document_title: French West Indies

question_text: when did the french come to the caribbean

text: French West Indies

text: History[edit]

text: Pierre Belain d'Esnambuc was a French trader and adventurer in the Caribbean, who established the first permanent French colony, Saint-Pierre, on the island of Martinique in 1635. Belain sailed to the Caribbean in 1625, hoping to establish a French settlement on the island of St. Christopher (St. Kitts). In 1626 he returned to France, where he won the support of Cardinal Richelieu to establish French colonies in the region. Richelieu became a shareholder in the Compagnie de Saint-Christophe, created to accomplish this with d'Esnambuc at its head. The company was not particularly successful and Richelieu had it reorganized as the Compagnie des Îles de l'Amérique. In 1635 d'Esnambuc sailed to Martinique with one hundred French settlers to clear land for sugarcane plantations.

text: After six months on Martinique, d'Esnambuc returned to St. Christopher, where he soon died prematurely in 1636. His nephew, Jacques Dyel du Parquet, inherited d'Esnambuc's authority over the French settlements in the Caribbean, in 1637 becoming governor of Martinique. He remained in Martinique and did not concern himself with the other islands.

text: The French permanently settled on Martinique and Guadeloupe after being driven off Saint Kitts and Nevis (Saint-Christophe in French) by the British. Fort Royal (Fort-de-France) on Martinique was a major port for French battle ships in the region from which the French were able to explore the region. In 1638, Jacques Dyel du Parquet (1606-1658), nephew of Pierre Belain d'Esnambuc and first governor of Martinique, decided to have Fort Saint Louis built to protect the city against enemy attacks. From Fort Royal, Martinique, Du Parquet proceeded south in search for new territories and established the first settlement in Saint Lucia in 1643, and headed an expedition which established a French settlement in Grenada in 1649. Despite the long history of British rule, Grenada's French heritage is still evidenced by the number of French loanwords in Grenadian Creole, French-style buildings, cuisine and places name (For ex. Petit Martinique, Martinique Channel, etc.)

text: In 1642 the Compagnie des Îles de l'Amérique received a twenty-year extension of its charter. The King would name the Governor General of the company, and the company the Governors of the various islands. However, by the late 1640s, in France Mazarin had little interest in colonial affairs and the company languished. In 1651 it dissolved itself, selling its exploitation rights to various parties. The du Paquet family bought Martinique, Grenada, and Saint Lucia for 60,000 livres. The sieur d'Houël bought Guadeloupe, Marie-Galante, La Desirade and the Saintes. The Knights of Malta bought Saint Barthélemy and Saint Martin, which were made dependencies of Guadeloupe. In 1665, the Knights sold the islands they had acquired to the newly formed (1664) Compagnie des Indes occidentales.

text: Dominica is a former French and British colony in the Eastern Caribbean, located about halfway between the French islands of Guadeloupe (to the north) and Martinique (to the south). Christopher Columbus named the island after the day of the week on which he spotted it, a Sunday (domingo in Latin), 3 November 1493. In the hundred years after Columbus's landing, Dominica remained isolated. At the time it was inhabited by the Island Caribs, or Kalinago people, and over time more settled there after being driven from surrounding islands, as European powers entered the region. In 1690, French woodcutters from Martinique and Guadeloupe begin to set up timber camps to supply the French islands with wood and gradually become permanent settlers. France had a colony for several years, they imported slaves from West Africa, Martinique and Guadeloupe to work on its plantations. In this period, the Antillean Creole language developed. France formally ceded possession of Dominica to Great Britain in 1763. Great Britain established a small colony on the island in 1805. As a result, Dominicans speak English as an official language while Antillean creole is spoken as a secondary language and is well maintained due to its location between the French-speaking departments of Guadeloupe and Martinique.

text: In Trinidad, the occupying Spanish had contributed little towards advancements, despite the island's ideal location. Because it was considered underpopulated, Roume de St. Laurent, a Frenchman living in Grenada, was able to obtain a Cédula de Población from the Spanish king Charles III, on 4 November 1783, allowing French planters with their slaves, free coloreds and mulattos from the French Antilles of Martinique, Grenada, Guadeloupe and Dominica to migrate to Trinidad. The Spanish gave many incentives to lure settlers to the island, including exemption from taxes for ten years and land grants in accordance to the terms set out in the Cedula. This exodus was also encouraged by the French Revolution. These new immigrants established the local communities of Blanchisseuse, Champs Fleurs, Paramin, Cascade, Carenage and Laventille, adding to the ancestry of Trinidadians and creating the creole identity; Spanish, French, and Patois were the languages spoken. Trinidad's population jumped from just under 1,400 in 1777, to over 15,000 by the end of 1789. In 1797, Trinidad became a British crown colony, with a French-speaking population.

text:
Islands of the French West Indies

Name
Largest settlement
Population
(Jan. 2011)[1]
Land area
(km2)[2][3][4]
Population density
(inh. per km2)
Status

Martinique
Fort-de-France
392,291
1,128
348
Overseas department / region

Guadeloupe proper
(Basse-Terre & Grande-Terre)
Pointe-à-Pitre
388,795
1,436
271
Overseas department / region

Saint Martin
Marigot
36,286
53
685
Overseas collectivity, detached from Guadeloupe
on 22 February 2007.

Marie-Galante
Grand-Bourg
11,404
158
72
Forms part of the Guadeloupe region.

Saint Barthélemy
Gustavia
9,035
25
361
Overseas collectivity, detached from Guadeloupe
on 22 February 2007.

Les Saintes
Terre-de-Haut
2,882
13
225
Forms part of the Guadeloupe region.

La Désirade
Beauséjour
1,554
21
74
Forms part of the Guadeloupe region.

French West Indies

842,247
2,834
297

text: The two official French overseas departments are Guadeloupe and Martinique. St. Martin and St. Barthélemy, formerly attached to the department of Guadeloupe, have held separate status as overseas collectivities since 2007. These Caribbean Départments et Collectivités d’Outre Mer are also known as the French West Indies.

text: French Caribbean[edit]

text: The French Caribbean (or Francophone Caribbean) includes all the French-speaking countries in the region.[5][6][7] It can also refer to any area that exhibits a combination of French and Caribbean cultural influences in music, cuisine, style, architecture, and so on.[8] The Francophone Caribbean is a part of the wider French America, which includes all the French-speaking countries in the Americas.

text: However, the term varies in meaning by its usage and frame of reference. It is not used much in France, unless the speaker wants to refer to every French dependency in the Caribbean region. This term is thus more ambiguous than the term "French West Indies", which refers specifically to the islands that are French overseas departments, which means they have overall the same laws and regulations as departments on the mainland of France. Collectivities can be included too.

text: The following Caribbean regions are predominantly French-speaking and/or French Creole-speaking:

text:
French Republic:

 Guadeloupe
 Martinique
 Saint-Barthélemy
 Saint Martin
 French Guiana

Independent nation(s):

 Haiti
 Dominica*
 Saint Lucia*

text: (*) = gained independence from Great Britain. English is its official language, but French-based creole languages are widely spoken by the island population due to a period of French colonization[9][10]

text: Former French West Indian islands[edit]

text: In addition, some of the islands of the present and former British West Indies were once ruled by France. Among some of them, a French-based creole language is spoken, whereas in others the language is nearing extinction; specific words and expressions may vary among the islands.

text:
Area
Former territories

Greater Antilles

Hispaniola

 Haiti (Saint-Domingue)

Lesser Antilles

 Dominica
 Grenada
 Saint Croix
 Saint Kitts (Saint-Christophe)

 Saint Lucia
 Saint Vincent
 Tobago
 Turks and Caicos Islands


document_title: Reverberation

question_text: an enclosed space for producing reverberation of a sound

root

text: Reverberation

text: Reverberation time[edit]

text: The time it takes for a signal to drop by 60 dB is the reverberation time.

tag: p

text: RT60 is the time required for reflections of a direct sound to decay 60 dB. Reverberation time is frequently stated as a single value, if measured as a wide band signal (20 Hz to 20 kHz). However, being frequency dependent, it can be more precisely described in terms of frequency bands (one octave, 1/3 octave, 1/6 octave, etc.). Being frequency dependent, the reverberation time measured in narrow bands will differ depending on the frequency band being measured. For precision, it is important to know what ranges of frequencies are being described by a reverberation time measurement.

text: In the late 19th century, Wallace Clement Sabine started experiments at Harvard University to investigate the impact of absorption on the reverberation time. Using a portable wind chest and organ pipes as a sound source, a stopwatch and his ears, he measured the time from interruption of the source to inaudibility (a difference of roughly 60 dB). He found that the reverberation time is proportional to room dimensions and inversely proportional to the amount of absorption present.

text: The optimum reverberation time for a space in which music is played depends on the type of music that is to be played in the space. Rooms used for speech typically need a shorter reverberation time so that speech can be understood more clearly. If the reflected sound from one syllable is still heard when the next syllable is spoken, it may be difficult to understand what was said.[5] "Cat", "Cab", and "Cap" may all sound very similar. If on the other hand the reverberation time is too short, tonal balance and loudness may suffer. Reverberation effects are often used in studios to add depth to sounds. Reverberation changes the perceived spectral structure of a sound but does not alter the pitch.

text: Basic factors that affect a room's reverberation time include the size and shape of the enclosure as well as the materials used in the construction of the room. Every object placed within the enclosure can also affect this reverberation time, including people and their belongings.

text: Sabine equation[edit]

text: Sabine's reverberation equation was developed in the late 1890s in an empirical fashion. He established a relationship between the RT60 of a room, its volume, and its total absorption (in sabins). This is given by the equation:

text:
where

c

20

{\displaystyle c_{20}}

 is the speed of sound in the room (for 20 degrees Celsius),

V

{\displaystyle V}

 is the volume of the room in m³,

S

{\displaystyle S}

 total surface area of room in m²,

a

{\displaystyle a}

 is the average absorption coefficient of room surfaces, and the product

S
a

{\displaystyle Sa}

 is the total absorption in sabins.

text: The total absorption in sabins (and hence reverberation time) generally changes depending on frequency (which is defined by the acoustic properties of the space). The equation does not take into account room shape or losses from the sound travelling through the air (important in larger spaces). Most rooms absorb less sound energy in the lower frequency ranges resulting in longer reverb times at lower frequencies.

text: Sabine concluded that the reverberation time depends upon the reflectivity of sound from various surfaces available inside the hall. If the reflection is coherent, the reverberation time of the hall will be longer; the sound will take more time to die out.

text: The reverberation time RT60 and the volume V of the room have great influence on the critical distance dc (conditional equation):

text:
where critical distance

d

c

{\displaystyle d_{c}}

 is measured in meters, volume

V

{\displaystyle V}

 is measured in m³, and reverberation time

R

T

60

{\displaystyle RT_{60}}

 is measured in seconds.

text: Absorption Coefficient[edit]

text: The absorption coefficient of a material is a number between 0 and 1 which indicates the proportion of sound which is absorbed by the surface compared to the proportion which is reflected back into the room. A large, fully open window would offer no reflection as any sound reaching it would pass straight out and no sound would be reflected. This would have an absorption coefficient of 1. Conversely, a thick, smooth painted concrete ceiling would be the acoustic equivalent of a mirror and have an absorption coefficient very close to 0.

text: Measurement of reverberation time[edit]

text: Historically, reverberation time could only be measured using a level recorder (a plotting device which graphs the noise level against time on a ribbon of moving paper). A loud noise is produced, and as the sound dies away the trace on the level recorder will show a distinct slope. Analysis of this slope reveals the measured reverberation time. Some modern digital sound level meters can carry out this analysis automatically.[6]

text: Several methods exist for measuring reverb time. An impulse can be measured by creating a sufficiently loud noise (which must have a defined cut-off point). Impulse noise sources such as a blank pistol shot or balloon burst may be used to measure the impulse response of a room.

text: Alternatively, a random noise signal such as pink noise or white noise may be generated through a loudspeaker, and then turned off. This is known as the interrupted method, and the measured result is known as the interrupted response.

text: A two-port measurement system can also be used to measure noise introduced into a space and compare it to what is subsequently measured in the space. Consider sound reproduced by a loudspeaker into a room. A recording of the sound in the room can be made and compared to what was sent to the loudspeaker. The two signals can be compared mathematically. This two port measurement system utilizes a Fourier transform to mathematically derive the impulse response of the room. From the impulse response, the reverberation time can be calculated. Using a two port system allows reverberation time to be measured with signals other than loud impulses. Music or recordings of other sound can be used. This allows measurements to be taken in a room after the audience is present.

text: Reverberation time is usually stated as a decay time and is measured in seconds. There may or may not be any statement of the frequency band used in the measurement. Decay time is the time it takes the signal to diminish 60 dB below the original sound. It is often difficult to inject enough sound into the room to measure a decay of 60 dB, particularly at lower frequencies. If the decay is linear, it is sufficient to measure a drop of 20 dB and multiply the time by 3, or a drop of 30 dB and multiply the time by 2. These are the so-called T20 and T30 measurement methods.

text: The concept of Reverberation Time implicitly supposes that the decay rate of the sound is exponential, so that the sound level diminishes regularly, at a rate of so many dB per second. It is not often the case in real rooms, depending on the disposition of reflective, dispersive and absorbing surfaces. Moreover, successive measurement of the sound level often yields very different results, as differences in phase in the exciting sound build up in notably different sound waves. In 1965, Manfred R. Schroeder published "A new method of Measuring Reverberation Time" in the Journal of the Acoustical Society of America. He proposed to measure, not the power of the sound, but the energy, by integrating it. This made it possible to show the variation in the rate of decay, and to free acousticians from the necessity of averaging many measurements.

text: Creating reverberation effects[edit]

text: A performer or a producer of live or recorded music often induces reverberation in a work. Several systems have been developed to produce or to simulate reverberation.

text: Chamber reverberators[edit]

text: The first reverb effects created for recordings used a real physical space as a natural echo chamber. A loudspeaker would play the sound, and then a microphone would pick it up again, including the effects of reverb. Although this is still a common technique, it requires a dedicated soundproofed room, and varying the reverb time is difficult.

text: Plate reverberators[edit]

text: A plate reverb system uses an electromechanical transducer, similar to the driver in a loudspeaker, to create vibrations in a large plate of sheet metal. The plate’s motion is picked up by one or more contact microphones whose output is an audio signal which may be added to the original "dry" signal. In the late 1950s, Elektro-Mess-Technik (EMT) introduced the EMT 140;[7] a 600-pound (270 kg) model popular in recording studios, contributing to many hit records such as Beatles and Pink Floyd albums recorded at Abbey Road Studios in the 1960s, and others recorded by Bill Porter in Nashville's RCA Studio B.[citation needed] Early units had one pickup for mono output, and later models featured two pickups for stereo use. The reverb time can be adjusted by a damping pad, made from framed acoustic tiles. The closer the damping pad, the shorter the reverb time. However, the pad never touches the plate. Some units also featured a remote control.

text: Spring reverberators[edit]

text: A spring reverb system uses a transducer at one end of a spring and a pickup at the other, similar to those used in plate reverbs, to create and capture vibrations within a metal spring. Laurens Hammond was granted a patent on a spring-based mechanical reverberation system in 1939.[8] The Hammond Organ included a built-in spring reverberator.

text: Spring reverberators were once widely used in semi-professional recording due to their modest cost and small size. Guitar amplifiers frequently incorporate spring reverbs due to their compact construction and low cost. Musicians have made use of spring reverb units by rocking them back and forth, creating a thundering, crashing sound caused by the springs colliding with each other.

text: Digital reverberators[edit]

text: Digital reverberators use various signal processing algorithms in order to create the reverb effect. Since reverberation is essentially caused by a very large number of echoes, simple reverberation algorithms use several feedback delay circuits to create a large, decaying series of echoes. More advanced digital reverb generators can simulate the time and frequency domain response of a specific room (using room dimensions, absorption and other properties). In a music hall, the direct sound always arrives at the listener's ear first because it follows the shortest path. Shortly after the direct sound, the reverberant sound arrives. The time between the two is called the "pre-delay."

text: Reverberation, or informally, "reverb," is one of the most universally used audio effects and is often found in guitar pedals, synthesizers, effects units, digital audio workstations (DAWs) and VST plug-ins.

text: Convolution reverb[edit]

text: Convolution reverb is a process used for digitally simulating reverberation. It uses the mathematical convolution operation, a pre-recorded audio sample of the impulse response of the space being modeled, and the sound to be echoed, to produce the effect. The impulse-response recording is first stored in a digital signal-processing system. This is then convolved with the incoming audio signal to be processed.


document_title: The Chronicles of Narnia: Prince Caspian

question_text: who plays the dwarf in narnia prince caspian

text: Plot[edit]

text: This section is too long to read comfortably, and needs subsections. Please format the article according to the guidelines laid out in the Manual of Style. (October 2016)

tag: table

text: 1,300 Narnian years after the events of the previous movie, Caspian, a Telmarine prince and heir to the throne, is informed by mentor Doctor Cornelius that his uncle, Miraz, is plotting to kill him and seize the throne for himself and his newborn heir. Cornelius gives him Queen Susan's ancient magical horn, instructing him to blow it only at his greatest need.

text: Telmarine soldiers chase Caspian into the woods, where he encounters two Narnian dwarfs, Nikabrik and Trumpkin. Trumpkin heads toward the Telmarine soldiers while Nikabrik approaches Caspian. He stops when he spots Susan's horn; feeling danger, Caspian blows the horn. The dwarf knocks him unconscious.

text: In England (where only one year has passed), the Pevensie children are waiting for a tube train when the station suddenly starts collapsing, and they are magically transported to Narnia. They are overjoyed, yet soon realize that ages have passed since they last left Narnia. They discover the ruins of their castle at Cair Paravel and take back their weapons which Narnians safeguarded for years. They also find evidence it was attacked by catapults.

text: In the home of Trufflehunter the badger, Caspian explains to him and Nikabrik how Miraz wants to kill him for his throne, and that Caspian has no quarrel with the Narnians. After encountering more soldiers in the woods, the mouse Reepicheep arrives at the spot, and is about to attack Caspian when Trufflehunter warns him that he is on their side.

text: In the Telmarine castle, the lords of the council learn that Prince Caspian is gone, and Miraz says that Narnians abducted him. Everyone laughs, saying that Narnians are not real, after which the captured Trumpkin is presented in front of them as evidence. Miraz persuades the council to attack the Narnians and retrieve Caspian, while secretly plotting to kill him instead. Lord Sopespian suspects Miraz's motives, and discusses his treasonous thoughts with his ally, General Glozelle.

text: The Pevensies save Trumpkin from being drowned by two Telmarines. Trumpkin is convinced that the four children are the Kings and Queens of Old, and they continue on together. Nikabrik and Trufflehunter lead Caspian to a gathering of Narnians, where Caspian convinces them to help him win his throne so he can return their land. They meet the Pevensies and Trumpkin, and all journey to Aslan's How. Peter decides they will attack Miraz's castle, rejecting Lucy's advice that they wait for Aslan to return. The Narnians raid Miraz's castle, but Caspian ruins the plan by freeing Cornelius instead of opening the gate. He learns that Miraz killed his father, and confronts Miraz but is wounded. Overwhelmed, Peter calls for a retreat. Peter, Susan, Edmund, Caspian and the Narnians escape with heavy losses. Upon returning to Aslan's How, Peter and Caspian argue, while back at the castle, Miraz is crowned King.

text: Nikabrik, with the aid of a hag and a werewolf, offers Caspian his help to guarantee victory. The hag uses black sorcery to summon Jadis, the White Witch. From inside a wall of ice, the White Witch tries convincing Caspian to free her, when Peter, Edmund, Lucy and Trumpkin arrive. The hag, werewolf, and Nikabrik are all killed. Edmund shatters the ice, destroying the Witch's apparition.

text: As Miraz and his army arrive at Aslan's How, Caspian suggests Peter and Miraz duel to the death, with the loser's army to surrender, to buy time for Lucy and Susan to find Aslan. Miraz agrees to the duel, not wanting to look like a coward in front of his men. The girls are attacked by Telmarine soldiers, so Susan remains behind to fight them while Lucy continues alone. Peter defeats Miraz, and gives Caspian his sword to finish him off, but Caspian spares Miraz's life. Sopespian kills Miraz with one of Susan's arrows and accuses the Narnians, leading to a battle, with the Telmarines gradually winning. Lucy finds Aslan in the woods and he awakens the trees, turning the battle in the Narnians' favor. Sopespian orders a retreat to a bridge, where they are confronted by Lucy and Aslan. Aslan summons the river god, who destroys the bridge, killing many of the soldiers, swallowing Sopespian and winning the battle.

text: Caspian invites the Telmarines to remain in Narnia if they will coexist peacefully with the Narnians; but if they wish, they can return to the human world from which they originally came to Narnia. Some, including General Glozelle, agree to do so, and Aslan creates a portal for them and the four Pevensies. Susan kisses Caspian, knowing they will never meet again, as Aslan told her and Peter that they will never return to Narnia. The Pevensies return to England, leaving Caspian as King.

text: Cast[edit]

text:
William Moseley as Peter Pevensie. In a departure from the novel, Peter has a rivalry with Caspian. Moseley explained,

"Peter's got his own issues to deal with, and Caspian's got his own issues to deal with, and when neither is willing to compromise, there's bound to be friction. Peter came back to Narnia expecting to be king again and that everyone would do as he said, and Caspian is unwilling to let him take over, so that causes some of it. That's really what happens. And it's a lot about humility. I think they both have to learn a certain humility [...] and that's really what a great king needs is to be humble, to listen to his people, to be willing to compromise, and they start off as these sort of angry teenagers, and become kings at the end."

In real life, the two actors got on well together. Moseley also stated that he identified with Peter, having gone back to school between shooting both films.[4] He trained for three months in New York City to improve his performance and his physicality.[5]
Skandar Keynes as Edmund Pevensie, the second youngest Pevensie. Edmund matured during the events of The Lion, the Witch and the Wardrobe, so the writers saw him "as our Han Solo", "[doing] the right thing" and "probably going to be a little low-key about it", highlighting the immaturity of his older brother.[6] Keynes bruised his heel when performing a stunt where he jumped onto a horse. He narrowly missed landing on it and hit his foot against a column when holding on. Excepting that, he enjoyed performing the action.[7]
Anna Popplewell as Susan Pevensie, the second oldest Pevensie. Popplewell had been disappointed she barely used her bow and arrow in the first film.[8] Adamson convinced Douglas Gresham to have her present during the battles by suggesting her passive role in the novel indicated Lewis' view of women before he met Joy Gresham. "I think [Lewis] cast women down in the earlier books, but when you look at The Horse and His Boy, it has a strong female character. Doug's mother was a strong woman."[9] Adamson also chose to have her fall for Caspian, because "The kids are growing up. If you look at Ben and you look at Anna, it seems really implausible that they wouldn't have some feelings for each other." He knew it had to be "sensitively handled" though,[10] and ultimately it is not about romance, but "[accepting] the fact that you can have a wondrous experience, enjoy it and move on".[11] Popplewell added that it would not make sense for the Narnians not to use Susan, a talented archer, in battle, and that the romance contributed to her character's reconciliation with losing Narnia in the first place.[12]
Georgie Henley as Lucy Pevensie. Henley acknowledged Lucy represents faith in the story, being the youngest and therefore most open-minded of the Pevensies.[5] During filming, Henley's baby teeth were falling out, so she wore fake teeth to fill in the gaps.[13]

tag: ul

text:
Ben Barnes as Prince Caspian. Adamson said "Caspian is a coming of age and, to some degree, a loss of innocence story, with Caspian starting out quite naïve, then craving revenge and finally letting go of the vengeance."[11] While many readers interpret Caspian as a child, a passage in the novel mentions his age to be near that of Peter's, so an older actor was sought to match Moseley. Barnes had read the novel as a child, and was cast in two-and-a-half weeks after meeting with the filmmakers. He spent two months in New Zealand horse riding and stunt training to prepare for shooting.[14][15] Barnes modelled his Spanish accent on Mandy Patinkin's performance as Inigo Montoya in The Princess Bride,[16] though he also had a dialect coach aiding him.[15] Adamson did not expect to cast a British actor as Caspian, and said Barnes fitted well into the surrogate family of Adamson and the four actors playing the Pevensies.[17] When cast, Barnes was set to tour with the Royal National Theatre's production of The History Boys: producer Mark Johnson joked Barnes "probably isn't the Nation's favourite actor right now". Barnes left England without telling the Theatre.[18] They were furious when they found out that he had left them without permission, so they considered suing him for breach of contract, but decided against it.[15]
Sergio Castellitto as King Miraz. Castellitto was not familiar with the novel, but his four children had enjoyed the first film. Miraz marks the first time the Italian actor has portrayed a villain, and he found it interesting to "act out a stereotype." Nonetheless, he also felt that he and Adamson brought depth to the role, explaining Miraz is a soldier, not a coward, and that he takes the throne for his son. He compared the character to King Claudius in Hamlet.[19]
Pierfrancesco Favino as General Glozelle, Miraz's military commander, who plots with Sopespian to have his king killed in combat with Caspian and Peter in order to lead his own attack on the Narnians. However, in the end, Glozelle repents and is the first to volunteer to go into the Pevensies' world, and in return, is granted a good future by Aslan. This was Favino's idea, because originally Glozelle would have died in battle.[20] Adamson dubbed the character "a real Benedict Arnold".[11] Favino is able to speak several languages and generally acted as a translator to Adamson on set while working with actors and crew members of multiple nationalities.[8]
Damián Alcázar as Lord Sopespian.[21] "In some ways Sopespian turns out to be the real bad guy of the film," Adamson said. "Where it seems that Miraz has the upper hand at the beginning, we see that Sopespian, like Shakespeare's Iago, is trying to manipulate the situation."[11]
Vincent Grass as Dr. Cornelius: Caspian's mentor,[22] who is half-dwarf. Adamson compared Caspian and Cornelius' relationship to Aristotle and Alexander the Great.[11] Cornelius' role in the movie is significantly smaller than in the novel, and he is not named on screen, being referred to only as "Professor".
Alicia Borrachero as Queen Prunaprismia.[23] Prunaprismia was Miraz's wife. When she had learned that her husband had killed his own brother, she became heartbroken. After Miraz's death, Prunaprismia was the second volunteer to go back to our world (with her child). Because of her repenting, Prunprismia and her child were promised a good life back in our world.
Simón Andreu as Lord Scythley.[24]
Predrag Bjelac as Lord Donnon.[25]
David Bowles as Lord Gergiore. He served as one of the marshals during the duel between Peter and Miraz.
Juan Diego Montoya Garcia as Lord Montoya.

text:
Liam Neeson reprises his role as the voice of the lion Aslan. Aslan is "more parental here, [he] lets the kids, well, make their own mistakes".[11] Aslan's entrance was filmed as a dream sequence to emphasize his messianic nature, and not make it reflect badly on his absence when Narnia is in turmoil.[26] Although the character is considered C.S. Lewis' version of Jesus, Neeson "see[s] him more as the spirit of the planet – this living, breathing planet. That's what he stands for, for me; more what the native Americans would believe."[27] As Aslan has fewer action scenes than in the first film, the animators found it difficult to make him move interestingly. His pose had to be regal, but if he moved his head too much, he would remind viewers of a dog. As well as having his size increased by fifteen percent,[28] Aslan's eyes were also changed to look less "Egyptian".[29] Many of his shots were finished at the last minute.[8]
Peter Dinklage as Trumpkin, a cynical red dwarf. Dinklage was Adamson and Johnson's first choice, having seen him in The Station Agent.[18] He accepted because "often, you get the hero and the villain and not much in between. Trumpkin is in between. He is not a lovable Snow White dwarf. Audiences appreciate these cynical characters. It helps parents and adults to go along with the journey."[30] Dinklage's prosthetics took three hours to apply,[18] and restricted his performance to his eyes. Even his frown was built into the make-up.[20] On his first day of filming, he was bitten by sand flies and fell into a river. "We were lucky that he returned after his first day!" recalled Johnson.[18]
Warwick Davis as Nikabrik, a black dwarf. He is descendant of Ginarrbrik, who served the White Witch, and bears one of his rings, which was passed down from each generation.[31] Mark Johnson acknowledged casting Davis as the treacherous Nikabrik was casting against type:[18] Berger covered all his face bar his eyelids in prosthetics, to allow Davis to ward off the audience's perceptions of him.[32] Nikabrik's nose was based on Berger.[33] Davis feared filming in the Czech Republic, because the grass is filled with ticks, so he put elastic bands to hold his trousers against his legs.[34] Davis portrayed Reepicheep in the 1989 BBC production of Prince Caspian.
Ken Stott as the voice of Trufflehunter the badger.[35] Adamson called Trufflehunter "a walking and talking Narnian library [who is] totally old-school".[11] The animators visited a badger sanctuary to aid in depicting his performance.[29]
Eddie Izzard as the voice of Reepicheep, a swashbuckling mouse. Over 100 actors auditioned to voice the character.[36] Izzard approached Reepicheep as less camp and more of a bloodthirsty assassin with a sense of honour (a cross between Mad Max and a Stormtrooper from Star Wars): Izzard interpreted Reepicheep as someone whose family was killed by the Telmarines.[32] The Narnia series were some of the few books Izzard read as a child, and he cherished them.[37] When discussing Reepicheep to the animators, Adamson told them to rent as many Errol Flynn films as possible.[18] Adamson credits Izzard for making the role his own; beforehand, the director was approaching the character similarly to Puss in Boots in Shrek 2.[38]
Cornell John as Glenstorm the Centaur.[39] Adamson had seen John perform in Porgy and Bess in London, and liked his long face.[32] John imagined the character as being 170 years old, and wanted to convey "honour, pride and tradition".[36]

Lejla Abbasová as Windmane (Glenstorm's wife).[32]
Yemi Akinyemi as Ironhoof (Glenstorm's son).[40]
Carlos Da Silva as Suncloud (Glenstorm's son).[40]

David Walliams as the voice of the Bulgy Bear.[41]
Klara Issova as a Narnian Hag who attempts to resurrect the White Witch.[32] She used some Arabic words in her incantation.[20]
Gomez Mussenden (son of costume designer Isis Mussenden) plays Lightning Bolt, a child Centaur.[42]
Jan Pavel Filipensky as Wimbleweather the giant.[40]
Shane Rangi as Asterius the Minotaur and Josh Campbell as the voice of Asterius. An elderly minotaur who aids Caspian. He is killed during the raid while holding the gate open to allow some of the army to escape. Rangi also stood in for Aslan, the Bulgy Bear, the Werewolf, another Minotaur, and the Wild Bear on set.[43] Rangi played General Otmin in the previous film and Tavros in The Voyage of The Dawn Treader. He was able to see more in the redesigned animatronic minotaur heads, though "in order to make the eye line straight and correct, you've actually got to hold your head down, so your view is only about a foot and a half in front of you, which still makes it a little bit hard". This resulted in Rangi knocking himself against the rising gate of the Telmarine castle, although he was fine and it was the animatronic head that bore the brunt of the damage.[44] The costumes were still very hot, reducing him to a "walking waterfall". Although a head sculpt of Aslan was used to stand in for the character on the first film, Rangi had to portray the character on set because Lucy interacts with him more.[45] Rangi lost four kilograms wearing all his costumes.[44]

text:
Tilda Swinton reprises her role as Jadis, the White Witch. Her ghost appears as the hag and werewolf attempt to resurrect her. Swinton and her two children also cameoed towards the film's end as centaurs.[20]
Composer Harry Gregson-Williams made a vocal cameo as Pattertwig the squirrel, as Adamson felt he had a "squirrel-like energy".[20]
Douglas Gresham cameos as a Telmarine crier.[46]

text: Production[edit]

text: Writing[edit]

text:
We had some difficulty figuring out how to make Caspian work as a film. In the book, the children arrive in Narnia, and they all sit down around the campfire and Trumpkin tells them the story of Prince Caspian – which means that the four Pevensie children vanish for half of the book.

Douglas Gresham[47]

tag: div

text: Before the release of The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, the screenplay for the sequel Prince Caspian had already been written.[48] Director Andrew Adamson said the decision was made to follow the publication order of the novels because "if we don't make it now we'll never be able to, because the [actors will] be too old". Prince Caspian, the second published novel in the series, is the fourth chronologically. The Horse and His Boy takes place during a time only hinted at in The Lion, the Witch and the Wardrobe.[49] The writers briefly considered combining Caspian with The Voyage of the Dawn Treader, which the BBC did for their television adaptation.[40]

text: Screenwriters Christopher Markus & Stephen McFeely wanted to explore how the Pevensies felt after returning from Narnia, going from being kings and queens back to an awkward year as school children. They noted, "[C. S. Lewis] doesn't much consider what it would be like for a King of Narnia to return to being a 1940's schoolchild." They also decided to introduce the Pevensies back into Narnia nearer the start, in order to weave the two separate stories of the Pevensies and Caspian, in contrast to the book's structure.[50] A sense of guilt on the Pevensies' part was added, seeing the destruction of Narnia in their absence,[51] as was hubris for Peter to enhance the theme of belief: his arrogance means he is unable to see Aslan.[52]

text: Adamson also desired to make the film larger in scale; "I've gained confidence having gone through the first. This time, I was able to go larger [in] scale, with more extras and bigger battle scenes."[30] Inspired by a passage in the novel where Reepicheep says he would like to attack the castle,[53] a new battle scene in which Peter and Caspian make an attempted raid on Miraz's castle was created.[54] Adamson felt the imagery of mythological Greek creatures storming a castle was highly original.[17] Markus and McFeely used the sequence to illustrate Peter and Caspian's conflict and Edmund's maturity, in an effort to tighten the script by using action as drama. Adamson preferred subtlety to the drama scenes, asking his young male actors not to perform angrily. Adamson copied Alfred Hitchcock by "tell[ing] people at the end of the scene, 'Now just give me something where you're not thinking about anything.' By using it in context, the audience will read an emotion into it."[53]

text: Design[edit]

text: Andrew Adamson described the film as being darker, as it takes place "another 1300 years later, [and] Narnia has been oppressed by Telmarines for a large period of that time, so it's a dirtier, grittier, darker place than the last world was".[55] He added, "This one is more of a boy's movie. It's a harsher world. The villains are human, and that lends a more realistic attitude."[30] Creatures were designed by veteran horror and monster concept artist Jordu Schell[56] and supervised by Howard Berger, who said that Prince Caspian would be more medieval than The Lion, the Witch and the Wardrobe.[51] Alongside Adamson, Berger's children critiqued his designs, aiding the process:[34] his son thought the werewolf's ears were silly, so they were made smaller.[32]

text: For the Narnians, Berger envisioned them as more wild in appearance, as they have been forced into the forests. He also decided to increase the portrayal of various ages, sizes and races.[57] The black dwarfs are distinguished from the red dwarfs as they have more leather and jewellery, and a darker colour scheme in their costumes.[31] Each race of creatures also had their fighting styles made more distinguishable.[58] The minotaurs have maces, and the centaurs use swords.[59] The satyrs were redesigned, as their creation on the first film had been rushed.[42] 4,600 make-up jobs were performed, which Berger believes is a record.[36]

text: The filmmakers interpreted the Telmarines, including Caspian, as being Spanish because of their pirate origins, which producer Mark Johnson noted made Caspian "a contrast to the lily-white [Pevensies]".[60] Production designer Roger Ford originally wanted the Telmarines to be French, as they had a confrontational history with the English, who are represented by the Pevensies. This was scrapped as the crew were unable to shoot at Pierrefonds Castle, for Miraz's lair, so they went for the Spanish feel.[61] Weta Workshop created masked helmets for their army, and faceplates for the live horses on set. The stunt soldiers wield two-hundred polearms in two different styles, two-hundred rapiers of varying design, over a hundred falchions, two-hundred and fifty shields and fifty-five crossbows. Caspian's own sword is a variation of the Royal Guard's weapons.[59] Costume designer Isis Mussenden looked to the paintings of El Greco to inspire the Telmarines' costumes.[51] She wanted to use colours that looked "acidic and hot and cool at the same time", unlike the red and gold seen in the Narnian soldiers.[31] Their masked helmets are based on conquistadors and samurai.[62] She visited the armour archives of the Metropolitan Museum of Art for inspiration.[36] An eagle emblem was incorporated into the characters' lairs to make them feel fascist.[63]

text: Filming[edit]

text: Eight months were spent scouting locations,[40] including Ireland,[64] China and Argentina,[65] before New Zealand, Prague, Slovenia and Poland were chosen.[40] Whereas the previous film was predominantly shot in New Zealand with a few months of filming in Central Europe, Adamson decided New Zealand lacked enough sound stages to accommodate the larger scale of the film.[55] The decision to film most of the picture in Europe also allowed the ability to shoot during summer in both continents,[66] although the weather turned out to be so erratic during filming that Adamson joked he had been lied to.[8]

text: Filming began on February 12, 2007 in Auckland.[35] The scene where the Pevensies return to the ruined Cair Paravel was shot at Cathedral Cove. The filmmakers chose the location because it had a tunnel-like arch, which echoed the train tunnel the children go into before being summoned back into Narnia.[61] Henderson Valley Studios was used for the Pevensies' ancient treasure room and the Underground station.[36][67]

text: On April 1, 2007, the crew began filming at Barrandov Studios in Prague.[68] There, sets such as Miraz's castle, Aslan's How and the underground hiding places of the Narnians were created.[54] The 200-foot-tall (61 m) castle was built to scale because Adamson felt he overused digital sets on the last film.[53] The castle was built in the open air during winter, where the temperature would drop to minus 20 °C.[67] Miraz's courtyard is the largest set in production designer Roger Ford's career, including the previous Narnia film. Aslan's How was modified into the hideout after filming for those scenes was finished.[54] To create Trufflehunter's den, Ford's crew put a camera inside a badger's den to study what it should look like.[40] The den's roof had to be raised by three inches because Ben Barnes was too tall.[20]

text: In June 2007, they shot the bridge battle near Bovec in the Soča Valley, Slovenia.[69] The location was chosen for its resemblance to New Zealand. A large bridge was built, which was modelled on the one Julius Caesar built to cross the Rhine.[61] Whereas Caesar supposedly built his bridge in ten days, the filmmakers had around forty. The schedule was short though, but the authorities would only allow them this build time to not completely disrupt normal summer activities on the lake. The filmmakers made a trench to change the river's course, so they could deepen the drained sides of the riverbed so it looked like one could drown in it. The crew also cut down 100 trees for shots of the Telmarines building the bridge; the trees were moved to another side of the river for decoration.[70] The bridge stood for two months before being dismantled.[71] As part of the clean-up, the cut-down trees and parts of the bridge were sent to a recycling plant, while other portions of the bridge were sent to the studio for close-ups shot against bluescreen.[70]

text: Part of the battle was shot at Ústí nad Labem in the Czech Republic.[72] Only the entrance to Aslan's How was built on location. Adamson wanted Peter and Miraz's duel to feel unique and not like a controlled, overly choreographed fencing match: Moseley and Castellitto began training for the scene in November 2006. The stunt coordinator Allan Poppleton doubled for Castellitto in some shots because they are similar in size. For claustrophobic shots, cameras were built into their shields.[73] The main camera was placed on a 360 degree track surrounding the ruin it takes place on.[40] The filmmakers dug a large hole in the ground for the scene where the Narnians cause the pillars supporting the growth near Aslan's How to collapse on the Telmarines. The earth was then restored following completion of the scene. They also had to restore the grass after filming numerous cavalry charges. 18,000 fern plants were imported to the Czech Republic to create a forest. A scene shot in Poland, which involved building a cliff face, also had to leave no trace behind.[67] Filming finished by September 8, 2007.[74]

text: Effects[edit]

text: Prince Caspian has over 1,500 special effects shots, more than The Lion, the Witch and the Wardrobe's 800 effects shots, yet the film had less time to complete them.[51] The scale of special effects led Andrew Adamson to base production in the UK, to take advantage of new tax credits. Therefore, it legally qualifies as a British film.[75] This also meant the director only had to walk five minutes from the editing room to supervise the effects.[76] British visual effects companies the Moving Picture Company and Framestore CFC were hired to create the visual effects alongside Weta Digital. Framestore worked on Aslan, Trufflehunter and the door in the air; Scanline did the River-god; Weta created the werewolf, the wild bear and Miraz's castle; MPC and Escape Studios did the main battle, the tunnel scene, the castle assault, the council scenes and all the other creatures.[76][77][78]

text: Alex Funke, who worked on The Lord of the Rings, directed the film's miniatures unit.[51] These include 1/24th and 1/100th scale miniatures of Miraz's castle.[59] A scale model was built of the Narnians' cave hideouts during the climactic battle, which the actor playing the giant Wimbleweather was filmed against.[79] One of the improvements made over the previous film was to make the centaurs walk during dialogue scenes, so Cornell John as Glenstorm wore Power Risers (mechanical stilts with springs), to mimic a horse's canter and height.[54] The animatronic Minotaur heads were also improved to properly lip sync,[79] although this was not as successful as hoped and had to be revamped digitally.[80]

text: In the climactic battle, 150 extras stood in for the Narnians, while 300 extras were used for the Telmarines. These were digitally duplicated until there were 1,000 Narnians and 5,000 Telmarines onscreen. The animators found it easier to create entirely digital centaurs and fauns, rather than mix digital legs with real actors.[76] The dryads were entirely computer-generated, whereas in the first film digital petals had been composited over actors.[29] However, Adamson had chosen to make the centaurs not wear armour, meaning the animators had to make the human–horse join behave more cohesively. Combining digital characters with actors, such as when Lucy hugs Aslan, had become easier since the first film, as lighting had improved.[76] To achieve Lucy hugging Aslan, Framestore even replaced Georgie Henley's arm with a digital version.[29] For the gryphons, a motion control rig was created for the actors to ride on. The rig could simulate subtle movements such as wing beats for realism.[28] Adamson cited the river-god as the character he was most proud of. "It was a really masterful effect: to control water like that is incredibly difficult", he said. "The [visual effects company] told us they'd been waiting to do a shot like that for ten years."[76]

text: The film features catapults resembling windmills, that can fire rapidly, and a ballista that can fire three projectiles at a time. The practical versions of these were metal with fibreglass painted and aged to resemble wood on top. Weta created props of the missiles thrown by the Telmarine equipment. The practical version of the catapult had its upper half painted blue, to composite a digital version programmed for rapid firing movement.[81]

text: Music[edit]

text: The Lion, the Witch and the Wardrobe composer Harry Gregson-Williams began composing the sequel in December 2007. Recording began at Abbey Road Studios the following month, and finished by April 2008. The Crouch End Festival Chorus,[82] Regina Spektor's song, "The Call", Oren Lavie's song, "Dance 'Round The Memory Tree" and Switchfoot's song, "This Is Home", are featured on the soundtrack. Imogen Heap, who sang "Can't Take It In" for the first film, wrote a new song which Gregson-Williams considered too dark.[83]

text: Gregson-Williams' score is darker to follow suit with the film. Gregson-Williams wanted Caspian's theme to convey a vulnerability, which would sound more vibrant as he became more heroic. It originally used a 3/4 time signature, but the opening scene required a 4/4 and thus it was changed. To represent Miraz's cunning, the heroic theme from the first film was inverted. For Reepicheep, a muted trumpet was used to present his militaristic and organised character.[84] Gregson-Williams considered arranging his theme for a small pennywhistle, but found that it sounded too cute and broke the tension of the night raid.[85]

text: Release[edit]

text: During pre-production, Disney announced a December 14, 2007 release date,[86] but pushed it back to May 16, 2008, because Disney opted to not release it in competition with The Water Horse, another Walden Media production.[87] Disney also felt the Harry Potter films comfortably changed their release dates from (Northern Hemisphere) winters to summers, and Narnia could likewise do the same because the film was darker and more like an action film.[1] The world premiere was held at the Ziegfeld Theatre in New York City on May 7, 2008.[88] The British premiere was held at the O2 Arena on June 19, the first time the dome has hosted a film screening. Around 10,000 people attended the event, the proceeds of which went to Great Ormond Street Hospital.[89]

text: The film opened in 3,929 theaters in the United States and Canada on May 16, 2008.[90] The Motion Picture Association of America gave the film a PG. To earn this rating, which the filmmakers were contractually bound by Disney to do, Adamson altered a shot of a fallen helmet to make clear that it did not contain a severed head.[91] Adamson made numerous edits to the film beforehand after showing the film to a young audience, explaining "When you sit down and you're watching it, and you see the kids' faces while making the film, you're just making an attempt, you're making it exciting, you're doing all of these things because you're essentially making the film for yourself. When you start showing it to an audience, that then influences how you feel about the film."[26]

text: Marketing[edit]

text: Adding to the film's $225 million budget (almost $100 million of which were spent on the effects), Disney also spent $175 million on promoting the film.[1] Play Along Toys created a playset of Miraz's castle, a series of 3¾-inch and 7-inch action figures, and roleplaying costumes. Weta Workshop's Collectibles unit also created statues, busts and helmets based on their props for the film,[92] and there was also a Monopoly edition based on the film.[93] In the UK, Damaris Trust was commissioned to produce resources relating to the film for churches and schools, which are available from the official UK Narnia website.[94] In June 2008, the Journey into Narnia: Prince Caspian Attraction opened at Disney's Hollywood Studios, featuring a recreation of the Stone Table, behind-the-scenes footage, concept art, storyboards, props and costumes from the film.[95] The tone of the film's marketing focused on the film's action, and unlike The Lion, the Witch and the Wardrobe Disney and Walden did not screen the film for pastors or give Bible-based study guides in North America.[96]

text: Home media[edit]

text: Prince Caspian was released on DVD and Blu-ray Disc in the UK on 17 November 2008, and on 2 December 2008 in North America. It was the top selling DVD of its release week in the U.S.[97] taking in $54.7 million.[98] The film was released in Australia on 27 November 2008. There were one-disc and three-disc DVD editions (two-disc only in the UK), and two-disc and three-disc Blu-ray Disc editions (two-disc only in the UK). The first two discs contain an audio commentary by Adamson, blooper reel, deleted scenes and documentaries, while the third disc contains a digital copy of the film.[99] For the Blu-ray Disc, Circle-Vision 360° was used to allow viewers to watch the night raid from different angles.[100] An additional disc of special features was only made available in Japan and Zavvi stores in the UK, while a separate version containing a disc of electronic press kit material was exclusive to Sanity stores in Australia.[101] By the end of 2008, the film earned almost $71 million in DVD sales.[102]

text: Reception[edit]

text: Critical response[edit]

text: The review aggregate website Rotten Tomatoes reported that 67% of critics gave the film positive reviews, based on 188 reviews.[103] Metacritic reported the film had an average score of 62 out of 100, based on 34 reviews.[104] Audience members polled by CinemaScore mostly gave it an A−.[105] Film critic Leonard Maltin gave the film 3 out of 4 stars (as he did with The Lion, The Witch, and The Wardrobe), calling the performances "strong", the storytelling "solid", and the scenery "breathtaking", though he also said, "it's a dark tale, and the climactic battle scenes go on at length."[106]

text: Two film industry trade journals gave the film positive reviews. Todd McCarthy of Variety felt Adamson's direction had a "surer sense of cinematic values" and praised the improved special effects, the "timeless" locations and production design. On the performances, he felt "the four kids overall have more character and are therefore more interesting to watch than they were before, and Italian actor Castellitto registers strongly with evil that's implacable but not overplayed."[107] Michael Rechtshaffen of The Hollywood Reporter noted the film was darker than its predecessor, with "the loss of innocence theme ... significantly deepened". He highlighted Peter Dinklage's performance, which "outmaneuver[ed] the title character as Narnia's most colorful new inhabitant";.[108]

text: A number of critics took issue with what they interpreted as the film's underlying messages. San Francisco Chronicle critic Mick Lasalle wrote in his parental advisory that "basically, this is a movie about kids who go into another world and dimension and spend the whole time killing people."[109] MSNBC reviewer Alonso Duralde noted that "all the heroes have British accents while the Telmarines are all decidedly Mediterranean in appearance and inflection".[110] An Anglican Journal review described the movie as reasonably faithful to the adventure elements of the book, much lighter on the religious faith aspects, which they found integral to the novel, and deficient on character and emotion.[111]

text: The Visual Effects Society nominated it for Best Visual Effects and Best Compositing.[112] It was nominated for Best Fantasy Film, Best Costumes, Best Make-up, and Best Special Effects at the Saturn Awards.[113] Keynes and Henley received nominations at the Young Artist Awards.[114]

text: In 2010, Mark Johnson, a producer from all of the Narnia movies, admitted that "We made some mistakes with Prince Caspian and I don't want to make them again." He also said Caspian lacked some of the "wonder and magic of Narnia," was "a little bit too rough" for families, and too much of a "boys' action movie."[115]

text: Box office[edit]

text: When released on May 16 in the United States and Canada, the film grossed $55 million from 8,400 screens at 3,929 theaters in its opening weekend, ranking #1 at the box office.[116] Disney said it was happy with the film's performance, although the opening fell short of industry expectations of $80 million and was also behind The Lion, The Witch and the Wardrobe's opening gross of $65.6 million.[117] By June 1 it grossed $115 million, while the first film had grossed $153 million in the same amount of time.[118] Disney CEO Robert Iger attributed the film's underperformance to being released between two of the year's biggest hits, Iron Man and Indiana Jones and the Kingdom of the Crystal Skull.[87][119]

text: On May 16, the film also opened at number one in twelve other countries,[117] grossing $22.1 million, and bringing the worldwide opening total to about $77 million.[120] The film opened in Russia with $6.7 million, the biggest opening of the year; it earned $6.3 million (15% more than the first) in Mexico; $4 million in South Korea, making it in the third most successful Disney film there; $2 million from India, which was triple the gross of the first; and it earned $1.1 million in Malaysia, making it the country's third most popular Disney film after the Pirates of the Caribbean sequels.[121] The film also opened with $1 million in Argentina on June 13, which was Disney's third biggest opening in the country and the biggest of 2008 at that time.[122] Prince Caspian made $141.6 million in the United States and Canada while the worldwide total stands at $419.7 million. The movie was the tenth highest-grossing film of 2008 worldwide,[123] and was Disney's second highest-grossing film of 2008 after WALL-E.[1]

text: Accolades[edit]

text:
Year
Award
Category/Recipient
Result

2008
MTV Movie Awards
Best Summer Movie So Far
Nominated

Teen Choice Awards
Choice Movie: Action
Won

Choice Movie: Male Breakout Star (Ben Barnes)
Nominated

National Movie Awards
Best Family Film
Nominated

Best Performance – Male (Ben Barnes)
Nominated

2009
People's Choice Awards
Favorite Family Movie
Nominated

Costume Designers Guild Awards
Excellence in Costume Design for Film – Fantasy
Nominated

Golden Reel Awards
Best Sound Editing – Sound Effects, Foley, Dialogue and ADR in a Foreign Feature Film
Nominated

Visual Effects Society Awards
Outstanding Visual Effects in a Visual Effects Driven Motion Picture
Nominated

Outstanding Compositing in a Feature Motion Picture
Nominated

Young Artist Award
Best Performance in a Feature Film – Young Ensemble Cast (Georgie Henley, Skandar Keynes, William Moseley, Anna Popplewell)
Nominated

Best Performance in a Feature Film – Leading Young Actress (Georgie Henley)
Nominated

Best Performance in a Feature Film – Leading Young Actor (Skandar Keynes)
Nominated

Taurus World Stunt Awards
Best Fight
Nominated

BMI Film & TV Awards
BMI Film Music Award
Won

MTV Movie Awards
Breakthrough Male Performance (Ben Barnes)
Nominated

Saturn Award
Best Fantasy Film
Nominated

Best Costume
Nominated

Best Make-Up
Nominated

Best Visual Effects
Nominated


document_title: Sarah McLeod

question_text: who plays sam's wife in lord of the rings

question_tokens: who plays sam 's wife in lord of the rings

text: Sarah McLeod

text:
Sarah McLeod

Born
(1971-07-18) 18 July 1971 (age 46)
Putaruru, New Zealand

Years active
1994-2012

text: Sarah McLeod (born 18 July 1971) is a New Zealand film and television actress. Her most notable role was in the Peter Jackson films The Lord of the Rings: The Fellowship of the Ring and The Lord of the Rings: The Return of the King as Rosie Cotton, a female hobbit who marries Samwise Gamgee. Her daughter Maisy played Rosie and Sam's baby. McLeod also co-starred in the New Zealand soap opera Shortland Street as Cindy Watson from 2008 to 2009.

text: Career[edit]

text: McLeod knew Liz Mulane, the casting director of Peter Jackson's The Lord of the Rings from an earlier film of his that she had appeared in called Forgotten Silver. McLeod was six-months pregnant when she auditioned for the role of Rosie Cotton, a female hobbit. Four months later, she was told that she had won the role. She explained, "This was after I had the baby, so my first day on the set, the baby was 12 weeks old. So from the first time I auditioned for the role, until the whole thing comes out, the third film, my baby will be four years old, it just goes to show you how big and long this production is."[1] Her daughter, Maisy, played the infant son of Rosie and Samwise Gamgee, seen in the final scene of The Lord of the Rings: The Return of the King. The New Zealand Herald observed in 2004 that McLeod was "notable for having the most significant role of the few New Zealand actresses in the trilogy."[2]

text: In 2007, McLeod and fourteen other Lord of the Rings actors from New Zealand sued New Line, as they felt they were legally entitled to five percent of the trilogy's net merchandising revenue.[3] From 2008 to 2009, McLeod co-starred in the New Zealand soap opera Shortland Street as Cindy Watson. McLeod conducted legal and personal research on surrogacy for the role, as her character's storyline involved asking her friend to be a surrogate mother for Cindy and her husband.[4] In a 2010 episode of America's Next Top Model, McLeod appeared as herself on the set of Hobbiton, where the contestants participated in a Lord of the Rings-themed photo shoot.[5][6]


document_title: List of U.S. states by date of admission to the Union

question_text: what was the last state to be added to the united states

text: List of U.S. states[edit]

text:
State
Date
(admitted or ratified)
Formed from

1
 Delaware
000000001787-12-07-0000December 7, 1787[8]
(ratified)
Crown Colony of Delaware[b]

2
 Pennsylvania
000000001787-12-12-0000December 12, 1787[10]
(ratified)
Crown Colony of Pennsylvania

3
 New Jersey
000000001787-12-18-0000December 18, 1787[11]
(ratified)
Crown Colony of New Jersey

4
 Georgia
000000001788-01-02-0000January 2, 1788[8]
(ratified)
Crown Colony of Georgia

5
 Connecticut
000000001788-01-09-0000January 9, 1788[12]
(ratified)
Crown Colony of Connecticut

6
 Massachusetts
000000001788-02-06-0000February 6, 1788[8]
(ratified)
Crown Colony of Massachusetts Bay

7
 Maryland
000000001788-04-28-0000April 28, 1788[8]
(ratified)
Crown Colony of Maryland

8
 South Carolina
000000001788-05-23-0000May 23, 1788[8]
(ratified)
Crown Colony of South Carolina

9
 New Hampshire
000000001788-06-21-0000June 21, 1788[8]
(ratified)
Crown Colony of New Hampshire

10
 Virginia
000000001788-06-25-0000June 25, 1788[8]
(ratified)
Crown Colony of Virginia

11
 New York
000000001788-07-26-0000July 26, 1788[13]
(ratified)
Crown Colony of New York

12
 North Carolina
000000001789-11-21-0000November 21, 1789[14]
(ratified)
Crown Colony of North Carolina

13
 Rhode Island
000000001790-05-29-0000May 29, 1790[8]
(ratified)
Crown Colony of Rhode Island and Providence Plantations

14
 Vermont
000000001791-03-04-0000March 4, 1791[15]
(admitted)
Vermont !Vermont Republic[c]

15
 Kentucky
000000001792-06-01-0000June 1, 1792[16]
(admitted)
Virginia (District of Kentucky: Fayette, Jefferson, and Lincoln counties[d])

16
 Tennessee
000000001796-06-01-0000June 1, 1796[18]
(admitted)
Southwest Territory

17
 Ohio
000000001803-03-01-0000March 1, 1803[19][e]
(admitted)
Northwest Territory (part)

18
 Louisiana
000000001812-04-30-0000April 30, 1812[21]
(admitted)
Orleans !Territory of Orleans

19
 Indiana
000000001816-12-11-0000December 11, 1816
(admitted)
Indiana Territory

20
 Mississippi
000000001817-12-10-0000December 10, 1817[22]
(admitted)
Mississippi Territory

21
 Illinois
000000001818-12-03-0000December 3, 1818[23]
(admitted)
Illinois Territory (part)

22
 Alabama
000000001819-12-14-0000December 14, 1819[24]
(admitted)
Alabama Territory

23
 Maine
000000001820-03-15-0000March 15, 1820[25]
(admitted)
Massachusetts (District of Maine[f])

24
 Missouri
000000001821-08-10-0000August 10, 1821[26]
(admitted)
Missouri Territory (part)

25
 Arkansas
000000001836-06-15-0000June 15, 1836[27]
(admitted)
Arkansas Territory

26
 Michigan
000000001837-01-26-0000January 26, 1837[28]
(admitted)
Michigan Territory

27
 Florida
000000001845-03-03-0000March 3, 1845
(admitted)
Florida Territory

28
 Texas
000000001845-12-29-0000December 29, 1845
(admitted)
Texas !Republic of Texas

29
 Iowa
000000001846-12-28-0000December 28, 1846
(admitted)
Iowa Territory (part)

30
 Wisconsin
000000001848-05-29-0000May 29, 1848[29]
(admitted)
Wisconsin Territory (part)

31
 California
000000001850-09-09-0000September 9, 1850[30]
(admitted)
Unorganized !unorganized territory (part)

32
 Minnesota
000000001858-05-11-0000May 11, 1858[31]
(admitted)
Minnesota Territory (part)

33
 Oregon
000000001859-02-14-0000February 14, 1859
(admitted)
Oregon Territory (part)

34
 Kansas
000000001861-01-29-0000January 29, 1861[32]
(admitted)
Kansas Territory (part)

35
 West Virginia
000000001863-06-20-0000June 20, 1863[33]
(admitted)
Virginia (Trans-Allegheny region counties[g])

36
 Nevada
000000001864-10-31-0000October 31, 1864
(admitted)
Nevada Territory

37
 Nebraska
000000001867-03-01-0000March 1, 1867
(admitted)
Nebraska Territory

38
 Colorado
000000001876-08-01-0000August 1, 1876[36]
(admitted)
Colorado Territory

39[h]
  North Dakota
000000001889-11-02-0000November 2, 1889[38][i]
(admitted)
Dakota Territory (part)

40
 South Dakota
000000001889-11-02-0000November 2, 1889[38][i]
(admitted)
Dakota Territory (part)

41
 Montana
000000001889-11-08-0000November 8, 1889[39]
(admitted)
Montana Territory

42
 Washington
000000001889-11-11-0000November 11, 1889[40]
(admitted)
Washington Territory

43
 Idaho
000000001890-07-03-0000July 3, 1890
(admitted)
Idaho Territory

44
 Wyoming
000000001890-07-10-0000July 10, 1890
(admitted)
Wyoming Territory

45
 Utah
000000001896-01-04-0000January 4, 1896[41]
(admitted)
Utah Territory

46
 Oklahoma
000000001907-11-16-0000November 16, 1907[42]
(admitted)
Oklahoma Territory and Indian Territory

47
 New Mexico
000000001912-01-06-0000January 6, 1912
(admitted)
New Mexico Territory

48
 Arizona
000000001912-02-14-0000February 14, 1912
(admitted)
Arizona Territory

49
 Alaska
000000001959-01-03-0000January 3, 1959
(admitted)
Alaska !Territory of Alaska

50
 Hawaii
000000001959-08-21-0000August 21, 1959
(admitted)
Hawaii !Territory of Hawaii

text: Articles of Confederation ratification dates[edit]

text: The Second Continental Congress approved the Articles of Confederation for ratification by the individual states on November 15, 1777. The Articles of Confederation came into force on March 1, 1781, after being ratified by all 13 states. On March 4, 1789, the general government under the Articles was replaced with the federal government under the present Constitution.[43]

text:
State
Date

13 !1
 Virginia
000000001777-12-16-0000December 16, 1777

12 !2
 South Carolina
000000001778-02-05-0000February 5, 1778

08 !3
 New York
000000001778-02-06-0000February 6, 1778

11 !4
 Rhode Island
000000001778-02-09-0000February 9, 1778

01 !5
 Connecticut
000000001778-02-12-0000February 12, 1778

03 !6
 Georgia
000000001778-02-26-0000February 26, 1778

06 !7
 New Hampshire
000000001778-03-04-0000March 4, 1778

10 !8
 Pennsylvania
000000001778-03-05-0000March 5, 1778

05 !9
 Massachusetts
000000001778-03-10-0000March 10, 1778

09 !10
 North Carolina
000000001778-04-05-0000April 5, 1778

07 !11
 New Jersey
000000001778-11-19-0000November 19, 1778

02 !12
 Delaware
000000001779-02-01-0000February 1, 1779

04 !13
 Maryland
000000001781-02-02-0000February 2, 1781


document_title: Blood and Iron (speech)

question_text: what was the blood and iron speech about

text: Blood and Iron (speech)

text: Blood and Iron (German: Blut und Eisen) is the name given to a speech made by Otto von Bismarck given on 30 September 1862, at the time when he was Minister President of Prussia, about the unification of the German territories. It is also a transposed phrase that Bismarck uttered near the end of the speech that has become one of his most widely known quotations.

text: In September 1862, when the Prussian House of Representatives was refusing to approve an increase in military spending desired by King Wilhelm I, the monarch appointed Bismarck Minister President and Foreign Minister. A few days later, Bismarck appeared before the House's Budget Committee and stressed the need for military preparedness to solve the German Question. He concluded his speech with the following statement:[1] "The position of Prussia in Germany will not be determined by its liberalism but by its power [...] Prussia must concentrate its strength and hold it for the favorable moment, which has already come and gone several times. Since the treaties of Vienna, our frontiers have been ill-designed for a healthy body politic. Not through speeches and majority decisions will the great questions of the day be decided—that was the great mistake of 1848 and 1849—but by iron and blood (Eisen und Blut)." This phrase, relying on a patriotic poem written by Max von Schenkendorf during the Napoleonic Wars, was popularized as the more euphonious Blut und Eisen ("Blood and Iron"), and became symbolic of Bismarckian Machtpolitik ("Power politics").

text: Although Bismarck was an outstanding diplomat, the phrase "blood and iron" has become a popular description of his foreign policy partly because he did on occasion resort to war to further the unification of Germany and the expansion of its continental power. Therefore he became known as "the iron chancellor."