document_title: Pride and Prejudice (1995 TV series)

question_text: actress who played jane in pride and prejudice

text: Pride and Prejudice (1995 TV series)

text: Plot[edit]

text: Episode 1 – Part One: Mr. Charles Bingley, a rich man from the north of England, settles down at Netherfield estate near Meryton village in Hertfordshire for the autumn. Mrs Bennet, unlike her husband, is excited at the prospect of marrying off one of her five daughters (Jane, Elizabeth, Mary, Kitty, and Lydia) to the newcomer. Bingley takes an immediate liking to Jane at a local country-dance, while his best friend Mr. Fitzwilliam Darcy, rumoured to be twice as rich, refuses to dance with anyone including Elizabeth. Elizabeth's poor impression of his character is confirmed at a later gathering at Lucas Lodge, and she and Darcy verbally clash on the two nights she spends at Netherfield caring for the sick Jane.

text: Episode 2 – Part Two: A sycophantic clergyman named Mr. William Collins visits his cousins, the Bennets. He is the entailed heir of their home and estate, Longbourn, and intends to marry one of Mr. Bennet's daughters. This is meant, on his part, as an act of benign goodwill towards the Bennets, because Mrs. Bennet and her unwed daughters will be rendered homeless once Mr. Bennet dies and Mr. Collins inherits the estate. He therefore invites himself for a two-week visit, to get to know the Bennets better and select a wife from among the daughters of the family. However, the Bennet girls judge Mr. Collins to be a rather ridiculous man, an "oddity" with many peculiarities of speech and deportment. They are nevertheless civil to him, and take him to balls and social events in Meryton. One day, while on a walk around Meryton village, they meet members of a newly arrived militia, including a Mr George Wickham. At a social event, Wickham befriends Elizabeth and tells her that Darcy, who is the son of Wickham's late father's employer, has denied Wickham a living (a curacy) which had been assured to him by Mr. Darcy's father. At another social event, Darcy surprises Elizabeth with a dance offer at a ball at Netherfield, which she grudgingly but politely accepts. Mr Collins proposes to Elizabeth the next day, but she resoundingly rejects him. While Mrs Bennet disagrees about Elizabeth's decision, her close friend Charlotte Lucas invites Mr Collins to stay at Lucas Lodge.

text: Episode 3 – Part Three: Elizabeth is stunned and appalled when she learns that Charlotte Lucas has accepted a proposal from Mr Collins. When the Netherfield party departs for London in autumn, Jane stays with her modest London relatives, the Gardiners, but she soon notices that the Bingleys ignore her. After befriending Mr Wickham, Elizabeth departs for the Collinses' home in Kent in the spring. They live near Rosings, the estate of the formidable Lady Catherine de Bourgh, and as Lady Catherine is Darcy's aunt, Elizabeth meets Darcy several times. Shortly after Elizabeth learns of Darcy's direct responsibility for Jane and Bingley's separation, Darcy unexpectedly proposes to her, expressing his ardent admiration and love despite Elizabeth's inferior family connections. Elizabeth flatly rejects him, noting his arrogant, disagreeable, and proud character, and his involvement in her sister's failed romance and Mr Wickham's misfortune.

text: Episode 4 – Part Four: Darcy justifies his previous actions in a long letter to Elizabeth: he misjudged Jane's affection for Bingley and exposes Wickham as a gambler who once attempted to elope with his young sister, Georgiana, to obtain her inheritance. Back at Longbourn, Mr Bennet allows Lydia to accompany the militia to Brighton as a personal friend of the militia colonel's wife. Elizabeth joins the Gardiners on a sightseeing trip to Derbyshire and visits Pemberley, Darcy's estate, during his absence. Greatly impressed by the immense scale and richness of the estate, Elizabeth listens to the housekeeper's earnest tales of her master's lifelong goodness, while Darcy refreshes from his unannounced journey home by taking a swim in a lake. After an unexpected and awkward encounter with Elizabeth, a damp Darcy is able to prevent the party's premature departure with an unusual degree of friendliness and politeness.

text: Episode 5 – Part Five: Elizabeth and the Gardiners receive an invitation to Pemberley, where Darcy and Elizabeth share significant glances. The next morning, Elizabeth receives two letters from Jane, discussing Lydia's elopement with Wickham. As Elizabeth is about to return to Longbourn, Darcy walks in and offers his help, but, upon digesting the bad news, gradually appears more remote, and soon takes his leave. Elizabeth supposes she will never see him again. Mr and Mrs Bennet try to deal with the possible scandal until they receive a letter from Mr Gardiner, saying that Lydia and Wickham have been found and are not married, but will be soon under the Gardiners' care. After Mr Bennet states his surprise at how easily the issue has been resolved, Elizabeth informs Jane about her last meeting with Darcy, including her ambivalent feelings for him.

text: Episode 6 – Part Six: After Lydia carelessly mentions Darcy's involvement in her wedding, Mrs Gardiner enlightens Elizabeth how Darcy found the errant couple and paid for all the expenses. When Bingley and Darcy return to Netherfield in the autumn, Darcy apologises to Bingley for intervening in his relationship with Jane and gives his blessing for the couple to wed. Lady Catherine de Bourgh, who has heard rumours of an engagement between Darcy and Elizabeth but wants him to marry her sickly daughter Anne, pays Elizabeth an unannounced visit. She insists that Elizabeth renounce Darcy, but Elizabeth does not rule out a future engagement. When Elizabeth thanks Darcy for his role in Lydia's marriage, Lady Catherine's story encourages Darcy to reconfirm his feelings for Elizabeth. Elizabeth admits the complete transformation of her feelings and agrees to an engagement, which takes her family by surprise. The series ends with a double wedding in the winter months: Jane with Bingley, and Elizabeth to Fitzwilliam Darcy.

text: Cast[edit]

text: When casting the many characters of Pride and Prejudice, the producer Sue Birtwistle and director Simon Langton were looking for actors with wit, charm and charisma, who could also play the Regency period. Their choices for the story's protagonists, 20-year-old Elizabeth Bennet and 28-year-old Mr Darcy, determined the other actors cast. Hundreds of actresses between 15 and 28 auditioned, and those with the right presence were screen-tested, performing several prepared scenes in period costumes and makeup in a television studio. Straight offers were made to several established actors.[3]

text: Actress Jennifer Ehle was chosen out of half a dozen serious candidates to play Elizabeth, the second Bennet daughter, the brightest girl, and her father's favourite. At the time in her mid-20s, Ehle had first read Pride and Prejudice at the age of 12 and was the only actor to be present throughout the whole filming schedule.[3][4][5] Sue Birtwistle particularly wanted Colin Firth, a relatively unknown British actor in his mid-30s at the time, to play the wealthy and aloof Mr. Darcy.[6] Birtwistle had worked with him on the mid-1980s comedy film Dutch Girls, but he repeatedly turned down her offer as he neither felt attracted to Austen's feminine perspective nor believed himself to be right for the role. Birtwistle's persistent coaxing and his deeper looks into the Darcy character finally convinced him to accept the role.[7][8] Firth and Ehle began a romantic relationship during the filming of the series, which only received media attention after the couple's separation.[9]

text: Benjamin Whitrow and BAFTA-nominated Alison Steadman were cast to play Mr and Mrs Bennet, Elizabeth's distinguished but financially imprudent and occasionally self-indulgent parents. Steadman was offered the role without auditions or screen tests. Elizabeth's four sisters, whose ages ranged between 15 and 22, were cast to look dissimilar from each other. Susannah Harker portrayed Elizabeth's beautiful older sister Jane, who desires to only see good in others. Lucy Briers, Polly Maberly, and Julia Sawalha played Elizabeth's younger sisters – the plain Mary, the good-natured but flighty and susceptible Kitty, and frivolous and headstrong Lydia. Being 10 years older than 15-year-old Lydia, Julia Sawalha, of Absolutely Fabulous fame, had enough acting experience to get the role without screen tests. Joanna David and Tim Wylton appeared as the Gardiners, Elizabeth's maternal aunt and uncle. David Bamber played the sycophantic clergyman, Mr Collins, a cousin of Mr Bennet. Lucy Scott portrayed Elizabeth's best friend and Mr Collins's wife, Charlotte Lucas, and David Bark-Jones portrayed Lt. Denny.[3]

text: The producers found Crispin Bonham-Carter to have the best physical contrast to Firth's Darcy and gave him his first major television role as the good-natured and wealthy Mr Charles Bingley.[3] Bonham-Carter had originally auditioned for the part of Mr George Wickham,[10] a handsome militia lieutenant whose charm conceals his licentiousness and greed, but Adrian Lukis was cast instead. Anna Chancellor, of Four Weddings and a Funeral fame, played Mr Bingley's sister Caroline Bingley. (Chancellor is also Jane Austen's six-times-great-niece)[11] Mr Bingley's other sister and his brother-in-law were played by Lucy Robinson (Louisa Hurst) and Rupert Vansittart (Mr Hurst). Casting the role of Darcy's young sister, Georgiana, proved hard as the producers were looking for a young actress who appeared innocent, proud and yet shy, had class and could also play the piano. After auditioning over 70 actresses, Simon Langton suggested Emilia Fox, the real-life daughter of Joanna David (Mrs Gardiner), for the part. Barbara Leigh-Hunt was cast as Darcy's meddling aunt, Lady Catherine de Bourgh, without auditions or screen tests.[3]

text: Production[edit]

text: Conception and adaptation[edit]

text: Jane Austen's novel Pride and Prejudice had already been the subject of numerous television and film adaptations, including BBC television versions in 1938, 1952, 1958, 1967 and 1980. In the autumn of 1986, after watching a preview of Austen's Northanger Abbey, Sue Birtwistle and Andrew Davies agreed to adapt Pride and Prejudice, one of their favourite books, for television.[12][13] Birtwistle in particular felt that a new adaptation on film would serve the drama better than the previous videotaped Pride and Prejudice television adaptations, which looked too "undernourished" and "unpoetic".[12] The needs of TV scheduling forced Davies to change his original plan of a five-episode adaptation to six.[14] Birtwistle and Davies then offered the first three scripts to ITV in late 1986 to build on the guaranteed BBC audience, but the recent TV adaptation led to a delay. When ITV announced its renewed interest in 1993, Michael Wearing of the BBC commissioned the final scripts with co-funding from the American A&E Network.[12] Director Simon Langton and the art department joined pre-production in January and February 1994.[5][15]

text:
"We treated the story with great respect, but if we wanted to be utterly faithful, we would have got someone to recite it over the radio."

—Director Simon Langton[16]

tag: div

text: Although Birtwistle and Davies wished to remain true to the tone and spirit of the novel,[14] they wanted to produce "a fresh, lively story about real people",[12] not an "old studio-bound BBC drama that was shown in the Sunday teatime slot".[7] Emphasising sex and money as the themes of the story,[12] Davies shifted the focus from Elizabeth to Elizabeth and Darcy and foreshadowed Darcy's role in the narrative resolution. To portray the characters as real human beings, Davies added short backstage scenes such as the Bennet girls dressing up to advertise themselves in the marriage market. New scenes where men pursue their hobbies with their peers departed from Jane Austen's focus on women.[14] The biggest technical difficulty proved to be adapting the long letters in the second half of the story. Davies employed techniques such as voice-overs, flashbacks, and having the characters read the letters to themselves and to each other. Davies added some dialogue to clarify events from the novel to a modern audience but left much of the novel's dialogue intact.[14]

text: Filming[edit]

text: Wikimedia Commons has media related to Film locations of Pride and Prejudice (1995).

text: Director of photography John Kenway used Super 16mm film, which has a slightly smaller widescreen aspect ratio than 16:9, but the series was originally broadcast 4:3 pan and scan.[17]

text: The budget of about £1 million per episode (totalling US$9.6 million) allowed 20 shooting weeks of five days to film six 55-minute episodes. Production aimed for 10.5-hour shooting days plus time for costume and make-up.[4][16] Two weeks before filming began, about 70 of the cast and crew gathered for the script read-through, followed by rehearsals, lessons for dancing, horse-riding, fencing, and other skills that needed to be ready ahead of the actual filming.[18] Filming took place between June 1994 and 1 November 1994 to reflect the changing seasons in the plot, followed by post-production until mid-May 1995.[5] Scenes in the same place were grouped in the filming schedule.[4]

text: Twenty-four locations, most of them owned by the National Trust, and eight studio sets were used for filming.[15][18] Reflecting the wealth differences between the main characters, the filming location for Longbourn showed the comfortable family house of the Bennet family, whereas Darcy's Pemberley needed to look like the "most beautiful place", showing good taste and the history of the aristocracy.[6]

text: The first location that the producers agreed on was Lacock in Wiltshire to represent the village of Meryton. Luckington Court nearby served as the interior and exterior of Longbourn. Lyme Hall in Cheshire was chosen as Pemberley but management problems forced production to film Pemberley's interiors at Sudbury Hall in Sudbury, Derbyshire.[19]

text: The producers found Belton House in Grantham, Lincolnshire the best match for Rosings, Lady Catherine de Bourgh's estate,[19] which needed to appear "over-the-top" to reflect her disagreeableness.[6] Old Rectory at Teigh in Rutland was chosen as Hunsford parsonage, Mr Collins's modest home. Edgcote House in south-west Northamptonshire served as the interior and exterior of Bingley's Netherfield, along with Brocket Hall in Welwyn Garden City, Hertfordshire as the Netherfield ballroom. The London streets were filmed in Lord Leycester Hospital in Warwick, Warwickshire. Wickham's and Georgiana's planned elopement in Ramsgate was filmed in the English seaside resort Weston-super-Mare in Somerset.[19] Wickham's wedding takes place in St Paul's in Deptford, London.

text: Costumes and make-up[edit]

text: Because Pride and Prejudice was a period drama, the design required more research than contemporary films. The personality and wealth of the characters were reflected in their costumes; the wealthy Bingley sisters were never shown in print dresses and they wore big feathers in their hair.[6] As the BBC's stock of early 19th century costumes was limited, costume designer Dinah Collin designed most of the costumes, visiting museums for inspiration while trying to make the clothes attractive to a modern audience (although some costumes, mostly worn by extras, were re-used from earlier BBC productions or hired). Elizabeth's clothes had earthy tones and were fitted to allow easy and natural movements in line with the character's activity and liveliness. In contrast, Collin chose pale or creamy white colours for the clothes of the other Bennet girls to highlight their innocence and simplicity and richer colours for Bingley's sisters and Lady Catherine de Bourgh. Colin Firth participated in the wardrobe decisions and wanted his character to wear darker colours, leaving the warmer colours for Bingley.[20]

text: The producers imagined Darcy to be dark despite no such references in the novel and asked Firth to dye black his light-brown hair, eyebrows and lashes; they instructed all male actors to let their hair grow before filming and shave off their moustaches. Three brunette wigs were made to cover Ehle's short, blonde hair and one wig for Alison Steadman (Mrs. Bennet) because of her thick, heavy hair. Susannah Harker's (Jane) hair was slightly lightened to contrast with Elizabeth's and was arranged in a classic Greek style to highlight the character's beauty. Mary's plainness was achieved by painting spots on Lucy Briers's face; her hair was greased to suggest an unwashed appearance and was arranged to emphasise the actress's protruding ears. As Kitty and Lydia were too young and wild to have their hair done by the maids, the actresses' hair was not changed much. Makeup artist Caroline Noble had always considered Mr. Collins a sweaty character with a moist upper lip; she also greased David Bamber's hair and gave him a low parting to suggest baldness.[20]

text: Music and choreography[edit]

text: Carl Davis had been writing scores for BBC adaptations of classic novels since the mid-1970s and approached Sue Birtwistle during pre-production. Aiming to communicate the wit and vitality of the novel and its theme of marriage and love in a small town in the early 19th century, he used contemporary classical music as inspiration, in particular a popular Beethoven septet of the period, as well as a theme strongly reminiscent of the finale of Beethoven's Emperor Concerto. For control over the sound, the music was recorded in six hours by a group of up to 18 musicians and was then fed into tiny earpieces of the screen musicians, who mimed playing the instruments. The actresses whose characters played the piano, Lucy Briers (Mary) and Emilia Fox (Georgiana), were already accomplished pianists and were given the opportunity to practise weeks ahead of filming.[21] Among the songs and movements that were played in the serial were Handel's "Air con Variazioni" from Suite No. 5 in E Major HWV 430 and "Slumber, Dear Maid" from his opera Xerxes, Mozart's "Rondo Alla Turca", "Voi Che Sapete" and other music from his operas The Marriage of Figaro and Don Giovanni, Beethoven's Andante Favori, the second movement from Muzio Clementi's Sonatina No.4 and the traditional folk song "The Barley Mow". A soundtrack with Davis's themes was released on CD in 1995.

text: Many scenes in the book were set at dances or balls. Jane Gibson based her choreography on The Apted Book of Country Dances (1966) by W.S. Porter, which had several late-18th-century dances by Charles and Samuel Thompson such as "The Shrewsbury Lasses", "A Trip to Highgate" and "Mr. Beveridge's Maggot". Although these dances gave the story an impression of authenticity, they were anachronistic, being out of fashion by the time of the story. Some fifteen dances were choreographed and rehearsed before filming. Polly Maberly and Julia Sawalha, the dance-mad Kitty and Lydia, had three days to learn the dances. Three days were allotted for the filming of the ball at Netherfield, whose pace and style concentrated on elegance rather than the community enjoying themselves as at the dance at Meryton.[22] The musicians and dancers had earpieces with music playing to allow dialogue recording.[5] Many wide-shots of Elizabeth's and Darcy's dance at Netherfield later turned out to be unusable because of a hair in front of a lens so the editors resorted to close-up shots and material provided by a steadicam.[23]

text: Themes and style[edit]

text: The adaptation received praise for its faithfulness to the novel,[2][24] which highlights the importance of environment and upbringing on peoples' development, although privilege is not necessarily advantageous.[25] Describing the adaptation as "a witty mix of love stories and social conniving, cleverly wrapped in the ambitions and illusions of a provincial gentry",[2] critics noted that Davies's focus on sex and money and Austen's wry, incisive humour and the "deft" characterisation, prevented the television adaptation from "descending into the realm of a nicely-costumed, brilliantly-photographed melodrama".[26]

text:
"It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife."

—First line of Austen's novel Pride and Prejudice

text: To avoid a narrator, the serial delegates the novel's first ironic sentence to Elizabeth in an early scene.[27][28] The adaptation opens with a view of Darcy's and Bingley's horses as they race across a field toward the Netherfield estate, expressing vitality; Elizabeth watches them before breaking into a run. While the novel indicates Elizabeth's independence and energy in her three-mile trek to Netherfield, the adaptation of this scene also shows her rebelliousness and love of nature.[29]

text: In what is "perhaps the most radical revision of Austen's text",[30] the BBC drama departs from a late 18th-century vision of emotional restraint and portrays emotions in a "modern" interpretation of the story.[30] The novel leaves Elizabeth and the reader uncertain of Darcy's emotions and the adaptation uses additional scenes to hint at Darcy's inability to physically contain or verbally express his emotional turmoil.[31] On the other hand, whereas the climax of the novel describes Darcy expressing his ardent love for Elizabeth at length (though Austen leaves his actual words to the reader's imagination), the adaptation elides this moment and passes directly to the next lines of dialogue. Scholars argue that activities such as billiards, bathing, fencing and swimming (see the lake scene) offer Darcy to a female gaze; he is often presented in profile by a window or a fireplace when his friends discuss Elizabeth. Many passages relating to appearance or characters' viewpoints were lifted from the novel.[32]

text: The novel shows irony with "unmistakable strains of cynicism, ... laughing at human nature without any real hope of changing it".[33] Laughter in the story, which ranges from irresponsible laughter to laughter at people and laughter of amusement and relief, can also be linked to the sexual tensions among the different characters. Despite their appeal to modern audiences, laughter and wit were seen as vulgar and irreverent in Austen's time.[34] The BBC drama made changes "with a view to exposing a character, or adding humour or irony to a situation".[28] The adaptation comically exaggerates the characters of Mrs. Bennet, Miss Bingley and Mr. Collins, even showing Mrs. Bennet on the verge of hysteria in many of the early scenes.[28]

text: The serial expands on Austen's metaphorical use of landscapes, reinforcing beauty and authenticity. Elizabeth takes every opportunity to enjoy nature and to escape exposure to Mr. Collins and Lady Catherine. The most symbolic use of nature in the novel is Elizabeth and the Gardiners' visit to Pemberley in Derbyshire,[29] where Elizabeth becomes conscious of her love for Darcy. The story makes nature integral in the form of Old England.[35] Elizabeth's appreciation of the beauties of Derbyshire elevates Darcy in her and her relatives' opinion.[29] Darcy's gaze through the window works as a movie screen, projecting Elizabeth's actions for him and the viewer. His participation in the English landscape is his redemption.[36]

text: Reception[edit]

text: Broadcast[edit]

text: Between 10 and 11 million people watched the original six-episode broadcast on BBC One on Sunday evenings from 24 September to 29 October 1995.[37][38] The episodes were repeated each week on BBC Two.[4] The final episode of Pride and Prejudice had a market share of about 40 percent in Britain,[7] by which time eight foreign countries had bought the rights to the serial.[38] 3.7 million Americans watched the first broadcast on the A&E Network, which aired the serial in double episodes on three consecutive evenings beginning 14 January 1996.[37][39]

text: Home release and merchandise[edit]

text: The serial was released on VHS in the UK in the week running up to the original transmission of the final episode. The entire first run of 12,000 copies of the double-video set sold out within two hours of release. 70,000 copies had been sold by the end of the first week of sales,[40] increasing to 200,000 sold units within the first year of the original airing.[41] A BBC spokeswoman called the initial sale results "a huge phenomenon", as "it is unheard of for a video to sell even half as well, especially when viewers are able to tape the episodes at home for free".[40] The CD soundtrack was also popular, and 20,000 copies of an official making-of book were sold within days.[38] The serial was released on DVD four times, initially in 2000, as a digitally remastered "Tenth Anniversary Edition" in September 2005, and in April 2007 as part of a "Classic Drama DVD" magazine collection. A high-definition transfer was produced from the original negatives and released as a Blu-ray in October 2008. The HD version has not been broadcast on television; the BBC refuses to broadcast anything shot in 16mm in HD. The same restored version was released on DVD in March 2009.[42] The Blu-ray was released on 14 April 2009.[43]

text: Critical reception[edit]

text: The critical response to Pride and Prejudice was overwhelmingly positive.[44] Gerard Gilbert of The Independent recommended the opening episode of the serial one day before the British premiere, saying the television adaptation is "probably as good as it [can get for a literary classic]. The casting in particular deserves a tilt at a BAFTA, Firth not being in the slightest bit soft and fluffy – and Jennifer Ehle showing the right brand of spirited intelligence as Elizabeth." He considered Benjamin Whitrow a "real scene-stealer with his Mr. Bennet", but was undecided about Alison Steadman's portrayal of Mrs. Bennet.[45] Reviewing the first episode for the same newspaper on the day after transmission, Jim White praised Andrew Davies for "injecting into the proceedings a pace and energy which at last provides a visual setting to do justice to the wit of the book. With everyone slinging themselves about at high speed (the dances, in a first for the genre, actually involve a bit of sweat), it looks like people are doing something you would never have suspected they did in Austen's time: having fun."[46]

text: A few days before the American premiere, Howard Rosenberg of the Los Angeles Times considered the adaptation "decidedly agreeable" despite its incidental liberties with Austen's novel, and named Elizabeth's parents and Mr. Collins as the main source of humour.[47] John O'Connor of The New York Times lauded the serial as a "splendid adaptation, with a remarkably faithful and sensitively nuanced script". He commented on Jennifer Ehle's ability to make Elizabeth "strikingly intelligent and authoritative without being overbearing", and noted how Firth "brilliantly captures Mr. Darcy's snobbish pride while conveying, largely through intense stares, that he is falling in love despite himself". O'Connor praised Barbara Leigh-Hunt's portrayal of Lady Catherine as "a marvellously imperious witch" and considered her scenes with David Bamber (Mr. Collins) "hilarious".[2]

text: However, O'Connor remarked that American audiences might find the "languorous walks across meadows" and "ornately choreographed dances" of the British production too slow.[2] In one of the most negative reviews, People Magazine considered the adaptation "a good deal more thorough than necessary" and "not the best Austen on the suddenly crowded market". Although the reviewer thought Firth "magnificent", he rebuked the casting of Jennifer Ehle as her oval face made her "look like Anaïs Nin in period clothes, and that ain't right".[48] The official A&E Network magazine summarised a year later that "critics praised the lavish production, audiences adored it, and women everywhere swooned over Darcy. So much, in fact, that newspapers began to joke about 'Darcy fever.'"[8] Commendation for the serial continued in the years following its original transmission.

text: Awards and nominations[edit]

text: Pride and Prejudice received BAFTA Television Award nominations for "Best Drama Serial", "Best Costume Design", and "Best Make Up/Hair" in 1996. Jennifer Ehle was honoured with a BAFTA for "Best Actress", while Colin Firth and Benjamin Whitrow, nominated for "Best Actor", lost to Robbie Coltrane of Cracker.[49] Firth won the 1996 Broadcasting Press Guild Award for "Best Actor", complemented by the same award for "Best Drama Series/Serial".[50] The serial was recognised in the United States with an Emmy for "Outstanding Individual Achievement in Costume Design for a Miniseries or a Special", and was Emmy-nominated for its achievements as an "Outstanding Miniseries" as well as for choreography and writing.[51] Among other awards and nominations, Pride and Prejudice received a Peabody Award,[52] a Television Critics Association Award,[53] and a Golden Satellite Award nomination[54] for outstanding achievements as a serial.

text: Influence and legacy[edit]

text: As one of the BBC's and A&E's most popular presentations ever,[38][55] the serial was "a cultural phenomenon, inspiring hundreds of newspaper articles and making the novel a commuter favourite".[56] With the 1995 and 1996 films Persuasion, Sense and Sensibility and Emma, the serial was part of a wave of Jane Austen enthusiasm which caused the membership of the Jane Austen Society of North America to jump fifty percent in 1996 and to over 4,000 members in the autumn of 1997.[41] Some newspapers like The Wall Street Journal explained this "Austen-mania" as a commercial move of the television and film industry, whereas others attributed Austen's popularity to escapism.[57]

text: While Jennifer Ehle refused to capitalise on the success of the serial and joined the Royal Shakespeare Company at Stratford-upon-Avon,[58] the role of Mr. Darcy unexpectedly elevated Colin Firth to stardom.[9] Although Firth did not mind being recognised as "a romantic idol as a Darcy with smouldering sex appeal"[59] in a role that "officially turned him into a heart-throb",[60] he expressed the wish to not be associated with Pride and Prejudice forever[8] and was reluctant to accept similar roles. He took on diverse roles and co-starred in productions such as The English Patient (1996), Shakespeare in Love (1998), Bridget Jones's Diary (2001), Girl with a Pearl Earring (2003), Love Actually (2003) and Bridget Jones: The Edge of Reason (2004).[9][60]

text: Pride and Prejudice continued to be honoured years later. A 2000 poll of industry professionals conducted by the British Film Institute ranked the serial at 99 in the 100 Greatest British Television Programmes of the 20th century, which the BFI attributed to its "managing to combine faithfulness to the novel with a freshness that appealed across the generations".[24] Radio Times included the serial in their list of "40 greatest TV programmes ever made" in 2003.[61] It was also named by Entertainment Weekly as one of the 20 best miniseries of all time.[62] In 2007, the UK Film Council declared Pride and Prejudice one of the television dramas that have become "virtual brochures" for British history and society. Lyme Hall, Cheshire, which had served as the exterior of Pemberley, experienced a tripling in its visitor numbers after the series' broadcast and is still a popular travel destination.[61]

text: Lake scene[edit]

text: The adaptation is famous for a scene in its fourth episode where a fully dressed Darcy, having emerged from a swim in a lake at Pemberley, accidentally encounters Elizabeth. While many critics attributed the scene's appeal to Firth's sexual attractiveness,[59][63][64] Andrew Davies thought that it unwittingly "rerobed, not disrobed, Austen".[65] When Davies wrote the scene (it was not part of Austen's novel), he did not intend a sexual connection between Elizabeth and Darcy but to create "an amusing moment in which Darcy tries to maintain his dignity while improperly dressed and sopping wet".[59] The BBC opposed Davies's plan to have Darcy naked but the producers discarded the alternative of using underpants as fatuous.[66] According to Davies, Firth had "a bit of the usual tension about getting [his] kit off",[65] the scene was filmed with Firth in linen shirt, breeches and boots. A stuntman, who appears in midair in a very brief shot, was hired because of the risk of infection with Weil's disease at Lyme Park.[66] A short underwater segment was filmed separately with Firth in a tank at Ealing Studios in west London.[6]

text: The Guardian declared the lake scene "one of the most unforgettable moments in British TV history".[1] The sequence also appeared in Channel 4's Top 100 TV Moments in 1999, between the controversial programme Death on the Rock and the Gulf War.[67] The New York Times compared the scene to Marlon Brando shouting "Stella!" in his undershirt in A Streetcar Named Desire[68] and Firth's projects began alluding to it – screenwriter-director Richard Curtis added in-joke moments of Firth's characters falling into the water to Love Actually and Bridget Jones: The Edge of Reason,[69] and Firth's character from the 2007 film St Trinian's emerges from a fountain in a soaking wet shirt before meeting up with an old love.[70] The creators of the 2008 ITV production Lost in Austen emulated the lake scene in their Pride and Prejudice through their contemporary heroine who cajoles Darcy into recreating the moment.[71]

text: Cheryl L. Nixon suggested in Jane Austen in Hollywood that Darcy's dive is a "revelation of his emotional capabilities", expressing a "Romantic bond with nature, a celebration of his home where he can 'strip down' to his essential self, a cleansing of social prejudices from his mind, or ... a rebirth of his love for Elizabeth".[72] Linda Troost and Sayre Greenfield wrote that the scene "tells us more about our current decade's obsession with physical perfection and acceptance of gratuitous nudity than it does about Austen's Darcy, but the image carves a new facet into the text".[73]

text: Bridget Jones[edit]

text: The fictional journalist Bridget Jones (in reality Helen Fielding of The Independent) wrote of her love of the serial in the paper's Bridget Jones's Diary column during the original British broadcast,[9] mentioning her "simple human need for Darcy to get off with Elizabeth" and regarding the couple as her "chosen representatives in the field of shagging, or rather courtship".[74] Fielding loosely reworked the plot of Pride And Prejudice in her 1996 novel of the column, naming Bridget's uptight love interest "Mark Darcy" and describing him exactly like Colin Firth.[9][75] Following a first meeting with Firth during his filming of Fever Pitch in 1996, Fielding asked Firth to collaborate in what would become a multi-page interview between Bridget Jones and Firth in her 1999 sequel novel, Bridget Jones: The Edge of Reason. Conducting the real interview with Firth in Rome, Fielding lapsed into Bridget Jones mode and obsessed over Darcy in his wet shirt for the fictional interview. Firth participated in the editing of what critics called "one of the funniest sequences in the diary's sequel".[60][76] Both novels make various other references to the BBC serial.[77]

text: Andrew Davies collaborated on the screenplays for the 2001 and 2004 Bridget Jones films, in which Crispin Bonham-Carter (Mr. Bingley) and Lucy Robinson (Mrs. Hurst) appeared in minor roles. The self-referential in-joke between the projects convinced Colin Firth to accept the role of Mark Darcy,[9] as it gave him an opportunity to ridicule and liberate himself from his Pride and Prejudice character.[78] Film critic James Berardinelli would later state that Firth "plays this part [of Mark Darcy] exactly as he played the earlier role, making it evident that the two Darcys are essentially the same".[26] The producers never found a way to incorporate the Jones-Firth interview in the second film but shot a spoof interview with Firth as himself and Renée Zellweger staying in character as Bridget Jones after a day's wrap. The scene, which extended Bridget's Darcy obsession to cover Firth's lake scene in Love Actually, is available as a bonus feature on the DVD.[79]

text: Other adaptations[edit]

text: For almost a decade, the 1995 TV serial was considered "so dominant, so universally adored, [that] it has lingered in the public consciousness as a cinematic standard".[80] Comparing six Pride and Prejudice adaptations in 2005, the Daily Mirror gave 9/10 to the 1995 serial ("what may be the ultimate adaptation") and the 2005 film adaptation, leaving the other adaptations such as the 1940 film behind with six or fewer points.[63] The 2005 film was "obviously [not as] daring or revisionist" as the 1995 adaptation[81] but the youth of the film's leads, Keira Knightley and Matthew Macfadyen, was mentioned favourably over the 1995 cast, as Jennifer Ehle had formerly been "a little too 'heavy' for the role".[82] The president of the Jane Austen Society of North America noted in an otherwise positive review that the casting of the 2005 leads was "arguably a little more callow than Firth and Ehle" and that "Knightley is better looking than Lizzy should strictly be".[81] The critical reception of MacFadyen's Darcy, whose casting had proven difficult because "Colin Firth cast a very long shadow",[83] ranged from praise to pleasant surprise and dislike.[82][84] Several critics did not observe any significant impact of Macfadyen's Darcy in the following years. Garth Pearce of The Sunday Times noted in 2007 that "Colin Firth will forever be remembered as the perfect Mr. Darcy",[64] and Gene Seymour stated in a 2008 Newsday article that Firth was "'universally acknowledged' as the definitive Mr. Darcy".[85]


document_title: Thomas the Tank Engine

question_text: how long has thomas the train been on tv

root

text: Thomas the Tank Engine

text: Prototype and background[edit]

text: When Awdry created Thomas, the engine existed only as a wooden toy made for his son Christopher. This engine looked rather different from the character in the books and television series, and carried the letters NW on its side tanks. Awdry claimed that this stood for "No Where"; as the Railway Series and its backstory developed, however, the railway that Thomas and his friends worked on became known as the North Western Railway.[2]

tag: p

text: Thomas wasn't originally based on a prototype; rather, the initial stories were an accompaniment to the toy made for Christopher.[3] After Awdry's wife encouraged him to publish the stories,[4] the publisher of the second book in The Railway Series, Thomas the Tank Engine, hired an illustrator named Reginald Payne. Awdry selected a real locomotive for Payne to work from to create authenticity: a Billinton designed 0-6-0 E2 Class of the London, Brighton and South Coast Railway. This may have been chosen simply because Awdry had a photograph to hand.[3]

text:
Thomas is one of half a dozen locomotives fitted with an extension to the front of the water tanks.[5]
While the language used and the behaviours exhibited often closely resemble those of real locomotives[6] there are some significant and artistic differences. For example, Thomas's wheels are driven by internal cylinders typical of such tank engines. The cranks and connecting rods are therefore not externally visible.

text: Awdry was unsatisfied with one detail of the illustration — the fact that the front end of his footplate featured a downward slope, which meant that his front and back buffers were at different levels. This was an illustrator's mistake that was perpetuated in subsequent books. The accident, in "Thomas Comes to Breakfast" was partly devised as a means of correcting this. Thomas has always been shown with a curved front buffer beam in the television series.

text: Unfortunately, despite creating the visual image of such an iconic character, Payne did not receive any credit for his work, and it is only since the publication of Brian Sibley's The Thomas the Tank Engine Man that he has started to receive major recognition. It had often been erroneously assumed that C. Reginald Dalby created the character, as he was responsible for illustrating books 3–11 and repainting the illustrations of books 1 and 2.

text: Thomas arrived on Sodor in 1915, when The Fat Controller bought the locomotive for a nominal sum to be a pilot engine at Vicarstown. After rescuing James in Thomas & the Breakdown Train, he became a "Really Useful Engine" and was rewarded by being put in charge of the Ffarquhar branchline. Although Thomas is seen today on various heritage railways, the last of the LB&SCR E2 class was scrapped in 1963,[7] however a proposed project has been announced to build a new one.[8]

text: Thomas in The Railway Series[edit]

text: Despite becoming the most popular character in The Railway Series, Thomas did not actually feature in the first book, The Three Railway Engines (namely Edward, Henry, and Gordon).

text: Thomas was described in the opening to "Thomas and Gordon", the first story in book number two, Thomas the Tank Engine, as:

text: "...a tank engine who lived at a Big Station. He had six small wheels, a short stumpy funnel, a short stumpy boiler and a short stumpy dome. He was a fussy little engine, always pulling coaches about. [...] He was cheeky, too."

text: Thomas was used initially as a station pilot engine in the first three stories in book 2, but longed for more important jobs such as pulling the express train like Gordon; his inexperience prevented this. In the fourth story, Thomas and the Breakdown Train, Thomas rescues James and is rewarded with his own branch line.[10] He has remained in charge of the Ffarquhar branch ever since, with his two coaches Annie and Clarabel, and help from Percy and Toby. Thomas is generally depicted with a cheeky and even self-important personality. He believes that he should be more respected by the others, and he gets annoyed when he does not receive this respect. However, Percy and Toby are more than capable of standing up to him, and Annie and Clarabel often rebuke him.

text: TV series[edit]

text: Thomas's on-screen appearances in the TV series were developed by Britt Allcroft. The first series of 26 stories premiered in October 1984 on the ITV Network in the UK, with former Beatles drummer/vocalist Ringo Starr as storyteller. The stories were featured as segments as part of Shining Time Station in the US beginning in 1989 with Starr as the show's Mr. Conductor character. From 1991 to 1993, George Carlin replaced Starr as both the storyteller and as Mr. Conductor for Shining Time Station. Carlin also told the Thomas stories for Shining Time Station in 1995.

text: In 1996 the Thomas stories were segments for Mr. Conductor's Thomas Tales, again featuring George Carlin. Alec Baldwin portrayed Mr. Conductor in Thomas and the Magic Railroad, and narrated the series for the US from 1998 to 2003. Michael Angelis narrated the series from 1991 to 2012 in the UK, while Michael Brandon narrated the series from 2004 to 2012 in the US. As of 2013, the series is narrated by Mark Moraghan.

text: Thomas's personality was originally faithful to the character of the books. As the show branched away from the novels however, modifications were made. Thomas became noticeably less arrogant and self-absorbed, developing a more friendly, altruistic and happy go lucky (if still rather over-excitable) side. He also no longer appears to be limited to his branch line and seems to work all over Sodor. These changes in his personality and duties are a result of his "star" status. He is the most popular character in the series, and therefore he has the largest number of appearances, appearing in all of the DVD specials and the movie Thomas & the Magic Railroad.

text: From Hero of the Rails until Series 18, Thomas was voiced by Martin Sherman (US) and Ben Small (UK).[11] From 2015 onwards, Thomas is voiced by John Hasler in the UK, and by Joseph May in the US.

text: In The Adventure Begins which is a retelling of Thomas's early days on Sodor, he is a bluish-green colour when he first arrives on Sodor, his tanks are lettered "LBSC" (for the London, Brighton and South Coast Railway) with the number 70 on his bunker.  The 70 is a reference to 2015 being the 70th anniversary for the Railway Series, while the LB&SCR E2 class were actually numbered from 100–109.  The real life LBSC no. 70 is an A1 class.

text: Voice actors[edit]

text:
Edward Glen (Thomas and the Magic Railroad)
John Bellis (Thomas and the Magic Railroad; original work-prints only)
Ringo Starr (The Official BBC Children in Need Medley)
Ben Small (UK; Hero of the Rails – Season 18)
John Hasler (UK; Thomas & Friends: The Adventure Begins onwards)
Martin Sherman (US; Hero of the Rails – Season 18)
Joseph May (US; Thomas & Friends: The Adventure Begins onwards)
Daniel Radcliffe (Robot Chicken)
Kevin Shinick (Mad)
Keiko Toda (Japan; Season 1 – 8)
Kumiko Higa (Japan; Calling All Engines! onwards)
Joel Beckford (UK; scripts only)
Keira Jones (US; scripts only)

tag: ul

text: Models[edit]

text: Thomas had his genesis, like Winnie-the-Pooh, in a toy for a small child, both coincidentally named Christopher. A wooden push-along toy from the early 1940s is the original Thomas made by the Reverend Awdry out of a piece of broomstick for his son Christopher. This engine looked rather different from the character in the books and television series and was based on an LNER Class J50 with smaller side tanks and splashers.[citation needed] He was painted blue with yellow lining and carried the letters NW on his side tanks.

text: Awdry claimed that this stood for "No Where", but later works would identify the railway Thomas and his friends worked on as the fictional North Western Railway. Christopher Awdry lost this model when he was in the US, although it was recreated for a sizzle promo for the 70th Anniversary. However, the Reverend was happy to endorse Payne's account that the locomotive was an LBSC E2, although the first Thomas on the Awdry's model railway, from Stuart Reidpath, lacked extended tanks. In the 1979 Thomas Annual, Awdry wrote:

text: "I bought Thomas in 1948 when I was writing "Tank Engine Thomas Again", and wanted to start modelling once more after a lapse of some twenty years. Thomas was one of Stewart Reidpath's standard models with a heavy, cast white metal body, and was fitted with his "Essar" chassis and motor. Stewart Reidpath is now dead, and his motors, let alone spare parts for them, have been unobtainable for years; but Thomas still keeps going! He is, as you might expect from his age, a temperamental old gentleman, and has to be driven very carefully indeed."

text: After Hornby produced the LBSC E2 tank in the late 1970s and early 1980s, Awdry gladly adapted one to take the role of Thomas on his layout, the Ffarquhar branch.

text: Despite Awdry's requests for models, to which Lines Brothers (later Triang-Hornby) responded with Meccano Percy in 1967, Hornby eventually adapted the tool to be Thomas when they started Railway Series models in the 1980s.

text: Awards[edit]

text: Thomas was the only fictional character included in the Independent on Sunday's 2009 "Happy List", recognised alongside 98 real-life adults and a therapy dog for making Britain a better and happier place.[12]

text: In popular culture[edit]

text: Thomas has been referenced, featured and parodied in popular culture. In 1988, he was parodied on ITV's Spitting Image where he was portrayed as a drunk who went "completely off the rails."[13] In 2009, he appeared in The Official BBC Children in Need Medley where he was voiced by Ringo Starr, who narrated the first two series of Thomas and Friends. In the British comedy show Bobby Davro's TV Weekly, a spoof was created titled "Thomas The Tanked Up Engine" involving Jeremy, the pink engine. Bobby Davro provided the narration by impersonating Ringo Starr.

text: In Cartoon Network's MAD, Thomas the Tank Engine appears in "Thomas the Unstoppable Tank Engine," a crossover between Thomas the Tank Engine and Unstoppable.[14] A parody of Thomas the Tank Engine was in Robot Chicken. The skit was called "Blow Some Steam." The narrator (Seth Green) spoke like Ringo Starr who was the first narrator for Thomas and Friends. Thomas was voiced by Daniel Radcliffe.[15]

text: A tank-themed version of Thomas appears as an amusement park prop in the 2015 anime feature Girls und Panzer der Film.

text: The 2015 Marvel film Ant-Man features a Bachmann HO scale model of Thomas. In the film's climactic battle, Ant-Man and Yellowjacket fight atop Thomas while in their insect sizes until Yellowjacket derails Thomas and throws him onto a windowsill. An accident during the fight results in Thomas suddenly growing to the size of a real train and demolishing a large portion of Ant-Man's daughter's house before falling on top of a police car.

text: Commercialisation[edit]


document_title: List of NCAA major college football yearly rushing leaders

question_text: most single season rushing yards in ncaa history

text: Overview[edit]

text: Seven players since 1937 have led the country in rushing yardage in multiple seasons. They are Ricky Williams of Texas (1997-1998), Troy Davis of Iowa State (1995-1996), Charles White of USC (1978-1979), O. J. Simpson of USC (1967-1968), Preacher Pilot of New Mexico State (1961-1962), Art Luppino of Arizona (1954-1955), and Rudy Mobley of Hardin-Simmons (1942, 1946).

text: Three programs have had different players lead the country in rushing yardage in consecutive seasons. The first was Hardin–Simmons, with Wilton Davis following Mobley as the rushing leader in 1947. The second, New Mexico State, is the only one to have had the nation's rushing leader in more than two consecutive seasons. Pervis Atkins led the country in 1959, followed by Bob Gaiters in 1960 and then Pilot in the next two seasons. The most recent program to have back-to-back rushing leaders is San Diego State, with Donnel Pumphrey in 2016 and Rashaad Penny in 2017.

text: Since 1937, the single-season rushing record has been broken eight times, by Rudy Mobley in 1942 (1,281 yards), Fred Wendt in 1948 (1,570 yards), O. J. Simpson in 1968 (1,880 yards), Ed Marinaro in 1971 (1,881 yards), Ricky Bell in 1975 (1,957 yards), Tony Dorsett in 1976 (2,150 yards), Marcus Allen in 1981 (2,427 yards), and Barry Sanders in 1988 (2,628 yards).

text: The record for highest rushing yards per carry in a season was set in 1939 by Jackie Robinson of UCLA with an average of 12.2 yards per carry, a record that stands to this day.

text: The record of 37 rushing touchdowns in a season was set by Barry Sanders of Oklahoma State in 1988. Mike Rozier of Nebraska held the record previously with 29 rushing touchdowns in 1983.

text: Leading programs[edit]

text: Programs with multiple rushing leaders (at least three individual players, in any of the three categories) include:

text:
Oklahoma - 8 (Patrick Collins, Marcus Dupree, Buster Rhymes, Billy Sims, Kenny King, Greg Pruitt, Clendon Thomas, and Buck McPhail)
USC - 8 (Reggie Bush, LenDale White, Marcus Allen, Charles White, Ricky Bell, O. J. Simpson, Mike Garrett, and Mort Kaer)
Texas - 6 (Vince Young, Cedric Benson, Ricky Williams, Earl Campbell, Gralyn Wyatt, and Jimmy Saxton)
Georgia Tech - 5 (David Sims, Red Barron, Buck Flowers, Everett Strupper, and Albert Hill)
Nebraska - 5 (Ahman Green, Calvin Jones, Tom Rathman, Mike Rozier, and Glenn Presnell)
Northern Illinois - 5 (Mark Kellar, LeShon Johnson, Garrett Wolfe, Stacey Robinson and Chad Spann)
Ohio State - 5 (Eddie George, Keith Byars, Pete Johnson, Archie Griffin, and Champ Henson)
Alabama - 5 (Derrick Henry, Mark Ingram, Santonio Beard, Wilbur Jackson, and Bobby Marlow)
Michigan - 4 (Bill Daley, Tom Harmon, Willie Heston, and Al Herrnstein)
Michigan State - 4 (Javon Ringer, DeAndra' Cobb, Lorenzo White, and Neno DaPrato)
New Mexico State - 4 (Kenton Keith, Preacher Pilot, Bob Gaiters, and Pervis Atkins)
Oklahoma State - 4 (Barry Sanders, Ernest Anderson, Terry Miller, and Bob Fenimore)
Pittsburgh - 4 (Craig Heyward, Tony Dorsett, Dick Cassiano, and Marshall Goldberg)
San Diego State - 4 (Marshall Faulk, Paul Hewitt, Rashaad Penny, and Donnel Pumphrey)
Arizona - 3 (Ka'Deem Carey, Art Luppino, and Khalil Tate)
Arizona State - 3 (Tony Lorick, Leon Burton, and Wilford White)
Army - 3 (Glenn Davis, Doc Blanchard, and Bob Anderson)
Colorado - 3 (Rashaan Salaam, Byron White, and Kayo Lam)
Detroit - 3 (Jack Kurkowski, Al Ghesquiere, and Lloyd Brazil)
Georgia - 3 (Frank Sinkwich, Garrison Hearst, and Nick Chubb)
Indiana - 3 (Vaughn Dunbar, Anthony Thompson, and Levron Williams)
New Mexico - 3 (Jhurell Pressley, Fred Henry, Billy Brown)
Notre Dame - 3 (Robert Farmer, Reggie Brooks, and Creighton Miller)
Penn State - 3 (Larry Johnson, Ki-Jana Carter, and Don Kunit)
Tennessee - 3 (Charlie Garner, Beattie Feathers, and Gene McEver)
Wisconsin - 3 (Melvin Gordon, Montee Ball, and Ron Dayne)

text: Rushing leaders since 1937[edit]

text: The NCAA did not compile and distribute official, national rushing statistics until the 1937 season. This chart reflects the official rushing statistics compiled and distributed by the NCAA.

text:
Year
Name
Yards
Name
Yds/Carry
Name
Rushing TDs

1937
Byron White[1]
(Colorado)
1121
Dick Cassiano
(Pittsburgh)
9.0[2]

1938
Len Eshmont[1]
(Fordham)
831
Parker Hall[3]
(Ole Miss)
6.5

1939
John Polanski[1]
(Wake Forest)
882
Jackie Robinson[4]
(UCLA)
12.2

1940
Al Ghesquiere[1]
(Detroit)
957
James Farrell[5]
(Lafayette)
7.2
Tom Harmon
(Michigan)
15

1941
Frank Sinkwich[1]
(Georgia)
1103
Bob Steuber
(Missouri)
7.6

1942
Rudy Mobley[1]
(Hardin-Simmons)
1281
Bob Steuber[6]
(Missouri)
7.4
Frank Sinkwich
(Georgia)
17

1943
Creighton Miller[1]
(Notre Dame)
911
Bill Daley[7]
(Michigan)
6.8

1944
Wayne Williams[1]
(Minnesota)
911
Glenn Davis[8]
(Army)
11.5
Glenn Davis
(Army)
14

1945
Bob Fenimore[1]
(Oklahoma St.)
1048
Glenn Davis[9]
(Army)
11.5
Doc Blanchard
(Army)
16

1946
Rudy Mobley[1][10]
(Hardin-Simmons)
1262
Roger Stephens[11]
(Cincinnati)
7.7

1947
Wilton Davis[1][12]
(Hardin-Simmons)
1173
Jack Kurkowski[13]
(Detroit)
10.1

1948
Fred Wendt[1][14]
(UTEP)
1570
Fred Wendt[14][15]
(UTEP)
8.53
Fred Wendt
(UTEP)
20

1949
John Dottley[1][16]
(Ole Miss)
1312
John Pont[17]
(Miami-OH)
7.6

1950
Wilford White[1][18]
(Arizona St.)
1502
Wilford White[19]
(Arizona St.)
Bobby Marlow[19]
(Alabama)
7.5
7.5

1951
Ollie Matson[1][20]
(San Francisco)
1566
Buck McPhail[20][21]
(Oklahoma)
8.56

1952
Howard Waugh[1][22]
(Tulsa)
1372
Howard Waugh[22][23]
(Tulsa)
8.53

1953
J. C. Caroline[1][24]
(Illinois)
1256

1954
Art Luppino[1][25]
(Arizona)
1359

Art Luppino[26]
(Arizona)
21

1955
Art Luppino[1][27]
(Arizona)
1313
Art Luppino
(Arizona)
6.28

1956
Jim Crawford[1][28]
(Wyoming)
1104
Tommy Lorino
(Auburn)
8.4
Jim Brown
(Syracuse)
Clendon Thomas
(Oklahoma)
13

1957
Leon Burton[1][29]
(Arizona St.)
1126
Leon Burton
(Arizona St.)
9.6
Bob Anderson
(Army)
13

1958[30]
Dick Bass[1]
(Pacific)
1361
Bob Jeter
(Iowa)
7.2
Dick Bass
(Pacific)
Billy Austin
(Rutgers)
15
15

1959[31]
Pervis Atkins[1]
(New Mexico St.)
971
Billy Brown
(New Mexico)
7.8
Pervis Atkins
(New Mexico St.)
13

1960[32]
Bob Gaiters[1]
(New Mexico St.)
1338
Tom Larscheid
(Utah St.)
8.4
Bob Gaiters
(New Mexico St.)
23

1961[33]
Preacher Pilot[1]
(New Mexico St.)
1278
Jimmy Saxton
(Texas)
7.9
Pete Pedro
(West Texas A&M)
21

1962[34]
Preacher Pilot[1]
(New Mexico St.)
1247
Gale Sayers
(Kansas)
7.1
Preacher Pilot
(New Mexico St.)
15

1963[35]
Dave Casinelli[1]
(Memphis)
1016
Tony Lorick
(Arizona St.)
7.7
Dave Casinelli
(Memphis)
Cosmo Iacavazzi
(Princeton)
14

1964[36]
Brian Piccolo[1]
(Wake Forest)
1044
Don Kunit
(Penn St.)
Tom Brown
(Villanova)
6.4
Brian Piccolo
(Wake Forest)
15

1965[37]
Mike Garrett[1]
(USC)
1440
Harry Jones
(Arkansas)
7.7
Dave Alexander
(East Carolina)
17

1966[38]
Ray McDonald[1]
(Idaho)
1329
MacArthur Lane
(Utah St.)
7.6
Lee Jones
(Buffalo)
16

1967
O. J. Simpson
(USC)
1543[39]
1415[1]
Duane Thomas
(West Texas A&M)
7.2
Butch Colson
(East Carolina)
15

1968
O. J. Simpson
(USC)
1880[40]
1709[1]
Fred Willis
(Boston College)
7.3
O. J. Simpson
(USC)
23

1969
Leon Burns[41]
(Long Beach St.)
Steve Owens[1]
(Oklahoma)
1659
1523
Billy Walik
(Villanova)
8.9
Leon Burns
(Long Beach St.)
26

1970[42]
Don McCauley
(North Carolina)
1863
Fred Henry
(New Mexico)
7.3
Don McCauley
(North Carolina)
22

1971[43]
Ed Marinaro
(Cornell)
1881
Greg Pruitt
(Oklahoma)
9.0
Terry Metcalf
(Long Beach St.)
28

1972[44]
Pete Van Valkenburg
(BYU)
1386
Wilbur Jackson
(Alabama)
7.1
Champ Henson
(Ohio St.)
20

1973[45]
Mark Kellar
(N. Illinois)
1719
Wilbur Jackson
(Alabama)
7.9
J. J. Jennings
(Rutgers)
21

1974[46]
Archie Griffin
(Ohio St.)
1695
Gralyn Wyatt
(Texas)
7.8
Keith Barnette
(Boston College)
22

1975[47]
Ricky Bell
(USC)
1957
David Sims
(Georgia Tech)
8.2
Pete Johnson
(Ohio St.)
25

1976[48]
Tony Dorsett
(Pittsburgh)
2150
Scott McConnell
(Appalachian St.)
6.9
Terry Miller
(Okla. St.)
23

1977[49]
Earl Campbell
(Texas)
1744
Henry White
(Colgate)
7.9
Earl Campbell
(Texas)
18

1978[50]
Charles White
(USC)
1859
Kenny King
(Oklahoma)
7.9
Billy Sims
(Oklahoma)
20

1979[51]
Charles White
(USC)
2050
Gwain Durden
(Chattanooga)
7.8
Billy Sims
(Oklahoma)
22

1980[52]
George Rogers
(South Carolina)
1781
Buster Rhymes
(Oklahoma)
7.7
Sammy Winder
(S. Mississippi)
20

1981[53]
Marcus Allen
(USC)
2427
Tim Martin
(Appalachian St.)
6.8
Marcus Allen
(USC)
22

1982[54]
Ernest Anderson
(Okla. St.)
1877
Marcus Dupree
(Oklahoma)
7.8
Greg Allen
(Florida St.)
20

1983[55]
Mike Rozier
(Nebraska)
2148
Mike Brown
(Air Force)
8.5
Mike Rozier
(Nebraska)
29

1984[56]
Keith Byars
(Ohio St.)
1764
Kevin Lowe
(Wyoming)
8.0
Keith Byars
(Ohio St.)
22

1985[57]
Lorenzo White
(Michigan St.)
2066
Tom Rathman
(Nebraska)
7.5
Bernard White
(Bowling Green)
18

1986[58]
Paul Palmer
(Temple)
1866
Brent Fullwood
(Auburn)
8.3
Steve Bartalo
(Colorado St.)
19

1987[59]
Craig Heyward
(Pittsburgh)
1791
Patrick Collins
(Oklahoma)
7.6
Paul Hewitt
(San Diego St.)
18

1988[60]
Barry Sanders
(Okla. St.)
2628
Chuck Weatherspoon
(Houston)
8.5
Barry Sanders
(Okla. St.)
37

1989[61]
Anthony Thompson
(Indiana)
1793
Chuck Weatherspoon
(Houston)
9.6
Anthony Thompson
(Indiana)
24

1990[62]
Darren Lewis
(Texas A&M)
1691
Nikki Fisher
(Virginia)
7.0
Stacey Robinson
(N. Illinois)
19

1991[63]
Vaughn Dunbar
(Indiana)
1805
Calvin Jones
(Nebraska)
8.3
Tommy Vardell
(Stanford)
22

1992[64]
Marshall Faulk
(San Diego St)
1630
Reggie Brooks
(Notre Dame)
8.0
Garrison Hearst
(Georgia)
19

1993[65]
LeShon Johnson
(N. Illinois)
1976
Charlie Garner
(Tennessee)
7.3
Bam Morris
(Texas Tech)
22

1994[66]
Rashaan Salaam
(Colorado)
2055
Ki-Jana Carter
(Penn State)
7.8
Rashaan Salaam
(Colorado)
24

1995[67]
Troy Davis
(Iowa State)
2010
Ahman Green
(Nebraska)
7.7
Eddie George
(Ohio State)
24

1996[68]
Troy Davis
(Iowa State)
2185
Robert Farmer
(Notre Dame)
8.5
Corey Dillon
(Washington)
22

1997[69]
Ricky Williams
(Texas)
1893
Kevin McDougal
(Colorado St.)
7.4
Ricky Williams
(Texas)
Travis Prentice
(Miami-OH)
25

1998[70]
Ricky Williams
(Texas)
2124
Reuben Droughns
(Oregon)
7.4
Ricky Williams
(Texas)
27

1999[71]
Ron Dayne
(Wisconsin)
2034
Levron Williams
(Indiana)
6.9
Ron Dayne
(Wisconsin)
LaDainian Tomlinson
(TCU)
20

2000[72]
LaDainian Tomlinson
(TCU)
2158
Kenton Keith
(N. Mexico St.)
7.8
Lee Suggs
(Va. Tech)
27

2001[73]
Chance Kretschmer
(Nevada)
1732
Santonio Beard
(Alabama)
8.2
Luke Staley
(BYU)
24

2002[74]
Larry Johnson
(Penn St.)
2087
Larry Johnson
(Penn St.)
Joshua Cribbs
(Kent St.)
7.7
Willis McGahee
(Miami-FL)
28

2003[75]
Darren Sproles
(Kansas St.)
1986
Vince Young
(Texas)
Matt Jones
(Arkansas)
7.4
Kevin Jones
(Virginia Tech)
Cedric Benson
(Texas)
21
21

2004[76]
J. J. Arrington
(California)
2018
DeAndra' Cobb
(Michigan St.)
7.6
DeAngelo Williams
(Memphis)
22

2005[77]
DeAngelo Williams
(Memphis)
1964
Reggie Bush
(USC)
8.7
LenDale White
(USC)
24

2006[78]
Garrett Wolfe
(N. Illinois)
1928
Anthony Alridge
(Houston)
10.1
Ian Johnson
(Boise St.)
25

2007[79]
Kevin Smith
(UCF)
2567
Percy Harvin
(Florida)
9.2
Kevin Smith
(UCF)
29

2008[80]
Donald Brown
(Connecticut)
2083
Shun White
(Navy)
8.3
MiQuale Lewis
(Ball St.)
Javon Ringer
(Michigan St)
22

2009[81]
Toby Gerhart
(Stanford)
1871
Vai Taua
(Nevada)
7.8
Toby Gerhart
(Stanford)
28

2010[82]
LaMichael James
(Oregon)
1731
Onterio McCalebb
(Auburn)
8.5
Chad Spann
(N. Illinois)
22

2011[83]
Montee Ball
(Wisconsin)
1923
Henry Josey
(Missouri)
8.1
Montee Ball
(Wisconsin)
33

2012[84]
Ka'Deem Carey
(Arizona)
1929
Dri Archer
(Kent State)
9.0
Kenneth Dixon
(La. Tech)
27

2013[85]
Andre Williams
(Boston College)
2177
Elijah McGuire
(La.-Lafayette)
8.4
Kapri Bibbs
(Colorado St.)
Keenan Reynolds
(Navy)
31

2014[86]
Melvin Gordon (Wisconsin)
2587
Jhurell Pressley
(New Mexico)
9.5
Melvin Gordon
(Wisconsin)
29

2015[87]
Derrick Henry
(Alabama)
2219
Nick Chubb
(Georgia)
8.1
Derrick Henry
(Alabama)
28

2016[88]
Donnel Pumphrey
(San Diego State)
2133
Ty Johnson
(Maryland)
9.1
Anthony Wales
(Western Kentucky)
27

2017[89]
Rashaad Penny
(San Diego State)
2248
Khalil Tate
(Arizona)
9.2
Devin Singletary
(Florida Atlantic)
32

tag: table

text: Pre-1937 unofficial data[edit]

text: This chart reflects unofficial rushing statistics before the NCAA started keeping official rushing statistics in 1937, compiled by historians largely from contemporary newspaper accounts.

text:
Year
Name
Yards
Name
Yds/Carry
Name
Rushing TDs

1936
Marshall Goldberg[90]
(Pittsburgh)
860

1935
Kayo Lam[91][92]
(Colorado)
1043

1934
Kayo Lam[93]
(Colorado)
906

Bill Shepherd
(Western Maryland)
18

1933
Beattie Feathers
(Tennessee)
663

Beattie Feathers
(Tennessee)
13

1932

1931
Shipwreck Kelly[94]
(Kentucky)
1074
Shipwreck Kelly[95]
(Kentucky)
6.3

1930
Frank Christensen[96]
(Utah)
1131

1929
Lloyd Brazil[97]
(Detroit)
1117

Gene McEver
(Tennessee)
18

1928
Ken Strong[98]
(NYU)
2032

Ken Strong
(NYU)
22

1927
Glenn Presnell[99]
(Nebraska)
1448

Joel Hunt
(Texas A&M)
19

1926

1925

Peggy Flournoy (Tulane)
and Mort Kaer (USC)
19

1924
Red Strader[100]
(St. Mary's)
1421

1923

1922

1921
Red Barron[101]
(Georgia Tech)
1459

1920
Jimmy Leech
(VMI)
1723
Buck Flowers[102]
(Georgia Tech)
10.2
Jimmy Leech
(VMI)
26

1919

Ira Rodgers
(West Virginia)
19

1918

1917
Everett Strupper[103]
(Georgia Tech)
1150
Everett Strupper
(Georgia Tech)
10.1
Albert Hill
(Georgia Tech)
23

1916

1915

Jerry DaPrato
(Michigan Aggies)
34

1914

Buck Mayer
(Virginia)
21

1913

1912
Jim Thorpe[104][105]
(Carlisle)
1869+
Jim Thorpe
(Carlisle)
9.8
Jim Thorpe
(Carlisle)
29

1911
Jim Thorpe[104]
(Carlisle)
899
Jim Thorpe
(Carlisle)
8.0

1910

1909
Jim Thorpe[104]
(Carlisle)
781

1908

1907

1906

1905

1904
Willie Heston[104]
(Michigan)
686
Willie Heston
(Michigan)
12.7
Willie Heston
(Michigan)
21

1903

1902
Willie Heston
(Michigan)
487
Willie Heston
(Michigan)
8.7
Al Herrnstein
(Michigan)
26

1901[104]
Willie Heston
(Michigan)
684
Willie Heston
(Michigan)
10.2
Willie Heston
(Michigan)
20

1900

1899

1898

1897

1896

1895

1894

1893

1892

1891

Everett J. Lake[106]
(Harvard)
39

1890

Philip King
(Princeton)
29

1889

1888

1887

Snake Ames[107]
(Princeton)
20

1886

Harry Beecher[106]
(Yale)
33


document_title: Ball (association football)

question_text: what football do they use in the premier league

text: Ball (association football)

text: History[edit]

text: In the year 1863, the first specifications for footballs were laid down by the Football Association. Previous to this, footballs were made out of inflated leather, with later leather coverings to help footballs maintain their shapes.[3] In 1872 the specifications were revised, and these rules have been left essentially unchanged as defined by the International Football Association Board. Differences in footballs created since this rule came into effect have been to do with the material used in their creation.

text: Footballs have gone through a dramatic change over time. During medieval times balls were normally made from an outer shell of leather filled with cork shavings.[4] Another method of creating a ball was using animal bladders for the inside of the ball making it inflatable. However, these two styles of creating footballs made it easy for the ball to puncture and were inadequate for kicking.  It was not until the 19th century that footballs developed into what a football looks like today.

text: Vulcanisation[edit]

text: In 1838, Charles Goodyear  introduced vulcanized rubber, which dramatically improved the football.[5] Vulcanisation is the treatment of rubber to give it certain qualities such as strength, elasticity, and resistance to solvents. Vulcanisation of rubber also helps the football resist moderate heat and cold.  Vulcanisation helped create inflatable bladders that pressurize the outer panel arrangement of the football. Charles Goodyear's innovation increased the bounce ability of the ball and made it easier to kick. Most balls of this time had tanned leather with eighteen sections stitched together. These were arranged in six panels of three strips each.[6][7]

text: Reasons for improvement[edit]

text: During the 1900s, footballs were made out of rubber and leather which was perfect for bouncing and kicking the ball; however, when heading the football (hitting it with the player's head) it was usually painful. This problem was most probably due to water absorption of the leather from rain, which caused a considerable increase in weight, causing head or neck injury. By around 2017, this had also been associated with dementia in former players.[8][9] Another problem of early footballs was that they deteriorated quickly, as the leather used in manufacturing the footballs varied in thickness and in quality.[6]

text: Present developments[edit]

text: Elements of the football that today are tested are the deformation of the football when it is kicked or when the ball hits a surface. Two styles of footballs have been tested by the Sports Technology Research Group of Wolfson School of Mechanical and Manufacturing Engineering in Loughborough University; these two models are called the Basic FE model and the Developed FE model of the football. The basic model considered the ball as being a spherical shell with isotropic material properties. The developed model also utilised isotropic material properties but included an additional stiffer stitching seam region.

text: Future developments[edit]

text: Companies such as Umbro, Mitre, Adidas, Nike, Select and Puma are releasing footballs made out of new materials which are intended to provide more accurate flight and more power to be transferred to the football.[10][11]

text: Construction[edit]

text:
Today's footballs are more complex than past footballs. Most modern footballs consist of twelve regular pentagonal and twenty regular hexagonal panels positioned in a truncated icosahedron spherical geometry.[4] Some premium-grade 32-panel balls use non-regular polygons to give a closer approximation to sphericality.[12] The inside of the football is made up of a latex bladder which enables the football to be pressurised. The ball's panel pairs are stitched along the edge; this procedure can either be performed manually or with a machine.[5]
The size of a football is roughly 22 cm (8.65 inches) in diameter for a regulation size 5 ball. Rules state that a size 5 ball must be 68 to 70 cm in circumference. Averaging that to 69 cm and then dividing by π gives about 22 cm for a diameter.

text: The ball's weight must be in the range of 410 to 450 grams (14 to 16 oz) and inflated to a pressure of between 0.6 and 1.1 standard atmospheres (8.8 and 16.2 psi) at sea level.[13]

text: There are a number of different types of football balls depending on the match and turf including training footballs, match footballs, professional match footballs, beach footballs, street footballs, indoor footballs, turf balls, futsal footballs and mini/skills footballs.[14]

text: Suppliers[edit]

text: Many companies throughout the world produce footballs.[15] The earliest balls were made by local suppliers where the game was played. It is estimated that 55% of all footballs are made in Sialkot, Pakistan, with other major producers being China and India.[16]

text: As a response to the problems with the balls in the 1962 FIFA World Cup, Adidas created the Adidas Santiago[17] – this led to Adidas winning the contract to supply the match balls for all official FIFA and UEFA matches, which they have held since the 1970s, and also for the Olympic Games.[18] They also supply the ball for the UEFA Champions League which is called the Adidas Finale.

text: FIFA World Cup[edit]

text: In early FIFA World Cups, match balls were mostly provided by the hosts from local suppliers. Records indicate a variety of models being used within individual tournaments and even, on some occasions, individual games. Over time, FIFA took more control over the choice of ball used. Since 1970 Adidas have supplied official match balls for every tournament.[19]

text: League balls[edit]

text: The following lists the most up-to-date balls used in various club football competitions:

text:
Ball

League Name

Voit

 Liga MX

Nike Merlin

 Premier League

Adidas Torfabrik

 Bundesliga

Nike Merlin

 La Liga

Derbystar Brillant APS

 KNVB Eredivisie

Puma King Ball

 Primera Division

Golty

 Categoría Primera A

Nike Ordem

 Campeonato Brasileiro Série A

Nike Merlin

 Serie A

Uhlsport Elysia

 Ligue 1

Adidas Argentum

 Argentine Primera División

Nike Merlin

 Russian Premier League

Nike Merlin

 Primeira Liga

Nike Incyte

 Süper Lig

Adidas Telstar 18

 Superleague Greece

Nike Maxim

 Liga I

Adidas Telstar 18

 J1 League

Adidas Telstar 18

 K League Classic

Puma

 Parva Liga

Adidas Telstar 18

 Ekstraklasa

Adidas Telstar 18 Adidas Nativo

/ Major League Soccer

Nike Ordem 5

 Chinese Super League

Nike Incyte

 A-League

Nike Ordem 5

 I-League

Molten VG-5000A

 United Football League

Adidas Brazuca

 Eliteserien

Adidas Finale

UEFA Champions League

Select Brilliant Super

 Belgian First Division A

Select Brilliant Super

 Danish Superliga

Select Brilliant Super

 Veikkausliiga

Select Brilliant Super

 Allsvenskan

Voit

/ National Premier Soccer League

Nivia Ashtang

 Indian Super League

Nike Ordem 3 NWSL 2016

 National Women's Soccer League

Nike Ordem 3

 Saudi Premier League

Dong Luc Group Galaxy UHV 2.07

 V.League 1

Grand Sport Group Primero Mundo 5

 Thai League 1

Mitre Delta Max

 Singapore Premier League

Mitre Delta

 National Football League

Mitre Delta Hyperseam

 Women's Premier League

Mitre Delta Hyperseam

 Women's National League

Mitre Delta Max

 Emirates FA Cup

Mitre Delta Max

 English Football League

Mitre Delta Max

 EFL Cup

Mitre Delta Max

 SSE Women's FA Cup

Mitre Delta Max

 The FA Women's Super League

Mitre Delta Max

 The FA Women's Championship

Mitre Delta Max

 FFA Cup

Mitre Delta SPFL

 Scottish Professional Football League

Mitre Delta V12

 National Premier Soccer League

Mitre Delta WPL

 Welsh Premier League

text: Unicode[edit]

text: Unicode 5.2 introduces the glyph ⚽  (U+26BD SOCCER BALL), representable in HTML as ⚽ or ⚽.[20] The addition of this symbol follows a 2008 proposal by Karl Pentzlin.[21]