document_title: Product placement

question_text: do movies have to pay for product placement

question_tokens: do movies have to pay for product placement

text: Product placement

text: History[edit]

text: Origins[edit]

text: Product placement began in the nineteenth century. By the time Jules Verne published the adventure novel Around the World in Eighty Days (1873), his fame had led transport and shipping companies to lobby to be mentioned in the story. Whether Verne was actually paid to do so, however, remains unknown.[8] Similarly, a painting by Eduoard Manet (1881-1882) shows a bar at Folies Bergere with distinctive bottles placed at either end of the counter. The beer bottle is immediately recognisable as Bass beer. Manet's motivations for including branded products in his painting are unknown; it may be that it simply added to the work's authenticity, but on the other hand the artist may have received some payment in return for its inclusion.[9]

text: Research reported by Jean-Marc Lehu (2007) suggests that films produced by Auguste and Louis Lumiere in 1876, were made at the request of a representative of Lever Brothers in France, and which feature Sunlight soap, may be the first recorded instance of paid product placement in film.[10] This led to cinema becoming one of the earliest channels used for product placement.

text: With the arrival of photo-rich periodicals in the late 19th century, publishers found ways of lifting their paper's reputation by placing an actual copy of the magazine in photographs of prominent people. For example, the German magazine Die Woche in 1902 printed an article about a countess in her castle where she, in one of the photographs, held a copy of Die Woche in her hands.[11]

text: Product placement was a common feature of many of the earliest actualities and cinematic attractions that were the first ten years of cinema history.[12]

text: During the next four decades, Harrison's Reports frequently cited cases of on-screen brand-name products.[13] He condemned the practice as harmful to movie theaters. Publisher P. S. Harrison’s editorials reflected his hostility towards product placement in films. An editorial in Harrison’s Reports criticized the collaboration between the Corona Typewriter company and First National Pictures when a Corona typewriter appeared in the film The Lost World (1925).[14] Harrison's Reports criticized several incidents of Corona typewriters appearing in mid-1920s films.

text: Recognizable brand names appeared in movies from cinema's earliest history. Before films were even narrative forms in the sense that they are recognized today, industrial concerns funded the making of what film scholar Tom Gunning described as "cinematic attractions",[15] short films of one or two minutes. In the first decade or so of film (1895–1907) audiences attended films as "fairground attractions" interesting for their then-amazing visual effects. This format was better suited to product placement than narrative cinema. Gurevitch argued that early cinematic attractions have more in common with television advertisements in the 1950s than they do with traditional films.[16] Gurevitch suggested that as a result, the relationship between cinema and advertising is intertwined, suggesting that cinema was in part the result of advertising and the economic advantage that it provided early film makers.[17] Segrave detailed the industries that advertised in these early films.[18] In the 1920s, Harrison's Reports published its first denunciation of that practice over Red Crown gasoline appearance in The Garage (1920).[19]

text: Movies and television[edit]

text: Early film[edit]

text: A feature film that has expectations of reaching millions of viewers attracts marketers.[20]

text: In many cases no payment is made for product exposure and no promise of marketing support is made when consumer brands appear in movies.[citation needed] Film productions need props for scenes, so each movie’s property master, who is responsible for gathering props film, contacts product placement middlemen agencies or product companies directly. In addition to items for on-screen use, the product/service supplier might provide a production with large quantities of complementary products or services. Tapping product placement channels can be particularly valuable for movies when a vintage product is required—such as a sign or bottle—that is not readily available.

text: One of the earliest examples is The Garage, a Buster Keaton/"Fatty" Arbuckle comedy which featured the logo of Red Crown gasoline in several scenes (although there is no definitive proof that this product placement was paid for). Fritz Lang's Dr. Mabuse the Gambler (1922) contained a prominent title card in the opening credits reading "The gowns of the female stars were designed by Vally Reinecke and made in the fashion studios of Flatow-Schädler und Mossner."

text: Among notable silent films to feature product placement was Wings (1927), the first to win the Academy Award for Best Picture. It contained a plug for Hershey's chocolate. Fritz Lang's film M (released in 1931) shows a banner display for Wrigley's PK Chewing Gum, for approximately 20–30 seconds.

text: Another early example occurs in Horse Feathers (1932), wherein Thelma Todd's character falls out of a canoe and into a river. She calls for a "life saver" and Groucho Marx tosses her a Life Savers candy. It's a Wonderful Life (1946) depicts a young boy with aspirations to be an explorer, displaying a prominent copy of National Geographic. In Love Happy (1949), Harpo cavorts on a rooftop among various billboards and at one point escapes from the villains on the old Mobil logo, the "Flying Red Horse". Harrison's Reports severely criticized this scene in its film review[21] and in a front-page editorial. In Gun Crazy (1949), the climactic crime is the payroll robbery of the Armour meat-packing plant, where a Bulova clock is prominently displayed.

text: Later films[edit]

text: The Cannonball Run and Smokey and the Bandit film series featured conspicuous placements. The film E.T. is often cited for its multiple, obvious placements.

text: In the New World Pictures dub of The Return of Godzilla, Godzilla 1984, Dr. Pepper is subject to prominent product placement in the new scenes shot specifically for the dub - in a scene shot at an American military base, a vending machine is situated directly between two characters, and in similar scenes characters are often shown drinking the soft drink.

text: Cheerios and Coca-Cola had product placement in the Andrew Lloyd Webber musical Evita and in Superman: The Movie and the sequel Superman II. Clark Kent eats Cheerios for breakfast in Smallville. In Superman II's climax, Superman crashes into a giant Coca-Cola advertisement and saves a bus full of people bearing an ad for Evita, before he smashes into a Marlboro delivery truck.

text: Perhaps the ultimate example of product placement comes in the film Cast Away in which the Tom Hanks lead character is a FedEx employee. References to the delivery company FedEx are in nearly every scene in the film, with the FedEx logo and name preposterously over-emphasized. The Internship (2013), which features two unemployed friends seeking employment at Google, was described by Tom Brook of BBC as "one huge advertisement for Google" that took "product placement to a startling new extreme".[22]

text: Early television[edit]

text: In other early media, e.g., radio in the 1930s and 1940s and television in the 1950s, programs were often underwritten by companies. Soap operas were so-named because they were initially underwritten by consumer packaged goods companies such as Procter & Gamble or Unilever. When television began to displace radio, DuMont's Cavalcade of Stars television show was, in its era, notable for not relying on a sole sponsor. Sponsorship continues with programs being sponsored by major vendors such as Hallmark Cards.

text: The conspicuous display of Studebaker motor vehicles in the television series Mr. Ed (1961–1966), which was sponsored by the Studebaker Corporation from 1961 to 1963, as well as the display of Ford vehicles on the series Hazel (1961–1966), which was sponsored by the Ford Motor Company from 1961 to 1965, are notable examples of television product placement.

text: Types[edit]

text: Placements fall into two categories: those that are donated to reduce production costs and those placed in exchange for compensation.[23] Lotz refers to two classifications within these two categories, what she refers to as "basic" and "advanced". Basic placement is when the logo of an object or a brand name is visible but the characters don't draw attention to the brand. Advanced placement is when the product or brand is mentioned by name by characters in the show or movie.[24]

text: Barter and service deals (mobile phones provided for crew use, for instance) are also common practices. Content providers may trade product placements for help funding advertisements tied-in with a film's release, a show's new season or other event.[25]

text: A variant of product placement is advertisement placement. In this case an advertisement for the product (rather than the product itself) is production. Examples include a Lucky Strike cigarette advertisement on a billboard or a truck with a milk advertisement on its trailer.

text: Re-placement[edit]

text: Placing contemporary products into existing content creates new opportunities for marketers.[26] Current product placements can be added to older programs when rerun or released on video.[27][28][29]

text: Examples include Numb3rs and Still Standing; where a scene may be originally shot with a blank table, with sponsored products digitally added, possibly for each airing.[30]

text: As of 2007, dynamic or switchable placements became possible. Placements can be customized based upon factors such as demographics, psychographics or behavioral information about the consumer. In-game advertising vendors such as Massive Incorporated transmit user information to their servers, such as individual player IDs and data about what was on the screen and for how long, enabling user-specific placements.[31]

text: Hypervideo techniques can insert interactive elements into video.

text: Brand integration[edit]

text: A variant of product placement is brand integration, which varies from placement when show "the product or company name becomes part of the show in such a way that it contributes to the narrative and creates an environment of brand awareness beyond that produced by advanced placement."[32] While this type of advertising is common on unscripted shows such as The Apprentice, it can also be used in scripted television.[32] An early example was by Abercrombie & Fitch, when one of its stores provided the notional venue for part of the romantic comedy film Man's Favorite Sport? (1964). On All My Children one character took a job at Revlon.[32] The character's job became part of the character's development.[33]

text: Jurassic Park not only prominently features Ford cars and other commercial products, but also includes a scene displaying its own promotional merchandise. One shot shows the "Jurassic Park Souvenir Store", with products that it offered for sale to fans.

text: Product displacement[edit]

text: According to Danny Boyle, director of film Slumdog Millionaire (2008), the makers used "product displacement" to accommodate sponsors such as Mercedes-Benz that refused to allow their products to be used in non-flattering settings. While Mercedes did not mind having a gangster driving their cars, they objected to their products being shown in a slum. The makers removed logos digitally in post-production, costing "tens of thousands of pounds". When such issues are brought up in advance of filming, production companies often resort to "greeking", the practice of simply covering logos with tape.

text: Similarly, in The Blues Brothers (1980), portions of the defunct Dixie Square Mall in Harvey, Illinois, were reconstructed in façade and used as the scene of an indoor car chase. Signage belonging to mall tenants was replaced with that of other vendors; for instance, a Walgreens would become a Toys "R" Us.[34]

text: Cars (2006) parodies NASCAR, an advertising-heavy sport which controversially had long allowed alcohol and tobacco sponsorships. NASCAR's sponsors were replaced with fictional or parody brands; Dinoco Oil takes pride of place, followed by a string of invented automotive aftermarket products positioned as pharmacy or medical brands. "Dale Earnhardt Inc." displaced "Junior #8"'s sponsor Budweiser to avoid advertising beer in a Disney feature. NASCAR's former "Winston Cup" trophy became the Piston Cup, removing a tobacco advertisement.[35][36]

text: Audio vs visual[edit]

text: Placements can be sound-only, visual-only or a combination of the two. The Russian television show дом-2 (phonetically Dom-2) (similar to Big Brother) often features participants stating something along the lines of, "Oh, did you check out the new product X by company Y yet?" after which the camera zooms in on the named product, explicitly combining an audio mention with a visual image. In The Real World/Road Rules Challenge participants often make a similar comment, usually pertaining to the mobile device and carrier for a text message.

text: Advertiser-produced programming[edit]

text: In 2010 Wal-Mart teamed with Procter & Gamble to produce Secrets of the Mountain and The Jensen Project, both family-oriented films that display the characters using Wal-Mart and Procter & Gamble- branded products. The Jensen Project also featured a preview of Kinect.[37][38]

text: Self promotion[edit]

text: 20th Century Fox regularly uses their sister Fox News and Sky News channels in their films by including it as a plot device when characters view news broadcasts; which channel is featured in a film depends on its setting. The character typically stated that the audience is viewing Sky News. One example appears in the 1996 films Independence Day and Mission: Impossible.

text: Parodies[edit]

text: The pilot episode of the NBC sitcom 30 Rock featured the General Electric (at the time an 80% owner of NBC) Trivection oven,[39] but was said to be a joke by the show's creator.[40] The show later parodied placement.[41]

text: The 1988 film Return of the Killer Tomatoes mocked the concept—at one point, the film stops, for lack of money. The character played by George Clooney suggests product placement as a way to continue. This was followed by several scenes with blatant product placement, including a Pepsi billboard installed in front of the villain's mansion.

text: The film Fight Club, directed by David Fincher, bit the hand that fed it by depicting acts of violence against most of the products that paid to be placed in the film.[citation needed] Examples include the scene where the Apple Store is broken into, the scene in which Brad Pitt and Edward Norton smash the headlights of a new Volkswagen Beetle, and try to blow up a "popular coffee franchise", a thinly veiled dig at Starbucks.

text: The film Superstar, starring Will Ferrell and Molly Shannon, shows every resident in town driving Volkswagen New Beetles, possibly for comic effect. Similarly, the film Mr. Deeds shows Adam Sandler's character purchasing a Chevrolet Corvette for every resident of his town.

text: Wayne's World showed Wayne and Garth decrying product placement while looking directly at the camera, holding up a product, smiling and sometimes giving a thumbs-up.

text: Kung Pow! Enter the Fist spoofed its product placements, highlighting the anachronistic inclusion of a Taco Bell. In a similar vein, in Looney Tunes: Back In Action, the main characters stumble across a Wal-Mart while stranded in the middle of Death Valley and acquire supplies just for providing an endorsement. Kannagi: Crazy Shrine Maidens poked fun at its sponsor Sony by having one character give another a Blu-ray Disc with the tagline "It's a Sony", only for them to complain that they do not have a Blu-ray player, to which the character responds with a version in Betamax.

text: Faux placements[edit]

text: X-Files (1993–2002) frequently featured the fictional Morley brand of cigarettes, the choice of the Cigarette Smoking Man. The company producing Morleys was also involved in a cover-up conspiracy, Brand X.

text: Ghostbusters had a faux product in the climax of the film when the team faces the Stay Puft Marshmallow Man.

text: The Truman Show utilized faux placements to advance the narrative~of the reality television set. The protagonist's wife places products in front of hidden cameras, even naming them in dialogue with her husband. This increases Truman's suspicions as he comes to realize his surroundings are intentionally fabricated.

text: Some filmmakers created fictional products that appear in multiple movies.[citation needed] Examples include Kevin Smith (Nails Cigarettes, Mooby Corporation, Chewlees Gum, Discreeto Burritos) and Quentin Tarantino (Red Apple Cigarettes, Jack Rabbit Slim's Restaurants, Big Kahuna Burger). This went even further with the fictional brand Binford Tools which appeared in TV shows Home Improvement and Last Man Standing and in the Toy Story movie franchise, all starring Tim Allen.

text: This practice is also fairly common in certain comics, such as Svetlana Chmakova's Dramacon, which makes several product-placement-esque usages of "Pawky", (a modification of the name of the Japanese snack "Pocky", popular among anime and manga fans) or Naoko Takeuchi's Sailor Moon, which includes numerous references to the series Codename: Sailor V, from which Sailor Moon was spun off.

text: This practice is also common in certain "reality-based" video games such as the Grand Theft Auto series, which feature fictitious stores such as Ammu-Nation, Vinyl Countdown, Gash (spoofing Gap) Zip, Pizza Boy, etc.

text: Reverse placement[edit]

text: So-called "reverse product placement" creates real products to match those seen in a fictional setting.[42] For example, in 2007, 7-Eleven rebranded 11 of its American stores and one Canadian store as "Kwik-E-Marts", selling versions of products seen in episodes of The Simpsons, such as Buzz Cola and Krusty-O's cereal.[43] In 1997, Acme Communications was created as a chain of real television stations; the firm is named for the fictional Acme Corporation of Warner Brothers fame. Willy Wonka & the Chocolate Factory (1971) led to a real Willy Wonka candy company, established soon after the film's release.

text: In 1949, Crazy Eddie was created as a fictional car dealer in the film A Letter to Three Wives.[44] That name, bestowed in 1971 upon a real-life electronics chain in New York City, appeared in 1984 as and advertising placement in Splash. A 1989 parody, UHF, returned to fiction by depicting a Crazy Ernie pitching, "buy this car or I'll club a seal" as a TV ad campaign.

text: Music and recording industries[edit]

text: While radio and television stations are regulated by national governments, producers of printed or recorded works are not, leading marketers to attempt to get products mentioned in lyrics of popular songs.

text: In 2008, The Kluger Agency was claimed[45] to have proposed placement of Double Happiness Jeans,[46] a virtual sweatshop created as part of the Invisible Threads project for the 2008 Sundance Festival, in a Pussycat Dolls song for a fee.[47] The firm was not intended to represent a commercial product. It had been invented as a collaboration between Jeff Crouse of the Anti-Advertising Agency and Stephanie Rothenberg. While the product technically existed at the time, Double Happiness was intended to be a critical piece.[48]

text: In January 2009, Migra Corridos, a 5-song EP including accordion ballad "El Mas Grande Enemigo", had received airplay on twenty-five Mexican radio stations. The tune purports to be the lament of a would-be immigrant left to die in the Arizona desert by coyotes (people smugglers).[49] No disclosure was made to the radio stations that the U.S. Border Patrol had commissioned the project with content devised by Elevación, a Hispanic advertising agency based in Washington, D.C. and New York City.[50]

text: In 2010, a video for Lady Gaga's "Telephone" was panned by critics for displaying nine brands in nine minutes (including her own line of Heartbeats headphones), many as paid product placements.[51] Other 2010 music videos displayed the PlentyofFish website include Natasha Bedingfield's "Touch", Flo Rida and Akon's "Available", Jason Derulo's "Ridin' Solo",[52] and 3OH!3's "Double Vision".[53]

text: In 2011, Britney Spears's music video for "Hold It Against Me" advertised PlentyofFish and Sony; one Washington Post review denounced the video as an informercial.[54]

text: Jennifer Lopez's Fiat-sponsored music video "Papi" was edited for broadcast as a 30-second advertisement for the Fiat 500 Cabrio in 2011.[55] The original video also advertised BlackBerry, Tous, Planet Love Match and Crown Royal.[56]

text: Alcohol advertising in music videos drew criticism from Curtin University in Perth, Australia in 2011. An Alcohol Beverages Advertising Code (ABAC) exists in Australia to handle complaints,[57] but a placement of Midori liqueur in Cobra Starship's "You Make Me Feel..." was judged not to be alcohol advertising.[58]

text: Comics[edit]

text: South African football comic book Supa Strikas accepts product placement to allow for the comic's free distribution. Product placement occurs throughout the publication; on players' shirts, billboards and signage, and through the branding of locations or scenarios.

text: Supa Strikas receives the majority of its support from Chevron, via its Caltex and Texaco brands.

text: In markets where Chevron lacks a presence, other brands step in, e.g., including Visa in Kenya, Uganda and Tanzania. Other brands include their logos included as both billboard and background advertising, and through the branding of locations and scenarios. These companies include Metropolitan Life, Nike, Spur Steak Ranches and the South African National Roads Agency, among others.[59]

text: Other titles adopted the same system, including cricket comic Supa Tigers and Strike Zone.

text: Sports[edit]

text: Product placement has long been prevalent in sports at all levels.

text: NFL[edit]

text: While now-defunct NFL Europe allowed liberal use of team uniforms by sponsors, the main National Football League (NFL) does not. For instance, the league prohibits logos of sponsors painted onto the fields, although Gillette Stadium in Foxborough, Massachusetts, has their stadium's logomark painted onto the FieldTurf field. In 2008, the league allowed sponsors on the practice jerseys of the uniforms, but not game uniforms.

text: In 1991, the league allowed uniform suppliers to display their logos on their NFL-related products. Since 2012, Nike has been the league's official uniform supplier.

text: Two of the league's flagship teams—the Green Bay Packers and the Pittsburgh Steelers—early on adopted their identity from corporate sponsors. The Packers adopted the name "Packers" because they were sponsored by the Indian Packing Company. They later had "ACME PACKERS" written on their uniforms in the early 1920s after the Acme Packing Company bought Indian Packing. The Steelers adopted their current logo in 1962 as a product-placement deal with the American Iron and Steel Institute, which owned the rights to the Steelmark logo. The Steelers later were allowed to add "-ers" to the Steelmark logo the following year so that they could own a trademark on the logo. (The Steelers' pre-NFL predecessors also regularly sold naming rights to companies in the Pittsburgh area.)

text: The league has placed itself. NFL Japan was a sponsor of the football-themed anime series Eyeshield 21.

text: NASCAR[edit]

text: In automobile racing, the concept of the factory-backed contestant, who is provided with vehicles and technical support in return for the car's manufacturer obtaining visibility for its products in competition, dates in NASCAR to the 1950s and Marshall Teague's factory-backed Fabulous Hudson Hornet. "Win on Sunday, sell on Monday" was once a common adage among automakers.[60]

text: Notable placements[edit]

text: Automobiles, apparel, beverages, home goods, furniture, consumer electronics, computers, restaurants, financial institutions, travel, airlines and websites are just a few of the product categories.

text: Fedex provided vehicles, access, and logistical support for the making of Cast Away. The movie depicted real Fedex locations, and the company's CEO appeared in one scene.

text: Automobiles[edit]

text: The most common products to be promoted in this way are automobiles. Frequently, all the important vehicles in a film or television series are supplied by one manufacturer.

text: Luxury vehicles like Aston Martin, Mercedes, Audi, BMW, Cadillac utilize brand integration in films like Iron Man 3,[61] Spectre,[62] and Jurassic World.[63] Mission: Impossible - Rogue Nation[64]

text: Cars (2006) portrays a mix of real and fictional vehicles as characters. None are directly paid product placements, but many are factory-backed by manufacturers who provided technical assistance and vehicles during production.[65]

text: Apparel and accessories[edit]

text: Tom Ford has utilized brand integration to elevate his fashion brand in movies like Skyfall,[66] music from Jay Z's Magna Carta,[67] and television shows like Empire.[68]

text: Consumer electronics and computers[edit]

text: Apple's products frequently appear in films, music videos and on television. Apple has stated that they do not pay for this, but declined to discuss how its products are placed; some Apple placements may have stemmed from the brand's position as a status symbol rather than actual paid promotion.[69] Similarly, Pixar films have often featured references to Apple products, although these are an homage to the involvement of its founder, Steve Jobs, as an early investor in the studio.[70]

text: The 2010 Modern Family episode "Game Changer" prominently featured the iPad and aired prior to its launch, while the 2015 episode "Connection Lost" is presented entirely from the perspective of a character's Macintosh laptop, conducting communications between the rest of her family via Apple's FaceTime and iMessage services. Show creator Steven Levitan stated they had an ongoing relationship with Apple, but did not elaborate further. In the case of the former, while the episode's credits did state that the iPad was "provided" by Apple, the company did not pay the show's broadcaster ABC for the integration, nor bought any commercial time during the episode[71][72]

text: Owing to its common ownership, Sony Pictures films have featured placements of Sony consumer electronics products, particularly Sony Xperia smartphones, amongst other products. The James Bond films Skyfall and Spectre prominently feature placements of the Sony Xperia T and Sony Xperia Z5 smartphones respectively, and Sony released editions of the T and Xperia Z5 Compact that were branded as tie-ins for the films.[73][74][75][76]

text: In video games, the most common placements are for processors or graphics cards. For example, in EA's Battlefield 2142, ads for Intel Core 2 processors appear on map billboards. EA's The Sims contains in-game advertising for Intel and for McDonald's. Rare's Perfect Dark Zero features many ads for Samsung in their menus.[77]

text: Food and beverage[edit]

text: The use of Reese's Pieces as a prominent plot element in the film E.T. the Extra-Terrestrial was the result of a sponsorship deal; it was originally intended for the titular character's favorite food to be M&Ms candies, but Mars, Incorporated turned down an offer. The Hershey Company took the sponsorship instead, which included the rights for the company to cross-promote Reese's Pieces with the film. The deal was considered a major coup for the company; sales of Reese's Pieces tripled, and some retailers had trouble meeting demand for the product.[78]

text: Alongside criticism for trying to ride off the popularity of E.T., the film Mac and Me was widely-criticized for containing numerous placements for Coca-Cola soft drinks and the fast food chain McDonald's; both brands are integral to the film's plot, while McDonald's mascot Ronald McDonald makes an appearance during a dance scene set at a McDonald's, and is credited as appearing in the film "as himself". Critics also noted that the name of the alien creature featured in the film, "Mac", could also be interpreted as a reference to the chain's notable burger, the Big Mac.[79][80][81] Its producer R.J. Louis denied that the film was funded by McDonald's; he had previously worked on campaigns for the company and wanted to make a film that would help benefit the Ronald McDonald House Charities, and had to pursue rights to portray the McDonald's brand in the film (noting that he was "still the only person in the universe that ever had the exclusive motion picture rights to the McDonald's trademark, their actors, their characters, and the whole company"), but did receive funding from one of the chain's major suppliers, Golden State Foods. He also justified the extended dance scene, as trips to McDonald's were often seen as a "treat" to children of the era, and explained that "Mac" was meant to be an acronym for "Mysterious Alien Creature".[82]

text: Tobacco[edit]

text: Tobacco companies have made direct payment to stars for using their cigarettes in films. Sylvester Stallone received US$500,000 to "use Brown and Williamson tobacco products in five feature films".[83][84][85]

text: In response to a Christian Science Monitor article[86] accusing the industry of deliberately using product placement as an advertising strategy, the Tobacco Institute claimed that product placement is driven by filmmakers to “achieve desired artistic effects but also to offset production costs.” It also claimed “the 1970 federal ban on cigarette advertising on television and radio does not prohibit payments to filmmakers for the use of cigarettes in a film.” The rebuttal concludes with the sentiment that smoking in film provides a certain “aesthetic” which is legitimate and at the filmmaker's discretion.[87]

text: Airlines[edit]

text: Many airlines have advertised prominently in film, in some cases to promote a new flight route or just to increase public awareness of the airline company. Pan American World Airways advertised on many films, including some James Bond ones. American Airlines was advertised on Home Alone and Home Alone 2, and a model of a Virgin Atlantic Boeing 747 was shown in Wayne's World.

text: United Airlines was mentioned in the title of the movie United 93; this movie, however, was based on a real life event.

text: Radio, television and publishing[edit]

text: Television[edit]

text: List of television shows with the most instances of product placement (November 2007 – 2008; according to Nielsen Media Research)

text:
The Biggest Loser – 6,248
American Idol – 4,636
Extreme Makeover: Home Edition – 3,371
America's Toughest Jobs – 2,807
One Tree Hill – 2,575
Deal or No Deal – 2,292
America's Next Top Model – 2,241
Last Comic Standing – 1,993
Kitchen Nightmares – 1,853
Hell's Kitchen – 1,807

tag: ul

text: Nielsen called a scene in an episode of CBS' Mike & Molly of Mike eating M&M's in Carl's apartment 2013's best branded and opinion-shifting product integration in a scripted show.[88]

text: Video sharing website[edit]

text: Youtubers are allowed to do product placement. For instance, the LinusTechTips channel by Linus Sebastian.[89] Notifying YouTube is required,[90] and YouTube reserves the right to ban it.[91]

text: Literature[edit]

text: In 2001, British author Fay Weldon published The Bulgari Connection, a novel commissioned by Italian jewellery company Bulgari. According to The Independent, this was the first instance of a literary product-placement deal between an established writer of fiction and a commercial partner.[92]

text: Legal considerations[edit]

text: United States[edit]

text: Much of U.S. broadcast law pertaining to on-air product promotion dates to the payola scandals of 1950s broadcast radio. An investigation launched in November 1959 into allegations that some radio disc jockeys had accepted bribes in return for radio airplay[93] ended with a US$2,500 fine for disc jockey Alan Freed (of WABC and WINS) for violating commercial bribery laws. On September 13, 1960, the U.S. government banned payola in broadcasting. Under 47 U.S.C. § 317 "All matter broadcast by any radio station for which money, service, or other valuable consideration is directly or indirectly paid, or promised to or charged or accepted by, the station so broadcasting, from any person, shall, at the time the same is so broadcast, be announced as paid for or furnished, as the case may be, by such person..." with similar and related provisions reflected in Federal Communications Commission regulations as 47 C.F.R. 73.1212.[94]

text: These provisions have governed subsequent payola investigations, including a 2005 investigation into Sony BMG and other major record companies.[95]

text: Often, a broadcaster claimed to have complied by placing an acknowledgement in an inconspicuous place, such as embedded within the credits.[96] In 2005 U.S. Federal Communications Commission commissioner Jonathan Adelstein stated "if broadcasters and cable TV companies insist on further commercializing new and other shows alike, that is their business. But if they do so without disclosing it to the viewing public, that is payola, and that is the FCC’s business."[97]

text: United Kingdom[edit]

text: In the United Kingdom, placement by commercial broadcasters was forbidden prior to 2011. On February 28, 2011, telecommunications regulator Ofcom legalized placements in certain types of programming. A placement must be "editorially justified" and not place "undue prominence" on the product. Product placements are not allowed for products that cannot legally be advertised on television, including alcohol, baby milk, gambling products, medication or junk food. Placements are not allowed during children's, news, public affairs and religious programs. Additionally, broadcasters must disclose placements on-air by displaying a "PP" icon on-screen during the program for at least three seconds at the beginning, after every commercial break, and at the end. The first legal product placement on British television came during an episode of This Morning, for a Nestlé-produced coffee maker. As with all other advertising, the BBC is barred from using placements on its publicly funded services.[98][99]

text: Extreme examples[edit]

text: Mac and Me is notorious for its placements. Both Coca-Cola and McDonald's backed the movie financially, leading to placements for them as well as others, such as Skittles and Sears in nearly every scene, including an infamously irrelevant dance number set in a McDonald's restaurant as well as a character who wears a McDonald's uniform throughout nearly the entire film, even when she is not at work.

text: I, Robot offers placements for Converse, Ovaltine, Audi, FedEx, Dos Equis and JVC among others, all of them introduced within the film's first ten minutes. One moment includes a straightforward advertisement in which Will Smith's character responds to a compliment about his shoes, to which he replies "Converse All-Stars, vintage 2004"[100] (the year of the film's release). Audi created a special car for the film, the Audi RSQ. Surveys conducted in the US showed that the placements boosted the brand's image.[101] The Audi RSQ appears for nine minutes, and other Audis also appear in the film.[102] I, Robot was ranked "the worst film for product placement" on a British site.[103]

text: Demolition Man makes heavy mention of the only remaining restaurant chain being Taco Bell (in the U.S. release) or Pizza Hut (in the European release).

text: The Island features at least 35 individual products or brands, including cars, bottled water, shoes, credit cards, beer, ice cream, and a web search engine.[104][105] In the movie's DVD Commentary track, director Michael Bay claims he added the advertisements for greater realism.[106]

text: The 2006 comedy film Talladega Nights: The Ballad of Ricky Bobby parodied the large amount of sponsorship in NASCAR. For example, Ricky Bobby thanks baby Jesus for certain products during the dinner blessings, due to contractual obligations. In one race, he drives his car with a giant Fig Newtons sticker on his windshield, which obscures his vision. A scene where Ricky's and Jean Girard's cars go flipping for an excessively long time is interrupted by an Applebee's commercial (referencing NBC's use of commercial breaks during its own coverage).[107]

text: Josie and the Pussycats contains placements in most of the shots. This appears to be done ironically, as the plot of the film revolves around subliminal messages in advertising. The film's general message can also be construed as an anti-consumerist one. The film neither sought nor received compensation for the placements.

text: The 2009 Star Trek, in a scene where young James Kirk drives and crashes a Chevrolet Corvette, he operates a Nokia touch-screen smartphone. Before running the car off the cliff while being chased by a hovering motorcycle cop, the distinct Nokia trademark ring tone can be heard. The Finnish phone maker offered Star Trek apps for its phones. The use of contemporary products was ridiculed, as the scene is set in the year 2255.[108]

text: The 2013 Filipino film My Little Bossings attracted criticism for its extensive use of product placement. Reviewers panned the film for being "one long commercial", where advertisements for brands endorsed by the characters' actors are frequently interspersed into the film.[109][110] Zig Marasigan of Rappler described the film's use of product endorsements as "some of the most distasteful examples of local product placement while no effort is made to weave them into the narrative."[111]

text: In a similar vein to early radio and television programs, sponsored programs in the Philippines are not uncommon, where children's programs like Tropang Potchi and Jollitown were produced on behalf of companies, prominently featuring products and related properties in the shows in question.

text: Viewer response[edit]

text: In April 2009, fans of the television series Chuck responded to a placement by Subway restaurants with a grassroots effort to save the show from cancellation.[112] The movement gained support from cast and crew, with series star Zachary Levi leading hundreds of fans to a Subway restaurant in Birmingham, United Kingdom.[113][114][115][116][117]

text: Criticisms[edit]

text: Placement continues to grow, despite consumer groups such as Commercial Alert that object to the practice as "an affront to basic honesty". The group requested disclosure of all product-placement arrangements and notification before and during embedded advertisements. It justifies this to allow parents to protect easily influenced children.[118]

text: In 2005, the Writers Guild of America, a trade union representing authors of television scripts, objected that its members were forced to produce disguised ad copy.[119]

text: Some scholars argue that product placement may inherently affect the creativity and originality of movies as film producers may re-write scripts in order to incorporate products.[120] Most typically, product placement and merchandise are most successful amongst specific genres of movies which may eventually limit the diversity of films.[120]

text: Research[edit]

text: Effectiveness[edit]

text: As with most marketing tactics, product placement leads to explicit as well as implicit advertising effects. Explicit effects can be observed directly and are usually visible by higher recall scores.[121][122] They are highly connected to the conscious mind.[123] Implicit effects can be observed by a change in behavior – like a higher purchase intention.[121][124][125] They are fully based on the subconscious mind.[121][126] Implicit effects are more relevant for purchase decisions and therefore more valuable than explicit reactions.[121][126]

text: Recall[edit]

text: Recall describes whether people can name a product after seeing it within the content. Research showed that there is a significant relationship between product placement and recall.[127][128][129][130]

text: Attitude[edit]

text: Product placement also leads to changes in attitude towards the product or brand.[131][132][133][134]

text: Purchase intention[edit]

text: A lot of research has shown a higher purchase intention as a result of product placement.[135][136][137][138][139]

text: Subconscious effects[edit]

text: Product placement affects the audience on a conscious, but also subconscious level. Science showed that there does not even need to be an explicit, conscious effect to activate subconscious effects.[136][140][141][142] For example, product placement can lead to an exclusion of competing brands from the consideration set of the audience – subconsciously.[121][143] It is also hoped to bypass advertising defense reactions of consumers by focusing on the subconscious character of product placement.[122]

text: Negative effects[edit]

text: Under specific circumstances, product placement can lead to no[144][145][146] or even negative effects.[131][145][147][148] This usually happens if the product placement is too obvious, while the audience also feels to be manipulated.[122][145][148]

text: Placement moderators[edit]

text: Congruence[edit]

text: The better the product placement fits the surrounding content, the better the implicit effectiveness (like attitude or purchase-intention) will be.[134][149][150][151]

text: Audio vs visual[edit]

text: After viewing a Seinfeld episode with visual, auditory and audiovisual product placements, a recall task indicated that audiovisual product placements were recalled the best, visual product placements somewhat less and audio placements least. In a recognition test audiovisual was still remembered the best but audio placements were remembered second best and visual placements were remembered third best.[136] As indicated, the type of placement that is most effective seems to vary depending on task, but audiovisual placements seem to be often the most effective.[152] However, audiovisual product placements are not remembered best when there are more than one audiovisual placement at once, making it hard to remember each one.[127] In case the placement is only on the audio level, one should make sure it is very prominent to get any effect at all.[128][145][153]

text: Character attractiveness[edit]

text: People tended to like brand names that were paired with attractive faces more than those paired with unattractive faces. The more times a brand was paired with an attractive face, the more people liked it.[154]

text: Product prominence[edit]

text: Product placement perceived to disrupt a movie, especially when repeated, were found in one study to be counterproductive. Moderate repetition of subtle product placements did not increase people’s feelings on distraction.[155]

text: Products that are integrated within the plot of a movie are better recall, although not if more than one product is shown at a time.[127] In one study placements connected to the story were recognized most often, products used by the main character were remembered less often and products in the background were remembered least often.[139]

text: Placements were found more effective on a larger screen compared to on a smaller one.[127] Also, products placed in the first half of a movie tend to be remembered better than products in the second half of a movie, which demonstrates the primacy effect.[127]

text: Level of Involvement[edit]

text: High involvement with the program makes it easier for people to recognize the product placement.[156][157] This can lead to positive effects,[158][159] but might also lead to negative reactions.[160] The same applies for high product category involvement.[161]

text: Audience demographics[edit]

text: Cultural attributes[edit]

text: Older research cited a difference between different cultural areas. For example, Australians,[162] Austrians.[163] and Germans[164][165] tended to evaluate product placement more critical and show less positive reactions than Americans or people from certain Asian countries such as India.[166][167][168]

text: Age[edit]

text: Children are usually easier influenced than adults.[169][170][171]

text: Sex[edit]

text: If the product is endorsed by a person, there are stronger priming effects if the audience has the same sex.[172] Women tend to get influenced a little easier,[173][174] but show more negative reactions when the product can be described as ethically questionable (e.g. alcohol).[175]

text: Measurement[edit]

text: To measure the success of product placement, one first tracks the parameters of the placement itself, like the ease of identification, screen time, number of exposure(s), or association with a main character. That information is also often used to determine the price of a specific placement. Secondly, the effectiveness is measured using direct (for explicit memory effects) as well as indirect (for implicit memory effects) measurements.

text: Measurement of the explicit memory[edit]

text: Explicit effects are measured by recall or recognition tests. Subjects are asked to name the products that he or she noticed (free recall).[121][176] This survey can be also aided by giving additional information like a specific product category.[144] At recognition tests, a selection of products is shown to the interviewed person, who then needs to select the ones that he has seen before.[146][152]

text: Measurement of the implicit memory[edit]

text: Implicit effects are measured in an indirect way by observing a change in behavior.[121][177] This can be done by tracking the consideration set and buying behavior of people,[121][124][125] measuring brain activities[178] or using abstract indirect test settings like the word fragment or word stem completion test.[179] The implicit association test (IAT) is also an applicable measurement tool.[180][181]

text: Ethics[edit]

text: Many argue that product placement is ethically questionable, because it manipulates them against their will.[138][182][183][184] A contrary view is, even if product placement is only perceived unconsciously, it is still evaluated by our mind.[185][186] It cannot make people act against their beliefs. Most people also appreciate the fact, that movies look more realistic with real brands and do not feel disturbed by the placements.[187][188] Additionally, further research argues that product placement is not any different from other marketing tactics when it comes to ethics.[147]


document_title: En plein air

question_text: which group of artist is well known for painting en plein air

root

text: En plein air

text: History[edit]

text: Artists have long painted outdoors, but in the mid-19th century, working in natural light became particularly important to the Barbizon school, Hudson River School, and Impressionists. The Newlyn School in England is considered another major proponent of the technique in the latter 19th century.[1] The popularity of painting en plein air increased in the 1840s with the introduction of paints in tubes (like those for toothpaste). Previously, painters made their own paints by grinding and mixing dry pigment powders with linseed oil.

tag: p

text: The act of outdoor painting from observation has been continually popular well into the 21st century.[2][3]

text: Equipment and challenges[edit]

text: It was during the mid-19th century that the box easel, typically known as the French box easel or field easel, was invented. It is uncertain who developed it, but these highly portable easels with telescopic legs and built-in paint box and palette made it easier to go into the forest and up the hillsides.[4] Still made today, they remain a popular choice (even for home use) since they fold up to the size of a brief case and thus are easy to store.[5]

text: The Pochade Box is a compact box that allows the artist to keep all their supplies and palette within the box and have the work on the inside of the lid. Some designs allow for a larger canvas which can be held by clamps built into the lid. There are designs which can also hold a few wet painting canvases or panels within the lid.[6] These boxes have a rising popularity as while they are mainly used for plein air painting, can also be used in the studio, home, or classroom. Since pochade boxes are mainly used for painting on location, the canvas or work surface may be small, usually not more than 20 inches (50 cm).[7]

text: Challenges include the type of paint used to paint outdoors, animals, bugs, onlookers, and environmental conditions such as weather. Acrylic paint may harden and dry quickly in warm, sunny weather and it cannot be reused. On the opposite side of the spectrum is the challenge of painting in moist or damp conditions with precipitation. The advent of plein air painting predated the invention of acrylics. The traditional and well-established method of painting en plein air incorporates the use of oil paint.

text: Advocates[edit]

text: French impressionist painters such as Claude Monet, Camille Pissarro, and Pierre-Auguste Renoir advocated plein air painting, and much of their work was done outdoors in the diffuse light of a large white umbrella. Claude Monet was an avid en plein air artist who deduced that to seize the closeness and likeness of an outside setting at a specific moment one had to be outside to do so rather than just paint an outside setting in their studio.[8]. In the second half of the 19th century and beginning of the 20th century in Russia, painters such as Vasily Polenov, Isaac Levitan, Valentin Serov, Konstantin Korovin and I. E. Grabar were known for painting en plein air.

text: But enthusiasts of plein air painting were not limited to the Old World. American impressionists too, such as those of the Old Lyme school, were avid painters en plein air. American impressionist painters noted for this style during this era included Guy Rose, Robert William Wood, Mary DeNeale Morgan, John Gamble, and Arthur Hill Gilbert. In Canada, the Group of Seven and Tom Thomson are examples of en plein air advocates.

text: Notable "plein air" artists[edit]

text:
Peter Seitz Adams
Stefan Baumann
Henri Biva
Ralph Wallace Burton
Mary Cassatt
William Merritt Chase
Robert Clunie
John Constable
Yvonne Coomber
Lovis Corinth
William Didier-Pouget
Rackstraw Downes
Carl Eytel
Francesco Filippini
David Gallup
Antonio López García
Arthur Hill Gilbert
Vincent van Gogh
Winslow Homer
George Inness
Theodore Lukits
Marvin Mangus
Frederick McCubbin
Stanisław Masłowski
Willard Metcalf
Claude Monet
Berthe Morisot
Edgar Payne
Robert Antoine Pinchon
Camille Pissarro
William Preston Phelps
Pierre-Auguste Renoir
Tom Roberts
Guy Rose
John Singer Sargent
Matthew Smith
Tim Solliday
Joaquín Sorolla
Arthur Streeton
Anthony Thieme
Tom Thomson
Henry Scott Tuke
Andrew Winter
Robert William Wood
Mary Agnes Yerkes

text: Images[edit]

text:
Artist working en plein air, using a Pochade box at Pigeon Point Lighthouse in California.

En plein air painters painting in Ringwood, New Jersey. Artists are using using a French easel on the left of picture, and a Pochade box on the right.

Winslow Homer, Artists Sketching in the White Mountains, 1868, oil on panel, 24.1 × 40.3 cm, Portland Museum of Art

Henri Biva, ca. 1905–06, Matin à Villeneuve (From Waters Edge), oil on canvas, 151.1 × 125.1 cm

Stanisław Masłowski, 1902 Pejzaż jesienny z Rybiniszek (Autumn landscape of Rybiniszki), watercolor on paper, 56 x 38 cm, National Museum in Warsaw


document_title: Director of New Netherland

question_text: who was the director general for the new netherland colony starting in 1647

text: Director of New Netherland

text: List of Directors[edit]

text: From 1624–1664[edit]

text:
Portrait
Director or
Director-General
Took office
Left office
Notes

Cornelius Jacobsen May
(fl. 1600s)
1624
1625

Explored Delaware Bay, New York Bay, Hudson River.
Established base at Nut Island (Noten Eylant) and outposts including Fort Nassau on Delaware River.
Cape May was named in his honour.

Willem Verhulst
(or van der Hulst)
(fl. 1600s)
1625
1626

Initiated construction of Fort Amsterdam on southern tip of Manhattan Island, and Fort Wilhelmus on the Delaware River.
Unpopular with the colonists, he was quickly replaced.

Peter Minuit
(1580–1638)
1626
1631

Purchased the island of Manhattan from Native Americans on May 24, 1626 for 60 Dutch guilders worth of goods.[1]

Sebastiaen Jansen Krol
(1595–1674)
1632
1633

Wouter van Twiller
(1606–1654)
1633
1638

Previously a Dutch West India Company warehouse clerk, used family connections to the Rensselaer family to gain appointment
purchased Nut Island (Noten Eylant), later called Governor's Island from Canarsee tribe for two axeheads, a string of beads and iron nails
Lost the colony's claim of the Connecticut River valley to New England settlers
Pushed back encroaching Virginia settlers who tried to settle Delaware River valley

Willem Kieft
(1597–1647)
1638
1647

Attempted to drive out Lenape tribe.
Attacks on Pavonia and Corlears Hook, led to Kieft's War.[2]
Fired by the Dutch West India Company in 1647.[3]
Died at sea near Swansea, Wales on September 27, 1647 while returning to Amsterdam aboard the Princess Amelia.[4]

Peter Stuyvesant
(c.1612-1672)
1647
1664

Authorized charter for Communipaw and Bergen (now Jersey City) in 1660.
New Amsterdam, Pavonia, and other settlements attacked by the Susquehannocks during the brief Peach Tree War (1655)[4]
obtained victory the Esopus Wars against the Lenape and Esopus tribes[5]
Surrendered New Netherland to the British.
Also the Director of Curaçao (1642–1664)

tag: table

text: Restoration of the colony, 1673-1674[edit]

text: In 1673, during the Third Anglo-Dutch War, the Dutch were able to recapture New Amsterdam (renamed "New York" by the British) under Admiral Cornelis Evertsen the Youngest and Captain Anthony Colve.[6] Evertsen renamed the city "New Orange."[7] Evertsen returned to the Netherlands in July 1674, and was accused of disobeying his orders. Evertsen had been instructed not to retake New Amsterdam but instead to conquer the British colonies of Saint Helena and Cayenne (now French Guiana).[8] In 1674, the Dutch were compelled to relinquish New Amsterdam to the British under the terms of the Second Treaty of Westminster.[9][10]

text:
Portrait
Governor
Took office
Left office
Notes

Anthony Colve
(fl. 1600s)
1673
1674

Colve's authority was brief, starting with the taking of New York, but ended on February 9, 1674 with the signing of the Treaty of Westminster, which restored the colony to the English. News did not reach the New World of the treaty's terms until late in the year.


document_title: Wreck-It Ralph

question_text: who did the music for wreck it ralph

question_tokens: who did the music for wreck it ralph

text: Wreck-It Ralph

text: Plot[edit]

text: When Litwak's Family Fun Center & Arcade closes at night, the various video game characters leave their normal in-game roles and are free to travel to other games. Wreck-It Ralph, the antagonist of the game Fix-It Felix Jr., is ostracized by his game's characters for just doing his job, while the titular hero Felix is praised. Tired of being mistreated, Ralph announces at the game's thirtieth anniversary party that he will earn his neighbors' respect by winning a medal.

text: Ralph learns he can obtain a medal from the first-person shooter, Hero's Duty. After disrupting a game session, Ralph scales the game's central beacon and obtains a medal, only to hatch a Cy-Bug, one of the game's antagonists, which can adapt to and devour other environments. Ralph and the Cy-Bug stumble into an escape pod, which is launched out of the game, and crash land in Sugar Rush, a candy-themed kart racing game.

text: Meanwhile, with Ralph missing, his game is labelled as malfunctioning and faces being unplugged. Felix, upon learning from Q*Bert that Ralph has "gone Turbo" (alluding to a rogue character of the same name who abandoned his own game and destroyed another out of jealousy, resulting in both being unplugged), ventures to Hero's Duty, teaming up with the game's heroine, Sergeant Calhoun, to retrieve Ralph and the Cy-Bug. In Sugar Rush, Ralph's medal is stolen by the glitching Vanellope Von Schweetz to buy her way into the daily races to determine who players can choose as their avatar. King Candy, the ruler of Sugar Rush, forbids her from doing so due to her being a glitch. Ralph and Vanellope agree to work together by building a race kart for Vanellope to win a race and retrieve the medal.

text: Ralph and Vanellope build a kart, and they flee to Diet Cola Mountain, an unfinished race track. Learning that Vanellope cannot drive, Ralph helps teach her. King Candy hacks the game's code, obtaining Ralph's medal, which he offers to him in exchange for preventing Vanellope from racing. He explains that if Vanellope wins and becomes playable, her glitches would be brought to the attention of players, their game would be unplugged and Vanellope would die, unable to leave the game because she is a glitch. A reluctant Ralph agrees, trashing Vanellope's kart. He returns to his own game, but notices Vanellope's image on the side of the Sugar Rush cabinet, and realizes she was meant to be a playable character.

text: Elsewhere, Felix and Calhoun search Sugar Rush for Ralph. Felix falls in love with Calhoun after they escape a pit of Nesquik-Sand, but she abandons him when he reminds her of her late fiancé, who was eaten by Cy-Bugs on their wedding day as part of her pre-programmed backstory. Felix is later imprisoned in King Candy's castle, but Ralph frees him and Vanellope, rebuilding the kart. Calhoun discovers a swarm of Cy-Bug eggs underground, which hatch and start devouring the game.

text: Vanellope participates in the race, but is attacked by King Candy. Vanellope's glitch reveals he is actually Turbo, who took over Sugar Rush, displacing Vanellope as the main character. Ralph, Felix, and Calhoun evacuate the game, but Vanellope cannot leave due to her glitch. When Calhoun points out the Cy-Bugs can be destroyed by a beacon of light as per Hero's Duty, Ralph decides to make Diet Cola Mountain erupt to replicate it. Ralph is confronted by Turbo, now fused with a Cy-Bug that devoured him, and Turbo carries him away. Ralph breaks free, hits the mountain, and causes it to erupt, but Vanellope saves him using her glitch. The volcanic beacon destroys the Cy-Bugs and Turbo.

text: Vanellope crosses the finish line, rebooting Sugar Rush and restoring her status and memory as Princess Vanellope, the main character of the game, but she still uses her glitching ability to her advantage. Ralph and Felix return home, allowing their game to be spared. Felix and Calhoun marry, while a content Ralph gains respect from his fellow characters.

text: Voice cast[edit]

text:
John C. Reilly as Wreck-It Ralph, a gigantic but soft-hearted man who is the villain of the fictional arcade game Fix-It Felix Jr.[5]
Sarah Silverman as Vanellope von Schweetz, a racer/glitch in Sugar Rush.[5]
Jack McBrayer as Fix-It Felix Jr., a repairman who is the hero of Fix-It Felix Jr.[5][14]
Jane Lynch as Sergeant Tamora Jean Calhoun, the lead character of Hero's Duty.[5]
Alan Tudyk as King Candy, the ruler of Sugar Rush. King Candy's vocal stylings are based on comedian Ed Wynn, and his physical mannerisms are modeled from Wynn's Mad Hatter character in Alice in Wonderland.[15]
Mindy Kaling as Taffyta Muttonfudge, a racer in Sugar Rush.[16]
Joe Lo Truglio as Markowski, a soldier from Hero's Duty that Ralph meets in Tapper.
Ed O'Neill as Mr. Stan Litwak, owner of Litwak's Family Fun Center & Arcade.[16]
Dennis Haysbert as General Hologram, a holographic general in Hero's Duty.
Adam Carolla as Wynnchel, a Long John who is a member of the Sugar Rush police department.[16]
Horatio Sanz as Duncan, a doughnut who is a member of the Sugar Rush police department.[16]
Rich Moore as Sour Bill, King Candy's sour ball henchman.[17][18]

text: The cast also includes the Fix-It Felix Jr. Nicelanders, Edie McClurg as Mary,[16] Raymond S. Persi as Mayor Gene,[19] Jess Harnell as Don, Rachael Harris as Deanna,[16] and Skylar Astin as Roy; Katie Lowes as Candlehead, Jamie Elman as Rancis Fluggerbutter, Josie Trinidad as Jubileena Bing-Bing, and Cymbre Walk as Crumbelina DiCaramello, racers in Sugar Rush; Phil Johnston as Surge Protector, Game Central Station security;[20] Stefanie Scott as Moppet Girl, a young arcade-game player;[16] John DiMaggio as Beard Papa, the security guard at the Sugar Rush candy-kart factory; Raymond Persi as a Zombie, Brian Kesinger as a Cyborg (based on Kano from Mortal Kombat) and Martin Jarvis as Saitine, a devil-like villain, who attends the Bad-Anon support group; Tucker Gilmore as the Sugar Rush Announcer; Brandon Scott as Kohut, a soldier in Hero's Duty; and Tim Mertens as Dr. Brad Scott, a scientist and Sgt. Calhoun's deceased fiancé in Hero's Duty (voiced by Nick Grimshaw in the UK version but not in the UK home release).[21]

text: The film features several cameos from real-world video game characters including: Root Beer Tapper (Maurice LaMarche), the bartender from Tapper;[22] Sonic the Hedgehog (Roger Craig Smith);[16][20] Ryu (Kyle Hebert), Ken Masters (Reuben Langdon), M. Bison (Gerald C. Rivers), and Zangief (Rich Moore) from Street Fighter II;[1][16][23] Clyde (Kevin Deters) from Pac-Man;[24] and Yuni Verse (Jamie Sparer Roberts) from Dance Dance Revolution.[25]

text: A character modeled after dubstep musician Skrillex makes an appearance in the fictional Fix-It Felix Jr. as the DJ at the anniversary party of the game.[26]

text: Video game cameos and references[edit]

text: In addition to the spoken roles, Wreck-It Ralph contains a number of other video game references, including characters and visual gags. The video game villains at the support meeting, in addition to those mentioned above, include Bowser from the Mario franchise,[1][14][23] Doctor Eggman from Sonic the Hedgehog,[1][23] and Neff from Altered Beast.[27] Additionally, the game cabinet of the fictional Fix It Felix Jr. arcade game is stylized to strongly resemble the cabinet of the original Nintendo Donkey Kong arcade game,[28] with Ralph and Felix taking similar poses as Donkey Kong and Mario, respectively. The Hero's Duty game is a reference to the hugely successful first-person shooter games Halo and Call of Duty. Characters from Q*bert, including Q*bert, Coily, Slick, Sam, and Ugg, are shown as "homeless" characters and later taken in by Ralph and Felix into their game (Q*bert also speaks to Felix at one point using the signature synthesized gibberish and word-balloon symbols from his game, called Q*bert-ese).[22][29] Scenes in Game Central Station and Tapper's bar include Chun-Li, Cammy and Blanka from Street Fighter,[23][30] Pac-Man, Blinky, Pinky, and Inky from Pac-Man,[22][31] the Paperboy from Paperboy,[27][32] the two paddles and the ball from Pong,[33] Dig Dug, a Pooka, and a Fygar from Dig Dug,[33] The Qix from Qix,[31] Frogger from Frogger, and Peter Pepper from BurgerTime.[34] Lara Croft and Mario are also mentioned.[35]

text: Additional references are based on sight gags. The residents of Niceland and the bartender from Tapper are animated using a jerky motion that spoofs the limited animation cycles of the sprites of many eight- and sixteen-bit arcade games.[36] King Candy uses the Konami Code on an NES controller to access the programming of Sugar Rush.[37] Throughout Game Central Station is graffiti that includes "Aerith lives" (referencing the character of Aerith Gainsborough from Final Fantasy VII),[32][38] "All your base are belong to us" (an Engrish phrase popularized from the game Zero Wing), "Sheng Long Was Here" (referencing an April Fool's joke around a made-up character Sheng Long from Street Fighter), and "Jenkins" (a nod to the popular Leeroy Jenkins meme from World of Warcraft).[39] There is also a reference to the Metal Gear series when Ralph is searching for a medal in Tapper's Lost and found, finding first a Super Mushroom from the Mario franchise, and then Metal Gear Solid's "Exclamation point" (with the corresponding sound effect from the game).[36] Mr. Litwak wears a black and white striped referee's shirt, a nod to the iconic outfit of Twin Galaxies founder Walter Day.[36] One of the songs in the credits is an original work from Buckner and Garcia, previously famous for writing video game-themed songs in the 1980s.[36] The Walt Disney Animation Studios opening logo is animated in an 8-bit pixelated fashion,[40] whereas the Walt Disney Pictures closing production logo appears in a glitched state, a reference to the kill screen from many early arcade games such as Pac-Man.[39]

text: Production[edit]

text: The concept of Wreck-It Ralph was first developed at Disney in the late 1980s, under the working title High Score. Since then, it was redeveloped and reconsidered several times: In the late 1990s, it took on the working title Joe Jump, then in the mid-2000s as Reboot Ralph.[41][42]

text: John Lasseter, the head of Walt Disney Animation Studios and executive producer of the film, describes Wreck-It Ralph as "an 8-bit video-game bad guy who travels the length of the arcade to prove that he's a good guy."[29] In a manner similar to Who Framed Roger Rabbit and the Toy Story films, Wreck-It Ralph featured cameo appearances by a number of licensed video-game characters.[29] For example, one scene from the film shows Ralph attending a support group for the arcade's various villain characters, including Clyde from Pac-Man, Doctor Eggman from Sonic the Hedgehog, and Bowser from Super Mario Bros.[29] Rich Moore, the film's director, had determined that for a film about a video-game world to feel authentic, "it had to have real characters from real games in it."[43] Moore aimed to add licensed characters in a similar manner as cultural references in Looney Tunes shorts, but considered "having the right balance so a portion of the audience didn't feel they were being neglected or talked down to."[44] However, Moore avoided creating the movie around existing characters, feeling that "there's so much mythology and baggage attached to pre-existing titles that I feel someone would be disappointed," and considered this to be a reason why movies based on video game franchises typically fail.[44] Instead, for Ralph, the development of new characters representative of the 8-bit video game was "almost like virgin snow," giving them the freedom to take these characters in new directions.[44]

text: Before production, the existing characters were added to the story either in places they would make sense to appear or as cameos from a list of characters suggested by the film's creative team, without consideration if they would legally be able to use the characters.[43] The company then sought out the copyright holders' permissions to use the characters, as well as working with these companies to assure their characters were being represented authentically.[43] In the case of Nintendo, the writers had early on envisioned the Bad-anon meeting with Bowser as a major character within the scene; according to Moore, Nintendo was very positive towards this use, stating in Moore's own words, "If there is a group that is dedicated to helping the bad guy characters in video games then Bowser must be in that group!"[32] Nintendo had asked that the producers try to devise a scene that would be similarly appropriate for Mario for his inclusion in the film. Despite knowing they would be able to use the character, the producers could not find an appropriate scene that would let Mario be a significant character without taking away the spotlight from the main story and opted to not include the character.[32][45] Moore debunked a rumor that Mario and his brother character Luigi were not included due to Nintendo requesting too high a licensing fee, stating that the rumor grew out of a joke John C. Reilly made at Comic-Con.[35] Dr. Wily from Mega Man was going to appear but was cut from the final version of the film.[46] Overall, there are about 188 individual character models in the movie as a result of these cameo inclusions.[43]

text: An earlier draft of the screenplay had Ralph and Vanellope spending time going around the game world to collect the pieces for her kart for Sugar Rush, and at times included Felix traveling with the pair. During these scenes, Ralph would have lied to Felix regarding his budding relationship with Calhoun, leading eventually to Ralph becoming depressed and abandoning his quest to get his medal back. At this point, a fourth game world, Extreme Easy Living 2, would have been introduced and was considered a "hedonistic place" between the social nature of The Sims and the open-world objective-less aspects of Grand Theft Auto, according to Moore.[47] Ralph would go there too, wallowing in his depression, and would find happiness by gaining "Like It" buttons for doing acceptable actions in the party-like nature of the place. Moore stated that while it was difficult to consider dropping this new game world, they found that its introduction in the second half of the film would be too difficult a concept for the viewer to grasp.[47] They further had trouble working out how a social game would be part of an arcade, and though they considered having the game be running on Litwak's laptop, they ultimately realized that justifying the concept would be too convoluted. Line art sketches and voice-over readings of the scene were included on the home media release of the film.[47]

text: The film introduced Disney's new bidirectional reflectance distribution functions, with more realistic reflections on surfaces, and new virtual cinematography Camera Capture system, which makes it possible to go through scenes in real-time.[48] To research the Sugar Rush segment of the film, the visual development group traveled to trade fair ISM Cologne, a See's Candy factory, and other manufacturing facilities. The group also brought in food photographers, to demonstrate techniques to make food appear appealing. Special effects, including from "smoke or dust," looks distinct in each of the segments.[49]

text: Release[edit]

text: The film was originally scheduled for a release on March 22, 2013, but it was later changed to November 2, 2012, due to it being ahead of schedule.[50][51] The theatrical release was accompanied by Disney's animated short film, Paperman.[52][53]

text: Marketing[edit]

text: The first trailer for Wreck-It Ralph was released on June 6, 2012, debuting with Madagascar 3: Europe's Most Wanted and Rock of Ages.[54] This also coincided with the 2012 Electronic Entertainment Expo, for which Disney constructed a mock aged arcade cabinet for the fictional Fix-It Felix Jr. game on display on the show floor.[55] Disney also released a browser-based Flash-based version of the Fix-It Felix Jr. game as well as iOS, Android, and Windows Phone versions, with online Unity-based versions of Sugar Rush and Hero's Duty.[56] A second trailer for the film was released on September 12, 2012, coinciding with Finding Nemo 3D and Frankenweenie.

text: To promote the home media release of Wreck-It Ralph, director Rich Moore produced a short film titled Garlan Hulse: Where Potential Lives. Set within the movie's universe, the mockumentary film was designed as a parody of The King of Kong.[57]

text: Home media[edit]

text: Wreck-It Ralph was released on Blu-ray Disc (2D and 3D) and DVD in North America on March 5, 2013, from Walt Disney Studios Home Entertainment.[58] The film was made available for digital download in selected regions on February 12, 2013.[59] Wreck-It Ralph debuted at #1 in Blu-ray and DVD sales in the United States.[60]

text: Reception[edit]

text: Box office[edit]

text: Wreck-It Ralph grossed $189.4 million in North America and $281.8 million in other countries, for a worldwide total of $471.2 million.[3] It was the 14th-highest-grossing film of 2012,[61] and the fourth-highest-grossing 2012 animated film.

text: In North America, the film debuted with $13.5 million, an above-average opening-day gross for an animated film released in November.[62] During its opening weekend, the film topped the box office with $49 million, making it the largest opening for a Walt Disney Animation Studios film at the time.[63][64]

text: Outside North America, Wreck-It Ralph earned $12 million on its opening weekend from six markets.[65] Among all markets, its three largest openings were recorded in the UK, Ireland and Malta ($7.15 million), Brazil ($5.32 million with weekday previews), and Russia and the CIS ($5.27 million).[66] In total grosses, the three largest markets were the UK, Ireland and Malta ($36.2 million), Japan ($29.6 million), and Australia ($24.0 million).[66]

text: Critical response[edit]

text: The review-aggregation website Rotten Tomatoes reports that 87% of critics have given the film a positive review, based on 171 reviews with an average score of 7.5/10. The site's consensus reads: "Equally entertaining for both kids and parents old enough to catch the references, Wreck-It Ralph is a clever, colorful adventure built on familiar themes and joyful nostalgia."[67] At Metacritic, which assigns a normalized rating from mainstream critics, calculated a score of 72 out of 100, based on 36 critics, indicating "generally favorable reviews".[68] The film earned an "A" from audiences polled by CinemaScore.[69]

text: Roger Ebert of the Chicago Sun-Times gave the film 3 out of 4 stars and wrote, "More than in most animated films, the art design and color palette of Wreck-It Ralph permit unlimited sets, costumes, and rules, giving the movie tireless originality and different behavior in every different cyber world."[70] A.O. Scott of The New York Times wrote, "The movie invites a measure of cynicism – which it proceeds to obliterate with a 93-minute blast of color, noise, ingenuity and fun."[71] Peter Debruge of Variety stated, "With plenty to appeal to boys and girls, old and young, Walt Disney Animation Studios has a high-scoring hit on its hands in this brilliantly conceived, gorgeously executed toon, earning bonus points for backing nostalgia with genuine emotion."[2] Betsy Sharkey of the Los Angeles Times said, "The movie's subversive sensibility and old-school/new-school feel are a total kick,"[72] while Justin Lowe of The Hollywood Reporter wrote, "With a mix of retro eye-candy for grown-ups and a thrilling, approachable storyline for the tykes, the film casts a wide and beguiling net."[73] Conversely, Christopher Orr of The Atlantic found it "overplotted and underdeveloped."[74]

text: Accolades[edit]

text:
List of awards and nominations

Award
Category
Recipients and nominees
Result

Academy Awards[12]
Best Animated Feature
Rich Moore
Nominated

Annie Awards[75][10]
Best Animated Feature

Won

Animated Effects in an Animated Production
Brett Albert
Nominated

Character Design in an Animated Feature Production
Bill Schwab, Lorelay Bove, Cory Loftis, Minkyu Lee
Nominated

Directing in an Animated Feature Production
Rich Moore
Won

Music in an Animated Feature Production
Henry Jackman, Skrillex, Adam Young, Matthew Thiessen, Jamie Houston, Yasushi Akimoto
Won

Storyboarding in an Animated Feature Production
Leo Matsuda
Nominated

Lissa Treiman
Nominated

Voice Acting in an Animated Feature Production
Alan Tudyk
Won

Writing in an Animated Feature Production
Phil Johnston, Jennifer Lee
Won

Editorial in an Animated Feature Production
Tim Mertens
Nominated

Chicago Film Critics Association
Best Animated Feature

Nominated

Critics' Choice Movie Awards[76]
Best Animated Feature

Won

Golden Globe Awards[77]
Best Animated Feature Film

Nominated

Golden Reel Awards[78]
Best Sound Editing: Sound Effects, Foley, Dialogue and ADR in an Animation Feature Film

Won

Golden Trailer Awards[79]
Best Animation/Family
"Dreams"
Won

IGN's Best of 2012 Awards
Best Movie

Nominated

Best Animated Movie

Won

IGN People's Choice Award for Best Animated Movie

Won

Best 3D Movie

Nominated

Best Movie Poster

Nominated

National Board of Review Awards[80]
Best Animated Feature

Won

Nickelodeon Kids' Choice Awards
Favorite Animated Movie

Won

Online Film Critics Society Award
Best Animated Feature

Nominated

Producers Guild of America Award
Best Animated Motion Picture
Clark Spencer
Won

Satellite Awards[81]
Best Animated or Mixed Media Feature
Rich Moore
Nominated

Saturn Awards[82]
Best Animated Film
Rich Moore
Nominated

Visual Effects Society[83][84]
Outstanding Animation in an Animated Feature Motion Picture
Sean Jenkins, Scott Kersavage, Rich Moore, Clark Spencer
Nominated

Outstanding Animated Character in an Animated Feature Motion Picture
John Kahwaty, Suzan Kim, Michelle Robinson, Tony Smeed (for Vanellope)
Nominated

text: Soundtrack[edit]

text: The film's score was composed by Henry Jackman. The soundtrack also features original songs by Owl City, AKB48, Skrillex, and Buckner & Garcia.[85][86] Early in the development process, Robert Lopez and Kristen Anderson-Lopez wrote an original song for the film; it was later cut out.[87]

text:
Wreck-It Ralph: Original Motion Picture Soundtrack

Soundtrack album by Various artists

Released
October 30, 2012

Recorded
2012

Studio
Sony Scoring Stage (Score)

Length
70:36

Label
Walt Disney

Producer

Chris Montan
Tom MacDougall

Walt Disney Animation Studios chronology

Winnie the Pooh
(2011) Winnie the Pooh2011
Wreck-It Ralph
(2012) Wreck-It Ralph2012
Frozen
(2013) Frozen2013

Henry Jackman chronology

Abraham Lincoln: Vampire Hunter
(2012) Abraham Lincoln: Vampire Hunter2012
Wreck-It Ralph
(2012) Wreck-It Ralph2012
G.I. Joe: Retaliation
(2013) G.I. Joe: Retaliation2013

Singles from Wreck-It Ralph

"When Can I See You Again?"
Released: 2012

text: All music composed by Henry Jackman (except 1–6)[88].

text:
No.
Title
Writer(s)
Artist
Length

1.
"When Can I See You Again?"

Adam Young
Matt Thiessen
Brian Lee

Owl City
3:38

2.
"Wreck-It, Wreck-It Ralph"
Jamie Houston
Buckner & Garcia
2:59

3.
"Celebration"

Ronald Bell
Claydes Smith
George Melvin Brown
James "J.T." Taylor
Robert Mickens
Earl Eugene Toon Jr.
Dennis Ronald Thomas
Robert Bell
Eumir Deodato

Kool & the Gang
3:40

4.
"Sugar Rush"

Yasushi Akimoto
Jamie Houston

AKB48
3:14

5.
"Bug Hunt (Noisia Remix)" (featuring John C. Reilly)
Skrillex
Skrillex
7:04

6.
"Shut Up and Drive"

Evan Rogers
Carl Sturken
Stephen Morris
Peter Hook
Bernard Sumner
Gillian Gilbert

Rihanna
3:32

7.
"Wreck-It Ralph"

1:33

8.
"Life in the Arcade"

0:43

9.
"Jumping Ship"

1:06

10.
"Rocket Fiasco"

5:48

11.
"Vanellope von Schweetz"

2:57

12.
"Royal Raceway"

3:23

13.
"Cupcake Breakout"

1:12

14.
"Candy Vandals"

1:39

15.
"Turbo Flashback"

1:42

16.
"Laffy Taffies"

1:35

17.
"One Minute to Win It"

1:17

18.
"Vanellope's Hideout"

2:33

19.
"Messing with the Program"

1:20

20.
"King Candy"

2:11

21.
"Broken-Karted"

2:49

22.
"Out of the Penthouse, Off to the Race"

2:51

23.
"Sugar Rush Showdown"

4:15

24.
"You're My Hero"

4:16

25.
"Arcade Finale"

3:19

Total length:
70:36

text: Video games[edit]

text: In addition to the Flash version of the Fix-It Felix Jr. game, Disney released a tie-in side-scrolling platform game called Wreck-It Ralph for the Wii, Nintendo 3DS, and Nintendo DS, to mostly negative reviews.[89][90] The arcade style side-scrolling game was produced in collaboration between Disney Interactive and Activision and serves as a "story extension" to the film. Taking place following the events of the film, players may play as Wreck-It Ralph or Fix-It Felix, causing or repairing damage, respectively, following another Cy-Bug incident. Game levels are based on the locations in the film like the Fix-It Felix Jr., Hero's Duty, and Sugar Rush games as well as Game Central Station. It was released in conjunction with the film's release, in November 2012.[91]

text: In October 2012, Disney released fully playable browser-based versions of the Hero's Duty and Sugar Rush games on the new official film site.[92] A mobile game titled Wreck-it Ralph was released in November 2012 for iOS and Android systems,[93] with a Windows Phone 8 version following almost a year later.[94] Initially, the game consisted of three mini-games, Fix-it Felix Jr., Hero's Duty and Sweet Climber, which were later joined by Turbo Time and Hero's Duty: Flight Command.[95][96] The game was retired on August 29, 2014.[97]

text: Ralph also appears in Sega's Sonic & All-Stars Racing Transformed as a playable guest character.[98]

text: Ralph and Vanellope appear as playable characters in Disney Infinity as well (voiced by Brian T. Delaney and Sarah Silverman, respectively); the Disney Store released their individual figures on January 7, 2014.[99][100][101] A combo "toy box pack" of the two figures with Sugar Rush customization discs was released April 1, 2014, from the Disney Store.[102]

text: Wreck-It Ralph is a playable world on the mobile game Disney Crossy Road.[citation needed]

text: Sequel[edit]

text: In an interview on October 25, 2012, director Rich Moore said that he and Disney have ideas about a sequel that would bring the characters up to date and explore online gaming and console gaming.[103] Moore stated that many of the crew and voice cast are open to the sequel, believing that they have "barely scratched the surface" of the video game world they envisioned.[32] He also stated that he plans to include Mario and Tron in the sequel.[104][105] In a 2014 interview, the film's composer Henry Jackman said that a story for the sequel is being written.[106] In July 2015, John C. Reilly said he had signed on to reprise his role of Ralph in a projected sequel.[107]

text: On March 24, 2016, Rich Moore stated that a sequel is still being planned. Moore also hopes to specifically include an appearance from Mario, citing a "good relationship with Nintendo".[108] On June 30, 2016, Walt Disney Animation Studios announced that the sequel would be released on March 9, 2018, with John C. Reilly, Rich Moore, and writer Phil Johnston attached. John C. Reilly and Sarah Silverman will reprise their roles as Wreck-It Ralph and Vanellope von Schweetz, respectively. The plot will focus on "Ralph leaving the arcade and wrecking the Internet".[109][110] In April 2017, the sequel was pushed to November 21, 2018.[13]


document_title: Hi Ho! Cherry-O

question_text: what does the dog mean in hi ho cherry-o

text: Hi Ho! Cherry-O

text: Rules[edit]

text: Each player starts the game with an empty basket and 10 cherries on his/her tree. Players take turns spinning the spinner and performing the indicated action. The spinner is divided into seven sections:

text:
Take one cherry from tree
Take two cherries from tree
Take three cherries from tree
Take four cherries from tree
Dog: Replace cherries on tree: two if the player has at least that many in his/her basket, one if he/she has only one (no effect if player's basket is empty)
Bird: Same as dog
Spilled basket: Replace all cherries on tree

tag: ol

text: The first player to collect all the cherries from his/her tree and call "Hi Ho! Cherry-O" wins the game.

text: Analysis[edit]

text: The game length can be determined using a Markov chain, yielding the following results:[3]

text:
Minimum game length: 3
Average game length: 15.8
Maximum game length: Unbounded
25th percentile: 7 moves
50th percentile (median): 12 moves
75th percentile: 21 moves
95th percentile: 40 moves


document_title: Three-point field goal

question_text: when did the three point shot start in basketball

text: Three-point field goal

text: History[edit]

text: The three-point line was first tested at the collegiate level in a 1945 NCAA game between Columbia and Fordham but it was not kept as a rule. At the direction of Abe Saperstein, the American Basketball League became the first basketball league to institute the rule in 1961. Its three-point line was a radius of 25 feet (7.62 m) from the baskets, except along the sides.[2] The Eastern Professional Basketball League followed in its 1963–64 season.

text: The three-point shot later became popularized by the American Basketball Association after its introduction in the 1967–68 season. Then commissioner of the ABA George Mikan stated the three-pointer "would give the smaller player a chance to score and open up the defense to make the game more enjoyable for the fans."[3] During the 1970s, the ABA used the three-point shot, along with the slam dunk, as a marketing tool to compete with the National Basketball Association (NBA).

text: In the 1979–80 season, after having tested it in the previous pre-season, the NBA adopted the three-point line despite the view of many that it was a gimmick.[4] Chris Ford of the Boston Celtics is widely credited with making the first three-point shot in NBA history on October 12, 1979. Kevin Grevey of the Washington Bullets also made one on the same day.

text: The sport's international governing body, FIBA, introduced the three-point line in 1984, at a distance of 6.25 m (20 ft 6 in).

text: The NCAA's Southern Conference became the first collegiate conference to use the three-point rule, adopting a 22-foot (6.71 m) line for the 1980–81 season.[5][6] Ronnie Carr of Western Carolina University was the first to score a three-point field goal in college basketball history on November 29, 1980.[6][7][8] Over the following five years, NCAA conferences differed in their use of the rule and distance required for a three-pointer. The line was as close as 17 ft 9 in (5.41 m) in the Atlantic Coast Conference, and as far away as 22 feet in the Big Sky Conference.[9] Used in conference play, it was adopted by the NCAA for the 1986–87 men's season at 19 ft 9 in (6.02 m), and was first used in the NCAA Tournament in 1987.[10] In the same 1986–87 season, the NCAA adopted the three-pointer in women's basketball on an experimental basis, using the same 19 ft 9 in distance, and made its use mandatory beginning in 1987–88.[11] In 2007, the NCAA lengthened the men's three-point distance to 20 ft 9 in (6.32 m), with the rule coming into effect at the beginning of the 2008–09 season.[12] The NCAA women's three-point distance was moved to match the men's distance in 2011–12.[11] American high schools, along with elementary and middle schools, adopted a 19 ft 9 in (6.02 m) line nationally in 1987, a year after the NCAA.[13]

text: During the 1994–95, 1995–96, and 1996–97 seasons, the NBA attempted to address decreased scoring by shortening the distance of the line from 23 ft 9 in (7.24 m) (22 ft (6.71 m) at the corners) to a uniform 22 ft (6.71 m) around the basket. From the 1997–98 season on, the NBA reverted the line to its original distance of 23 ft 9 in (22 ft at the corners, with a 3 inch differential). Ray Allen is currently the NBA all-time leader in career made three-pointers with 2,973.[14]

text: In 2008, FIBA announced that the distance would be increased by 50 cm (19.69 in) to 6.75 m (22 ft 1 3⁄4 in), with the change being phased in beginning in October 2010. In December 2012, the WNBA announced that it would be using FIBA's distance, too, as of the 2013 season. The NBA has discussed adding a four-point line, according to president Rod Thorn.[15]

text: Rule specifications[edit]

text: A three-point line consists of an arc at a set radius measured from the point on the floor directly below the center of the basket, and two parallel lines equidistant from each sideline extending from the nearest end line to the point at which they intersect the arc. In the NBA and FIBA standard, the arc spans the width of the court until it is a specified minimum distance from each sideline. The three-point line then becomes parallel to the sidelines from those points to the baseline. The unusual formation of the three-point line at these levels allows players some space from which to attempt a three-point shot at the corners of the court; the arc would be less than 2 feet (0.61 m) from each sideline at the corners if it was a continuous arc. In the NCAA and American high school standards, the arc spans 180° around the basket, then becomes parallel to the sidelines from the plane of the basket center to the baseline (5 feet 3 inches or 1.60 metres). The distance of the three-point line to the center of the hoop varies by level:

text:
Arc radius
Minimum distance from sidelines

National Basketball Association
23 feet 9 inches (7.24 m)
3 feet (0.91 m)
[16]

FIBA (also used by WNBA)
6.75 meters (22 ft 2 in)
0.90 meters (2 ft 11 in)
[17]

National Collegiate Athletic Association
20 feet 9 inches (6.32 m)
4 feet 3 inches (1.30 m)
[18]

American High school basketball
19 feet 9 inches (6.02 m)
5 feet 3 inches (1.60 m)
[19]

text: A player's feet must be completely behind the three-point line at the time of the shot or jump in order to make a three-point attempt; if the player's feet are on or in front of the line, it is a two-point attempt. A player is allowed to jump from outside the line and land inside the line to make a three-point attempt, as long as the ball is released in mid-air.

text: An official raises his/her arm with three fingers extended to signal the shot attempt. If the attempt is successful, he/she raises his/her other arm with all fingers fully extended in manner similar to a football official signifying successful field goal to indicate the three-point goal. The official must recognize it for it to count as three points. Instant replay has sometimes been used, depending on league rules. The NBA,[20] WNBA, FIBA and the NCAA specifically allow replay for this purpose. In NBA, FIBA, and WNBA games, video replay does not have to occur immediately following a shot; play can continue and the officials can adjust the scoring later in the game, after reviewing the video. However, in late game situations, play may be paused pending a review.

text: If a shooter is fouled while attempting a three-pointer and subsequently misses the shot, the shooter is awarded three free-throw attempts. If a player completes a three-pointer while being fouled, the player is awarded one free-throw for a possible 4-point play. Conceivably, if a player completed a three-pointer while being fouled, and that foul was ruled as either a Flagrant 1 or a Flagrant 2 foul, the player would be awarded two free throws for a possible 5-point play.

text: Related concepts[edit]

text: Major League Lacrosse features a two-point line which forms a 15-yard (14 m) arc around the front of the goal. Shots taken from behind this line count for two points, as opposed to the standard one point.

text: In gridiron football, a standard field goal is worth three points; various professional and semi-pro leagues have experimented with four-point field goals. NFL Europe and the Stars Football League adopted a rule similar to basketball's three-point line in which an additional point was awarded for longer field goals; in both leagues any field goal of 50 yards (46 m) or more was worth four points. The Arena Football League awards four points for any successful drop kicked field goal (like the three-point shot, the drop kick is more challenging than a standard place kick, as the bounce of the ball makes a kick less predictable, and arena football also uses narrower goal posts for all kicks than the outdoor game does).

text: During the existence of the World Hockey Association in the 1970s, there were proposals for two-point hockey goals for shots taken beyond an established distance (one proposal was a 44-foot (13.4m) arc, which would have intersected the faceoff circles), but this proposal gained little support and faded after the WHA merged with the NHL. It was widely believed that long-distance shots in hockey had little direct relation to skill (usually resulting more from goalies' vision being screened or obscured), plus with the lower scoring intrinsic to the sport a two-point goal was seen as disruptive of the structure of the game.

text: The Super Goal is a similar concept in Australian rules football, in which a 50-meter (55 yd) arc determines the value of a goal; within the arc, it is the usual 6 points, but 9 points are scored for a "super goal" scored from outside the arc. To date the super goal is only used in pre-season games and not in the season proper.[21]

text: The National Professional Soccer League II, which awarded two points for all goals except those on the power play, also used a three-point line, drawn 45 feet (14 m) from the goal. It has since been adopted by some other indoor soccer leagues.