document_title: Gone with the Wind (film)

question_text: when was gone with the wind filmed in color

text: Gone with the Wind (film)

text: Plot[edit]

text: On the eve of the American Civil War in 1861, Scarlett O'Hara lives at Tara, her family's cotton plantation in Georgia, with her parents and two sisters. Scarlett learns that Ashley Wilkes—whom she secretly loves—is to be married to his cousin, Melanie Hamilton, and the engagement is to be announced the next day at a barbecue at Ashley's home, the nearby plantation Twelve Oaks.

text: At the Twelve Oaks party, Scarlett privately declares her feelings to Ashley, but he rebuffs her by responding that he and Melanie are more compatible. Scarlett is incensed when she discovers another guest, Rhett Butler, has overheard their conversation. The barbecue is disrupted by the declaration of war and the men rush to enlist. As Scarlett watches Ashley kiss Melanie goodbye, Melanie's younger brother Charles proposes to her. Although she does not love him, Scarlett consents and they are married before he leaves to fight.

text: Scarlett is widowed when Charles dies from a bout of pneumonia and measles while serving in the Confederate Army. Scarlett's mother sends her to the Hamilton home in Atlanta to cheer her up, although the O'Haras' outspoken housemaid Mammy tells Scarlett she knows she is going there only to wait for Ashley's return. Scarlett, who should not attend a party while in mourning, attends a charity bazaar in Atlanta with Melanie where she meets Rhett again, now a blockade runner for the Confederacy. Celebrating a Confederate victory and to raise money for the Confederate war effort, gentlemen are invited to bid for ladies to dance with them. Rhett makes an inordinately large bid for Scarlett and, to the disapproval of the guests, she agrees to dance with him.

text: The tide of war turns against the Confederacy after the Battle of Gettysburg in which many of the men of Scarlett's town are killed. Scarlett makes another unsuccessful appeal to Ashley while he is visiting on Christmas furlough, although they do share a private and passionate kiss in the parlor on Christmas Day, just before he returns to war.

text: Eight months later, as the city is besieged by the Union Army in the Atlanta Campaign, Scarlett and her young house servant Prissy must deliver Melanie's baby without medical assistance after she goes into premature labor. Afterwards, Scarlett calls upon Rhett to take her home to Tara with Melanie, her baby, and Prissy; he collects them in a horse and wagon, but once out of the city chooses to go off to fight, leaving Scarlett and the group to make their own way back to Tara. Upon her return home, Scarlett finds Tara deserted, except for her father, her sisters, and two former slaves: Mammy and Pork. Scarlett learns that her mother has just died of typhoid fever and her father has become incompetent. With Tara pillaged by Union troops and the fields untended, Scarlett vows she will do anything for the survival of her family and herself.

text: As the O'Haras work in the cotton fields, Scarlett's father is killed after he is thrown from his horse in an attempt to chase away a scalawag from his land. With the defeat of the Confederacy Ashley also returns, but finds he is of little help at Tara. When Scarlett begs him to run away with her, he confesses his desire for her and kisses her passionately, but says he cannot leave Melanie. Unable to pay the taxes on Tara implemented by Reconstructionists, Scarlett dupes her younger sister Suellen's fiancé, the middle-aged and wealthy mill owner Frank Kennedy, into marrying her, by saying Suellen got tired of waiting and married another beau.

text: Frank, Ashley, Rhett and several other accomplices make a night raid on a shanty town after Scarlett is attacked while driving through it alone, resulting in Frank's death. With Frank's funeral barely over, Rhett proposes to Scarlett and she accepts. They have a daughter whom Rhett names Bonnie Blue, but Scarlett, still pining for Ashley and chagrined at the perceived ruin of her figure, lets Rhett know that she wants no more children and that they will no longer share a bed.

text: One day at Frank's mill, Scarlett and Ashley are seen embracing by Ashley's sister, India, and harboring an intense dislike of Scarlett she eagerly spreads rumors. Later that evening, Rhett, having heard the rumors, forces Scarlett to attend a birthday party for Ashley; incapable of believing anything bad of her beloved sister-in-law, Melanie stands by Scarlett's side so that all know that she believes the gossip to be false. After returning home from the party, Scarlett finds Rhett downstairs drunk, and they argue about Ashley. Rhett kisses Scarlett against her will, stating his intent to have sex with her that night, and carries the struggling Scarlett to the bedroom. The next day, Rhett apologizes for his behavior and offers Scarlett a divorce, which she rejects, saying that it would be a disgrace. When Rhett returns from an extended trip to London, Scarlett informs him that she is pregnant, but an argument ensues which results in her falling down a flight of stairs and suffering a miscarriage. As she is recovering, tragedy strikes when Bonnie dies while attempting to jump a fence with her pony.

text: Scarlett and Rhett visit Melanie, who has suffered complications arising from a new pregnancy, on her deathbed. As Scarlett consoles Ashley, Rhett returns to their home in Atlanta; realizing that Ashley only ever truly loved Melanie, Scarlett dashes after Rhett to find him preparing to leave for good. She pleads with him, telling him she realizes now that it was him she loved all along and never really Ashley, but Rhett says they lost any chance at reconciliation after Bonnie’s death. Scarlett begs him to stay but Rhett rebuffs her and walks out the door and into the early morning fog, leaving her weeping on the staircase and vowing to one day win back his love.

text: Cast[edit]

text: Despite receiving top-billing in the opening credits, Gable—along with Leigh, Howard, and de Havilland who receive second, third and fourth billing respectively—has a relatively low placing in the cast list, due to its unusual structure. Rather than ordered by conventional billing, the cast is broken down into three sections: the Tara plantation, Twelve Oaks, and Atlanta. The cast's names are ordered according to the social rank of the characters; therefore Thomas Mitchell, who plays Gerald O'Hara, leads the cast list as the head of the O'Hara family, while Barbara O'Neil as his wife receives the second credit and Vivien Leigh as the eldest daughter the third credit, despite having the most screen time. Similarly, Howard C. Hickman as John Wilkes is credited over Leslie Howard who plays his son, and Clark Gable, who plays only a visitor at Twelve Oaks, receives a relatively low credit in the cast list, despite being presented as the "star" of the film in all the promotional literature.[1] Following the death of Mary Anderson—who played Maybelle Merriwether—in April 2014, there are only two surviving credited cast members from the film: Olivia de Havilland who played Melanie Wilkes and Mickey Kuhn, who played her son Beau Wilkes.[3]

text:
Thomas Mitchell as Gerald O'Hara
Barbara O'Neil as Ellen O'Hara (his wife)
Vivien Leigh as Scarlett O'Hara (daughter)
Evelyn Keyes as Suellen O'Hara (daughter)
Ann Rutherford as Carreen O'Hara (daughter)
George Reeves as Brent Tarleton (actually as Stuart)[nb 2]
Fred Crane as Stuart Tarleton (actually as Brent)[nb 2]
Hattie McDaniel as Mammy (house servant)
Oscar Polk as Pork (house servant)
Butterfly McQueen as Prissy (house servant)
Victor Jory as Jonas Wilkerson (field overseer)
Everett Brown as Big Sam (field foreman)

text:
Howard Hickman as John Wilkes
Alicia Rhett as India Wilkes (his daughter)
Leslie Howard as Ashley Wilkes (his son)
Olivia de Havilland as Melanie Hamilton (their cousin)
Rand Brooks as Charles Hamilton (Melanie's brother)
Carroll Nye as Frank Kennedy (a guest)
Clark Gable as Rhett Butler (a visitor from Charleston)

text:
Laura Hope Crews as Aunt Pittypat Hamilton
Eddie Anderson as Uncle Peter (her coachman)
Harry Davenport as Doctor Meade
Leona Roberts as Mrs. Meade
Jane Darwell as Mrs. Merriwether
Ona Munson as Belle Watling

text:
Paul Hurst as the Yankee deserter
Cammie King Conlon as Bonnie Blue Butler
J. M. Kerrigan as Johnny Gallagher
Jackie Moran as Phil Meade
Lillian Kemble-Cooper as Bonnie's nurse in London
Marcella Martin as Cathleen Calvert
Mickey Kuhn as Beau Wilkes
Irving Bacon as the Corporal
William Bakewell as the mounted officer
Isabel Jewell as Emmy Slattery
Eric Linden as the amputation case
Ward Bond as Tom, the Yankee captain
Cliff Edwards as the reminiscent soldier
Yakima Canutt as the renegade
Louis Jean Heydt as the hungry soldier holding Beau Wilkes
Olin Howland as the carpetbagger businessman
Robert Elliott as the Yankee major
Mary Anderson as Maybelle Merriwether

text: Production[edit]

text: Before publication of the novel, several Hollywood executives and studios declined to create a film based on it, including Louis B. Mayer and Irving Thalberg at Metro-Goldwyn-Mayer (MGM), Pandro Berman at RKO Pictures, and David O. Selznick of Selznick International Pictures. Jack L. Warner liked the story, but Warner Bros.'s biggest star Bette Davis was uninterested, and Darryl Zanuck of 20th Century-Fox did not offer enough money. Selznick changed his mind after his story editor Kay Brown and business partner John Hay Whitney urged him to buy the film rights. In July 1936—a month after it was published—Selznick bought the rights for $50,000.[4][5][6]

text: Casting[edit]

text: The casting of the two lead roles became a complex, two-year endeavor. For the role of Rhett Butler, Selznick wanted Clark Gable from the start, but Gable was under contract to MGM, who never loaned him to other studios.[4] Gary Cooper was considered, but Samuel Goldwyn—to whom Cooper was under contract—refused to loan him out.[7] Warner offered a package of Bette Davis, Errol Flynn, and Olivia de Havilland for lead roles in return for the distribution rights.[8] By this time, Selznick was determined to get Gable and eventually struck a deal with MGM. Selznick's father-in-law, MGM chief Louis B. Mayer, offered in August 1938 to provide Gable and $1,250,000 for half of the film's budget but for a high price: Selznick would have to pay Gable's weekly salary, and half the profits would go to MGM while Loew's, Inc—MGM's parent company—would release the film.[4][7]

text: The arrangement to release through MGM meant delaying the start of production until the end of 1938, when Selznick's distribution deal with United Artists concluded.[7] Selznick used the delay to continue to revise the script and, more importantly, build publicity for the film by searching for the role of Scarlett. Selznick began a nationwide casting call that interviewed 1,400 unknowns. The effort cost $100,000 and was useless for the film, but created "priceless" publicity.[4] Early frontrunners included Miriam Hopkins and Tallulah Bankhead, who were regarded as possibilities by Selznick prior to the purchase of the film rights; Joan Crawford, who was signed to MGM, was also considered as a potential pairing with Gable. After a deal was struck with MGM, Selznick held discussions with Norma Shearer—who was MGM's top female star at the time—but she withdrew herself from consideration. Katharine Hepburn lobbied hard for the role with the support of her friend, George Cukor, who had been hired to direct, but she was vetoed by Selznick who felt she was not right for the part.[7][8][9]

text: Many famous—or soon-to-be-famous—actresses were considered, but only thirty-one women were actually screen-tested for Scarlett including Ardis Ankerson, Jean Arthur, Tallulah Bankhead, Diana Barrymore, Joan Bennett, Nancy Coleman, Frances Dee, Ellen Drew (as Terry Ray), Paulette Goddard, Susan Hayward (under her real name of Edythe Marrenner), Vivien Leigh, Anita Louise, Haila Stoddard, Margaret Tallichet, Lana Turner and Linda Watkins.[10] Although Margaret Mitchell refused to publicly name her choice, the actress who came closest to winning her approval was Miriam Hopkins, who Mitchell felt was just the right type of actress to play Scarlett as written in the book. However, Hopkins was in her mid-thirties at the time and was considered too old for the part.[7][8][9] Four actresses, including Jean Arthur and Joan Bennett, were still under consideration by December 1938; however, only two finalists, Paulette Goddard and Vivien Leigh, were tested in Technicolor, both on December 20.[11] Goddard almost won the role, but controversy over her marriage with Charlie Chaplin caused Selznick to change his mind.[4]

text: Selznick had been quietly considering Vivien Leigh, a young English actress who was still little known in America, for the role of Scarlett since February 1938 when Selznick saw her in Fire Over England and A Yank at Oxford. Leigh's American agent was the London representative of the Myron Selznick talent agency (headed by David Selznick's brother, one of the owners of Selznick International), and she had requested in February that her name be submitted for consideration as Scarlett. By the summer of 1938 the Selznicks were negotiating with Alexander Korda, to whom Leigh was under contract, for her services later that year.[12] Selznick's brother arranged for them to meet for the first time on the night of December 10, 1938, when the burning of Atlanta was filmed. In a letter to his wife two days later, Selznick admitted that Leigh was "the Scarlett dark horse", and after a series of screen tests, her casting was announced on January 13, 1939.[13] Just before the shooting of the film, Selznick informed newspaper columnist Ed Sullivan: "Scarlett O'Hara's parents were French and Irish. Identically, Miss Leigh's parents are French and Irish."[14]

text: Screenplay[edit]

text: Of original screenplay writer Sidney Howard, film historian Joanne Yeck writes, "reducing the intricacies of Gone with the Wind's epic dimensions was a herculean task ... and Howard's first submission was far too long, and would have required at least six hours of film; ... [producer] Selznick wanted Howard to remain on the set to make revisions ... but Howard refused to leave New England [and] as a result, revisions were handled by a host of local writers".[15] Selznick dismissed director George Cukor three weeks into filming and sought out Victor Fleming, who was directing The Wizard of Oz at the time. Fleming was dissatisfied with the script, so Selznick brought in famed writer Ben Hecht to rewrite the entire screenplay within five days. Hecht returned to Howard's original draft and by the end of the week had succeeded in revising the entire first half of the script. Selznick undertook rewriting the second half himself but fell behind schedule, so Howard returned to work on the script for one week, reworking several key scenes in part two.[16]

text: "By the time of the film's release in 1939, there was some question as to who should receive screen credit," writes Yeck. "But despite the number of writers and changes, the final script was remarkably close to Howard's version. The fact that Howard's name alone appears on the credits may have been as much a gesture to his memory as to his writing, for in 1939 Sidney Howard died at age 48 in a farm-tractor accident, and before the movie's premiere."[15] Selznick, in a memo written in October 1939, discussed the film's writing credits: "[Y]ou can say frankly that of the comparatively small amount of material in the picture which is not from the book, most is my own personally, and the only original lines of dialog which are not my own are a few from Sidney Howard and a few from Ben Hecht and a couple more from John Van Druten. Offhand I doubt that there are ten original words of [Oliver] Garrett's in the whole script. As to construction, this is about eighty per cent my own, and the rest divided between Jo Swerling and Sidney Howard, with Hecht having contributed materially to the construction of one sequence."[17]

text: According to Hecht biographer, William MacAdams, "At dawn on Sunday, February 20, 1939, David Selznick ... and director Victor Fleming shook Hecht awake to inform him he was on loan from MGM and must come with them immediately and go to work on Gone with the Wind, which Selznick had begun shooting five weeks before. It was costing Selznick $50,000 each day the film was on hold waiting for a final screenplay rewrite and time was of the essence. Hecht was in the middle of working on the film At the Circus for the Marx Brothers. Recalling the episode in a letter to screenwriter friend Gene Fowler, he said he hadn't read the novel but Selznick and director Fleming could not wait for him to read it. They would act out scenes based on Sidney Howard's original script which needed to be rewritten in a hurry. Hecht wrote, "After each scene had been performed and discussed, I sat down at the typewriter and wrote it out. Selznick and Fleming, eager to continue with their acting, kept hurrying me. We worked in this fashion for seven days, putting in eighteen to twenty hours a day. Selznick refused to let us eat lunch, arguing that food would slow us up. He provided bananas and salted peanuts ... thus on the seventh day I had completed, unscathed, the first nine reels of the Civil War epic."

text: MacAdams writes, "It is impossible to determine exactly how much Hecht scripted ... In the official credits filed with the Screen Writers Guild, Sidney Howard was of course awarded the sole screen credit, but four other writers were appended ... Jo Swerling for contributing to the treatment, Oliver H. P. Garrett and Barbara Keon to screenplay construction, and Hecht, to dialogue ..."[18]

text: Filming[edit]

text: Principal photography began January 26, 1939, and ended on July 1, with post-production work continuing until November 11, 1939. Director George Cukor, with whom Selznick had a long working relationship, and who had spent almost two years in pre-production on Gone with the Wind, was replaced after less than three weeks of shooting.[8][nb 3] Selznick and Cukor had already disagreed over the pace of filming and the script,[8][19] but other explanations put Cukor's departure down to Gable's discomfort at working with him. Emanuel Levy, Cukor's biographer, claimed that Clark Gable had worked Hollywood's gay circuit as a hustler and that Cukor knew of his past, so Gable used his influence to have him discharged.[21] Vivien Leigh and Olivia de Havilland learned of Cukor's firing on the day the Atlanta bazaar scene was filmed, and the pair went to Selznick's office in full costume and implored him to change his mind. Victor Fleming, who was directing The Wizard of Oz, was called in from MGM to complete the picture, although Cukor continued privately to coach Leigh and De Havilland.[16] Another MGM director, Sam Wood, worked for two weeks in May when Fleming temporarily left the production due to exhaustion. Although some of Cukor's scenes were later reshot, Selznick estimated that "three solid reels" of his work remained in the picture. As of the end of principal photography, Cukor had undertaken eighteen days of filming, Fleming ninety-three, and Wood twenty-four.[8]

text: Cinematographer Lee Garmes began the production, but on March 11, 1939—after a month of shooting footage that Selznick and his associates regarded as "too dark"—was replaced with Ernest Haller, working with Technicolor cinematographer Ray Rennahan. Garmes completed the first third of the film—mostly everything prior to Melanie having the baby—but did not receive a credit.[22] Most of the filming was done on "the back forty" of Selznick International with all the location scenes being photographed in California, mostly in Los Angeles County or neighboring Ventura County.[23] Tara, the fictional Southern plantation house, existed only as a plywood and papier-mâché facade built on the Selznick studio lot.[24] For the burning of Atlanta, new false facades were built in front of the Selznick backlot's many old abandoned sets, and Selznick himself operated the controls for the explosives that burned them down.[4] Sources at the time put the estimated production costs at $3.85 million, making it the second most expensive film made up to that point, with only Ben-Hur (1925) having cost more.[25][nb 4]

text: Although legend persists that the Hays Office fined Selznick $5,000 for using the word "damn" in Butler's exit line, in fact the Motion Picture Association board passed an amendment to the Production Code on November 1, 1939, that forbade use of the words "hell" or "damn" except when their use "shall be essential and required for portrayal, in proper historical context, of any scene or dialogue based upon historical fact or folklore ... or a quotation from a literary work, provided that no such use shall be permitted which is intrinsically objectionable or offends good taste." With that amendment, the Production Code Administration had no further objection to Rhett's closing line.[27]

text: Music[edit]

text: To compose the score, Selznick chose Max Steiner, with whom he had worked at RKO Pictures in the early 1930s. Warner Bros.—who had contracted Steiner in 1936—agreed to lend him to Selznick. Steiner spent twelve weeks working on the score, the longest period that he had ever spent writing one, and at two hours and thirty-six minutes long it was also the longest that he had ever written. Five orchestrators were hired, including Hugo Friedhofer, Maurice de Packh, Bernard Kaun, Adolph Deutsch and Reginald Bassett. The score is characterized by two love themes, one for Ashley's and Melanie's sweet love and another that evokes Scarlett's passion for Ashley, though notably there is no Scarlett and Rhett love theme. Steiner drew considerably on folk and patriotic music, which included Stephen Foster tunes such as "Louisiana Belle," "Dolly Day," "Ringo De Banjo," "Beautiful Dreamer," "Old Folks at Home," and "Katie Belle," which formed the basis of Scarlett's theme; other tunes that feature prominently are: "Marching through Georgia" by Henry Clay Work, "Dixie," "Garryowen" and "The Bonnie Blue Flag." The theme that is most associated with the film today is the melody that accompanies Tara, the O'Hara plantation; in the early 1940s, "Tara's Theme" formed the musical basis of the song "My Own True Love" by Mack David. In all, there are ninety-nine separate pieces of music featured in the score. Due to the pressure of completing on time, Steiner received some assistance in composing from Friedhofer, Deutsch and Heinz Roemheld, and in addition, two short cues—by Franz Waxman and William Axt—were taken from scores in the MGM library.[28]

text: Release[edit]

text: Preview, premiere and initial release[edit]

text: On September 9, 1939, Selznick, his wife, Irene, investor John "Jock" Whitney and film editor Hal Kern drove out to Riverside, California to preview it at the Fox Theatre. The film was still a rough cut at this stage, missing completed titles and lacking special optical effects. It ran for four hours and twenty-five minutes, but would later be cut down to under four hours for its proper release. A double bill of Hawaiian Nights and Beau Geste was playing, and after the first feature it was announced that the theater would be screening a preview; the audience were informed they could leave but would not be readmitted once the film had begun, nor would phone calls be allowed once the theater had been sealed. When the title appeared on the screen the audience cheered, and after it had finished it received a standing ovation.[8][29] In his biography of Selznick, David Thomson wrote that the audience's response before the film had even started "was the greatest moment of [Selznick's] life, the greatest victory and redemption of all his failings",[30] with Selznick describing the preview cards as "probably the most amazing any picture has ever had."[31] When Selznick was asked by the press in early September how he felt about the film, he said: "At noon I think it's divine, at midnight I think it's lousy. Sometimes I think it's the greatest picture ever made. But if it's only a great picture, I'll still be satisfied."[25]

text: About 300,000 people came out in Atlanta for the film's premiere at the Loew's Grand Theatre on December 15, 1939. It was the climax of three days of festivities hosted by Mayor William B. Hartsfield, which included a parade of limousines featuring stars from the film, receptions, thousands of Confederate flags and a costume ball. Eurith D. Rivers, the governor of Georgia, declared December 15 a state holiday. An estimated three hundred thousand residents and visitors to Atlanta lined the streets for up to seven miles to watch a procession of limousines bring the stars from the airport. Only Leslie Howard and Victor Fleming chose not to attend: Howard had returned to England due to the outbreak of World War II, and Fleming had fallen out with Selznick and declined to attend any of the premieres.[25][31] Hattie McDaniel was also absent, as she and the other black cast members were prevented from attending the premiere due to Georgia's Jim Crow laws, which would have kept them from sitting with their white colleagues. Upon learning that McDaniel had been barred from the premiere, Clark Gable threatened to boycott the event, but McDaniel convinced him to attend.[32] President Jimmy Carter would later recall it as "the biggest event to happen in the South in my lifetime."[33] Premieres in New York and Los Angeles followed, the latter attended by some of the actresses that had been considered for the part of Scarlett, among them Paulette Goddard, Norma Shearer and Joan Crawford.[31]

text: From December 1939 to July 1940, the film played only advance-ticket road show engagements at a limited number of theaters at prices upwards of $1—more than double the price of a regular first-run feature—with MGM collecting an unprecedented 70 percent of the box office receipts (as opposed to the typical 30–35 percent of the period). After reaching saturation as a roadshow, MGM revised its terms to a 50 percent cut and halved the prices, before it finally entered general release in 1941 at "popular" prices.[34] Along with its distribution and advertising costs, total expenditure on the film was as high as $7 million.[31][35]

text: Later releases[edit]

text: In 1942, Selznick liquidated his company for tax reasons, and sold his share in Gone with the Wind to his business partner, John Whitney, for $500,000. In turn, Whitney sold it on to MGM for $2.8 million, so that the studio owned the film outright.[35] MGM immediately re-released the film in spring 1942,[16] and again in 1947 and 1954;[8] the 1954 reissue was the first time the film was shown in widescreen, compromising the original Academy ratio and cropping the top and bottom to an aspect ratio of 1.75:1. In doing so, a number of shots were optically re-framed and cut into the three-strip camera negatives, forever altering five shots in the film.[36] A 1961 release commemorated the centennial anniversary of the start of the Civil War, and included a gala "premiere" at the Loew's Grand Theater. It was attended by Selznick and many other stars of the film, including Vivien Leigh and Olivia de Havilland;[37] Clark Gable had died the previous year.[38] For its 1967 re-release, it was blown up to 70mm,[8] and issued with updated poster artwork featuring Gable—with his white shirt ripped open—holding Leigh against a backdrop of orange flames.[37] There were further re-releases in 1971, 1974 and 1989; for the fiftieth anniversary reissue in 1989, it was given a complete audio and video restoration. It was released theatrically one more time in the United States, in 1998.[39][40] In 2013, a 4K digital restoration was released in the United Kingdom to coincide with Vivien Leigh's centenary.[41] In 2014, special screenings were scheduled over a two-day period at theaters across the United States to coincide with the film's 75th anniversary.[42]

text: Television and home video[edit]

text: The film received its world television premiere on the HBO cable network on June 11, 1976, and played on the channel for a total of fourteen times throughout the rest of the month. It made its network television debut in November later that year: NBC paid $5 million for a one-off airing, and it was broadcast in two parts on successive evenings. It became at that time the highest-rated television program ever presented on a single network, watched by 47.5 percent of the households sampled in America, and 65 percent of television viewers, still the record for the highest rated film to ever air on television. In 1978, CBS signed a deal worth $35 million to broadcast the film twenty times over as many years.[16][40] Turner Entertainment acquired the MGM film library in 1986, but the deal did not include the television rights to Gone with the Wind, which were still held by CBS. A deal was struck in which the rights were returned to Turner Entertainment and CBS's broadcast rights to The Wizard of Oz were extended.[16] It was used to launch two cable channels owned by Turner Broadcasting System: Turner Network Television (1988) and Turner Classic Movies (1994).[43][44] It debuted on videocassette in March 1985, where it placed second in the sales charts,[16] and has since been released on DVD and Blu-ray Disc formats.[37]

text: Reception[edit]

text: Critical response[edit]

text: Upon its release, consumer magazines and newspapers generally gave Gone with the Wind excellent reviews.[8] However, while its production values, technical achievements, and scale of ambition were universally recognized, some reviewers of the time found the film to be too long and dramatically unconvincing. Frank S. Nugent for The New York Times best summed up the general sentiment by acknowledging that while it was the most ambitious film production made up to that point, it probably was not the greatest film ever made, but he nevertheless found it to be an "interesting story beautifully told".[45] Franz Hoellering of The Nation was of the same opinion: "The result is a film which is a major event in the history of the industry but only a minor achievement in motion-picture art. There are moments when the two categories meet on good terms, but the long stretches between are filled with mere spectacular efficiency."[46]

text:
“
The result is a film which is a major event in the history of the industry but only a minor achievement in motion-picture art.
”

— Franz Hoellering, reviewer for The Nation

text: While the film was praised for its fidelity to the novel,[45] this aspect was also singled out as the main factor in contributing to the lengthy running time.[47] John C. Flinn wrote for Variety that Selznick had "left too much in", and that as entertainment, the film would have benefited if repetitious scenes and dialog from the latter part of the story had been trimmed.[47] The Manchester Guardian felt that the film's one serious drawback was that the story lacked the epic quality to justify the outlay of time and found the second half, which focuses on Scarlett's "irrelevant marriages" and "domestic squabbles," mostly superfluous, and the sole reason for their inclusion had been "simply because Margaret Mitchell wrote it that way". The Guardian believed that if "the story had been cut short and tidied up at the point marked by the interval, and if the personal drama had been made subservient to a cinematic treatment of the central theme—the collapse and devastation of the Old South—then Gone With the Wind might have been a really great film."[48] Likewise, Hoellering also found the second half of the film to be weaker than the first half: identifying the Civil War to be the driving force of the first part while the characters dominate in the second part, he concluded this is where the main fault of the picture lay, commenting that "the characters alone do not suffice". Despite many excellent scenes, he considered the drama to be unconvincing and that the "psychological development" had been neglected.[46]

text: Much of the praise was reserved for the casting, with Vivien Leigh in particular being singled out for her performance as Scarlett. Nugent described her as the "pivot of the picture" and believed her to be "so perfectly designed for the part by art and nature that any other actress in the role would be inconceivable".[45] Similarly, Hoellering found her "perfect" in "appearance and movements"; he felt her acting best when she was allowed to "accentuate the split personality she portrays" and thought she was particularly effective in such moments of characterization like the morning after the marital rape scene.[46] Flinn also found Leigh suited to the role physically and felt she was best in the scenes where she displays courage and determination, such as the escape from Atlanta and when Scarlett kills a Yankee deserter.[47] Leigh won in the Best Actress category for her performance at the 1939 New York Film Critics Circle Awards.[49] Of Clark Gable's performance as Rhett Butler, Flinn felt the characterization was "as close to Miss Mitchell's conception—and the audience's—as might be imagined",[47] a view which Nugent concurred with,[45] although Hoellering felt that Gable didn't quite convince in the closing scenes, as Rhett walks out on Scarlett in disgust.[46] Of the other principal cast members, both Hoellering and Flinn found Leslie Howard to be "convincing" as the weak-willed Ashley, with Flinn identifying Olivia de Havilland as a "standout" as Melanie;[46][47] Nugent was also especially taken with de Havilland's performance, describing it as a "gracious, dignified, tender gem of characterization".[45] Hattie McDaniel's performance as Mammy was singled out for praise by many critics: Nugent believed she gave the best performance in the film after Vivien Leigh,[45] with Flinn placing it third after Leigh's and Gable's performances.[47]

text: Academy Awards[edit]

text: At the 12th Academy Awards, Gone with the Wind set a record for Academy Award wins and nominations, winning in eight of the competitive categories it was nominated in, from a total of thirteen nominations. It won for Best Picture, Best Actress, Best Supporting Actress, Best Director, Best Screenplay, Best Cinematography, Best Art Direction, and Best Editing, and received two further honorary awards for its use of equipment and color (it also became the first color film to win Best Picture).[50][51] Its record of eight competitive wins stood until Gigi (1958) won nine, and its overall record of ten was broken by Ben-Hur (1959) which won eleven.[52] Gone with the Wind also held the record for most nominations until All About Eve (1950) secured fourteen.[9] It was the longest American sound film made up to that point, and may still hold the record of the longest Best Picture winner depending on how it is interpreted.[53] The running time for Gone with the Wind is just under 221 minutes, while Lawrence of Arabia (1962) runs for just over 222 minutes; however, including the overture, intermission, entr'acte, and exit music, Gone with the Wind lasts for 234 minutes (although some sources put its full length at 238 minutes) while Lawrence of Arabia comes in slightly shorter at 232 minutes with its additional components.[54][55]

text: Hattie McDaniel became the first African-American to win an Academy Award—beating out her co-star Olivia de Havilland who was also nominated in the same category—but was racially segregated from her co-stars at the awards ceremony at the Coconut Grove; she and her escort were made to sit at a separate table at the back of the room.[56] Meanwhile, screenwriter Sidney Howard became the first posthumous Oscar winner and Selznick personally received the Irving G. Thalberg Memorial Award for his career achievements.[9][50]

text:
Academy Awards and nominations

Award
Recipient(s)
Result

Best Picture
Selznick International Pictures
Won

Best Director
Victor Fleming
Won

Best Adapted Screenplay
Sidney Howard
Won

Best Actor
Clark Gable
Nominated

Best Actress
Vivien Leigh
Won

Best Supporting Actress
Hattie McDaniel
Won

Best Supporting Actress
Olivia de Havilland
Nominated

Best Cinematography, Color
Ernest Haller and Ray Rennahan
Won

Best Film Editing
Hal C. Kern and James E. Newcom
Won

Best Art Direction
Lyle Wheeler
Won

Best Visual Effects
Jack Cosgrove, Fred Albin and Arthur Johns
Nominated

Best Music, Original Score
Max Steiner
Nominated

Best Sound Recording
Thomas T. Moulton (Samuel Goldwyn Studio Sound Department)
Nominated

Special Award
William Cameron Menzies
For outstanding achievement in the use of color for the enhancement of dramatic mood in the production of Gone with the Wind.
Honorary

Technical Achievement Award
Don Musgrave and Selznick International Pictures
For pioneering in the use of coordinated equipment in the production Gone with the Wind.
Honorary

text: Reactions from African-Americans[edit]

text: Black commentators criticised the film for its depiction of black people and as a glorification of slavery. Carlton Moss, a black dramatist, complained in an open letter that whereas The Birth of a Nation was a "frontal attack on American history and the Negro people", Gone with the Wind was a "rear attack on the same". He went on to dismiss it as a "nostalgic plea for sympathy for a still living cause of Southern reaction". Moss further criticized the stereotypical black characterizations, such as the "shiftless and dull-witted Pork", the "indolent and thoroughly irresponsible Prissy", Big Sam's "radiant acceptance of slavery", and Mammy with her "constant haranguing and doting on every wish of Scarlett".[57] Following Hattie McDaniel's Oscar win, Walter Francis White, leader of the National Association for the Advancement of Colored People, accused her of being an Uncle Tom. McDaniel responded that she would "rather make seven hundred dollars a week playing a maid than seven dollars being one"; she further questioned White's qualification to speak on behalf of blacks, since he was light-skinned and only one-eighth black.[56]

text: Opinion in the black community was generally divided upon release, with the film being called by some a "weapon of terror against black America" and an insult to black audiences, and demonstrations were held in various cities.[56] Even so, some sections of the black community recognized McDaniel's achievements to be representative of progression: some African-Americans crossed picket lines and praised McDaniel's warm and witty characterization, while others hoped that the industry's recognition of her work would lead to increased visibility on screen for other black actors. In its editorial congratulation to McDaniel on winning her Academy Award, Opportunity: A Journal of Negro Life used the film as reminder of the "limit" put on black aspiration by old prejudices.[56][57] Malcolm X would later recall that "when Butterfly McQueen went into her act, I felt like crawling under the rug".[58]

text: Audience response[edit]

text: Upon its release, Gone with the Wind broke attendance records everywhere. At the Capitol Theatre in New York alone, it was averaging eleven thousand admissions per day in late December,[34] and within four years of its release had sold an estimated sixty million tickets across the United States—sales equivalent to just under half the population at the time.[59][60] It repeated its success overseas, and was a sensational hit during the Blitz in London, opening in April 1940 and playing for four years.[61] By the time MGM withdrew it from circulation at the end of 1943 its worldwide distribution had returned a gross rental (the studio's share of the box office gross) of $32 million, making it the most profitable film ever made up to that point.[9][16]

text: Even though it earned its investors roughly twice as much as the previous record-holder, The Birth of a Nation,[62][63] the box-office performances of the two films were likely much closer. The bulk of the earnings from Gone with the Wind came from its roadshow and first-run engagements, which represented 70 percent and 50 percent of the box-office gross respectively, before entering general release (which at the time typically saw the distributor's share set at 30–35 percent of the gross).[34] In the case of The Birth of a Nation, its distributor, Epoch, sold off many of its distribution territories on a "states rights" basis—which typically amounted to 10 percent of the box-office gross—and Epoch's accounts are only indicative of its own profits from the film, and not the local distributors. Carl E. Milliken, secretary of the Motion Picture Producers and Distributors Association, estimated that The Birth of a Nation had been seen by fifty million people by 1930.[64][65]

text: When it was re-released in 1947, it earned an impressive $5 million rental in the United States and Canada, and was one of the top ten releases of the year.[35][62] Successful re-releases in 1954 and 1961 enabled it to retain its position as the industry's top earner, despite strong challenges from more recent films such as Ben-Hur,[66] but it was finally overtaken by The Sound of Music in 1966.[67] The 1967 reissue was unusual in that MGM opted to roadshow it, a decision that turned it into the most successful re-release in the history of the industry. It generated a box-office gross of $68 million, making it MGM's most lucrative picture after Doctor Zhivago from the latter half of the decade.[68] MGM earned a rental of $41 million from the release,[69] with the U.S. and Canadian share amounting to over $30 million, placing it second only to The Graduate for that year.[62][69] Including its $6.7 million rental from the 1961 reissue,[70] it was the fourth highest-earner of the decade in the North American market, with only The Sound of Music, The Graduate and Doctor Zhivago making more for their distributors.[62] A further re-release in 1971 allowed it to briefly recapture the record from The Sound of Music, bringing its total worldwide gross rental to about $116 million by the end of 1971—more than trebling its earnings from its initial release—before losing the record again the following year to The Godfather.[40][71]

text: Across all releases, it is estimated that Gone with the Wind has sold over 200 million tickets in the United States and Canada,[59] generating more theater admissions in that territory than any other film.[72] The film was phenomenally successful in Western Europe too, generating approximately 35 million tickets in the United Kingdom and over 16 million in France, respectively becoming the biggest and sixth-biggest ticket-sellers in those markets.[73][74][75] In total, Gone with the Wind has grossed over $390 million globally at the box office;[76] in 2007 Turner Entertainment estimated the gross to be equivalent to approximately $3.3 billion when adjusted for inflation to current prices,[9] while Guinness World Records arrived at a figure of $3.44 billion in 2014, making it the most successful film in cinema history.[77]

text: The film remains immensely popular with audiences into the 21st century, having been voted the most popular film in two nationwide polls of Americans undertaken by Harris Interactive in 2008, and again in 2014. The market research firm surveyed over two thousand U.S. adults, with the results weighted by age, sex, race/ethnicity, education, region and household income so their proportions matched the composition of the adult population.[78][79]

text: Critical re-evaluation[edit]

text:
AFI 100 Years... series

* AFI's 100 Years...100 Movies – #4

AFI's 100 Years...100 Passions – #2
AFI's 100 Years...100 Heroes and Villains

Rhett Butler, Hero – Nominated
Scarlett O'Hara, Hero – Nominated

AFI's 100 Years...100 Movie Quotes:

"Frankly, my dear, I don't give a damn." – #1
"After all, tomorrow is another day!" – #31
"As God is my witness, I'll never be hungry again." – #59
"Fiddle-dee-dee." – Nominated
"I don't know nothin' 'bout birthin' babies." – Nominated

AFI's 100 Years of Film Scores – #2
AFI's 100 Years...100 Cheers – #43
AFI's 100 Years...100 Movies (10th Anniversary Edition) – #6
AFI's 10 Top 10 – #4 Epic film

American Film Institute[80]

tag: div

text: In revisiting the film in the 1970s, Arthur Schlesinger noted that Hollywood films generally age well, revealing an unexpected depth or integrity, but in the case of Gone with the Wind time has not treated it kindly.[81] Richard Schickel posits that one measure of a film's quality is to ask what you can remember of it, and the film falls down in this regard: unforgettable imagery and dialogue are simply not present.[82] Stanley Kauffmann, likewise, also found the film to be a largely forgettable experience, claiming he could only remember two scenes vividly.[83] Both Schickel and Schlesinger put this down to it being "badly written", in turn describing the dialogue as "flowery" and possessing a "picture postcard" sensibility.[81][82] Schickel also believes the film fails as popular art, in that it has limited rewatch value—a sentiment that Kauffmann also concurs with, stating that having watched it twice he hopes "never to see it again: twice is twice as much as any lifetime needs".[82][83] Both Schickel and Andrew Sarris identify the film's main failing is in possessing a producer's sensibility rather than an artistic one: having gone through so many directors and writers the film does not carry a sense of being "created" or "directed", but rather having emerged "steaming from the crowded kitchen", where the main creative force was a producer's obsession in making the film as literally faithful to the novel as possible.[82][84]

text: Sarris concedes that despite its artistic failings, the film does hold a mandate around the world as the "single most beloved entertainment ever produced".[84] Judith Crist observes that, kitsch aside, the film is "undoubtedly still the best and most durable piece of popular entertainment to have come off the Hollywood assembly lines", the product of a showman with "taste and intelligence".[85] Schlesinger notes that the first half of the film does have a "sweep and vigor" that aspire to its epic theme, but—finding agreement with the film's contemporary criticisms—the personal lives take over in the second half, and it ends up losing its theme in unconvincing sentimentality.[81] Kauffmann also finds interesting parallels with The Godfather, which had just replaced Gone with the Wind as the highest-grosser at the time: both were produced from "ultra-American" best-selling novels, both live within codes of honor that are romanticized, and both in essence offer cultural fabrication or revisionism.[83]

text: The critical perception of the film has shifted in the intervening years, which resulted in it being ranked 235th in Sight & Sound's prestigious decennial critics poll in 2012,[86] and in 2015 sixty-two international film critics polled by the BBC voted it the 97th best American film.[87]

text: Industry recognition[edit]

text: The film has featured in several high-profile industry polls: in 1977 it was voted the most popular film by the American Film Institute (AFI), in a poll of the organization's membership;[8] the AFI also ranked the film fourth on its "100 Greatest Movies" list in 1998,[88] with it slipping down to sixth place in the tenth anniversary edition in 2007.[89] Film directors ranked it 322nd in the 2012 edition of the decennial Sight & Sound poll,[86] and in 2016 it was selected as the ninth best "directorial achievement" in a Directors Guild of America members poll.[90] In 2014, it placed fifteenth in an extensive poll undertaken by The Hollywood Reporter, which ballotted every studio, agency, publicity firm and production house in the Hollywood region.[91] Gone with the Wind was selected for preservation in the National Film Registry by the United States Library of Congress in 1989 for being "culturally, historically, or aesthetically significant".[92][93]

text: Analysis[edit]

text: Racial criticism[edit]

text: Gone with the Wind has been criticized as having perpetuated Civil War myths and black stereotypes.[94] David Reynolds writes that "The white women are elegant, their menfolk noble or at least dashing. And, in the background, the black slaves are mostly dutiful and content, clearly incapable of an independent existence." Reynolds likened Gone with the Wind to The Birth of a Nation and other re-imaginings of the South during the era of segregation, in which white Southerners are portrayed as defending traditional values and the issue of slavery is largely ignored.[58] The film has been described as a "regression" that promotes the myth of the black rapist and the honourable and defensive role of the Ku Klux Klan during Reconstruction,[95] and as a "social propaganda" film offering a "white supremacist" view of the past.[94] From 1972 to 1996, the Atlanta Historical Society held a number of Gone with the Wind exhibits, among them a 1994 exhibit titled, "Disputed Territories: Gone with the Wind and Southern Myths". One of the questions explored by the exhibit was "How True to Life Were the Slaves in GWTW?" This section showed slave experiences were diverse and concluded that the "happy darky" was a myth, as was the belief that all slaves experienced violence and brutality.[96]

text: W. Bryan Rommel Ruiz has argued that despite factual inaccuracies in its depiction of the Reconstruction period, Gone with the Wind nevertheless reflects contemporary interpretations that were common in the early 20th century. One such viewpoint is reflected in a brief scene in which Mammy fends off a leering freedman: a government official can be heard offering bribes to the emancipated slaves for their votes. The inference is taken to be that freedmen are ignorant about politics and unprepared for freedom, unwittingly becoming the tools of corrupt Reconstruction officials. While perpetuating some Lost Cause myths, the film makes concessions in regard to others. After the attack on Scarlett in the shanty town, a group of men including Scarlett's husband Frank, Rhett Butler and Ashley raid the town; in the novel they belong to the Ku Klux Klan, representing the common trope of protecting the white woman's virtue, but the filmmakers consciously neutralize the presence of the Klan in the film by referring to it only as a "political meeting".[97]

text: Thomas Cripps reasons that the film in some respects undercuts racial stereotypes;[98] in particular, the film created greater engagement between Hollywood and black audiences,[98] with dozens of movies making small gestures in recognition of the emerging trend.[57] Only a few weeks after its initial run, a story editor at Warner wrote a memorandum to Walter Wanger about Mississippi Belle, a script that contained the worst excesses of plantation films, suggesting that Gone with the Wind had made the film "unproducible". More than any film since The Birth of a Nation, it unleashed a variety of social forces that foreshadowed an alliance of white liberals and blacks who encouraged the expectation that blacks would one day achieve equality. According to Cripps, the film eventually became a template for measuring social change.[57]

text: In 2017, Gone with the Wind was pulled from the schedule at the Orpheum Theatre in Memphis, Tennessee after a 34-year run of annual showings due to its perceived racially insensitive content.[99][100]

text: Depiction of marital rape[edit]

text: One of the most notorious and widely condemned scenes in Gone with the Wind depicts what is now legally defined as "marital rape".[101][102] The scene begins with Scarlett and Rhett at the bottom of the staircase, where he begins to kiss her, refusing to be told 'no' by the struggling and frightened Scarlett;[103][104] Rhett overcomes her resistance and carries her up the stairs to the bedroom,[103][104] where the audience is left in no doubt that she will "get what's coming to her".[105] The next scene, the following morning, shows Scarlett glowing with barely suppressed sexual satisfaction;[103][104][105] Rhett apologizes for his behavior, blaming it on his drinking.[103] The scene has been accused of combining romance and rape by making them indistinguishable from each other,[103] and of reinforcing a notion about forced sex: that women secretly enjoy it, and it is an acceptable way for a man to treat his wife.[105]

text: Molly Haskell has argued that nevertheless, women are mostly uncritical of the scene, and that by and large it is consistent with what women have in mind if they fantasize about being raped. Their fantasies revolve around love and romance rather than forced sex; they will assume that Scarlett was not an unwilling sexual partner and wanted Rhett to take the initiative and insist on having sexual intercourse.[106]

text: Legacy[edit]

text: In popular culture[edit]

text: Gone with the Wind and its production have been explicitly referenced, satirized, dramatized and analyzed on numerous occasions across a range of media, from contemporaneous works such as Second Fiddle—a 1939 film spoofing the "search for Scarlett"—to current television shows, such as The Simpsons.[94][107][108] The Scarlett O'Hara War (a 1980 television dramatization of the casting of Scarlett),[109] Moonlight and Magnolias (a 2007 play by Ron Hutchinson that dramatizes Ben Hecht's five-day re-write of the script),[110] and "Went with the Wind!" (a sketch on The Carol Burnett Show that parodied the film in the aftermath of its television debut in 1976) are among the more noteworthy examples of its enduring presence in popular culture.[16] It was also the subject of a 1988 documentary, The Making of a Legend: Gone with the Wind, detailing the film's difficult production history.[111] In 1990, the United States Postal Service issued a stamp depicting Clark Gable and Vivien Leigh embracing in a scene from the film.[112]

text: Sequel[edit]

text: Following publication of her novel, Margaret Mitchell was inundated with requests for a sequel but claimed to not have a notion of what happened to Scarlett and Rhett, and that she had "left them to their ultimate fate". Mitchell continued to resist pressure from Selznick and MGM to write a sequel until her death in 1949. In 1975, her brother, Stephens Mitchell (who assumed control of her estate), authorized a sequel to be jointly produced by MGM and Universal Studios on a budget of $12 million. Anne Edwards was commissioned to write the sequel as a novel which would then be adapted into a screenplay, and published in conjunction with the film's release. Edwards submitted a 775-page manuscript entitled Tara, The Continuation of Gone with the Wind, set between 1872 and 1882 focusing on Scarlett's divorce from Rhett; MGM was not satisfied with the story and the deal collapsed.[16]

text: The idea was revived in the 1990s, when a sequel was finally produced in 1994, in the form of a television miniseries. Scarlett was based upon the novel by Alexandra Ripley, itself a sequel to Mitchell's book. British actors Joanne Whalley and Timothy Dalton were cast as Scarlett and Rhett, and the series follows Scarlett's relocation to Ireland after again becoming pregnant by Rhett.[113]


document_title: Commanding General of the Philippine Army

question_text: who is the commanding general of the philippine army

root

text: List of Commanding Generals[edit]

text: The following is a list of Commanding Generals of the Philippine Army:[1][2][3]

tag: p

text:
Name

Term

President

Gen. Artemio Ricarte, AFP

March 22, 1897 – January 22, 1899

Emilio Aguinaldo

Gen. Antonio Luna, AFP

January 23 – June 5, 1899

Maj. Gen. José J. delos Reyes, AFP

January 11 – May 3, 1936

Manuel L. Quezon

Maj. Gen. Paulino Santos, AFP

May 6 – December 31, 1936

Maj. Gen. Basilio J. Valdez, AFP

January 1, 1939 – November 7, 1945

Sergio Osmeña

Maj. Gen. Rafael Jalandoni, AFP

December 21, 1945 – December 21, 1948

Manuel A. Roxas

Elpidio Quirino

Maj. Gen. Mariano N. Castañeda, Sr., AFP

December 21, 1948 – January 15, 1951

Maj. Gen. Calixto Duque, AFP

January 15, 1951 – December 29, 1953

Lt. Gen. Jesús M. Vargas, AFP

December 30, 1953 – December 29, 1956

Ramon Magsaysay

Lt. Gen. Alfonso Arellano, AFP

December 29, 1956 – June 1, 1957

Carlos P. Garcia

Brig. Gen. Leoncio S. Tan, AFP

July 1, 1957 – June 12, 1958

Brig. Gen. Tirso G. Fajardo, AFP

June 12, 1958 – August 1, 1960

Brig. Gen. Alfredo M. Santos, AFP

August 1, 1960 – September 16, 1962

Diosdado Macapagal

Brig. Gen. Dominador F. García, AFP

September 16, 1962 – January 1, 1963

Ferdinand E. Marcos

Brig. Gen. Ricardo J. Papa, AFP

January 1, 1963 – August 31, 1963

Brig. Gen. Ernesto S. Mata, AFP

September 1, 1963 – June 1, 1964

Brig. Gen. Rigoberto J. Atienza, AFP

June 1, 1964 – March 23, 1965

Brig. Gen. Ismael D. Lapus, AFP

March 23, 1965 – September 28, 1965

Brig. Gen. Patricio R. Monzon, AFP

September 28, 1965 – December 1, 1965

Brig. Gen. Silvino R. de Goma, AFP

December 1, 1965 – January 25, 1966

Brig. Gen. Santos S. García, AFP

January 25, 1966 – January 13, 1967

Brig. Gen. Romeo C. Espino, AFP

January 13, 1967 – May 29, 1968

Brig. Gen. Ruben M. Maglaya, AFP

May 29, 1968 – June 30, 1969

Brig. Gen. Rafael M. Ileto

June 30, 1969 – January 16, 1972

Maj. Gen. Rafael G. Zagala, AFP

January 16, 1972 – January 16, 1975

Maj. Gen. Ricardo V. Sarimos, AFP

January 16, 1975 – March 27, 1976

Maj. Gen. Fortunato U. Abat, AFP

March 28, 1976 – March 27, 1981

Maj. Gen. Josephus Q. Ramas, AFP

March 27, 1981 – February 28, 1986

Maj. Gen. Rodolfo A. Canieso, AFP

February 28, 1986 – July 1, 1987

Corazon C. Aquino

Maj. Gen. Restituto C. Padilla, Sr., AFP

July 2, 1987 – March 30, 1988

Maj. Gen. Mariano P. Adalem, AFP

March 30, 1988 – July 26, 1989

Maj. Gen. Manuel V. Cacanando, AFP

July 26, 1989 – March 1, 1990

Maj. Gen. Guillermo G. Flores, AFP

March 1, 1990 – January 11, 1991

Maj Gen. Lisandro C. Abadia, AFP

January 11 – April 11, 1991

Lt. Gen. Arturo T. Enrile

April 11, 1991 – April 15, 1994

Fidel V. Ramos

Lt. Gen. Rómulo F. Yap, AFP

April 15, 1994 – February 20, 1995

Lt. Gen. Orlando V. Soriano, AFP

February 20, 1995 – January 25, 1996

Lt. Gen. Clemente P. Mariano, AFP

January 25, 1996 – December 31, 1997

Lt. Gen. Raúl S. Urgello, AFP

January 5, 1998 – May 3, 1999

Joseph Ejercito Estrada

Lt. Gen. Ángelo T. Reyes, AFP

May 3, 1999 – July 13, 1999

Lt. Gen. Voltaire T. Gazmin, AFP

July 13, 1999 – October 22, 2000

Lt. Gen. Diomedio P. Villanueva, AFP

October 22, 2000 – March 17, 2001

Gloria Macapagal-Arroyo

Lt. Gen. Jaime S. de los Santos, AFP

March 17, 2001 – April 2, 2002

Lt. Gen. Dionisio R. Santiago, AFP

April 2 – November 14, 2002

Lt. Gen. Gregorio M. Camiling, Jr., AFP

November 14, 2002 – January 6, 2003

Lt. Gen. Efren L. Abu, AFP

January 6, 2003 – November 3, 2004

Lt. Gen. Generoso S. Senga, AFP

November 3, 2004 – August 17, 2005

Lt. Gen. Hermogenes C. Esperon, Jr., AFP

August 17, 2005 – July 22, 2006

Lt. Gen. Romeo P. Tolentino, AFP

July 22, 2006 – August 24, 2007

Lt. Gen. Alexander B. Yano, AFP[4]

August 24, 2007 – May 12, 2008

Lt. Gen. Victor S. Ibrado, AFP[5]

May 12, 2008 – May 4, 2009

Lt. Gen. Delfin N. Bangit, AFP[6]

May 4, 2009 – March 12, 2010

Lt. Gen. Reynaldo B. Mapagu, AFP[7]

March 12, 2010 – July 23, 2010

Benigno S. Aquino III

Lt. Gen. Arturo B. Ortiz, AFP[8]

July 23, 2010 – November 10, 2011

Lt. Gen. Emmanuel T. Bautista, AFP[9]

November 10, 2011 – January 22, 2013

Lt. Gen. Noel A. Coballes, AFP[10]

January 22, 2013 – February 7, 2014

Lt. Gen. Hernando Delfin Carmelo A. Iriberri, AFP[11]

February 7, 2014 – July 15, 2015

Lt. Gen. Eduardo Año, AFP[12]

July 15, 2015 – December 7, 2016

Rodrigo Roa Duterte

Lt. Gen. Glorioso Miranda, AFP[13]

December 7, 2016 – October 5, 2017

Lt. Gen. Rolando Joselito Bautista, AFP[14]

October 5, 2017 – Present

tag: table


document_title: Cronus

question_text: what did rhea give cronus to eat in place of their youngest son

text: Cronus

text: Mythology[edit]

text: In an ancient myth recorded by Hesiod's Theogony, Cronus envied the power of his father, the ruler of the universe, Uranus. Uranus drew the enmity of Cronus's mother, Gaia, when he hid the gigantic youngest children of Gaia, the hundred-handed  Hecatonchires and one-eyed Cyclopes, in Tartarus, so that they would not see the light. Gaia created a great stone sickle and gathered together Cronus and his brothers to persuade them to castrate Uranus.[2]

text: Only Cronus was willing to do the deed, so Gaia gave him the sickle and placed him in ambush.[3] When Uranus met with Gaia, Cronus attacked him with the sickle, castrating him and casting his testicles into the sea. From the blood that spilled out from Uranus and fell upon the earth, the Gigantes, Erinyes, and Meliae were produced. The testicles produced a white foam from which the goddess Aphrodite emerged. For this, Uranus threatened vengeance and called his sons Titenes (Τιτῆνες; according to Hesiod meaning "straining ones," the source of the word "titan", but this etymology is disputed) for overstepping their boundaries and daring to commit such an act (in an alternate version of this myth, a more benevolent Cronus overthrew the wicked serpentine Titan Ophion and in doing so he released the world from bondage and for a time ruled it justly).

text: After dispatching Uranus, Cronus re-imprisoned the Hecatonchires, and the Cyclopes and set the dragon Campe to guard them. He and his sister Rhea took the throne of the world as king and queen. The period in which Cronus ruled was called the Golden Age, as the people of the time had no need for laws or rules; everyone did the right thing, and immorality was absent.

text: Cronus learned from Gaia and Uranus that he was destined to be overcome by his own sons, just as he had overthrown his father. As a result, although he sired the gods Demeter, Hestia, Hera, Hades and Poseidon by Rhea, he devoured them all as soon as they were born to prevent the prophecy. When the sixth child, Zeus, was born Rhea sought Gaia to devise a plan to save them and to eventually get retribution on Cronus for his acts against his father and children.

text: Rhea secretly gave birth to Zeus in Crete, and handed Cronus a stone wrapped in swaddling clothes, also known as the Omphalos Stone, which he promptly swallowed, thinking that it was his son.

text: Rhea kept Zeus hidden in a cave on Mount Ida, Crete. According to some versions of the story, he was then raised by a goat named Amalthea, while a company of Kouretes, armored male dancers, shouted and clapped their hands to make enough noise to mask the baby's cries from Cronus. Other versions of the myth have Zeus raised by the nymph Adamanthea, who hid Zeus by dangling him by a rope from a tree so that he was suspended between the earth, the sea, and the sky, all of which were ruled by his father, Cronus. Still other versions of the tale say that Zeus was raised by his grandmother, Gaia.

text: Once he had grown up, Zeus used an emetic given to him by Gaia to force Cronus to disgorge the contents of his stomach in reverse order: first the stone, which was set down at Pytho under the glens of Mount Parnassus to be a sign to mortal men, and then his two brothers and three sisters. In other versions of the tale, Metis gave Cronus an emetic to force him to disgorge the children,[4] or Zeus cut Cronus's stomach open.[citation needed]

text: After freeing his siblings, Zeus released the Hecatoncheires, and the Cyclopes who forged for him his thunderbolts, Poseidon's trident and Hades' helmet of darkness. In a vast war called the Titanomachy, Zeus and his brothers and sisters, with the help of the Hecatonchires and Cyclopes, overthrew Cronus and the other Titans. Afterwards, many of the Titans were confined in Tartarus.  However, Oceanus, Helios, Atlas, Prometheus, Epimetheus and Menoetius were not imprisoned following the Titanomachy.  Gaia bore the monster Typhon to claim revenge for the imprisoned Titans.

text: Accounts of the fate of Cronus after the Titanomachy differ. In Homeric and other texts he is imprisoned with the other Titans in Tartarus. In Orphic poems, he is imprisoned for eternity in the cave of Nyx. Pindar describes his release from Tartarus, where he is made King of Elysium by Zeus. In another version,[citation needed] the Titans released the Cyclopes from Tartarus, and Cronus was awarded the kingship among them, beginning a Golden Age. In Virgil's Aeneid,[citation needed] it is Latium to which Saturn (Cronus) escapes and ascends as king and lawgiver, following his defeat by his son Jupiter (Zeus).

text: One other account referred by Robert Graves,[5] who claims to be following the account of the Byzantine mythographer Tzetzes, it is said that Cronus was castrated by his son Zeus just like he had done with his father Uranus before. However the subject of a son castrating his own father, or simply castration in general, was so repudiated by the Greek mythographers of that time that they suppressed it from their accounts until the Christian era (when Tzetzes wrote).

text: Libyan account by Diodorus Siculus[edit]

text: In a Libyan account related by Diodorus Siculus (Book 3), Uranus and Titaea were the parents of Cronus and Rhea and the other Titans. Ammon, a king of Libya, married Rhea (3.18.1).  However, Rhea abandoned Ammon and married her brother Cronus.  With Rhea's incitement, Cronus and the other Titans made war upon Ammon, who fled to Crete (3.71.1-2). Cronus ruled harshly and Cronus in turn was defeated by Ammon's son Dionysus (3.71.3-3.73) who appointed Cronus' and Rhea's son, Zeus, as king of Egypt (3.73.4). Dionysus and Zeus then joined their forces to defeat the remaining Titans in Crete, and on the death of Dionysus, Zeus inherited all the kingdoms, becoming lord of the world (3.73.7-8).

text: Sibylline Oracles[edit]

text: Cronus is mentioned in the Sibylline Oracles, particularly in book three, which makes Cronus, 'Titan' and Iapetus, the three sons of Uranus and Gaia, each to receive a third division of the Earth, and Cronus is made king over all. After the death of Uranus, Titan's sons attempt to destroy Cronus's and Rhea's male offspring as soon as they are born, but at Dodona, Rhea secretly bears her sons Zeus, Poseidon and Hades and sends them to Phrygia to be raised in the care of three Cretans. Upon learning this, sixty of Titan's men then imprison Cronus and Rhea, causing the sons of Cronus to declare and fight the first of all wars against them. This account mentions nothing about Cronus either killing his father or attempting to kill any of his children.

text: Name and comparative mythology[edit]

text: Antiquity[edit]

text: During antiquity, Cronus was occasionally interpreted as Chronos, the personification of time.[6] The Roman philosopher Cicero (1st century BCE) elaborated on this by saying that the Greek name Cronus is synonymous to chronos (time) since he maintains the course and cycles of seasons and the periods of time, whereas the Latin name Saturn denotes that he is saturated with years since he was devouring his sons, which implies that time devours the ages and gorges.[7] The Greek historian and biographer Plutarch (1st century CE) asserted that the Greeks believed that Cronus was an allegorical name for χρόνος (time).[8] The philosopher Plato (3rd century BCE) in his Cratylus gives two possible interpretations for the name of Cronus. The first is that his name denotes "κόρος" (koros), the pure (καθαρόν) and unblemished (ἀκήρατον)[9] nature of his mind.[10] The second is that Rhea and Cronus were given names of streams (Rhea – ῥοή (rhoē) and Cronus – Xρόνος (chronos)).[11] Proclus (5th century CE), the Neoplatonist philosopher, makes in his Commentary on Plato's Cratylus an extensive analysis on Cronus; among others he says that the "One cause" of all things is "Chronos" (time) that is also equivocal to Cronus.[12] In addition to the name, the story of Cronus eating his children was also interpreted as an allegory to a specific aspect of time held within Cronus' sphere of influence. As the theory went, Cronus represented the destructive ravages of time which devoured all things, a concept that was illustrated when the Titan king ate the Olympian gods — the past consuming the future, the older generation suppressing the next generation.[13]

text: From the Renaissance to the present[edit]

text:
During the Renaissance, the identification of Cronus and Chronos gave rise to "Father Time" wielding the harvesting scythe.
H. J. Rose in 1928[14] observed that attempts to give "Κρόνος" a Greek etymology had failed.
Recently, Janda (2010) offers a genuinely Indo-European etymology of "the cutter", from the root *(s)ker- "to cut" (Greek κείρω (keirō), cf. English shear), motivated by Cronus's characteristic act of "cutting the sky" (or the genitals of anthropomorphic Uranus).
The Indo-Iranian reflex of the root is kar, generally meaning "to make, create" (whence karma), but Janda argues that the original meaning "to cut" in a cosmogonic sense is still preserved in some verses of the Rigveda pertaining to Indra's heroic "cutting", like that of Cronus resulting in creation:

text: RV 10.104.10 ārdayad vṛtram akṛṇod ulokaṃ he hit Vrtra fatally, cutting [> creating] a free path.

text: RV 6.47.4 varṣmāṇaṃ divo akṛṇod he cut [> created] the loftiness of the sky.

text:
This may point to an older Indo-European mytheme reconstructed as *(s)kert wersmn diwos "by means of a cut he created the loftiness of the sky".[15]
The myth of Cronus castrating Uranus parallels the Song of Kumarbi, where  Anu (the heavens) is castrated by Kumarbi. In the Song of Ullikummi, Teshub uses the "sickle with which heaven and earth had once been separated" to defeat the monster Ullikummi,[16] establishing that the "castration" of the heavens by means of a sickle was part of a creation myth, in origin a cut creating an opening or gap between heaven (imagined as a dome of stone) and earth enabling the beginning of time (chronos) and human history.[17]
A theory debated in the 19th century, and sometimes still offered somewhat apologetically,[18] holds that Κρόνος is related to "horned", assuming a Semitic derivation from qrn.[19]
Andrew Lang's objection, that Cronus was never represented horned in Hellenic art,[20] was addressed by Robert Brown,[21] arguing that, in Semitic usage, as in the Hebrew Bible, qeren was a signifier of "power". When Greek writers encountered the Semitic deity El, they rendered his name as Cronus.[22]

text: Robert Graves remarks that "cronos probably means 'crow', like the Latin cornix and the Greek corōne", noting that Cronus was depicted with a crow, as were the deities Apollo, Asclepius, Saturn and Bran.[23]

text: El, the Phoenician Cronus[edit]

text: When Hellenes encountered Phoenicians and, later, Hebrews, they identified the Semitic El, by interpretatio graeca, with Cronus. The association was recorded c. AD 100 by Philo of Byblos' Phoenician history, as reported in Eusebius' Præparatio Evangelica I.10.16.[24] Philo's account, ascribed by Eusebius to the semi-legendary pre-Trojan War Phoenician historian Sanchuniathon, indicates that Cronus was originally a Canaanite ruler who founded Byblos and was subsequently deified.  This version gives his alternate name as Elus or Ilus, and states that in the 32nd year of his reign, he emasculated, slew and deified his father Epigeius or Autochthon "whom they afterwards called Uranus". It further states that after ships were invented, Cronus, visiting the 'inhabitable world', bequeathed Attica to his own daughter Athena, and Egypt to Taautus the son of Misor and inventor of writing.[25]

text: Roman mythology and later culture[edit]

text: While the Greeks considered Cronus a cruel and tempestuous force of chaos and disorder, believing the Olympian gods had brought an era of peace and order by seizing power from the crude and malicious Titans[citation needed], the Romans took a more positive and innocuous view of the deity, by conflating their indigenous deity Saturn with Cronus. Consequently, while the Greeks considered Cronus merely an intermediary stage between Uranus and Zeus, he was a larger aspect of Roman religion. The Saturnalia was a festival dedicated in his honour, and at least one temple to Saturn already existed in the archaic Roman Kingdom.

text: His association with the "Saturnian" Golden Age eventually caused him to become the god of "time", i.e., calendars, seasons, and harvests—not now confused with Chronos, the unrelated embodiment of time in general. Nevertheless, among Hellenistic scholars in Alexandria and during the Renaissance, Cronus was conflated with the name of Chronos, the personification of "Father Time",[6] wielding the harvesting scythe.

text: As a result of Cronus's importance to the Romans, his Roman variant, Saturn, has had a large influence on Western culture. The seventh day of the Judaeo-Christian week is called in Latin Dies Saturni ("Day of Saturn"), which in turn was adapted and became the source of the English word Saturday. In astronomy, the planet Saturn is named after the Roman deity. It is the outermost of the Classical planets (those that are visible with the naked eye).

text: Astronomy[edit]

text: A star (HD 240430) was named after him in 2017 when it was reported to have swallowed its planets.[26]

text: Genealogy[edit]

text:
hideDescendants of Cronus and Rhea [27]

Uranus' genitalsCRONUSRhea

ZeusHeraPoseidonHadesDemeterHestia

    a [28]
     b [29]

AresHephaestus
Metis
Athena [30]
Leto

ApolloArtemis
Maia
Hermes
Semele
Dionysus
Dione
    a [31]     b [32]

Aphrodite

text: Notes[edit]

text:
Jump up ^ Plato. Timaeus 40e. Translated by W.R.M. Lamb. Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd. 1925.

Jump up ^ Hesiod, Theogony 154–166.

Jump up ^ Hesiod, Theogony 167–206.

Jump up ^ Apollodorus, 1.2.1.

Jump up ^ GRAVES, Robert, Hebrew Myths.21.4

^ Jump up to: a b Κρόνος: Cronos — Later interpreted as chronos (time): LSJ entry Κρόνος

Jump up ^ Cicero, De Natura Deorum 25

Jump up ^ These men [the Egyptians] are like the Greeks who say that Cronus is but a metaphorical name for χρόνος (time). Plutarch, On Isis and Osiris, 32

Jump up ^ Liddell, Henry George; Scott, Robert (1940) [1843], "ἀκήρ-α^τος", A Greek-English Lexicon (revised and augmented throughout by Sir Henry Stuart Jones with the assistance of Roderick McKenzie ed.), Oxford: Clarendon Press, retrieved 9 August 2016  – via Perseus Digital Library

Jump up ^ Plato, Cratylus, 402b

Jump up ^ Plato, Cratylus, 402b

Jump up ^ Proclus, Commentary on Plato's Cratylus, 396B7

Jump up ^ Dronke, Peter. (edit.) Marenbon, John. Poetry and Philosophy in the Middle Ages, Leiden, The Netherlands. BRILL, 2001; pg. 316

Jump up ^ Rose, A Handbook of Greek Mythology 1928:43.

Jump up ^ Michael Janda, Die Musik nach dem Chaos, Innsbruck, 2010, 54-56.

Jump up ^ Fritz Graf, Thomas Marier, trans. Thomas Marier, Greek mythology: an introduction, 1996
ISBN 978-0-8018-5395-1, p. 88.

Jump up ^ Janda 2010, p. 54 and passim.

Jump up ^ "We would like to consider whether the Semitic stem q r nmight be connected with the name Kronos," suggests A. P. Bos, as late as 1989, in Cosmic and Meta-cosmic Theology in Aristotle's Lost Dialogues, 1989:11 note 26.

Jump up ^ As in H. Lewy, Die semitischen Fremdwörter in Griechischen, 1895:216. and Robert Brown, The Great Dionysiak Myth, 1877, ii.127.
"Kronos signifies 'the Horned one'", the Rev. Alexander Hislop had previously asserted in The Two Babylons; or, The papal worship proved to be the worship of Nimrod and his wife, Hislop, 2nd ed. 1862 (p.46). with the note "From krn, a horn. The epithet Carneus applied to Apollo is just a different form of the same word. In the Orphic Hymns, Apollo is addressed as 'the Two-Horned god'".

Jump up ^ Lang, Modern Mythology 1897:35.

Jump up ^ Brown, Semitic Influence in Hellenic Mythology, 1898:112ff.

Jump up ^ "Philôn, who of course regarded Kronos as an Hellenic divinity, which indeed he became, always renders the name of the Semitic god Îl or Êl ('the Powerful') by 'Kronos', in which usage we have a lingering feeling of the real meaning of the name" (Brown 1898:116)

Jump up ^ Graves, Robert (1955). "The Castration of Uranus". Greek Myths. London: Penguin. p. 38. ISBN 0-14-001026-2.

Jump up ^ Walcot, "Five or Seven Recesses?" The Classical Quarterly, New Series, 15.1 (May 1965), p. 79. The quote stands as Philo Fr. 2.

Jump up ^ Eusebius of Caesarea: Praeparatio Evangelica Book 1, Chapter 10.

Jump up ^ Sokol, Josh (21 September 2017). "Star nicknamed Kronos after eating its own planetary children". New Scientist. Retrieved 15 October 2017.

Jump up ^ This chart is based upon Hesiod's Theogony, unless otherwise noted.

Jump up ^ According to Homer, Iliad 1.570–579,  14.338, Odyssey 8.312, Hephaestus was apparently the son of Hera and Zeus, see Gantz, p. 74.

Jump up ^ According to Hesiod, Theogony 927–929, Hephaestus was produced by Hera alone, with no father, see Gantz, p. 74.

Jump up ^ According to Hesiod, Theogony 886–890, of Zeus' children by his seven wives, Athena was the first to be conceived, but the last to be born; Zeus impregnated Metis then swallowed her, later Zeus himself gave birth to Athena "from his head", see Gantz, pp. 51–52, 83–84.

Jump up ^ According to Hesiod, Theogony 183–200, Aphrodite was born from Uranus' severed genitals, see Gantz, pp. 99–100.

Jump up ^ According to Homer, Aphrodite was the daughter of Zeus (Iliad 3.374, 20.105; Odyssey 8.308, 320) and Dione (Iliad 5.370–71), see Gantz, pp. 99–100.

tag: ol


document_title: Flowchart

question_text: what does a rhombus mean in a flow chart

text: Flowchart

text: Overview[edit]

text: Flowcharts are used in designing and documenting simple processes or programs. Like other types of diagrams, they help visualize what is going on and thereby help understand a process, and perhaps also find less-obvious features within the process, like flaws and bottlenecks. There are different types of flowcharts: each type has its own set of boxes and notations. The two most common types of boxes in a flowchart are:

text:
a processing step, usually called activity, and denoted as a rectangular box.
a decision, usually denoted as a diamond.

tag: ul

text: A flowchart is described as "cross-functional" when the chart is divided into different vertical or horizontal parts, to describe the control of different organizational units. A symbol appearing in a particular part is within the control of that organizational unit.  A cross-functional flowchart allows the author to correctly locate the responsibility for performing an action or making a decision, and to show the responsibility of each organizational unit for different parts of a single process.

text: Flowcharts depict certain aspects of processes and are usually complemented by other types of diagram. For instance, Kaoru Ishikawa defined the flowchart as one of the seven basic tools of quality control, next to the histogram, Pareto chart, check sheet, control chart, cause-and-effect diagram, and the scatter diagram. Similarly, in UML, a standard concept-modeling notation used in software development, the activity diagram, which is a type of flowchart, is just one of many different diagram types.

text: Nassi-Shneiderman diagrams and Drakon-charts are an alternative notation for process flow.

text: Common alternative names include: flow chart, process flowchart, functional flowchart, process map, process chart, functional process chart, business process model, process model, process flow diagram, work flow diagram, business flow diagram. The terms "flowchart" and "flow chart" are used interchangeably.

text: The underlying graph structure of a flowchart is a flow graph, which abstracts away node types, their contents and other ancillary information.

text: History[edit]

text: The first structured method for documenting process flow, the "flow process chart", was introduced by Frank and Lillian Gilbreth in the presentation "Process Charts: First Steps in Finding the One Best Way to do Work", to members of the American Society of Mechanical Engineers (ASME) in 1921.[2] The Gilbreths' tools quickly found their way into industrial engineering curricula. In the early 1930s, an industrial engineer, Allan H. Mogensen began to train business people in the use of some of the tools of industrial engineering at his Work Simplification Conferences in Lake Placid, New York.

text: Art Spinanger, a 1944 graduate of Mogensen's class, took the tools back to Procter and Gamble where he developed their Deliberate Methods Change Program.  Ben S. Graham, another 1944 graduate, Director of Formcraft Engineering at Standard Register Industrial, applied the flow process chart to information processing with his development of the multi-flow process chart, to present multiple documents and their relationships.[3] In 1947, ASME adopted a symbol set derived from Gilbreth's original work as the "ASME Standard: Operation and Flow Process Charts."[4]

text: Douglas Hartree in 1949 explained that Herman Goldstine and John von Neumann had developed a flowchart (originally, diagram) to plan computer programs.[5] His contemporary account was endorsed by IBM engineers[6] and by Goldstine's personal recollections.[7] The original programming flowcharts of Goldstine and von Neumann can be found in their unpublished report, "Planning and coding of problems for an electronic computing instrument, Part II, Volume 1" (1947), which is reproduced in von Neumann's collected works.[8]

text: The flowchart became a popular tool for describing computer algorithms, but its popularity decreased in the 1970s, when interactive computer terminals and third-generation programming languages became common tools for computer programming, since algorithms can be expressed more concisely as source code in such languages. Often pseudo-code is used, which uses the common idioms of such languages without strictly adhering to the details of a particular one.

text: Nowadays flowcharts are still used for describing computer algorithms.[9] Modern techniques such as UML activity diagrams and Drakon-charts can be considered to be extensions of the flowchart.

text: Types[edit]

text: Sterneckert (2003) suggested that flowcharts can be modeled from the perspective of different user groups (such as managers, system analysts and clerks), and that there are four general types:[10]

text:
Document flowcharts, showing controls over a document-flow through a system
Data flowcharts, showing controls over a data-flow in a system
System flowcharts, showing controls at a physical or resource level
Program flowchart, showing the controls in a program within a system

text: Notice that every type of flowchart focuses on some kind of control, rather than on the particular flow itself.[10]

text: However, there are some different classifications. For example, Andrew Veronis (1978) named three basic types of flowcharts: the system flowchart, the general flowchart, and the detailed flowchart.[11] That same year Marilyn Bohl (1978) stated "in practice, two kinds of flowcharts are used in solution planning: system flowcharts and program flowcharts...".[12] More recently, Mark A. Fryman (2001) identified more differences: "Decision flowcharts, logic flowcharts, systems flowcharts, product flowcharts, and process flowcharts are just a few of the different types of flowcharts that are used in business and government".[13]

text: In addition, many diagram techniques are similar to flowcharts but carry a different name, such as UML activity diagrams.

text: Building blocks[edit]

text: Common symbols[edit]

text: The American National Standards Institute (ANSI) set standards for flowcharts and their symbols in the 1960s.[14] The International Organization for Standardization (ISO) adopted the ANSI symbols in 1970.[15] The current standard was revised in 1985.[16] Generally, flowcharts flow from top to bottom and left to right.[17]

text:
ANSI/ISO Shape

Name

Description

Flowline (Arrowhead)[15]

Shows the process's order of operation. A line coming from one symbol and pointing at another.[14] Arrowheads are added if the flow is not the standard top-to-bottom, left-to right.[15]

Terminal[14]

Indicates the beginning and ending of a program or sub-process. Represented as a stadium,[14] oval or rounded (fillet) rectangle. They usually contain the word "Start" or "End", or another phrase signaling the start or end of a process, such as "submit inquiry" or "receive product".

Process[15]

Represents a set of operations that changes value, form, or location of data. Represented as a rectangle.[15]

Decision[15]

Shows a conditional operation that determines which one of the two paths the program will take.[14] The operation is commonly a yes/no question or true/false test. Represented as a diamond (rhombus).[15]

Input/Output[15]

Indicates the process of inputting and outputting data,[15] as in entering data or displaying results. Represented as a parallelogram.[14]

Annotation[14] (Comment)[15]

Indicating additional information about a step the program. Represented as an open rectangle with a dashed or solid line connecting it to the corresponding symbol in the flowchart.[15]

Predefined Process[14]

Shows named process which is defined elsewhere. Represented as a rectangle with double-struck vertical edges.[14]

On-page Connector[14]

Pairs of labeled connectors replace long or confusing lines on a flowchart page. Represented by a small circle with a letter inside.[14][18]

Off-page Connector[14]

A labeled connector for use when the target is on another page. Represented as a home plate-shaped pentagon.[14][18]

text: Other symbols[edit]

text: The ANSI/ISO standards include symbols beyond the basic shapes. Some are:[17][18]

text:
Data File or Database represented by a cylinder (disk drive).
Document represented as a rectangle with a wavy base.
Manual input represented by quadrilateral, with the top irregularly sloping up from left to right, like the side view of a keyboard.
Manual operation represented by a trapezoid with the longest parallel side at the top, to represent an operation or adjustment to process that can only be made manually.
Parallel Mode represented by two horizontal lines at the beginning or ending of simultaneous operations[17]
Preparation or Initialization represented by an elongated hexagon, originally used for steps like setting a switch or initializing a routine.

text: For parallel and concurrent processing the Parallel Mode horizontal lines[19] or a horizontal bar[20] indicate the start or end of a section of processes that can be done independently:

text:
At a fork, the process creates one or more additional processes, indicated by a bar with one incoming path and two or more outgoing paths.
At a join, two or more processes continue as a single process, indicated by a bar with several incoming paths and one outgoing path. All processes must complete before the single process continues.[20]

text: Software[edit]

text: Diagramming[edit]

text: Any drawing program can be used to create flowchart diagrams, but these will have no underlying data model to share data with databases or other programs such as project management systems or spreadsheet. Some tools such as yEd, Inkscape and Microsoft Visio offer special support for flowchart drawing. Many software packages exist that can create flowcharts automatically, either directly from a programming language source code, or from a flowchart description language.

text: There are several applications and visual programming languages[21] that use flowcharts to represent and execute programs. Generally these are used as teaching tools for beginner students. Examples include Flowgorithm, Raptor. LARP, Visual Logic, and VisiRule.


document_title: Star Wars Hotel

question_text: where is disney building the star wars hotel

text: Star Wars Hotel

text:
Star Wars Hotel
Location
Epcot Resort AreaResort type
Deluxe resortTheme
Star Wars

text: Star Wars Hotel is a proposed Star Wars-themed luxury hotel to be built near Disney's Hollywood Studios at the Walt Disney World Resort in Bay Lake, Florida. The hotel accompanies the under-construction Star Wars: Galaxy's Edge themed area in Disney's Hollywood Studios.[1]

text: History[edit]

text: In April 2017, Disney contracted the website swagbucks.com to survey visitors in order to gauge interest in a possible Star Wars-themed hotel. As a result of the survey, Disney decided to approve such a hotel, with a visitor experience based on the Star Wars storyline.[2][3]

text: Definite plans for the Star Wars Hotel were first announced at the 2017 D23 Expo in Anaheim.[4]  The proposal was announced as part of the unveiling of 23 improvements and additions to Disney parks around the world.[5]

text: Description[edit]

text: The Star Wars Hotel has no set opening date according to the Orlando Sentinel.[6] According to renderings, the new hotel would be shaped like a Star Wars starship.[5][7] The rooms would have children's bunk beds and adult-sized beds in the style of Star Wars bunkers,[8] with each room fitting up to 4 people.[2] Renderings also showed a lobby in the style of a Star Wars spaceship interior.[8]

text: Bob Chapek, Chairman of Walt Disney Parks & Resorts, stated that the Star Wars Hotel would be Disney's "most experiential concept ever" when it opens.[6] Chapek described the hotel as a "100% immersive" experience that "will culminate in a unique journey for every person who visits.”[9] Some examples of the planned features included creatures and droids acting as certain hotel staff such as butlers; guests wearing Star Wars costumes; and an ability to interact with features of the hotel as if visitors were really in the Star Wars universe.[10] Visitors would also be able to have lightsaber training and duels (an extension of the Jedi Training Academy in Disney's Hollywood Studios[2]); explore and pilot Star Wars spacecraft; and go on "secret missions" personalized toward the visitors' experience.[7]

text: One writer for The Verge called the planned hotel a "Westworld for Star Wars fans," noting the different hotel amenities that would allow the immersive-hotel experience to occur.[10] Mic compared the planned hotel to Disney’s Animal Kingdom Lodge and Universal Orlando’s Cabana Bay Beach Resort, both of which are existing hotels containing immersive experiences, though to a lesser extent.[11]

text: On May 30, 2018, it was announced that the hotel would be located just south of Disney's Hollywood Studios, to the east of World Drive.[12]