Canadian Model of Occupational Performance and Engagement (CMOP-E)
Occupational Performances Model – Australia (OPM-A) (Chris Chapparo & Judy Ranka)

The OPM(A) was conceptualized in 1986 with its current form launched in 2006. The OPM(A) illustrates the complexity of occupational performance, the scope of occupational therapy practice, and provides a framework for occupational therapy education.[61]

Kawa (River) Model (Michael Iwama)
Biomechanical Frame of Reference

The Biomechanical Frame of Reference is primarily concerned with motion during occupation. It is used with individuals who experience limitations in movement, inadequate muscle strength or loss of endurance in occupations. The Frame of Reference was not originally compiled by Occupational Therapists, and therapists should translate it to the Occupational Therapy perspective,[62] to avoid the risk of movement or exercise becoming the main focus.[63]

Rehabilitative (compensatory)
Neurofunctional (Gordon Muir Giles and Clark-Wilson)
Dynamic Systems Theory
Client-Centered Frame of Reference

This Frame of Reference is developed from the work of Carl Rogers. It views the client as the center of all therapeutic activity, and the client's needs and goals direct the delivery of the Occupational Therapy Process.[64]

Cognitive-Behavioural Frame of Reference
Ecology of Human Performance Model
The Recovery Model

text: ICF[edit]

text: The International Classification of Functioning, Disability and Health (ICF) is a framework to measure health and ability by illustrating how these components impact one's function. This relates very closely to the Occupational Therapy Practice Framework, as it is stated that "the profession's core beliefs are in the positive relationship between occupation and health and its view of people as occupational beings".[65] The ICF is built into the 2nd edition of the practice framework. Activities and participation examples from the ICF overlap Areas of Occupation, Performance Skills, and Performance Patterns in the framework. The ICF also includes contextual factors (environmental and personal factors) that relate to the framework's context. In addition, body functions and structures classified within the ICF help describe the client factors described in the Occupational Therapy Practice Framework.[66] Further exploration of the relationship between occupational therapy and the components of the ICIDH-2 (revision of the original International Classification of Impairments, Disabilities, and Handicaps (ICIDH), which later became the ICF) was conducted by McLaughlin Gray.[67]

text: It is noted in the literature that occupational therapists should use specific occupational therapy vocabulary along with the ICF in order to ensure correct communication about specific concepts.[68] The ICF might lack certain categories to describe what occupational therapists need to communicate to clients and colleagues. It also may not be possible to exactly match the connotations of the ICF categories to occupational therapy terms. The ICF is not an assessment and specialized occupational therapy terminology should not be replaced with ICF terminology.[69] The ICF is an overarching framework for current therapy practices.


document_title: Panel (comics)

question_text: what is a panel in a graphic novel

question_tokens: what is a panel in a graphic novel

text: Panel (comics)

text: A panel is an individual frame, or single drawing, in the multiple-panel sequence of a comic strip or comic book. A panel consists of a single drawing depicting a frozen moment.

text: Newspaper daily strips typically consist of either four panels (Doonesbury, For Better or For Worse) or three panels (Garfield, Dilbert), all of the same size. The horizontal newspaper strip can also employ only a single panel, as sometimes seen in Wiley Miller's Non Sequitur.[1]

text: In Asia, a vertical four-panel arrangement (yonkoma) is common in newspapers, such as with Azumanga Daioh. In a comic book or graphic novel, the shapes of panels and the number of panels on a page may vary widely.

text: The word panel may also refer to a cartoon consisting of a single drawing; the usage is a shortened form of "single-panel comic". In contrast to multi-panel strips, which may involve extended dialogue in speech balloons, a typical panel comic has only one spoken line, printed in a caption beneath the panel itself. Many panel comics are syndicated and published daily, on a newspaper page with other syndicated cartoons that are collectively known as comic strips. Major comic strips in panel format include The Far Side, Dennis the Menace, The Family Circus, Ziggy, Herman and Ripley's Believe It or Not. In this context, panels are contrasted with the more common comic strip format, which consists of an actual "strip" of multiple drawings that tell a story in sequence.

text: Form[edit]

text: There are two major styles used in newspaper comics, single panels and strips. Single panels usually, but not always, are not broken up and lack continuity. The popular Dennis the Menace and The Family Circus are both single panels. Strips on the other hand are generally longer and shaped into a rectangle. Strips include Peanuts and Garfield. J. R. Williams' long-run Out Our Way continued as a daily panel even after it expanded into a Sunday strip, Out Our Way with the Willets. Jimmy Hatlo's They'll Do It Every Time was often displayed in a two-panel format with the first panel showing some deceptive, pretentious, unwitting or scheming human behavior and the second panel revealing the truth of the situation.[2]

text: Early daily strips were large, often running the entire width of the newspaper, and were sometimes three or more inches high.[3] Initially, a newspaper page included only a single daily strip, usually either at the top or the bottom of the page. By the 1920s, many newspapers had a comics page on which many strips were collected together. Over decades, the size of daily strips became smaller and smaller; until by the year 2000, four standard daily strips could fit in an area once occupied by a single daily strip.[4]

text: NEA Syndicate experimented briefly with a two-tier daily strip, Star Hawks, but after a few years, Star Hawks dropped down to a single tier.[2]

text: In Flanders, Belgium the two-tier strip is the standard publication style of most daily by:david Spike and Suzy and Nero.[5] They appear Monday through Saturday; until 2003 there were no Sunday papers in Flanders.[6] In the last decades, they have switched from black and white to color.


document_title: 2017–18 UEFA Champions League knockout phase

question_text: when will the champions league semi finals be drawn

text: Round and draw dates[edit]

text: The schedule of the knockout phase is as follows (all draws are held at the UEFA headquarters in Nyon, Switzerland).[1]

text:
Round
Draw
First leg
Second leg

Round of 16
11 December 2017
13–14 & 20–21 February 2018
6–7 & 13–14 March 2018

Quarter-finals
16 March 2018
3–4 April 2018
10–11 April 2018

Semi-finals
13 April 2018
24–25 April 2018
1–2 May 2018

Final
26 May 2018 at NSC Olimpiyskiy Stadium, Kiev

text: Format[edit]

text: The knockout phase involves the 16 teams which qualify as winners and runners-up of each of the eight groups in the group stage.

text: Each tie in the knockout phase, apart from the final, is played over two legs, with each team playing one leg at home. The team that scores more goals on aggregate over the two legs advance to the next round. If the aggregate score is level, the away goals rule is applied, i.e. the team that scored more goals away from home over the two legs advances. If away goals are also equal, then thirty minutes of extra time is played. The away goals rule is again applied after extra time, i.e. if there are goals scored during extra time and the aggregate score is still level, the visiting team advances by virtue of more away goals scored. If no goals are scored during extra time, the tie is decided by penalty shoot-out. In the final, which is played as a single match, if scores are level at the end of normal time, extra time is played, followed by penalty shoot-out if scores remain tied.[2]

text: The mechanism of the draws for each round is as follows:

text:
In the draw for the round of 16, the eight group winners are seeded, and the eight group runners-up are unseeded. The seeded teams are drawn against the unseeded teams, with the seeded teams hosting the second leg. Teams from the same group or the same association cannot be drawn against each other.
In the draws for the quarter-finals onwards, there are no seedings, and teams from the same group or the same association can be drawn against each other.

text: Qualified teams[edit]

text:
Group
Winners
(seeded in round of 16 draw)
Runners-up
(unseeded in round of 16 draw)

A
 Manchester United
 Basel

B
 Paris Saint-Germain
 Bayern Munich

C
 Roma
 Chelsea

D
 Barcelona
 Juventus

E
 Liverpool
 Sevilla

F
 Manchester City
 Shakhtar Donetsk

G
 Beşiktaş
 Porto

H
 Tottenham Hotspur
 Real Madrid

text: Bracket[edit]

text:
Round of 16

Quarter-finals

Semi-finals

Final (26 May – Kiev)

  Sevilla
0
2
2

  Manchester United
0
1
1

  Sevilla
1
0
1

  Bayern Munich
2
0
2

  Bayern Munich
5
3
8

  Beşiktaş
0
1
1

  Bayern Munich
1
2
3

  Real Madrid
2
2
4

  Juventus
2
2
4

  Tottenham Hotspur
2
1
3

  Juventus
0
3
3

  Real Madrid
3
1
4

  Real Madrid
3
2
5

  Paris Saint-Germain
1
1
2

  Real Madrid
3

  Liverpool
1

  Porto
0
0
0

  Liverpool
5
0
5

  Liverpool
3
2
5

  Manchester City
0
1
1

  Basel
0
2
2

  Manchester City
4
1
5

  Liverpool
5
2
7

  Roma
2
4
6

  Chelsea
1
0
1

  Barcelona
1
3
4

  Barcelona
4
0
4

  Roma (a)
1
3
4

  Shakhtar Donetsk
2
0
2

  Roma (a)
1
1
2

text: Round of 16[edit]

text: The draw for the round of 16 was held on 11 December 2017, 12:00 CET.[3]

text: With five English teams in the round of 16, this was the first time five teams from one association qualified for the Champions League knockout phase.[4]

text: Summary[edit]

text: The first legs were played on 13, 14, 20 and 21 February, and the second legs were played on 6, 7, 13 and 14 March 2018.

text:
Team 1
Agg.
Team 2
1st leg
2nd leg

Juventus
4–3
 Tottenham Hotspur
2–2
2–1

Basel
2–5
 Manchester City
0–4
2–1

Porto
0–5
 Liverpool
0–5
0–0

Sevilla
2–1
 Manchester United
0–0
2–1

Real Madrid
5–2
 Paris Saint-Germain
3–1
2–1

Shakhtar Donetsk
2–2 (a)
 Roma
2–1
0–1

Chelsea
1–4
 Barcelona
1–1
0–3

Bayern Munich
8–1
 Beşiktaş
5–0
3–1

text: Matches[edit]

text:
Juventus
2–2
 Tottenham Hotspur

Higuaín  2', 9' (pen.)

Report

Kane  35'
Eriksen  71'

text:
Tottenham Hotspur
1–2
 Juventus

Son Heung-min  39'

Report

Higuaín  64'
Dybala  67'

text: Juventus won 4–3 on aggregate.

text:
Basel
0–4
 Manchester City

Report

Gündoğan  14', 53'
B. Silva  18'
Agüero  23'

text:
Manchester City
1–2
 Basel

Gabriel Jesus  8'

Report

Elyounoussi  17'
Lang  71'

text: Manchester City won 5–2 on aggregate.

text:
Porto
0–5
 Liverpool

Report

Mané  25', 53', 85'
Salah  29'
Firmino  69'

text:
Liverpool
0–0
 Porto

Report

text: Liverpool won 5–0 on aggregate.

text:
Sevilla
0–0
 Manchester United

Report

text:
Manchester United
1–2
 Sevilla

Lukaku  84'

Report

Ben Yedder  74', 78'

text: Sevilla won 2–1 on aggregate.

text:
Real Madrid
3–1
 Paris Saint-Germain

Ronaldo  45' (pen.), 83'
Marcelo  86'

Report

Rabiot  33'

text:
Paris Saint-Germain
1–2
 Real Madrid

Cavani  71'

Report

Ronaldo  51'
Casemiro  80'

text: Real Madrid won 5–2 on aggregate.

text:
Shakhtar Donetsk
2–1
 Roma

Ferreyra  52'
Fred  71'

Report

Ünder  41'

text:
Roma
1–0
 Shakhtar Donetsk

Džeko  52'

Report

text: 2–2 on aggregate. Roma won on away goals.

text:
Chelsea
1–1
 Barcelona

Willian  62'

Report

Messi  75'

text:
Barcelona
3–0
 Chelsea

Messi  3', 63'
Dembélé  20'

Report

text: Barcelona won 4–1 on aggregate.

text:
Bayern Munich
5–0
 Beşiktaş

Müller  43', 66'
Coman  53'
Lewandowski  79', 88'

Report

text:
Beşiktaş
1–3
 Bayern Munich

Vágner Love  59'

Report

Thiago  18'
Gönül  46' (o.g.)
Wagner  84'

text: Bayern Munich won 8–1 on aggregate.

text: Quarter-finals[edit]

text: The draw for the quarter-finals was held on 16 March 2018, 12:00 CET.[21][22]

text: Summary[edit]

text: The first legs were played on 3 and 4 April, and the second legs were played on 10 and 11 April 2018.

text:
Team 1
Agg.
Team 2
1st leg
2nd leg

Barcelona
4–4 (a)
 Roma
4–1
0–3

Sevilla
1–2
 Bayern Munich
1–2
0–0

Juventus
3–4
 Real Madrid
0–3
3–1

Liverpool
5–1
 Manchester City
3–0
2–1

text: Matches[edit]

text:
Barcelona
4–1
 Roma

De Rossi  38' (o.g.)
Manolas  55' (o.g.)
Piqué  59'
L. Suárez  87'

Report

Džeko  80'

text:
Roma
3–0
 Barcelona

Džeko  6'
De Rossi  58' (pen.)
Manolas  82'

Report

text: 4–4 on aggregate. Roma won on away goals.

text:
Sevilla
1–2
 Bayern Munich

Sarabia  31'

Report

Navas  37' (o.g.)
Thiago  68'

text:
Bayern Munich
0–0
 Sevilla

Report

text: Bayern Munich won 2–1 on aggregate.

text:
Juventus
0–3
 Real Madrid

Report

Ronaldo  3', 64'
Marcelo  72'

text:
Real Madrid
1–3
 Juventus

Ronaldo  90+8' (pen.)

Report

Mandžukić  2', 37'
Matuidi  61'

text: Real Madrid won 4–3 on aggregate.

text:
Liverpool
3–0
 Manchester City

Salah  12'
Oxlade-Chamberlain  21'
Mané  31'

Report

text:
Manchester City
1–2
 Liverpool

Gabriel Jesus  2'

Report

Salah  56'
Firmino  77'

text: Liverpool won 5–1 on aggregate.

text: Semi-finals[edit]

text: The draw for the semi-finals was held on 13 April 2018, 13:00 CEST.[31]

text: For the first time since the 2009–10 UEFA Champions League, all the four teams at this stage represent different national associations.[32]

text: Summary[edit]

text: The first legs were played on 24 and 25 April, and the second legs were played on 1 and 2 May 2018.

text:
Team 1
Agg.
Team 2
1st leg
2nd leg

Bayern Munich
3–4
 Real Madrid
1–2
2–2

Liverpool
7–6
 Roma
5–2
2–4

text: Matches[edit]

text:
Bayern Munich
1–2
 Real Madrid

Kimmich  28'

Report

Marcelo  44'
Asensio  57'

text:
Real Madrid
2–2
 Bayern Munich

Benzema  11', 46'

Report

Kimmich  3'
Rodríguez  63'

text: Real Madrid won 4–3 on aggregate.

text:
Liverpool
5–2
 Roma

Salah  36', 45+1'
Mané  56'
Firmino  61', 69'

Report

Džeko  81'
Perotti  85' (pen.)

text:
Roma
4–2
 Liverpool

Milner  15' (o.g.)
Džeko  52'
Nainggolan  86', 90+4' (pen.)

Report

Mané  9'
Wijnaldum  25'

text: Liverpool won 7–6 on aggregate.

text: Final[edit]

text: The final was played at the NSC Olimpiyskiy Stadium in Kiev on 26 May 2018. The "home" team (for administrative purposes) was determined by an additional draw held after the semi-final draw.[31]

text:
Real Madrid
3–1
 Liverpool

Benzema  51'
Bale  64', 83'

Report

Mané  55'

text: Notes[edit]

text: Jump up ^ Shakhtar Donetsk played their home match at Metalist Stadium, Kharkiv, instead of their regular stadium Donbass Arena, Donetsk, due to the war conditions in Eastern Ukraine.

tag: ol