document_title: Gelatin

question_text: what part of the pig is used to make gelatin

text: Gelatin

text: Composition and properties[edit]

text: Gelatin is a mixture of peptides and proteins produced by partial hydrolysis of collagen extracted from the skin, bones, and connective tissues of animals such as domesticated cattle, chicken, pigs, and fish. During hydrolysis, the natural molecular bonds between individual collagen strands are broken down into a form that rearranges more easily. Its chemical composition is, in many aspects, closely similar to that of its parent collagen.[2] Photographic and pharmaceutical grades of gelatin generally are sourced from cattle bones and pig skin. Gelatin has proline, hydroxyproline and glycine in its polypeptide chain. Glycine is responsible for close packing of the chains. Presence of proline restricts the conformation. This is important for gelation properties of gelatin.[3][not in citation given]

text: Gelatin readily dissolves in hot water and sets to a gel on cooling. When added directly to cold water, it does not dissolve well, however. Gelatin also is soluble in most polar solvents.[4] Gelatin solutions show viscoelastic flow and streaming birefringence. Solubility is determined by the method of manufacture. Typically, gelatin can be dispersed in a relatively concentrated acid. Such dispersions are stable for 10–15 days with little or no chemical changes and are suitable for coating purposes or for extrusion into a precipitating bath.[citation needed]

text: The mechanical properties of gelatin gels are very sensitive to temperature variations, the previous thermal history of the gels, and the amount of time elapsing. These gels exist over only a small temperature range, the upper limit being the melting point of the gel, which depends on gelatin grade and concentration, but typically, is less than 35 °C (95 °F) and the lower limit the freezing point at which ice crystallizes. The upper melting point is below human body temperature, a factor that is important for mouthfeel of foods produced with gelatin.[5] The viscosity of the gelatin-water mixture is greatest when the gelatin concentration is high and the mixture is kept cool at about 4 °C (39 °F). The gel strength is quantified using the Bloom test. Gelatin's strength (but not viscosity) declines if it is subjected to temperatures above 100 °C (212 °F), or if it is held at temperatures near 100 °C for an extended period of time.[6][7]

text: Production[edit]

text:
The worldwide production amount of gelatin is about 375,000–400,000 tonnes per year (830×10^6–880×10^6 lb/a).[8] On a commercial scale, gelatin is made from by-products of the meat and leather industries.
Most gelatin is derived from pork skins, pork and cattle bones, or split cattle hides.[9] Gelatin made from fish by-products avoids some of the religious objections to gelatin consumption.[5] The raw materials are prepared by different curing, acid, and alkali processes that are employed to extract the dried collagen hydrolysate. These processes may take several weeks, and differences in such processes have great effects on the properties of the final gelatin products.

text: Gelatin also can be prepared at home. Boiling certain cartilaginous cuts of meat or bones results in gelatin being dissolved into the water. Depending on the concentration, the resulting stock (when cooled) will form a jelly or gel naturally. This process is used for aspic.

text: While many processes exist whereby collagen may be converted to gelatin, they all have several factors in common. The intermolecular and intramolecular bonds that stabilize insoluble collagen must be broken, and also, the hydrogen bonds that stabilize the collagen helix must be broken.[2] The manufacturing processes of gelatin consists of three main stages:

text:
Pretreatments to make the raw materials ready for the main extraction step and to remove impurities that may have negative effects on physiochemical properties of the final gelatin product
The main extraction step, which usually is done with hot water or dilute acid solutions as a multistage extraction to hydrolyze collagen into gelatin
The refining and recovering treatments including filtration, clarification, evaporation, sterilization, drying, rutting, grinding, and sifting to remove the water from the gelatin solution, to blend the gelatin extracted, and to obtain dried, blended, ground final product

tag: ol

text: Pretreatments[edit]

text: If the raw material used in the production of the gelatin is derived from bones, dilute acid solutions are used to remove calcium and other salts. Hot water or several solvents may be used to reduce the fat content, which should not exceed 1% before the main extraction step. If the raw material consists of hides and skin; size reduction, washing, removal of hair from hides, and degreasing are necessary to prepare the hides and skins for the main extraction step.

text: Collagen hydrolysis is performed by one of three different methods: acid-, alkali-, and enzymatic hydrolysis. Acid treatment is especially suitable for less fully cross-linked materials such as pig skin collagen and normally requires 10 to 48 hours. Alkali treatment is suitable for more complex collagen such as that found in bovine hides and requires more time, normally several weeks. The purpose of the alkali treatment is to destroy certain chemical crosslinks still present in collagen. Within the gelatin industry, the gelatin obtained from acid-treated raw material has been called type-A gelatin and the gelatin obtained from alkali-treated raw material is referred to as type-B gelatin.[10]

text: Advances are occurring to optimize the yield of gelatin using enzymatic hydrolysis of collagen. The treatment time is shorter than that required for alkali treatment, however, and results in almost complete conversion to the pure product. The physical properties of the final gelatin product are considered better.[11]

text: Extraction[edit]

text: After preparation of the raw material, i.e., reducing cross-links between collagen components and removing some of the impurities such as fat and salts, partially purified collagen is converted into gelatin by extraction with either water or acid solutions at appropriate temperatures. All industrial processes are based on neutral or acid pH values because although alkali treatments speed up conversion, they also promote degradation processes. Acidic extraction conditions are extensively used in the industry, but the degree of acid varies with different processes. This extraction step is a multistage process, and the extraction temperature usually is increased in later extraction steps, which ensures minimum thermal degradation of the extracted gelatin.

text: Recovery[edit]

text: This process includes several steps such as filtration, evaporation, drying, grinding, and sifting. These operations are concentration-dependent and also dependent on the particular gelatin used. Gelatin degradation should be avoided and minimized, so the lowest temperature possible is used for the recovery process. Most recoveries are rapid, with all of the processes being done in several stages to avoid extensive deterioration of the peptide structure. A deteriorated peptide structure would result in a low gel strength, which is not generally desired.

text: Uses[edit]

text: Early history of food applications[edit]

text: The first use of gelatin in foods is attributed to medieval Britain (1400s) when cattle hooves were boiled to produce a gel.[12] Further commercial development occurred in 1754 when a British manufacturing patent was issued.[12] Food applications in the USA and France during 1800–1900 appear to have established the versatility of gelatin, including the origin of its popularity in the USA as Jell-O.[13] Over middle-late 1800s, Charles and Rose Knox of New York manufactured and marketed gelatin powder, diversifying the appeal and applications of gelatin.[14]

text: Culinary uses[edit]

text: Probably best known as a gelling agent in cooking, different types and grades of gelatin are used in a wide range of food and nonfood products. Common examples of foods that contain gelatin are gelatin desserts, trifles, aspic, marshmallows, candy corn, and confections such as Peeps, gummy bears, fruit snacks, and jelly babies. Gelatin may be used as a stabilizer, thickener, or texturizer in foods such as yogurt, cream cheese, and margarine; it is used, as well, in fat-reduced foods to simulate the mouthfeel of fat and to create volume. It also is used in the production of several types of Chinese soup dumplings, specifically Shanghainese soup dumplings, or xiaolongbao, as well as Shengjian mantou, a type of fried and steamed dumpling. The fillings of both are made by combining ground pork with gelatin cubes, and in the process of cooking, the gelatin melts, creating a soupy interior with a characteristic gelatinous stickiness.

text: Gelatin is used for the clarification of juices, such as apple juice, and of vinegar.

text: Isinglass is obtained from the swim bladders of fish. It is used as a fining agent for wine and beer.[15] Besides hartshorn jelly, from deer antlers (hence the name "hartshorn"), isinglass was one of the oldest sources of gelatin.

text: Technical uses[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2016) (Learn how and when to remove this template message)

text:
Certain professional and theatrical lighting equipment use color gels to change the beam color. Historically, these were made with gelatin, hence the term, color gel.
Gelatin typically constitutes the shells of drug and vitamin capsules to make them easier to swallow. Hypromellose is a vegetarian-acceptable alternative to gelatin, but is more expensive to produce.
Some animal glues such as hide glue may be unrefined gelatin.
It is used to hold silver halide crystals in an emulsion in virtually all photographic films and photographic papers. Despite significant effort, no suitable substitutes with the stability and low cost of gelatin have been found.
Used as a carrier, coating, or separating agent for other substances, for example, it makes β-carotene water-soluble, thus imparting a yellow color to any soft drinks containing β-carotene.
Gelatin is used as a binder in match heads[16] and sandpaper.[17]
Cosmetics may contain a non-gelling variant of gelatin under the name hydrolyzed collagen (hydrolysate).
Gelatin was first used as an external surface sizing for paper in 1337 and continued as a dominant sizing agent of all European papers through the mid-nineteenth century.[18] In modern times, it is mostly found in watercolor paper, and occasionally in glossy printing papers, artistic papers, and playing cards. It maintains the wrinkles in crêpe paper.

text: Dietary restrictions and gelatin substitutes[edit]

text: The consumption of gelatin from particular animals may be forbidden by religious rules or cultural taboos. For example, Jewish kosher and Islamic halal customs require gelatin from sources other than pigs, such as cattle (that have been slaughtered according to the religious regulations) or fish (that they are allowed to consume). Roma people are cautious of gelatin products that may have been made from horses, as their culture forbids the consumption of horses. Some companies specify the source of the gelatin used.

text: Vegans and vegetarians choose not to eat foods containing gelatin made from animals. Likewise, Sikh, Hindu, and Jain customs may require gelatin alternatives from sources other than animals, as many Hindus, most Jains and some Sikhs are vegetarian. Other people simply consider gelatin unpalatable due to the ingredients used in its production.[citation needed]

text: Partial alternatives to gelatins derived from animals include the seaweed extracts agar and carrageenan, and the plant extracts pectin and konjac. Research into synthetic collagen is ongoing; as of 2011, partial success has been achieved in replicating collagen's structure using self-assembling peptides.[19]

text: Protein content[edit]

text: Although gelatin is 98–99% protein by dry weight, it has little additional nutritional value, varying according to the source of the raw material and processing technique.[5]

text: Amino acids present in gelatin are variable, due to varying sources and batches, but are approximately:[5]

text:
Glycine 21%
Proline 12%
Hydroxyproline 12%
Glutamic acid 10%
Alanine 9%
Arginine 8%
Aspartic acid 6%
Other 22%

text: Safety concerns[edit]

text: In 1997, the U.S. Food and Drug Administration (FDA), with support from the TSE (transmissible spongiform encephalopathy) Advisory Committee, began monitoring the potential risk of transmitting animal diseases, especially bovine spongiform encephalopathy (BSE), commonly known as mad cow disease. An FDA study from that year stated: "...steps such as heat, alkaline treatment, and filtration could be effective in reducing the level of contaminating TSE agents; however, scientific evidence is insufficient at this time to demonstrate that these treatments would effectively remove the BSE infectious agent if present in the source material."[20] On March 18, 2016 the FDA finalized three previously-issued interim final rules designed to further reduce the potential risk of BSE in human food.[21] The final rule clarified that "gelatin is not considered a prohibited cattle material if it is manufactured using the customary industry processes specified."[22]

text: The Scientific Steering Committee (SSC) of the European Union in 2003 stated that the risk associated with bovine bone gelatin is very low or zero.[23][24]

text: In 2006, the European Food Safety Authority stated that the SSC opinion was confirmed, that the BSE risk of bone-derived gelatin was small, and that it recommended removal of the 2003 request to exclude the skull, brain, and vertebrae of bovine origin older than 12 months from the material used in gelatin manufacturing.[25]

text: Health effects[edit]

text: In 2011, the European Food Safety Authority Panel on Dietetic Products, Nutrition, and Allergies concluded that "a cause and effect relationship has not been established between the consumption of collagen hydrolysate and maintenance of joints".[26] A 2012 review also found insufficient evidence to support its use for osteoarthritis.[27] By contrast, in 2013, Health Canada approved a label for "hydrolyzed collagen", specifying that the label may make a health claim that supplemental dietary amino acid intake from hydrolyzed collagen "helps to reduce joint pain associated with osteoarthritis".[9]


document_title: Fireworks competitions

question_text: what is the name of the trophies awarded at the annual montreal fireworks festival

root

text: Fireworks competitions

text: Internationaler Feuerwerkswettbewerb Herrenhausen (International Fireworks Competition Hanover-Herrenhausen)[edit]

text: The Competition takes place every year in the Baroque Royal Gardens of Hanover-Herrenhausen, Germany. Consequently each team has to show in its twenty-five minutes program a baroque part due to the gardens.

tag: p

text: Montreal Fireworks Festival[edit]

text: Known officially as L’International des Feux Loto-Québec, the Montreal Fireworks Festival is the most prestigious and largest fireworks competition in the world. It is an annual international competition held in Montreal, Quebec, Canada since 1985. The event begins in June and carries on until August. Each summer, several pyrotechnical companies from different countries present a 30-minute-long pyromusical show. Gold, Silver and Bronze Jupiter trophies are awarded to the winners. The Jupiters have become symbols of prestige within the fireworks industry. See the festival's [1]. The fireworks are synchronized to music which is also broadcast over a local radio station. Over 3 million spectators gather each year to see the fireworks. The main viewing locations are: the Jacques-Cartier Bridge (closed to traffic the evening of each event), La Ronde (amusement park), and on either side of the St. Lawrence River. Approximately 6,000 fireworks are set off during each show.

text: DIFF-DaNang International Fireworks Festival[edit]

text: DIFF is a competition started in 2008 where teams from all over the world compete against each other, in the city of DaNang, Vietnam. It was held at the end of March (2008-2010) and the end of April (2011-2015)

text: Now with 2018, The Event is now called DaNang International Fireworks Festival, is one of the biggest, most exciting and original event in the world. Taking an extraordinary turn this year, the competition will no longer be just two nights, but separated into five (5) separate nights with eleven (11) displays from teams around the world to paint the skies of the night. Being themed The Legends of Bridges, the competition have 5 night. This long festival would be carried out from April until June with many fascinating side events.

text: website: http://www.difcdanang.com

text: facebook : https://www.facebook.com/diffvietnam/

text: World Pyro Olympics[edit]

text: The World Pyro Olympics are an annual competition amongst the top fireworks companies in the world. It is held in Manila, Philippines. The event is one of the largest and most intense international fireworks competitions.

text: The World Pyro Olympics run through a period of five consecutive days allowing patrons to experience more of the show. Two countries perform each day; the last participant performs on the final evening of the event.

text: The host of the event does not participate in the competition but performs a fireworks display on the last night. Awards, such as the People’s Choice, are given out after the exhibition. The crowning of the World Pyro Olympics Champion ends the event.

text: Celebration of Light[edit]

text: The Honda Celebration of Light of Vancouver is an annual musical fireworks competition held every summer over English Bay in Vancouver, British Columbia, Canada since 1990. Three companies representing their country perform a twenty-five-minute firework display set to music. Typically the last Saturday of July, the following Wednesday and the first Saturday of August. The fireworks are synchronized to music which is also broadcast over a local radio station. Musical concerts, displays and activations entice festival goers to the site early in the day. The dates for the 2016 event are July 23, July 27 and July 30.

text: Macau International Fireworks Display[edit]

text: Held over 5 weeks during September with 2 displays on the same night weekly, with the final night held on China National Day on 1 October. The competition features 10 pyrotechnic companies from around the world.

text: GlobalFest International Fireworks Festival[edit]

text: GlobalFest has been held in Calgary, Alberta, Canada every August since 2003 featuring cultural pavilions, a film festival and an international fireworks festival. In previous years, the international fireworks competition featured a different nation each night of the five night competition with live performances 3 different stages throughout Elliston Park showcasing the culture of that country prior to the fireworks display. The 2009 Festival ran from 21–29 August.

text: Firework Champions[edit]

text: A series of four events at various venues around the UK each summer, organised by MLE Pyrotechnics of Daventry.

text: At each event, three UK firework companies (different competitors at each event) compete against each other with a 10-minute firework display choreographed to music. They are followed by a (non-competing) display by the host company. The audience can text vote for their favourite team. Displays are fired using the latest state of the art technology.

text: The 2011 events were held at: Stanford Hall in Leicestershire, Saturday 6 August. Belvoir Castle in Leicestershire, Saturday 13 August. Capesthorne Hall in Cheshire, Saturday 20 August. Eastnor Castle in Herefordshire, Saturday 3 September.

text: The 2013 events will be held at: Stanford Hall in Leicestershire, Saturday 3 August. Belvoir Castle in Leicestershire, Saturday 17 August. Capesthorne Hall in Cheshire, Saturday 24 August. Eastnor Castle in Herefordshire, Saturday 31 August.

text: Fireworks Championship[edit]

text: Four teams compete against each other in Sweden with a music firework display. Displays are fired at the bank of the river Motala ström In the center of Norrköping. Usually it takes place in the first weeks of August. The winner of the last eight competitions have been the Gothenburg located firm Göteborgs FyrverkeriFabrik.

text: National Pyrotechnics Fair of Tultepec, Mexico[edit]

text: Every year this town, known as "Mexico's Capital of Pyrotechnics", hosts a week-long pyrotechnics fair that features the "Castillos de Torre" or "Tower Fireworks Competition". Since 2005, a Pyromusical Competition has been held involving up to 7 fireworks shows lasting 10 minutes each. These events are not yet open to international competition.

text: In addition to the competition fireworks, almost everyday different types of fireworks (including day-time tower fireworks) are burned as part of the religious festivities. The fair also includes the "Burning of the Bulls", which is always held on 8 March in celebration of John of God, the patron saint of Tultepec's pyrotechnicians.

text: Tarragona International Fireworks Display[edit]

text: This fireworks contest is held every first week of July in Catalonia, Spain.

text: The World Fireworks Championship[edit]

text: The World Fireworks Championship was a pyromusical competition in which six pyrotechnics companies took part over three successive weekends. The event took place in Oman in 2010 where an estimated 750,000 spectators attended. French company Lacroix Ruggieri won the competition.

text: Ignis Brunensis[edit]

text: Ignis Brunensis international fireworks competition is held every year in May - June in Brno, Czech Republic.

text: Pyrotechnics Guild International[edit]

text: The Pyrotechnics Guild International, Inc. or PGI, holds a convention each August featuring competitions not only in displays but in creation of individual fireworks. Individual classes of hand-built fireworks are competitively judged, ranging from simple rockets to extremely large and complex aerial shells.

text: Philippine International Pyromusical Competition[edit]

text: Philippine International Pyromusical Competition (PIPC) is a contest that started in 2010 where different countries showcases their own display. It is held every Saturday between February and March every year at the Mall of Asia Philippines. The show lasts a minimum of 15 minutes each participant.

text: International Costa Brava Fireworks contest "Trofeu Vila de Blanes"[edit]

text: Fireworks of Blanes is an annual competition with international participation. Their beginnings in 1960, with international participation in 1970 and became an international competition in 1980. Held every year during the Santa Anna festival on July in Catalonia, Spain.


document_title: The Italian Job

question_text: where was the opening scene of the italian job filmed

text: The Italian Job

text: Plot[edit]

text: Charlie Croker (Michael Caine), a Cockney criminal, is released from prison with the intention of doing a "big job" in Italy. He soon meets with the widow (Lelia Goldoni) of his friend and fellow thief Roger Beckermann (Rossano Brazzi), who was killed by the Mafia while driving a Lamborghini Miura in the Italian Alps. Mrs Beckermann gives Croker her husband's plans for the robbery that attracted the hostile attention of his killers, which detail a way to steal 4 million dollars in the city of Turin and escape to Switzerland.

text: Croker breaks back into his former prison to convince Mr. Bridger (Noël Coward), the head of a huge criminal empire, to finance the plan. Bridger, who has bribed almost all of the prison guards to work for him, initially rejects the plan, but changes his mind after he learns Fiat is set to build a new factory in China.

text: With Bridger's backing, Croker recruits computer expert Professor Peach (Benny Hill), his girlfriend Lorna (Maggie Blye) and a team of thieves and drivers. The plan calls for Peach to replace the programme in the computer controlling Turin's traffic control system, creating a paralysing traffic jam that will allow the thieves to escape with the gold in three Mini Cooper S getaway cars.[7]

text: After planning and training, Croker and crew set out for Turin. Mafia boss Altabani (Raf Vallone) and his underlings are waiting in the Alps at the same pass where they killed Beckermann. Altabani warns Croker that the Mafia are aware of the gang's intentions and smashes their Jaguar E-Type cars, sending Croker's personal Aston Martin DB4 drophead off a cliff. Croker tells Altabani that Mr. Bridger will avenge their deaths by attacking the Italian community in Britain. Altabani lets them go, ordering them to return to England. Instead, they proceed with the plan, replacing the traffic control system's magnetic tape data storage reels. On the day of the robbery, Croker sends gang member Birkinshaw, disguised as a football fan, to jam the closed circuit television cameras that monitor traffic. The substitute data reel then causes widespread traffic chaos. The gang converge on the gold convoy, overpower the guards, and tow the armoured car into the entrance hall of the Museo Egizio. There, the gang transfer the gold to the Minis.

text: Altabani recognises that "If they planned this jam, they must have planned a way out." Pursued by the Turin police, the three Minis race through the shopping arcades of the city, speed down stairs, jump between rooftops, and finally escape the traffic jams by a pre-planned route across a weir. The getaway is timed perfectly, and they throw off the police by driving through a large sewer pipe. As Mr. Bridger receives the cheers and adulation of his fellow prison inmates, the gang drive the Minis into the back of a moving customised coach. They then unload the gold and dispose of the Minis by pushing them off the mountainside.

text: The rest of the gang, having sneaked out of the city in a minibus while disguised as football supporters, rendezvous with the coach in the Alps. On the looping mountain roads, driver "Big" William (Harry Baird) loses control of the coach. The back of the bus is left teetering over a cliff and the gold slides towards the rear doors. As Croker attempts to reach the gold, it slips further. The film finishes on a literal cliffhanger with Croker announcing he has a "great idea".

text: Cast[edit]

text:
Michael Caine as Charlie Croker
Noël Coward as Mr. Bridger
Benny Hill as Professor Simon Peach
Raf Vallone as Altabani
Tony Beckley as Camp Freddie
Rossano Brazzi as Roger Beckermann
Maggie Blye as Lorna
Irene Handl as Miss Peach
John Le Mesurier as the Prison Governor
Fred Emney as Birkinshaw
John Clive as Garage manager
Graham Payn as Keats
Michael Standing as Arthur
Stanley Caine as Coco
Barry Cox as Chris
Harry Baird as Big William
George Innes as Bill Bailey
John Forgeham as Frank
Robert Powell as Yellow

Derek Ware as Rozzer
Frank Jarvis as Roger
David Salamone as Dominic
Richard Essame as Tony
Mario Valgoi as Manzo
Renato Romano(in Italian) as Cosca
Franco Norvelli as Altabani's driver
Robert Rietti as Police chief
Timothy Bateson as Dentist
David Kelly as Vicar
Arnold Diamond as Senior computer room official
Simon Dee as Shirtmaker
Alistair Hunter as Warder (cinema)
Lana Gatto as Mrs. Cosca
John Morris as Standin
Louis Mansi as Computer room official
Henry McGee as Tailor
Lelia Goldoni as Mrs Beckermann
Valerie Leon as Hotel Receptionist

tag: table

text: Noël Coward, who played Bridger, was godfather of the director, Peter Collinson. Bridger's fellow convict and confidant, Keats, was played by Graham Payn, Coward's long-time partner. Lana Gatto was the nom de crédit of Hazel Collinson, otherwise known as Mrs. Peter Collinson. Michael Caine's brother Stanley Caine also appears as one of Croker's gang. The gang also included Robert Powell, in his first film role. Frank Kelly appears as an uncredited prison officer, also in his first film role. American distributors Paramount wanted Robert Redford to play the lead.

text: Ending[edit]

text: According to a "Making Of" documentary,[8] producer Deeley was unsatisfied with the four written endings and conceived the current ending as a literal cliffhanger appropriate to an action film which left an opportunity for a sequel. The documentary describes how helicopters would save the bus seen on the cliff at the end of the first film. The grateful gang would soon discover that it is the Mafia that has saved them, and the sequel would have been about stealing the gold bullion back from them.

text: In interviews in 2003 and 2008, Michael Caine revealed that the ending would have had Croker "crawl up, switch on the engine and stay there for four hours until all the petrol runs out... The van bounces back up so we can all get out, but then the gold goes over."[9] The bus containing the gold would crash at the bottom of the hill where the Mafia would pick it up. The sequel would then have Croker and his men trying to get it back.

text: In 2008, the Royal Society of Chemistry held a competition for a solution that had a basis in science, was to take not more than 30 minutes and did not use a helicopter.[10] The idea was to promote greater understanding of science, and to highlight the 100th anniversary of the periodic table, on which gold is one of the 118 elements.[9] The winning entry, by John Godwin of Surrey, was: Break and remove two large side windows just aft of the pivot point and let the glass fall outside to lose its weight; break two windows over the two front axles, keeping the broken glass on board to keep its weight for balance; let a man out on a rope through the front broken windows (not to rest his weight on the ground) who deflates all the bus's front tires, to reduce the bus's rocking movement about its pivot point; drain the fuel tank, which is aft of the pivot point, which changes the balance enough to let a man get out and gather heavy rocks to load the front of the bus. Unload the bus. Wait until a suitable vehicle passes on the road, hijack it, and carry the gold away in it.[11]

text: Locations[edit]

text: The opening sequence of the film featuring Beckermann driving his Lamborghini Miura through The Alps was filmed on the Great St Bernard Pass, Aosta, Italy, with the opening scene featuring the Dardanelli Viaduct constructed in 1961. The large house featured momentarily during the sequence is the Manison de Refuge.

text: The tunnel in which Beckermann abruptly meets his demise at the hands of the Mafia was shot at La Thuile on road SS26, Italy.

text: The interior of the prison that held Bridger was Kilmainham Gaol in Dublin, Ireland. The exterior, seen when Croker leaves, is HM Prison Wormwood Scrubs in west London.

text: Upon his release, Croker stays at the Royal Lancaster Hotel in Bayswater, London. Denbigh Close, Notting Hill, W11, was used as the location for Croker's (Michael Caine) home.[12]

text: The highrise apartment where the Turin job is planned was the penthouse flat at Alembic House (now known as Peninsula Heights) on the Albert Embankment. The property was later seen in films such as Theatre of Blood (1973), A Touch of Class (1973), and Sweeney! (1977). It became the London home of novelist Jeffrey Archer,[citation needed]

text: The training sessions shown for the Mini drivers were at the Crystal Palace race track in Upper Norwood, South London. The attempt to blow the doors off the bullion van, which led to its destruction and Croker's famous line, took place at Crystal Palace Sports Centre. The Crystal Palace transmitter can be seen in the background.

text: The meeting at the misty funeral was filmed in Cruagh Cemetery, in the foothills of the Dublin Mountains.

text: The office block that doubled as the Turin traffic control centre was Apex House, the Hanworth, Middlesex head office of the television rental chain DER.[8]

text: The chase sequences were filmed in Turin, except for the chase through the sewer tunnel, which was shot in the Sowe Valley Sewer Duplication system in the Stoke Aldermoor district of Coventry in the English Midlands, filmed from the back of a Mini Moke.[8] The person on the far side who closes the gate at the end of sewer tunnel is the director, Peter Collinson. Collinson also appeared in the scene on the highway when the ramps get jettisoned, clinging to the right-hand rear door of the coach as the Minis enter at speed.[8]

text: During the getaway the Minis are pursued by police around the rooftop test track of what was then a Fiat factory in the Lingotto building in Turin. The weir the Minis cross in the car chase is just down river from the Ponte Vittorio Emanuele I at the end of Via Po in central Turin.

text: A portion of the car chase was filmed as a dance between the Minis and police cars inside Pier Luigi Nervi's Exhibition Building, with a full orchestra playing 'The Blue Danube'.[8] It was cut from the final version and appears as an extra on the DVD.

text: The final escape from Turin and bus crash was the 'dead end' road from Turin via Ceresole Reale, Lago Agnel and the Colle del Nivolet. The road does not lead to France or Switzerland.

text: Vehicles[edit]

text: Roger Beckermann's orange Lamborghini Miura in the opening scene is actually two cars. The first was a Miura P400 that was sold as new afterwards. In 2015 it was found and verified, and now belongs to Cheshire Classic Cars.[13] The car tumbled down the chasm by the Mafia bulldozer was another Miura that had been in a serious accident and was not roadworthy.

text: According to the director's commentary on the DVD, despite the publicity the film would give to the Mini, the car's maker, BMC, only provided a token fleet of Minis and the production company had to buy the rest at trade price. Fiat offered the production as many super-charged Fiat cars as they needed, several sports cars for the Mafia confrontation scene, plus $50,000, but the producers turned down the offer because it would have meant replacing the Minis with Fiats.

text: The Minis seen on screen carry registration numbers HMP 729G (Red), GPF 146G (White) and LGW 809G (Blue). As at July 2012, a DVLA query indicates that two of these plates may still be registered; these, however, are not the cars used in the film as the film cars had "future dated" plates to make them current with the release date of the film, and as such would not be road legal. There were also numerous detail differences between the Minis used during filming and the launch of the "G" year suffix. According to the "making of" DVD extra, the Minis used in the chase scenes were all destroyed in accidents while filming the sewer sequence.

text: As Croker walks through the garage where the Minis are being prepared, viewers hear that "Rozzer's having trouble with his differential", and the back of the red Mini Cooper is jacked up where Rozzer is working. This is an inside joke since the Mini has front-wheel drive and does not have a rear differential. In the early 1960s, front-wheel-drive cars were new and asking a car mechanic to repair a Mini's rear differential was a popular snipe hunt.

text: Gold cost $39 per troy ounce in 1968;[14] so four million dollars in gold bars would have weighed about 3200 kg (7000 lb), requiring each of the three Minis to carry about 1070 kg (2300 lb) in addition to the driver and passenger. Since a 1968 Mini only weighs 630 kg (1400 lb),[15] each of these vehicles would have had to carry 1½ times its own weight in gold.

text: The coach at the end of the film was a 1964 Bedford VAL with Harrington Legionnaire Body, distinctive for its twin front steering axles. Following the filming, the coach had its improvised rear doors welded and was used on a Scottish school bus route until the mid-1980s when, according to the Legionnaire register, it was scrapped.

text: Charlie Croker picks up his Aston Martin DB4 convertible from a garage after release from prison. The scene was mostly improvised, which caused visible lighting irregularities since the crew did not know where the actors would be.

text: The original DB4 belongs today to a private English collection. According to several sources, the "Aston" pushed off the cliff was a Vignale Lancia Flaminia mocked up as an Aston. The two E-type Jaguars that suffered from the Mafia's revenge were restored to original condition, the red one of which is owned by Phillip Porter, the founder of the Jaguar E-type owners club.

text: The black Fiat Dino coupé of Mafia boss Altabani was bought by Peter Collinson but became so rusty that only its doors remain. The Italian police cars seen around Turin were Alfa Romeo Giulias. The Italian police armoured car which escorts the gold convoy is a conversion of a former Second World War American M8 Greyhound armoured car. The original 37mm gun was removed and replaced with a water cannon.

text: A Land Rover Series IIa Station Wagon registration BKO 686C was used to get to the convoy before attacking and was modified with window bars and a "Towbar".

text: A Ford Thames 400E van was used for the football fans' decorated van; this was referred to as the Dormobile, the name of a common camper-van conversion coachbuilder.

text: The cross-Channel ferry featured in one scene is the MS Free Enterprise I. The ship spent many years as a day cruise ship in Greek waters before being scrapped in 2013.

text: The "Chinese" plane delivering the gold to Turin is a rare Douglas C-74 Globemaster, of which only 14 were built and only four passed into private ownership. It had been abandoned in Milan by its owners and was moved to Turin for filming. It was destroyed by fire in 1970.[16]

text: Music[edit]

text:
Matt Monro – On Days Like These excerpt

An excerpt from Matt Monro's On Days Like These

Problems playing this file? See media help.

text: The music for the soundtrack was written by Quincy Jones. The opening theme, "On Days Like These", had lyrics by Don Black and was sung by Matt Monro. The closing theme, "Get a Bloomin' Move On" (AKA "The Self Preservation Society"), was performed by the cast and had lyrics featuring Cockney Rhyming Slang. Many incidental themes are based on British patriotic songs, such as "Rule, Britannia!", "The British Grenadiers" and "God Save the Queen".

text: Reception and legacy[edit]

text: The film has received generally positive reviews, holding an 84% on Rotten Tomatoes and an average of 7.2/10.[17] Most positive reviews focus on the climactic car chase and the acting of both Michael Caine and Noël Coward, complimenting Peter Collinson's directing. It is considered highly evocative of 1960s London and the era in Britain as a whole.[18] In a modern review Nik Higgins of Future Movies claims that the film makes Austin Powers's wardrobe appear 'drab and grey'. He compliments Michael Caine's ability to effectively portray the character of Charlie [19] and also praises the music of Quincy Jones. Higgins particularly highlights how the music 'hops between smooth lounges' like the opener "On Days Like These" and the latter "Get a Bloomin' Move On" ('The Self Preservation Society'), which plays near the film's end.

text: It has also received some negative reviews, focusing on what is perceived as a predictable chase[20] and a lack of real emotion.[21] Vincent Canby, writing at the time of the film's release, felt that the caper film had been made before and much better as well. He complimented the film's technological sophistication, only criticising what he saw as an 'emotionally retarded' plot. Canby also expressed concern that Coward's appearance in the film, although intended to be kind, 'exploits him in vaguely unpleasant ways' by surrounding his character with images of the royal family, which had not knighted him at the time. A contemporary review in Time magazine felt that the film spent too much time focusing on the film's caper as opposed to building the characters; it also criticised the car chases as 'dull and deafening'.[22]

text: Although it received a Golden Globe nomination for "Best English-Language Foreign Film", the film was not a success in America. Caine blamed its failure on unattractive and misleading advertising.[23] As a result, plans for a sequel were shelved.

text: The movie was the 14th most popular at the UK box office in 1969.[24]

text: The film remains popular, however, and is considered one of the greatest British films in modern polls.[25] James Travers of Films de France believes that the film's enduring appeal rests in the 'improbable union' of Michael Caine, Noël Coward and Benny Hill, whom he considers "three of the best known [British] performers... in the late 1960s".[26] He states that the film has a cult status and stands as a 'classic of its genre'.

text: A novelization of the film, written by Troy Kennedy Martin and Ken Wlaschin, was published by Sphere Books in 1969. The book contains numerous differences to the film: for example there is a rival group of German gangsters called the Hamburg Syndicate who try to obtain Beckerman's plans for the robbery, Croker and the three minis travel to Italy by yacht, and Professor Peach is rescued by the gang after he is arrested. The ending of the novel is also significantly different. The bus successfully crosses the border into Switzerland and two days later the gang and the gold arrive on a beach near Dover in a landing craft where they are met by Mr. Bridger and Luigi Altabani. Mr. Bridger tells Charlie Croker that they have come to an agreement to "divide Europe" and that the gold must be given back to the Italians.

text: Since 2000, there have been two remakes of the film. The first was released in 2003 and also called The Italian Job, set in Los Angeles and starring Mark Wahlberg as Charlie Croker. It features Donald Sutherland as John Bridger, played as more of a father figure to Croker. It employs the updated Mini Cooper for a chase towards the end. An official Bollywood remake of the 2003 film, called Players, was released in 2012.[27]

text: There is a video game based on the 1969 film, released for the PlayStation game console in 2001 and Microsoft Windows in 2002 and published by Rockstar Games.

text: Michael Caine's performance and 'bloody doors' line has been parodied in several British comedies, and in a music video for Pick a Part That's New by Stereophonics.

text: Large portions of the car chase scenes were lifted directly from the film for use in the MacGyver episode "Thief of Budapest" (Series 1, Ep 3) with the main characters setting up the story with three Minis visible at the start of the episode. Most of the end of the episode is footage from The Italian Job.

text: The film was also the subject of a play, Bill Shakespeare's "The Italian Job", written by Malachi Bogdanov, who used lines from Shakespeare plays to tell the story. It was performed in 2003 at the Edinburgh Fringe Festival.[28]

text: As part of a celebration of British culture at 2012 Summer Olympics, which were held in Great Britain, a replica of the bus was made and was exhibited balanced on the edge of the roof of The De La Warr Pavilion in Bexhill-on-Sea.[29] The famous dialogue and car blowing up scene were shown at the closing ceremony.[30]

text: In September 2016, NBC and Paramount Television will make a TV series inspired by the original and the remake.[31]


document_title: Sonnet

question_text: when was the sonnet introduced in england and by whom

text: Sonnet

text: Petrarchan sonnet[edit]

text: The sonnet was created by Giacomo da Lentini, head of the Sicilian School under Emperor Frederick II.[1] Guittone d'Arezzo rediscovered it and brought it to Tuscany where he adapted it to his language when he founded the Siculo-Tuscan School, or Guittonian school of poetry (1235–1294). He wrote almost 250 sonnets.[2] Other Italian poets of the time, including Dante Alighieri (1265–1321) and Guido Cavalcanti (c. 1250–1300), wrote sonnets, but the most famous early sonneteer was Petrarca (known in English as Petrarch). Other fine examples were written by Michelangelo.

text: The structure of a typical Italian sonnet of the time included two parts that together formed a compact form of "argument". First, the octave, forms the "proposition", which describes a "problem", or "question", followed by a sestet (two tercets), which proposes a "resolution". Typically, the ninth line initiates what is called the "turn", or "volta", which signals the move from proposition to resolution. Even in sonnets that don't strictly follow the problem/resolution structure, the ninth line still often marks a "turn" by signaling a change in the tone, mood, or stance of the poem.

text: Later, the abba, abba pattern became the standard for Italian sonnets. For the sestet there were two different possibilities: cde, cde and cdc, cdc. In time, other variants on this rhyming scheme were introduced, such as cdcdcd. Petrarch typically used an abba, abba pattern for the octave, followed by either cde, cde or cdc, cdc rhymes in the sestet. (The symmetries (abba vs. cdc) of these rhyme schemes have also been rendered in musical structure in the late 20th century composition Scrivo in Vento by Elliott Carter, inspired by Petrarch's Sonnet 212, Beato in Sogno.[3])

text: In English, both the English or Shakespearean sonnet, and the Italian Petrarchan sonnet are traditionally written in iambic pentameter.

text: The first known sonnets in English, written by Sir Thomas Wyatt and Henry Howard, Earl of Surrey, used the Italian, Petrarchan form, as did sonnets by later English poets, including John Milton, Thomas Gray, William Wordsworth and Elizabeth Barrett Browning. Early twentieth-century American poet Edna St. Vincent Millay also wrote mostly Petrarchan sonnets.

text: On His Blindness by Milton, gives a sense of the Petrarchan rhyme scheme:

text:
When I consider how my light is spent (a)
 Ere half my days, in this dark world and wide, (b)
 And that one talent which is death to hide, (b)
 Lodged with me useless, though my soul more bent (a)
To serve therewith my Maker, and present (a)
 My true account, lest he returning chide; (b)
 "Doth God exact day-labour, light denied?" (b)
 I fondly ask; but Patience to prevent (a)
That murmur, soon replies, "God doth not need (c)
 Either man's work or his own gifts; who best (d)
 Bear his mild yoke, they serve him best. His state (e)
Is Kingly. Thousands at his bidding speed (c)
 And post o'er land and ocean without rest; (d)
 They also serve who only stand and wait." (e)

text: Dante's variation[edit]

text: Most Sonnets in Dante's La Vita Nuova are Petrarchan. Chapter VII gives sonnet "O voi che per la via", with two sestets (AABAAB AABAAB) and two quatrains (CDDC CDDC), and Ch. VIII, "Morte villana", with two sestets (AABBBA AABBBA) and two quatrains (CDDC CDDC).

text: Occitan[edit]

text: The sole confirmed surviving sonnet in the Occitan language is confidently dated to 1284, and is conserved only in troubadour manuscript P, an Italian chansonnier of 1310, now XLI.42 in the Biblioteca Laurenziana in Florence.[4] It was written by Paolo Lanfranchi da Pistoia and is addressed to Peter III of Aragon. It employs the rhyme scheme a-b-a-b, a-b-a-b, c-d-c-d-c-d. This poem is historically interesting for its information on north Italian perspectives concerning the War of the Sicilian Vespers, the conflict between the Angevins and Aragonese for Sicily.[4] Peter III and the Aragonese cause was popular in northern Italy at the time and Paolo's sonnet is a celebration of his victory over the Angevins and Capetians in the Aragonese Crusade:

text:
Valenz Senher, rei dels Aragones
a qi prez es honors tut iorn enansa,
remembre vus, Senher, del Rei franzes
qe vus venc a vezer e laiset Fransa
   Ab dos sos fillz es ab aqel d'Artes;
hanc no fes colp d'espaza ni de lansa
e mainz baros menet de lur paes:
jorn de lur vida said n'auran menbransa.
   Nostre Senhier faccia a vus compagna
per qe en ren no vus qal[la] duptar;
tals quida hom qe perda qe gazaingna.
   Seigner es de la terra e de la mar,
per qe lo Rei Engles e sel d'Espangna
ne varran mais, si.ls vorres aiudar.

   Valiant Lord, king of the Aragonese
to whom honour grows every day closer,
remember, Lord, the French king[5]
that has come to find you and has left France
   With his two sons[6] and that one of Artois;[7]
but they have not dealt a blow with sword or lance
and many barons have left their country:
but a day will come when they will have some to remember.
   Our Lord make yourself a company
in order that you might fear nothing;
that one who would appear to lose might win.
   Lord of the land and the sea,
as whom the king of England[8] and that of Spain[9]
are not worth as much, if you wish to help them.

text: An Occitan sonnet, dated to 1321 and assigned to one "William of Almarichi", is found in Jean de Nostredame and cited in Giovanni Mario Crescimbeni's, Istoria della volgar poesia. It congratulates Robert of Naples on his recent victory. Its authenticity is dubious. There are also two poorly regarded sonnets by the Italian Dante de Maiano.

text: In France[edit]

text: In the 16th century, around Ronsard (1524–1585)), Joachim du Bellay (1522–1560) and Jean Antoine de Baïf (1532–1589), there formed a group of radical young noble poets of the court (generally known today as La Pléiade, although use of this term is debated), who began writing in, amongst other forms of poetry, the Petrarchan sonnet cycle (developed around an amorous encounter or an idealized woman). The character of La Pléiade literary program was given in Du Bellay's manifesto, the "Defense and Illustration of the French Language" (1549), which maintained that French (like the Tuscan of Petrarch and Dante) was a worthy language for literary expression and which promulgated a program of linguistic and literary production (including the imitation of Latin and Greek genres) and purification.

text: By the late 17th century poets on increasingly relied on stanza forms incorporating rhymed couplets, and by the 18th century fixed-form poems – and, in particular, the sonnet – were largely avoided. The resulting versification – less constrained by meter and rhyme patterns than Renaissance poetry – more closely mirrored prose.[10]

text: The Romantics were responsible for a return to (and sometimes a modification of) many of the fixed-form poems used during the 15th and 16th centuries, as well as for the creation of new forms. The sonnet however was little used until the Parnassians brought it back into favor,[11] and the sonnet would subsequently find its most significant practitioner in Charles Baudelaire (1821–1867) . The traditional French sonnet form was however significantly modified by Baudelaire, who used 32 different forms of sonnet with non-traditional rhyme patterns to great effect in his Les Fleurs du mal.[12]

text: In English[edit]

text: Renaissance[edit]

text: When English sonnets were introduced by Thomas Wyatt (1503–1542) in the early 16th century, his sonnets and those of his contemporary the Earl of Surrey were chiefly translations from the Italian of Petrarch and the French of Ronsard and others. While Wyatt introduced the sonnet into English, it was Surrey who developed the rhyme scheme – abab cdcd efef gg – which now characterizes the English sonnet. Having previously circulated in manuscripts only, both poets' sonnets were first published in Richard Tottel's Songes and Sonnetts, better known as Tottel's Miscellany (1557).

text: It was, however, Sir Philip Sidney's sequence Astrophel and Stella (1591) that started the English vogue for sonnet sequences. The next two decades saw sonnet sequences by William Shakespeare, Edmund Spenser, Michael Drayton, Samuel Daniel, Fulke Greville, William Drummond of Hawthornden, and many others. These sonnets were all essentially inspired by the Petrarchan tradition, and generally treat of the poet's love for some woman, with the exception of Shakespeare's sequence of 154 sonnets. The form is often named after Shakespeare, not because he was the first to write in this form but because he became its most famous practitioner. The form consists of fourteen lines structured as three quatrains and a couplet. The third quatrain generally introduces an unexpected sharp thematic or imagistic "turn", the volta. In Shakespeare's sonnets, however, the volta usually comes in the couplet, and usually summarizes the theme of the poem or introduces a fresh new look at the theme. With only a rare exception, the meter is iambic pentameter.

text: This example, Shakespeare's "Sonnet 116", illustrates the form (with some typical variances one may expect when reading an Elizabethan-age sonnet with modern eyes):

text:
Let me not to the marriage of true minds (a)
Admit impediments, love is not love (b)*
Which alters when it alteration finds, (a)
Or bends with the remover to remove. (b)*
O no, it is an ever fixèd mark (c)**
That looks on tempests and is never shaken; (d)***
It is the star to every wand'ring bark, (c)**
Whose worth's unknown although his height be taken. (d)***
Love's not time's fool, though rosy lips and cheeks (e)
Within his bending sickle's compass come, (f)*
Love alters not with his brief hours and weeks, (e)
But bears it out even to the edge of doom: (f)*
If this be error and upon me proved, (g)*
I never writ, nor no man ever loved. (g)*

text:
* PRONUNCIATION/RHYME: Note changes in pronunciation since composition.
** PRONUNCIATION/METER: "Fixed" pronounced as two-syllables, "fix-ed".
*** RHYME/METER: Feminine-rhyme-ending, eleven-syllable alternative.

text: The Prologue to Romeo and Juliet is also a sonnet, as is Romeo and Juliet's first exchange in Act One, Scene Five, lines 104–117, beginning with "If I profane with my unworthiest hand" (104) and ending with "Then move not while my prayer's effect I take" (117).[13] The Epilogue to Henry V is also in the form of a sonnet.

text: Spenserian[edit]

text: A variant on the English form is the Spenserian sonnet, named after Edmund Spenser (c.1552–1599), in which the rhyme scheme is abab, bcbc, cdcd, ee. The linked rhymes of his quatrains suggest the linked rhymes of such Italian forms as terza rima. This example is taken from Amoretti:

text:
Happy ye leaves! whenas those lily hands

Happy ye leaves. whenas those lily hands, (a)
Which hold my life in their dead doing might, (b)
Shall handle you, and hold in love's soft bands, (a)
Like captives trembling at the victor's sight. (b)
And happy lines on which, with starry light, (b)
Those lamping eyes will deign sometimes to look,(c)
And read the sorrows of my dying sprite, (b)
Written with tears in heart's close bleeding book. (c)
And happy rhymes! bathed in the sacred brook (c)
Of Helicon, whence she derived is, (d)
When ye behold that angel's blessed look, (c)
My soul's long lacked food, my heaven's bliss. (d)
Leaves, lines, and rhymes seek her to please alone, (e)
Whom if ye please, I care for other none. (e)

text: 17th century[edit]

text: In the 17th century, the sonnet was adapted to other purposes, with John Donne and George Herbert writing religious sonnets (see John Donne's Holy Sonnets), and John Milton using the sonnet as a general meditative poem. Probably Milton's most famous sonnet is "When I Consider How My Light is Spent", titled by a later editor "On His Blindness". Both the Shakespearean and Petrarchan rhyme schemes were popular throughout this period, as well as many variants.

text: 19th century[edit]

text: The fashion for the sonnet went out with the Restoration, and hardly any sonnets were written between 1670 and Wordsworth's time. However, sonnets came back strongly with the French Revolution. Wordsworth himself wrote hundreds of sonnets, of which amongst the best-known are "Upon Westminster Bridge", "The world is too much with us" and "London, 1802" addressed to Milton; his sonnets were essentially modelled on Milton's. Keats and Shelley also wrote major sonnets; Keats's sonnets used formal and rhetorical patterns inspired partly by Shakespeare, and Shelley innovated radically, creating his own rhyme scheme for the sonnet "Ozymandias". Sonnets were written throughout the 19th century, but, apart from Elizabeth Barrett Browning's Sonnets from the Portuguese and the sonnets of Dante Gabriel Rossetti, there were few very successful traditional sonnets. Modern Love (1862) by George Meredith is a collection of fifty 16-line sonnets about the failure of his first marriage.

text: Gerard Manley Hopkins wrote several major sonnets, often in sprung rhythm, such as "The Windhover", and also several sonnet variants such as the 101⁄2-line curtal sonnet "Pied Beauty" and the 24-line caudate sonnet "That Nature is a Heraclitean Fire". Hopkin's poetry was, however, not published until 1918.[14] By the end of the 19th century, the sonnet had been adapted into a general-purpose form of great flexibility.

text: In the United States, Henry Wadsworth Longfellow wrote many sonnets, among others the cycle Divina Commedia (Divine Comedy).[15] He used the Petrarchan rhyme scheme. Emma Lazarus also published many sonnets. She is the author of perhaps the best-known American sonnet, "The New Colossus".[16]

text: In Canada during the last decades of the century, the Confederation Poets and especially Archibald Lampman were known for their sonnets, which were mainly on pastoral themes.

text: 20th century[edit]

text: This flexibility was extended even further in the 20th century. Among the major poets of the early Modernist period, Robert Frost, Edna St. Vincent Millay and E. E. Cummings all used the sonnet regularly. William Butler Yeats wrote the major sonnet "Leda and the Swan", which uses half rhymes. Wilfred Owen's sonnet "Anthem for Doomed Youth" is another sonnet of the early 20th century. Spaniard Federico García Lorca also wrote sonnets. W. H. Auden wrote two sonnet sequences and several other sonnets throughout his career, and widened the range of rhyme-schemes used considerably. Auden also wrote one of the first unrhymed sonnets in English, "The Secret Agent" (1928). Robert Lowell wrote five books of unrhymed "American sonnets", including his Pulitzer Prize-winning volume The Dolphin (1973). Half-rhymed, unrhymed, and even unmetrical sonnets have been very popular since 1950; perhaps the best works in the genre are Seamus Heaney's Glanmore Sonnets and Clearances, both of which use half rhymes, and Geoffrey Hill's mid-period sequence "An Apology for the Revival of Christian Architecture in England". The 1990s saw something of a formalist revival, however, and several traditional sonnets have been written in the past decade.

text: Other modern poets, including Don Paterson, Joan Brossa, Paul Muldoon used the form. Wendy Cope's poem "Stress" is a sonnet. Elizabeth Bishop's inverted "Sonnet" was one of her last poems. Ted Berrigan's book, The Sonnets, "is conventional almost exclusively in [the] line count)".[17] Paul Muldoon often experiments with 14 lines and sonnet rhymes, though without regular sonnet meter. The advent of the New Formalism movement in the United States has also contributed to contemporary interest in the sonnet. This includes the invention of the "word sonnet", which are fourteen line poems, with one word per line.[18] Frequently allusive and imagistic, they can also be irreverent and playful. The Canadian poet Seymour Mayne published a few collections of word sonnets, and is one of the chief innovators of the form.[19] Contemporary word sonnets combine a variation of styles often considered to be mutually exclusive to separate genres, as demonstrated in works such as "An Ode to Mary".[20] The Greek poet Yannis Livadas in 1993 invented the so-called "fusion sonnet", which first appeared in a poetry collection entitled The Hanging Verses Of Babylon/Οι Κρεμαστοί Στίχοι Της Βαβυλώνας (Melani Books, Athens 2007), ISBN 978-960-8309-78-4.[21]

text: In German[edit]

text: Paulus Melissus (1539–1602) was the first to use the sonnet and the terza rima in German lyric. In his lifetime he was recognized as an author fully versed in Latin love poetry.[22]

text: The Sonnets to Orpheus are a cycle of 55 sonnets written in 1922 by the Bohemian-Austrian poet Rainer Maria Rilke (1875–1926). It was first published the following year.[23] Rilke, who is "widely recognized as one of the most lyrically intense German-language poets",[24] wrote the cycle in a period of three weeks experiencing what he described a "savage creative storm".[25] Inspired by the news of the death of Wera Ouckama Knoop (1900–1919), a playmate of Rilke's daughter Ruth, he dedicated them as a memorial, or Grab-Mal (literally "grave-marker"), to her memory.[26]

text: In Dutch[edit]

text: In the Netherlands Pieter Corneliszoon Hooft wrote sonnets. A famous example is Mijn lief, mijn lief, mijn lief. Some of his poems were translated by Edmund Gosse.[27] More recent examples include Martinus Nijhoff and Jan Kal.

text: Urdu[edit]

text: In the Indian subcontinent, sonnets have been written in the Assamese, Bengali, Dogri, English, Gujarati, Hindi, Kashmiri, Malayalam, Manipuri, Marathi, Nepali, Oriya, Sindhi and Urdu languages.[28] Urdu poets, also influenced by English and other European poets, took to writing sonnets in the Urdu language rather late.[29] Azmatullah Khan (1887–1923) is believed to have introduced this format to Urdu literature in the very early part of the 20th century. The other renowned Urdu poets who wrote sonnets were Akhtar Junagarhi, Akhtar Sheerani, Noon Meem Rashid, Mehr Lal Soni Zia Fatehabadi, Salaam Machhalishahari and Wazir Agha.[30] This example, a sonnet by Zia Fatehabadi taken from his collection Meri Tasveer,[31] is in the usual English (Shakespearean) sonnet rhyme-scheme.

text:
ڈبکںی
پسِ پردہ کِسی نے میرے ارمانوں کی محفِل کو،
کچھ اِس انداز سے دیکھا، کچھ ایسے طور سے دیکھا،
غُبارِ آہ سے دے کر جلا آئینۂ دل کو،
ہر اِک صورت کو میں نے خوب دیکھا، غور سے دیکھا
نظر آئی نہ وہ صورت ، مجھے جس کی تمنّا تھی
بہت ڈھُونڈا کیا گلشن میں، ویرانے میں، بستی میں
منّور شمعِ مہر و ماہ سے دِن رات دُنیا تھی
مگر چاروں طرف تھا گُھپ اندھیرا میری ہستی میں
دلِ مجبور کو مجروحِ اُلفت کر دیا کِس نے
مرے احساس کی گہرایوں میں ہے چُبھن غم کی
مٹا کر جسم، میری روح کو اپنا لیا کس نے
جوانی بن گئی آما جگہ صدماتِ پیہم کی
حجاباتِ نظر کا سلسلہ توڈ اور آ بھی جا
مجھے اِک بار اپنا جلوۂ رنگیں دکھا بھی جا

“
”

Sonnet 'Dubkani' ڈبکںی by Zia Fatehabadi taken from his book titled Meri Tasveer

tag: div

text: In Russian[edit]

text: Alexander Pushkin's novel in verse Eugene Onegin consists almost entirely of 389 stanzas of iambic tetrameter with the unusual rhyme scheme "AbAbCCddEffEgg", where the uppercase letters represent feminine rhymes while the lowercase letters represent masculine rhymes. This form has come to be known as the "Onegin stanza" or the "Pushkin sonnet."[32]

text: Unlike other traditional forms, such as the Petrarchan sonnet or Shakespearean sonnet, the Onegin stanza does not divide into smaller stanzas of four lines or two in an obvious way. There are many different ways this sonnet can be divided.

text: In post-Pushkin Russian poetry, the form has been utilized by authors as diverse as Mikhail Lermontov, Vyacheslav Ivanov, Jurgis Baltrušaitis and Valery Pereleshin, in genres ranging from one-stanza lyrical piece to voluminous autobiography.[citation needed] Nevertheless, the Onegin stanza, being easily recognisable, is strongly identified as belonging to its creator.

text: John Fuller's 1980 "The Illusionists" and Jon Stallworthy's 1987 "The Nutcracker" used this stanza form, and Vikram Seth's 1986 novel The Golden Gate is written wholly in Onegin stanzas.[citation needed]

text: In Polish[edit]

text: The sonnet was introduced into Polish literature in the 16th century by Jan Kochanowski,[33] Mikołaj Sęp-Szarzyński and Sebastian Grabowiecki.[34] Later in 1826 Adam Mickiewicz wrote a series known as Crimean Sonnets, which was translated into English by Edna Worthley Underwood.[35] Sonnets were also written by Adam Asnyk, Jan Kasprowicz and Leopold Staff. Polish poets usually shape their sonnets according to Italian or French practice. The English sonnet is not common. Kasprowicz used a Shelleyan rhyme scheme: aba bcb cdc ded ee.[36] Polish sonnets are typically written in either hendecasyllables (5+6 syllables) or Polish alexandrines (7+6 syllables).

text: In Czech[edit]

text: The sonnet was introduced into Czech literature at the beginning of the 19th century. The first great Czech sonneteer was Ján Kollár, who wrote a cycle of sonnets named Slávy Dcera (The daughter of Sláva / The daughter of fame[37]). Kollár was Slovak and a supporter of Pan-Slavism, but wrote in Czech, as he disagreed that Slovak should be a separate language. Kollár's magnum opus was planned as a Slavic epic poem as great as Dante's Divine Comedy. It consists of The Prelude written in quantitative hexameters, and sonnets. The number of poems increased in subsequent editions and came up to 645.[38] The greatest Czech romantic poet, Karel Hynek Mácha also wrote many sonnets. In the second half of the 19th century Jaroslav Vrchlický published Sonety samotáře (Sonnets of a Solitudinarian). Another poet, who wrote many sonnets was Josef Svatopluk Machar. He published Čtyři knihy sonetů (The Four Books of Sonnets). In the 20th century Vítězslav Nezval wrote the cycle 100 sonetů zachránkyni věčného studenta Roberta Davida (One Hundred Sonnets for the Woman who Rescued Perpetual Student Robert David). After the Second World War the sonnet was the favourite form of Oldřich Vyhlídal. Czech poets use different metres for sonnets, Kollár and Mácha used decasyllables, Vrchlický iambic pentameter, Antonín Sova free verse, and Jiří Orten the Czech alexandrine. Ondřej Hanus wrote a monograph about Czech Sonnets in the first half of the twentieth century.[39]

text: In Slovenian[edit]

text: In Slovenia the sonnet became a national verse form. The greatest Slovenian poet, France Prešeren,[40] wrote many sonnets. His best known work worldwide is Sonetni venec (A Wreath of Sonnets),[41] which is an example of crown of sonnets. Another work of his is the sequence Sonetje nesreče (Sonnets of Misfortune). In writing sonnets Prešeren was followed by many later poets. After the Second World War sonnets remained very popular. Slovenian poets write both traditional rhymed sonnets and modern ones, unrhymed, in free verse. Among them are Milan Jesih and Aleš Debeljak. The metre for sonnets in Slovenian poetry is iambic pentameter with feminine rhymes, based both on the Italian endecasillabo and German iambic pentameter.


question_text: who has the most clean sheets in the epl

text: In association football a goalkeeper may be said to "keep a clean sheet" if they prevent their opponents scoring any goals during an entire match.

text: Since the Premier League's formation at the start of the 1992–93 season, 14 goalkeepers have managed to keep 100 or more clean sheets in the Premier League.

text: During the 1997–98 season, Peter Schmeichel became the first player to keep 100 Premier League clean sheets.

text: Petr Čech holds the record for most clean sheets kept in a single season, with 24.[1] The record for consecutive clean sheets was also set by Čech, who became the first goalkeeper to keep ten consecutive clean sheets; Edwin van der Sar later eclipsed this when he went 14 games without conceding in 2008–09 for Manchester United.[2]

text: The first goalkeepers to keep a clean sheet in the Premier League were Tim Flowers and Erik Thorstvedt on the opening day of the inaugural season in a 0–0 draw between Southampton and Tottenham Hotspur; all other goalkeepers conceded that day.

text: Each year the goalkeeper who has kept the most clean sheets during the Premier League campaign is awarded the Premier League Golden Glove award. First presented in 2004–05, six goalkeepers have won the award, with Joe Hart and Petr Čech holding the joint record for most wins at four.

text: Players[edit]

text:
List of Premier League goalkeepers with 100 or more clean sheets

Rank
Player
Apps
Clean
sheets
Average
Club(s)
Ref.

1
 Čech, PetrPetr Čech
436
201
0.46
Chelsea (162), Arsenal (39)
[3]

2
 James, DavidDavid James
572
169
0.30
Liverpool (72), Aston Villa (21), West Ham United (18), Manchester City (19), Portsmouth (39)
[4]

3
 Schwarzer, MarkMark Schwarzer
514
151
0.29
Middlesbrough (92), Fulham (56), Chelsea (2), Leicester City (1)
[5]

4
 Seaman, DavidDavid Seaman
344
140
0.41
Arsenal (137), Manchester City (3)
[6]

5
 Martyn, NigelNigel Martyn
372
137
0.37
Crystal Palace (25), Leeds United (82), Everton (30)
[7]

6
 Reina, PepePepe Reina
285
134
0.47
Liverpool (134)
[8]

7
 van der Sar, EdwinEdwin van der Sar
313
132
0.42
Fulham (42), Manchester United (90)
[9]

 Howard, TimTim Howard
399
132
0.33
Manchester United (16), Everton (116)
[10]

 Friedel, BradBrad Friedel
450
132
0.29
Liverpool (6), Blackburn Rovers (77), Aston Villa (35), Tottenham Hotspur (14)
[11]

10
 Schmeichel, PeterPeter Schmeichel
310
128
0.41
Manchester United (112), Aston Villa (7), Manchester City (9)
[12]

11
 Hart, JoeJoe Hart
321
123
0.38
Manchester City (109), Birmingham City (10), West Ham United (4)
[13]

12
 Given, ShayShay Given
451
113
0.25
Blackburn Rovers (1), Newcastle United (89), Manchester City (14), Aston Villa (9)
[14]

13
 Jääskeläinen, JussiJussi Jääskeläinen
436
108
0.25
Bolton Wanderers (89), West Ham United (19)
[15]

14
 Sørensen, ThomasThomas Sørensen
364
107
0.29
Sunderland (35), Aston Villa (46), Stoke City (26)
[16]

(Bold denotes goalkeeper currently playing in Premier League)
(Italics denote goalkeeper currently playing outside the Premier League)
Statistics correct as of 13 May 2018.

text: Consecutives[edit]

text:
Games
Player
Club
Dates
Season(s)

14
 Edwin van der Sar
Manchester United
22 November 2008 – 18 February 2009
2008–09

10
 Petr Čech
Chelsea
18 December 2004 – 15 March 2005
2004–05

8
 Pepe Reina
Liverpool
29 October 2005 – 28 December 2005
2005–06

8
 Petr Čech
Chelsea
31 January 2007 – 7 April 2007
2006–07

7
 Neville Southall
Everton
1 November 1994 – 17 December 1994
1994–95

7
 Peter Schmeichel
Manchester United
8 May 1997 – 30 August 1998
1996–97 and 1997–98

7
 Paul Jones
Southampton
13 January 2001 – 17 March 2001
2000–01

6
 Alex Manninger
Arsenal
31 January 1998 – 14 March 1998
1997–98

6
 Petr Čech
Chelsea
30 April 2005 – 17 September 2005
2004–05 and 2005–06

6
 David de Gea
Manchester United
2 February 2013 – 30 March 2013
2012–13

6
 Joe Hart
Manchester City
24 May 2015 – 19 September 2015
2014–15 and 2015–16

6
 Fraser Forster
Southampton
13 January 2016 – 13 February 2016
2015–16

6
 Thibaut Courtois
Chelsea
1 October 2016 – 26 November 2016
2016–17


document_title: Field goal

question_text: who kicked longest field goal in nfl history

text: Field goal

text: Strategy[edit]

text: As a field goal is worth only three points, while a touchdown scores at least six (which usually becomes seven with a successful conversion, and potentially 8 with a two-point conversion), teams will generally attempt a field goal only in the following situations:

text:
It is fourth down (third down in Canadian rules), especially if the offense is more than a yard or two from a new first down, and within about 45 yards of the goal posts.
In the first half, there is enough time remaining to execute only one more play.
In the second half, there is enough time remaining to execute only one more play, and the team on offense needs three points to win or tie (four points in a few leagues given special circumstances).
The game is in overtime, and a FG is the quickest, easiest, and least risky way to end the match.

tag: ul

text: Except in desperate situations, a team will generally attempt field goals only when keeping a drive alive is unlikely, and its kicker has a significant chance of success, as a missed field goal results in a turnover at the spot of the kick (in the NFL) or at the line of scrimmage (in the NCAA). In American high school rules and Canadian football, where a missed field goal is treated the same as a punt, most teams still opt not to attempt field goals from very long range since field goal formations are not conducive to covering kick returns. Even under ideal conditions, the best professional kickers historically had difficulty making kicks longer than 50 yards consistently (the NFL record is 64 yards and the CFL record, 62 yards).[2] If a team chooses not to attempt a field goal on their last down, they can punt to the other team. A punt cannot score any points in American football unless the receiving team touches the ball first and the kicking team recovers it (though it can result in a single in Canadian football), but it may push the other team back toward its own end.

text: The longest field goal kick in NFL history is 64 yards, a record set by Matt Prater on December 8, 2013. The previous record was 63, originally set by Tom Dempsey and then matched by Jason Elam, Sebastian Janikowski, and David Akers. High school, college and most professional football leagues offer only a three-point field goal; however, some professional leagues have encouraged more rare kicks through four-point field goals. NFL Europe encouraged long field goals of 50 yards or more by making those worth four points instead of three (much like Australian rules' Super Goal or basketball's three-point line), a rule since adopted by the Stars Football League. Similarly, the sport of arena football sought (unsuccessfully) to repopularize the drop kick by making that worth four points; it failed, since only one kicker (Brian Mitchell) was able to do it with any semblance of proficiency. (In six-man football, where there is no offensive line, all field goals are worth four points instead of the usual three.)

text: The overall field goal percentage during the 2010 NFL season was 82.3. In comparison, Jan Stenerud, one of only two pure kickers in the Pro Football Hall of Fame (along with Ray Guy), had a career field goal percentage of 66.8 from 1967 to 1985.[2]

text: How field goals are kicked[edit]

text: When a team decides to attempt a field goal, it will generally line up in a very tight formation, with all but two players lined up along or near the line of scrimmage: the placekicker and the holder. The holder is usually the team's punter or backup quarterback.[citation needed] Instead of the regular center, a team may have a dedicated long snapper trained especially to snap the ball on placekick attempts and punts.

text: The holder usually lines up seven to eight yards behind the line of scrimmage, with the kicker a few yards behind him. Upon receiving the snap, the holder holds the ball against the ground vertically, with the stitches away from the kicker. The kicker begins his approach during the snap, so the snapper and holder have little margin for error. A split-second mistake can disrupt the entire attempt.

text: The measurement of a field goal's distance is from the goalpost to the point where the ball was positioned for the kick by the holder. In American football, where the goalpost is located at the back of the end zone (above the end line), the ten yards of the end zone are added to the yard line distance at the spot of the hold.

text: In the early days of the sport, placekickers approached the ball straight on, with the toe making first contact with the ball. The technique of kicking the ball "soccer-style", by approaching the ball at an angle and kicking it with the instep, was introduced by kicker Pete Gogolak in the 1960s.[3] The Hungarian-born Gogolak, reflecting his roots in European soccer, observed that kicking the ball at an angle could cover more distance than kicking straight on.

text: Successful field goals[edit]

text: If there is any time left in the half, the method of resuming play after a successful field goal varies between leagues.

text: Missed field goals[edit]

text: A missed field goal is said to be "no good" if the kicked ball does not cross between the uprights and/or over the crossbar of the goal posts. If it misses to the posts' left it may be called "wide left" and "wide right" if it misses to the posts' right. A field goal attempt may be described as "short" if it does not have sufficient distance to go over the cross bar. Some commentators will only describe a field goal attempt as being short if it appears to have been aimed correctly while others will describe an attempt appearing to lack both accuracy and distance as being both wide and short.

text: If a field goal attempt is missed and does not go out of bounds, a defensive player may catch the ball and return it, like a punt or kickoff. This type of play usually occurs during an extremely long field goal attempt due to the distance the defense must travel to reach the returner. If there is a significant likelihood of a miss and the strategic game situation warrants it, the defense places a player downfield, in or near their end zone, to catch the ball. The risk in this is that the return man may be tackled deep in his own territory, at a considerably worse position than he could have gotten by letting the ball go dead (see below); furthermore, should the returner fumble the ball, the kicking team can recover it and gain a new set of downs (the advantage is that the kicking team is lined up very close together to stop kick blockers, and not spread across the field like a kickoff or punt team, and is therefore in poor position to defend the return). Thus, teams will usually return a kick only towards the end of a half (when the kick will be the final play) or in a particularly desperate situation.

text: If a ball caroms off one of the goal posts or the crossbar, but lands in the field of play, the ball is considered dead and cannot be returned. (This is not the case in arena football, where large "rebound nets" surround the goal posts for the explicit purpose of keeping the ball in play.) However, if the ball caroms off one of the goal posts or the crossbar and continues into the goal, the score counts.

text: Situations where the defense does not return a missed field goal vary between leagues and levels of play:

text: Blocked field goals[edit]

text: Occasionally, the defense will succeed in blocking a field goal. If a blocked field goal is in or behind the neutral zone, it is treated like a fumble and can be advanced by either team. Beyond the neutral zone, a blocked kick is treated like a punt and can be advanced only by the defense, unless a defensive player fumbles the ball, after which an offensive player can advance it.

text: History[edit]

text: In the early days of football, kicking was highly emphasized. In 1883, the scoring system was devised, with field goals counting for 5 points, and touchdowns and conversions worth 4 apiece. In 1897, the touchdown was raised to 5 points while the conversion was lowered to 1 point. Field goals were devalued to 4 points in 1904, and then to the modern 3 points in 1909. The touchdown was changed to 6 points in 1912 in American football; the Canadian game followed suit in 1956.

text: The spot of the conversion has also changed through the years. In 1924, NCAA rules spotted the conversion at the 3-yard line, before moving it back to the 5-yard line in 1925. In 1929, the spot was moved up to the 2-yard line, which the NFL had done until 2014. In 1968, the NCAA diverged from the NFL rules in moving the spot back to the original 3-yard line. Canadian rules originally spotted the conversion at the 5-yard line, which remains closer than in the American code as the goalposts are at the front of the end zone. In 2015, to make conversion kicks harder, the NFL and CFL moved the spot of the kick to the 15 and 25-yard lines, respectively. In addition, the CFL moved the spot for a two-point conversion up to the 3-yard line to entice more teams to go for 2 points as opposed to one.

text: The goalposts were originally located on the goal line; this led to many injuries and sometimes interfered with play. The NCAA moved the goal posts to the rear of the end zone in 1927. The NFL (still following NCAA rules at the time) followed suit, but moved the posts back to the goal line starting in the 1932 NFL Playoff Game, a change made necessary by the size of the indoor Chicago Stadium and kept when the NFL rules stopped mirroring the NCAA rules in 1933. The NFL kept the post at the goal line until 1974, when they were moved back to the rear of the end zone. This was partly a result of the narrowed hashmark distance made in 1972, which had made for easier field-goal angles. The Canadian game still has posts on the goal line.

text: The width of the goalposts and the hashmarks have also varied throughout the years. In 1959, the NCAA goalposts were widened to 23 feet 4 inches (7.11 m), the standard width for high school posts today. In 1991, the college goalposts were reduced in width to 18 ft 6 in (5.64 m), matching the NFL. For the 1991 and 1992 seasons, this meant potentially severe angles for short field goal attempts, since the hashmark width remained at 53 ft 4 in (16.26 m). In 1993, the NCAA narrowed the distance between the hashmarks to 40 ft (12.19 m), matching what was the width of hashmarks in the NFL from 1945 through 1971; the NFL narrowed the hashmarks in 1972 to goalpost width at 18.5 feet (5.64 m). In the CFL, the hashmarks are 51 feet (16 m), but the field is 195 feet (59 m) in width, 35 feet (11 m) wider than the American field.

text: The NFL increased the height of the uprights above the crossbar to 20 feet (6.10 m) in 1966 and 30 feet (9.14 m) in 1974. In 2014, they were raised five feet to 35 feet (10.67 m) after the adoption of a proposal by New England Patriots head coach Bill Belichick.[7]

text: The "slingshot" goalpost, with a single post curving to support the crossbar, was invented by Jim Trimble and Joel Rottman in Montreal, Quebec, Canada.[8] The first were built by Alcan and displayed at Expo 67,[8][9] the World's fair in Montreal. The NFL had standardized the goalposts in 1966 and adopted the slingshot for the 1967 season;[8] the NCAA later adopted the same rule, but later allowed the use of "offset" goalposts, with two posts rather than one (which were the norm prior to the invention of the "slingshot" goalposts). The CFL was the first league to use the new goalposts; they made their debut in the 2nd game of the CFL's Eastern Conference final in 1966 (which was played at Montreal's Autostade as Landsdowne Park [now TD Place Stadium], the home of Ottawa Rough Riders, was undergoing renovations), and were used in the Grey Cup the next week at Vancouver's Empire Stadium. Three schools in Division I FBS currently use dual-support posts: Florida State, LSU, and Washington State. A special exemption was allowed by the NFL for the New Orleans Saints to use the offset goalposts during the 2005 season, when they used LSU's stadium for home games after Hurricane Katrina.

text: Goalposts at the professional level today are sometimes equipped with a camera mounted to the stanchion immediately behind the center of the crossbar. Since these cameras are both above and slightly behind the crossbar, a field goal attempt will be judged good if it strikes this equipment.

text: In 1989, the NCAA banned the kicking tee for field goals and extra points, requiring kicks from the ground.[10][11]

text: During the 2011 NFL season, a record 90 field goals of 50 yards or longer were made.[12] In 2012, this record was increased to 92 field goals of 50 yards or longer.[12]

text: Longest field goal records[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2010) (Learn how and when to remove this template message)

text: As recorded in Guinness World Records:

text: The record for a field goal at any level is 69 yards. It was kicked by Ove Johansson of the Abilene Christian University Wildcats in the 1976 game against East Texas State University Lions (now Texas A&M University–Commerce) in Shotwell Stadium, Abilene, Texas.[13]

text: NFL[edit]

text: The longest field goal made was 64 yards by Matt Prater of the Denver Broncos on December 8, 2013.[14] The longest field goal attempt in an NFL game was 76 yards by Sebastian Janikowski on September 28, 2008.[15]

text: In the history of the NFL regular season, only 18 field goals have been made from at least 60 yards:[16]

text:
Distance
Kicker
Team
Result
Opposition
Date
Notes
Location
Elevation
Weather

64 yards
Matt Prater
Denver Broncos
51–28
Tennessee Titans
December 8, 2013
End of 1st half
Sports Authority Field at Mile High
5,280 ft (1,610 m)
13 °F; Sunny; Wind: S at 3 mph; Humidity: 72%

63 yards
Tom Dempsey
New Orleans Saints
19–17
Detroit Lions
November 8, 1970
Born with a stub for a right foot. Game-winning kick as time expired. Detroit kicker Errol Mann had kicked a field goal with :08 remaining to give Lions the lead.
Tulane Stadium
16 ft (4.9 m)

63 yards
Jason Elam
Denver Broncos
37–24
Jacksonville Jaguars
October 25, 1998
First field goal to tie record; soccer-style kicker
Mile High Stadium
5,280 ft (1,610 m)

63 yards
Sebastian Janikowski
Oakland Raiders
23–20
Denver Broncos
September 12, 2011
Left-footed
Sports Authority Field at Mile High
5,280 ft (1,610 m)
Light rain early

63 yards
David Akers
San Francisco 49ers
30–22
Green Bay Packers
September 9, 2012
Left-footed; end of first half; ball bounced off crossbar before crossing the plane
Lambeau Field
640 ft (200 m)
70 °F; Mostly Cloudy; Wind: N at 7 mph; Humidity: 43%

62 yards
Matt Bryant
Tampa Bay Buccaneers
23–21
Philadelphia Eagles
October 22, 2006
Game-winning kick as time expired
Raymond James Stadium
35 ft (11 m)

62 yards
Stephen Gostkowski
New England Patriots
33–8
Oakland Raiders
November 19, 2017
Right-footed; kicked as time expired at the end of the first half
Azteca Stadium
7,280 ft (2,220 m)
63 °F; Mostly Cloudy

61 yards
Sebastian Janikowski
Oakland Raiders
9–23
Cleveland Browns
December 27, 2009
Left-footed
FirstEnergy Stadium
580 ft (180 m)

61 yards
Jay Feely
Arizona Cardinals
16–19 (OT)
Buffalo Bills
October 14, 2012
Right-footed; longest game-tying field goal with 1:09 remaining in the 4th quarter, missed a 38-yard field goal that would have won the game at the end of regulation
University of Phoenix Stadium
1,150 ft (350 m)
Retractable roof closed

61 yards
Justin Tucker
Baltimore Ravens
18–16
Detroit Lions
December 16, 2013
Right-footed; game-winning field goal with 43 seconds remaining; sixth field goal of the game
Ford Field
601 ft (183 m)[17]
Dome

61 yards
Greg Zuerlein
St. Louis Rams
18–21 (OT)
Minnesota Vikings
November 8, 2015
Right-footed
TCF Bank Stadium
869 ft (265 m)
58 °F (14 °C); sunny

61 yards
Jake Elliott
Philadelphia Eagles
27–24
New York Giants
September 24, 2017
Right-footed; game winning kick as time expired. Second game of NFL career. NFL rookie record for longest made field goal.
Lincoln Financial Field
39 ft (12 m)
91 °F (33 °C); sunny

60 yards
Steve Cox
Cleveland Browns
9–12
Cincinnati Bengals
October 21, 1984
Straight-ahead kick; on AstroTurf
Riverfront Stadium
490 ft (150 m)

60 yards
Morten Andersen
New Orleans Saints
17–20
Chicago Bears
October 27, 1991
Left-footed; on AstroTurf; first 60-yard kick done indoors
Louisiana Superdome
Sea level
Dome

60 yards
Rob Bironas
Tennessee Titans
20–17
Indianapolis Colts
December 3, 2006
Right-footed; game winner with six seconds remaining
LP Field
400 ft (120 m)

60 yards
Dan Carpenter
Miami Dolphins
10–13
Cleveland Browns
December 5, 2010
End of 1st half
Sun Life Stadium
5 ft (1.5 m)
77 °F (25 °C), wind SW at 14 mph (23 km/h)

60 yards
Greg Zuerlein
St. Louis Rams
19–13
Seattle Seahawks
September 30, 2012
In his rookie season; longest field goal in third quarter; also kicked a 58-yard field goal in the first quarter
Edward Jones Dome
466 ft (142 m)
Dome

60 yards
Chandler Catanzaro
Arizona Cardinals
18–33
Buffalo Bills
September 25, 2016
Longest field goal in career
New Era Field
600 ft (180 m)

text: Prior to Dempsey's 1970 kick, the longest field goal in NFL history was a 56-yard field goal by Bert Rechichar in 1953. A 55-yard field goal, achieved by a drop kick, was recorded by Paddy Driscoll in 1924, and stood as the unofficial record until that point; some sources indicate a 54-yarder by Glenn Presnell in 1934 as the record, due to the inability to precisely verify Driscoll's 55-yarder.

text: In a pre-season NFL game between the Denver Broncos and the Seattle Seahawks on August 29, 2002, Ola Kimrin kicked a 65-yard field goal.[18] However, because pre-season games are not counted toward official records, this accomplishment is not the official record.

text: CFL[edit]

text:
62 yards, Paul McCallum, Saskatchewan Roughriders vs. Edmonton Eskimos, October 27, 2001[19]
60 yards, Dave Ridgway, Saskatchewan Roughriders vs. Winnipeg Blue Bombers, September 6, 1987[19]

text: College football[edit]

text:
69 yards, Ove Johansson, Abilene Christian vs. East Texas State on October 16, 1976. (NAIA)
67 yards, Tom Odle, Fort Hays State vs. Washburn, 1988. (NCAA)
67 yards, Joe Williams, Wichita State vs. Southern Illinois, 1978. (NCAA Division I)
67 yards, Russell Erxleben, Texas vs. Rice, 1977. (NCAA Division I)
67 yards, Steve Little, Arkansas vs. Texas, 1977.[20] (NCAA Division I)
65 yards, J. T. Haxall, Princeton vs. Yale, 1882.

text: All of the above kicks were successful with the use of a kicking tee, which was banned by the NCAA after the 1988 season.

text: 65 yards, Martin Gramatica, Kansas State vs. Northern Illinois, 1998 - without a tee [21]

text: The longest known drop-kicked field goal in college football was a 62-yard kick from Pat O'Dea, an Australian kicker who played on the Wisconsin Badgers football team. O'Dea's kick took place in a blizzard against Northwestern on November 15, 1898.[22]

text: U Sports[edit]

text: The longest field goal in U Sports football history is 59 yards, by Niko Difonte of Calgary Dinos, playing against the UBC Thunderbirds on November 11, 2017. The field goal was the final and winning play of the 81st Hardy Cup.[23][24]

text: High school[edit]

text:
68 yards, Dirk Borgognone, Reno High School vs. Sparks High School (Nevada), September 27, 1985[25][26]
67 yards, Austin Rehkow, Central Valley High School (Spokane Valley, Washington) vs. Shadle Park High School (Spokane, Washington), October 18, 2012, game-tying FG with :02 left in 4th quarter (CV would go on to win 62-55). [27][28] (tied with two others)
62 yards, David Rosenbaum, Woodrow Wilson High School (Washington, D.C.) vs. Spingarn High School, October 3, 2003. While no records are kept, considered to be the longest extra point scored. Penalties due to excessive celebration, unsportsmanlike conduct, and taunting.[29]

text: Independent amateur[edit]

text: 68 yards, Fabrizio Scaccia, Treasure Coast Bobcats (FL), March 29, 2009[30] (world record for a kick without the aid of a tee, which was banned for field goal and extra point attempts in the NCAA in 1989)

text: Independent Women's Football League[edit]

text: 44 yards, Sarah Oliver, California Quake vs. New Mexico Menace, April 26, 2008.[31]

text: Longest missed field goal return records[edit]

text: NFL[edit]

text: Field goal returns are rare in the NFL, since an attempt with sufficient distance that misses the uprights will automatically be dead. Returns are possible when a field goal is short, but in that case returners will usually down the ball so as to scrimmage from the spot of the kick. Normally, a return will only be attempted when there is not enough time left in the half to run a play from scrimmage. Nevertheless, four field goals have been returned for at least 107 yards in the 21st century:

text:
Distance returned
Returner
Team
Opposing kicker
Opposing team
Distance attempted
Date
Location

109 yards[32]
Antonio Cromartie
San Diego Chargers
Ryan Longwell
Minnesota Vikings
58 yards
November 4, 2007
Metrodome

108 yards[33]
Devin Hester
Chicago Bears
Jay Feely
New York Giants
52 yards
November 12, 2006
Giants Stadium

108 yards[34]
Nathan Vasher
Chicago Bears
Joe Nedney
San Francisco 49ers
52 yards
November 13, 2005
Soldier Field

107 yards[35]
Chris McAlister
Baltimore Ravens
Jason Elam
Denver Broncos
57 yards
September 30, 2002
Ravens Stadium

text: CFL[edit]

text: Because the goalposts in Canadian football are on the goal line, and because downing the ball in the end zone results in the kicking team scoring a single point, field goal returns are much more common. The longest missed field goal return in the CFL is 131 total yards. Against the Montreal Alouettes on August 22, 1958, the Toronto Argonauts' Boyd Carter ran 15 yards, then threw a lateral to Dave Mann, who then returned it for the final 116 yards.[36] This return, which started 21 yards behind the goal line, was during the era of 25-yard end zones (which made the maximum theoretical missed field return distance 134 yards in those days) and therefore cannot be met or exceeded on the modern field with 20-yard end zones. Since the shortening of the end zones in the CFL in 1986, a field goal has been returned for the maximum 129 yards on two occasions: by Tristan Jackson of the Saskatchewan Roughriders on July 14, 2012 [37] and by Trent Guy of the Montreal Alouettes on September 23, 2012.[38]

text: NCAA[edit]

text: In NCAA college football, only five missed field goals returns for touchdowns have ever been returned 100 yards or more:[39]

text:
September 17, 1966: Don Guest (California Golden Bears), 108-yard return for a touchdown after a failed 47-yard field goal attempt by Washington State.[39]
September 28, 1968: Richie Luzzi (Clemson Tigers), 108-yard return for a touchdown after a failed 47-yard field goal attempt by Georgia.[40]
September 7, 2013: Odell Beckham Jr. (LSU Tigers), 109-yard return for a touchdown after a failed 59-yard field goal attempt by UAB.[39]
November 30, 2013: Chris Davis, Jr. (Auburn Tigers), 109-yard return for a touchdown after what would have been a tie-breaking 57-yard field goal attempt by Alabama fell short as time expired, what some writers and fans call the greatest play in college football history.[41][42][43][44]
September 3, 2016: Brandon Wilson (Houston Cougars), 109-yard return for a touchdown after a failed 53-yard field goal attempt by Oklahoma.[45]

text: U Sports[edit]

text: In U Sports football, like in the CFL, the longest possible missed field goal return is 129 yards, and this has occurred three times.[24]

text:
Jeremy Botelho of the Manitoba Bisons playing against the Simon Fraser Clansmen on September 11, 2009
Jedd Gardner of the Guelph Gryphons playing against the McMaster Marauders on October 8, 2010
Tunde Adeleke of the Carleton Ravens playing against the Ottawa Gee-Gees on October 5, 2013