document_title: Photographic film

question_text: who introduced the flexible film to the market

text: Photographic film

text: History of film[edit]

text: The earliest practical photographic process, the daguerreotype, introduced in 1839, did not use film. The light-sensitive chemicals were formed on the surface of a silver-plated copper sheet.[5] The calotype process produced paper negatives.[6] Beginning in the 1850s, thin glass plates coated with photographic emulsion became the standard material for use in the camera. Although fragile and relatively heavy, the glass used for photographic plates was of better optical quality than early transparent plastics and was, at first, less expensive. Glass plates continued to be used long after the introduction of film, and were used for astrophotography[7] and electron micrography until the early 2000s, when they were supplanted by digital recording methods. Ilford continues to manufacture glass plates for special scientific applications.[8]

text: The first flexible photographic roll film was sold by George Eastman in 1885,[9] but this original "film" was actually a coating on a paper base. As part of the processing, the image-bearing layer was stripped from the paper and attached to a sheet of hardened clear gelatin. The first transparent plastic roll film followed in 1889.[10] It was made from highly flammable nitrocellulose ("celluloid"), now usually called "nitrate film".

text: Although cellulose acetate or "safety film" had been introduced by Kodak in 1908,[11] at first it found only a few special applications as an alternative to the hazardous nitrate film, which had the advantages of being considerably tougher, slightly more transparent, and cheaper. The changeover was completed for X-ray films in 1933, but although safety film was always used for 16 mm and 8 mm home movies, nitrate film remained standard for theatrical 35 mm films until it was finally discontinued in 1951.[12]

text: Hurter and Driffield began pioneering work on the light sensitivity of photographic emulsions in 1876. Their work enabled the first quantitative measure of film speed to be devised.[13] They developed H&D curves, which are specific for each film and paper. These curves plot the photographic density against the log of the exposure, to determine sensitivity or speed of the emulsion and enabling correct exposure.[14]

text: Spectral sensitivity[edit]

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tag: table

text: Early photographic plates and films were usefully sensitive only to blue, violet and ultraviolet light. As a result, the relative tonal values in a scene registered roughly as they would appear if viewed through a piece of deep blue glass. Blue skies with interesting cloud formations photographed as a white blank. Any detail visible in masses of green foliage was due mainly to the colorless surface gloss. Bright yellows and reds appeared nearly black. Most skin tones came out unnaturally dark, and uneven or freckled complexions were exaggerated. Photographers sometimes compensated by adding in skies from separate negatives that had been exposed and processed to optimize the visibility of the clouds, by manually retouching their negatives to adjust problematic tonal values, and by heavily powdering the faces of their portrait sitters.

text: In 1873, Hermann Wilhelm Vogel discovered that the spectral sensitivity could be extended to green and yellow light by adding very small quantities of certain dyes to the emulsion. The instability of early sensitizing dyes and their tendency to rapidly cause fogging initially confined their use to the laboratory, but in 1883 the first commercially dye-sensitized plates appeared on the market. These early products, described as isochromatic or orthochromatic depending on the manufacturer, made possible a more accurate rendering of colored subject matter into a black-and-white image. Because they were still disproportionately sensitive to blue, the use of a yellow filter and a consequently longer exposure time were required to take full advantage of their extended sensitivity.

text: In 1894, the Lumière Brothers introduced their Lumière Panchromatic plate, which was made sensitive, although very unequally, to all colors including red. New and improved sensitizing dyes were developed, and in 1902 the much more evenly color-sensitive Perchromo panchromatic plate was being sold by the German manufacturer Perutz. The commercial availability of highly panchromatic black-and-white emulsions also accelerated the progress of practical color photography, which requires good sensitivity to all the colors of the spectrum for the red, green and blue channels of color information to all be captured with reasonable exposure times.

text: However, all of these were glass-based plate products. Panchromatic emulsions on a film base were not commercially available until the 1910s and did not come into general use until much later. Many photographers who did their own darkroom work preferred to go without the seeming luxury of sensitivity to red—a rare color in nature and uncommon even in man-made objects—rather than be forced to abandon the traditional red darkroom safelight and process their exposed film in complete darkness. Kodak's popular Verichrome black-and-white snapshot film, introduced in 1931, remained a red-insensitive orthochromatic product until 1956, when it was replaced by Verichrome Pan. Amateur darkroom enthusiasts then had to handle the undeveloped film by the sense of touch alone.

text: Color[edit]

text: Experiments with color photography began almost as early as photography itself, but the three-color principle underlying all practical processes was not set forth until 1855, not demonstrated until 1861, and not generally accepted as "real" color photography until it had become an undeniable commercial reality in the early 20th century. Although color photographs of good quality were being made by the 1890s, they required special equipment, long exposures, complex printing or display procedures and highly specialized skills, so they were then exceedingly rare.

text: The first practical and commercially successful color "film" was the Lumière Autochrome, a glass plate product introduced in 1907. It was expensive and not sensitive enough for hand-held "snapshot" use. Film-based versions were introduced in the early 1930s and the sensitivity was later improved. These were "mosaic screen" additive color products, which used a simple layer of black-and-white emulsion in combination with a layer of microscopically small color filter elements. The resulting transparencies or "slides" were very dark because the color filter mosaic layer absorbed most of the light passing through. The last films of this type were discontinued in the 1950s, but Polachrome "instant" slide film, introduced in 1983, temporarily revived the technology.

text: "Color film" in the modern sense of a subtractive color product with a multi-layered emulsion was born with the introduction of Kodachrome for home movies in 1935 and as lengths of 35 mm film for still cameras in 1936.[15] During the next several decades, color remained much more expensive than black-and-white and required much more light, factors which combined to delay its widespread adoption. Decreasing cost and increasing sensitivity gradually overcame these impediments. By the 1970s, color film predominated in the consumer market, while the use of black-and-white film was increasingly confined to photojournalism and fine art photography.

text: Effect on lens and equipment design[edit]

text: Photographic lenses and equipment are designed around the film to be used. Although the earliest photographic materials were sensitive only to the blue-violet end of the spectrum, partially color-corrected achromatic lenses were normally used, so that when the photographer brought the visually brightest yellow rays to a sharp focus, the visually dimmest but photographically most active violet rays would be correctly focused, too. The introduction of orthochromatic emulsions required the whole range of colors from yellow to blue to be brought to an adequate focus. Most plates and films described as orthochromatic or isochromatic were practically insensitive to red, so the correct focus of red light was unimportant; a red window could be used to view the frame numbers on the paper backing of roll film, as any red light which leaked around the backing would not fog the film; and red lighting could be used in darkrooms. With the introduction of panchromatic film, the whole visible spectrum needed to be brought to an acceptably sharp focus. In all cases a color cast in the lens glass or faint colored reflections in the image were of no consequence as they would merely change the contrast a little. This was no longer acceptable when using color film. More highly corrected lenses for newer emulsions could be used with older emulsion types, but the converse was not true.

text: The progression of lens design for later emulsions is of practical importance when considering the use of old lenses, still often used on large-format equipment; a lens designed for orthochromatic film may have visible defects with a color emulsion; a lens for panchromatic film will be better but not as good as later designs.

text: The filters used were different for the different film types.

text: Film basics[edit]

text: There are several types of photographic film, including:

text:
Print film, when developed, yields transparent negatives with the light and dark areas and colors (if color film is used) inverted to their respective complementary colors. This type of film is designed to be printed onto photographic paper, usually by means of an enlarger but in some cases by contact printing. The paper is then itself developed. The second inversion that results restores light, shade and color to their normal appearance. Color negatives incorporate an orange color correction mask that compensates for unwanted dye absorptions and improves color accuracy in the prints. Although color processing is more complex and temperature-sensitive than black-and-white processing, the wide availability of commercial color processing and scarcity of service for black-and-white prompted the design of some black-and-white films which are processed in exactly the same way as standard color film.
Color reversal film produces positive transparencies, also known as diapositives. Transparencies can be reviewed with the aid of a magnifying loupe and a lightbox. If mounted in small metal, plastic or cardboard frames for use in a slide projector or slide viewer they are commonly called slides. Reversal film is often marketed as "slide film". Large-format color reversal sheet film is used by some professional photographers, typically to originate very-high-resolution imagery for digital scanning into color separations for mass photomechanical reproduction. Photographic prints can be produced from reversal film transparencies, but positive-to-positive print materials for doing this directly (e.g. Ektachrome paper, Cibachrome/Ilfochrome) have all been discontinued, so that it now requires the use of an internegative to convert the positive transparency image into a negative transparency, which is then printed as a positive print.[16]
Black-and-white reversal film exists but is very uncommon. Conventional black-and-white negative film can be reversal-processed to produce black-and-white slides, as by dr5 Chrome.[17] Although kits of chemicals for black-and-white reversal processing may no longer be available to amateur darkroom enthusiasts, an acid bleaching solution, the only unusual component which is essential, is easily prepared from scratch. Black-and-white transparencies may also be produced by printing negatives onto special positive print film, still available from some specialty photographic supply dealers.[18]

text: In order to produce a usable image, the film needs to be exposed properly. The amount of exposure variation that a given film can tolerate, while still producing an acceptable level of quality, is called its exposure latitude. Color print film generally has greater exposure latitude than other types of film. Additionally, because print film must be printed to be viewed, after-the-fact corrections for imperfect exposure are possible during the printing process.

text: The concentration of dyes or silver halide crystals remaining on the film after development is referred to as optical density, or simply density; the optical density is proportional to the logarithm of the optical transmission coefficient of the developed film. A dark image on the negative is of higher density than a more transparent image.

text: Most films are affected by the physics of silver grain activation (which sets a minimum amount of light required to expose a single grain) and by the statistics of random grain activation by photons. The film requires a minimum amount of light before it begins to expose, and then responds by progressive darkening over a wide dynamic range of exposure until all of the grains are exposed, and the film achieves (after development) its maximum optical density.

text: Over the active dynamic range of most films, the density of the developed film is proportional to the logarithm of the total amount of light to which the film was exposed, so the transmission coefficient of the developed film is proportional to a power of the reciprocal of the brightness of the original exposure. The plot of the density of the film image against the log of the exposure is known as an H&D curve.[14] This effect is due to the statistics of grain activation: as the film becomes progressively more exposed, each incident photon is less likely to impact a still-unexposed grain, yielding the logarithmic behavior. A simple, idealized statistical model yields the equation density = 1 - ( 1 - k) light, where light is proportional to the number of photons hitting a unit area of film, k is the probability of a single photon striking a grain (based on the size of the grains and how closely spaced they are), and density is the proportion of grains that have been hit by at least one photon. The relationship between density and log exposure is linear for photographic films except at the extreme ranges of maximum exposure (D-max) and minimum exposure (D-min) on an H&D curve, so the curve is characteristically S-shaped (as opposed to digital camera sensors which have a linear response through the effective exposure range.[20] The sensitivity (i.e., the ISO speed) of a film can be affected by changing the length or temperature of development, which would move the H&D curve to the left or right (see figure).[21][22]

text: If parts of the image are exposed heavily enough to approach the maximum density possible for a print film, then they will begin losing the ability to show tonal variations in the final print. Usually those areas will be considered overexposed and will appear as featureless white on the print. Some subject matter is tolerant of very heavy exposure. For example, sources of brilliant light, such as a light bulb or the sun, generally appear best as a featureless white on the print.

text: Likewise, if part of an image receives less than the beginning threshold level of exposure, which depends upon the film's sensitivity to light—or speed—the film there will have no appreciable image density, and will appear on the print as a featureless black. Some photographers use their knowledge of these limits to determine the optimum exposure for a photograph; for one example, see the Zone System. Most automatic cameras instead try to achieve a particular average density.

text: Film speed[edit]

text: Film speed describes a film's threshold sensitivity to light. The international standard for rating film speed is the ISO scale, which combines both the ASA speed and the DIN speed in the format ASA/DIN. Using ISO convention film with an ASA speed of 400 would be labeled 400/27°.[23] A fourth naming standard is GOST, developed by the Russian standards authority. See the film speed article for a table of conversions between ASA, DIN, and GOST film speeds.

text: Common film speeds include ISO 25, 50, 64, 100, 160, 200, 400, 800, 1600, 3200, and 6400. Consumer print films are usually in the ISO 100 to ISO 800 range. Some films, like Kodak's Technical Pan,[24] are not ISO rated and therefore careful examination of the film's properties must be made by the photographer before exposure and development. ISO 25 film is very "slow", as it requires much more exposure to produce a usable image than "fast" ISO 800 film. Films of ISO 800 and greater are thus better suited to low-light situations and action shots (where the short exposure time limits the total light received). The benefit of slower film is that it usually has finer grain and better color rendition than fast film. Professional photographers of static subjects such as portraits or landscapes usually seek these qualities, and therefore require a tripod to stabilize the camera for a longer exposure. A professional photographing subjects such as rapidly moving sports or in low-light conditions will inevitably choose a faster film.

text: A film with a particular ISO rating can be push-processed, or "pushed", to behave like a film with a higher ISO, by developing for a longer amount of time or at a higher temperature than usual.[25]:160 More rarely, a film can be "pulled" to behave like a "slower" film. Pushing generally coarsens grain and increases contrast, reducing dynamic range, to the detriment of overall quality. Nevertheless, it can be a useful tradeoff in difficult shooting environments, if the alternative is no usable shot at all.

text: Special films[edit]

text: Instant photography, as popularized by Polaroid, uses a special type of camera and film that automates and integrates development, without the need of further equipment or chemicals. This process is carried out immediately after exposure, as opposed to regular film, which is developed afterwards and requires additional chemicals. See instant film.

text: Films can be made to record non-visible ultraviolet (UV) and infrared (IR) radiation. These films generally require special equipment; for example, most photographic lenses are made of glass and will therefore filter out most ultraviolet light. Instead, expensive lenses made of quartz must be used. Infrared films may be shot in standard cameras using an infrared band- or long-pass filter, although the infrared focal point must be compensated for.

text: Exposure and focusing are difficult when using UV or IR film with a camera and lens designed for visible light. The ISO standard for film speed only applies to visible light, so visual-spectrum light meters are nearly useless. Film manufacturers can supply suggested equivalent film speeds under different conditions, and recommend heavy bracketing (e.g., with a certain filter, assume ISO 25 under daylight and ISO 64 under tungsten lighting). This allows a light meter to be used to estimate an exposure. The focal point for IR is slightly farther away from the camera than visible light, and UV slightly closer; this must be compensated for when focusing. Apochromatic lenses are sometimes recommended due to their improved focusing across the spectrum.

text: Film optimized for sensing X-ray radiation is commonly used for medical imaging by placing the subject between the film and a source of X-rays, without a lens, as if a translucent object were imaged by being placed between a light source and standard film. Unlike other types of film, X-ray film has a sensitive emulsion on both sides of the carrier material. This reduces the X-ray exposure for an acceptable image – a desirable feature in medical radiography. The film is usually placed in contact with a thin layer of lead which also enhances its sensitivity.

text: Film optimized for sensing X-rays and for gamma rays is sometimes used for radiation dosimetry and personal monitoring.

text: Film has a number of disadvantages as a scientific detector: it is difficult to calibrate for photometry, it is not re-usable, it requires careful handling (including temperature and humidity control) for best calibration, and the film must physically be returned to the laboratory and processed. Against this, photographic film can be made with a higher spatial resolution than any other type of imaging detector, and, because of its logarithmic response to light, has a wider dynamic range than most digital detectors. For example, Agfa 10E56 holographic film has a resolution of over 4,000 lines/mm—equivalent to a pixel size of 0.125 micrometers—and an active dynamic range of over five orders of magnitude in brightness, compared to typical scientific CCDs that might have pixels of about 10 micrometers and a dynamic range of 3–4 orders of magnitude.[26][not in citation given]

text: Special films are used for the long exposures required by astrophotography.[27]

text: Decline[edit]

text: Film remained the dominant form of photography until the early 21st century, when advances in digital photography drew consumers to digital formats. The first consumer electronic camera, the Sony Mavica was released in 1981, the first digital camera, the Fuji DS-X released in 1989,[28] coupled with advances in software such as Adobe Photoshop which was released in 1989, improvements in consumer level digital color printers and increasingly widespread computers in households during the late 20th century facilitated uptake of digital photography by consumers.[20] Although modern photography is dominated by digital users, film continues to be used by enthusiasts. Film remains the preference of some photographers because of its distinctive "look".[a]

text: Renewed interest in recent years[edit]

text: Despite the fact that digital cameras are currently by far the most commonly used photographic tool, and that the selection of available photographic films is much smaller than it once was, sales of photographic film have been on a steady upward trend, and companies such as Kodak, which declared bankruptcy in early 2012, among other companies have noticed this upward trend, the president of Kodak Alaris' film, paper and photo chemical's division Dennis Olbrich has stated that sales of their photographic films have been growing over the past 3 or 4 years, UK-based Ilford have also confirmed this trend, and have conducted extensive research on this subject matter, their research showed that 60% of current film users had only started using film in the past five years, and that 30% of current film users were under 35 years old. [31]

text: In 2013 Ferrania, a Italy based film manufacturer which ceased production of photographic films between the years 2009 and 2010, was aquired by the new Film Ferrania S.R.L taking over the old company's manufacturing faacilities, and re-employed some workers who had been laid off 3 years earlier when the company stopped production of film. In November of the same year, the company started a crowdfunding campaign with the goal of raising $250,000 to buy tooling and machines from the old factory, with the intention of putting some of the films that had been discontinued back into production, the campaign succeded and in October of 2014 was ended with over $320,000 being raised.

text: In February 2017, Film Ferrania unveiled their "P30" 80 ASA, Panchromatic black and white film, in 35mm format.

text: Kodak announced on January 5th, 2017, that Ektachrome, one of Kodak's most well known transparency films that was discontinued between 2012 and 2013, would be reformulated and manufactured once again, in 35mm still and Super 8 motion picture film formats. [32]

text: Japan-based Fujifilm's instant film "Instax" cameras and paper have also proven to be very successful, and have replaced traditional photographic films as Fujifilm's main film products, while they continue to offer traditional photographic films in various formats and types. [33]

text: DX codes[edit]

text: DX Encoding (Digital indeX), or DX coding was initially developed by Kodak in the 1980s, and eventually adapted by all camera and film manufacturers.[34] It provides information on both the film cassette and on the film regarding the type of film, number of exposures, speed (ISO/ASA rating) of the film. It consists of three types of identification. First is a barcode near the film opening of the cassette, identifying the manufacturer, film type and processing method (see image below left). This is used by photofinishing equipment during film processing. The second part is a barcode on the edge of the film (see image below right), used also during processing, which indicates the image film type, manufacturer, frame number and synchronizes the position of the frame. The third part of DX coding, known as the DX Camera Auto Sensing (CAS) code, consists of a series of 12 metal contacts on the film cassette, which beginning with cameras manufactured after 1985 could detect the type of film, number of exposures and ISO of the film, and use that information to automatically adjust the camera settings for the speed of the film.[34][35][36]

text: Common sizes of film[edit]

text:
Film Designation
Film width (mm)
Image size (mm)
Number of images
Reasons

110
16
13 × 17
12/20
Single perforations, cartridge loaded

APS/IX240
24
17 × 30
15/25/40

e.g., Kodak "Advantix", different aspect ratios possible, data recorded on magnetic strip, processed film remains in cartridge

126
35
26 × 26
12 or 20
Single perforations, cartridge loaded, e.g., Kodak Instamatic camera

135
35
24 × 36 (1.0 x 1.5 in.)
12–36
Double perforations, cassette loaded, "35 mm film"

127
46
40 x 40 (also 40 x 30 or 60
8-16
Unperforated, rolled in backing paper.

120
62
45 × 60
16 or 15
Unperforated, rolled in backing paper. For medium format photography

60 × 60
12

60 × 70
10

60 × 90
8

220
62
45 × 60
32 or 31
Same as 120, but rolled with no backing paper, allowing for double the number of images. Unperforated film with leader and trailer.

60 × 60
24

60 × 70
20

60 × 90
16

Sheet film
2 ¼ x 3 ¼ to 20 x 24 in.

1
Individual sheets of film, notched in corner for identification, for large format photography

Disc film

10 × 8 mm
15

Motion picture films

8 mm, 16 mm, 35 mm and 70 mm

Double perforations, cassette loaded

text: Companies[edit]

text: In production[edit]

text:
ADOX - Made in Germany
Agfa-Gevaert - Made in Belgium
Bergger - Made in France
Lucky - Made in China
Cinestill - Kodak motion picture film modified for C-41 processing
Dai Nippon Printing - Made in Japan
FILM Ferrania - Made in Italy
Foma Bohemia Ltd - Made in Czech Republic
Fujifilm - Made in Japan
Indu - Made in India
Ilford - Made in England
Kodak - Made in U.S.A
Mitsubishi Imaging - Made in Japan
ORWO - Made in East Germany
Polaroid Originals - Made in The Netherlands
Shanghai - Made in China
Tasma - Made in Russia

text: Discontinued[edit]

text:
3M (Minnesota Mining and Manufacturing Company) - Made in U.S., private label films for many chain stores and photofinishing firms; also sold by 3M themselves under the trade name Dynachrome
AgfaPhoto - Branded products formerly produced by other manufacturers under licence
Ansco - Made in U.S.; in later years known as GAF
AzoPan - Black and white film, Made in Romania
AzoColor - Color film, Made in Romania
DuPont (also DuPont-Pathé) - Made in U.S.
Efke - Made in Croatia (ceased production in 2012)[38]
Ferrania (which became Imation and sold the Solaris brand) - Made in Italy
Forte - Made in Hungary
Konica Minolta - Made in Japan
Maco - Made in Germany
Perutz - Made in West Germany
Polaroid Corporation - Made in USA, Mexico, Scotland and Netherlands
Seagull - Made in China
Svema - Made in Ukraine
VALCA - Made in Spain
Foton - Made in Poland

text: Image gallery[edit]

text:
9.5mm film

Mycro 17.5mm film

Kodak Agfa 16mm film

120 film

35mm film


document_title: Beauty and the Beast (2017 soundtrack)

question_text: what is the last song in beauty and the beast

root

text: Beauty and the Beast (2017 soundtrack)

text: Track listing[edit]

text: All music composed by Alan Menken. Songs originally written for the 1991 version by Menken and Howard Ashman. Lyrics for original songs are written by Tim Rice.

tag: p

text:
No.
Title
Performer(s)
Length

1.
"Overture" (Score)
Alan Menken
3:05

2.
"Main Title: Prologue Pt. 1"
Hattie Morahan (narration)
0:42

3.
"Aria"
Audra McDonald
1:02

4.
"Main Title: Prologue Pt. 2"
Hattie Morahan (narration)
2:21

5.
"Belle"
Emma Watson, Luke Evans, Ensemble
5:33

6.
"How Does a Moment Last Forever (Music Box)"
Kevin Kline
1:03

7.
"Belle (Reprise)"
Emma Watson
1:15

8.
"Gaston"
Luke Evans, Josh Gad, Ensemble
4:25

9.
"Be Our Guest"
Ewan McGregor, Emma Thompson, Gugu Mbatha-Raw and Ian McKellen
4:48

10.
"Days in the Sun"
Adam Mitchell, Stanley Tucci, Ewan McGregor, Gugu Mbatha-Raw, Emma Thompson, Audra McDonald, Emma Watson, Ian McKellen, Clive Rowe
2:40

11.
"Something There"
Emma Watson, Dan Stevens, Emma Thompson, Nathan Mack, Ian McKellen, Ewan McGregor, Gugu Mbatha-Raw
2:54

12.
"How Does a Moment Last Forever (Montmartre)"
Emma Watson
1:55

13.
"Beauty and the Beast"
Emma Thompson
3:19

14.
"Evermore"
Dan Stevens
3:14

15.
"The Mob Song"
Luke Evans, Josh Gad, Ensemble, Emma Thompson, Ian McKellen, Stanley Tucci, Nathan Mack, Gugu Mbatha-Raw, Ewan McGregor, Gerard Horan, Haydn Gwynne
2:28

16.
"Beauty and the Beast (Finale)"
Audra McDonald, Emma Thompson, Ensemble
2:14

17.
"How Does a Moment Last Forever"
Celine Dion
3:37

18.
"Beauty and the Beast"
Ariana Grande & John Legend
3:47

19.
"Evermore"
Josh Groban
3:09

Total length:
53:31

text:
[show]Deluxe edition – Disc one (Bonus Tracks)

No.
Title
Performer(s)
Length

20.
"Aria" (Demo)
Menken
0:36

21.
"How Does a Moment Last Forever" (Demo)
Menken
0:59

22.
"Days in the Sun" (Demo)
Menken
3:30

23.
"How Does a Moment Last Forever" (Demo)
Menken
1:21

24.
"Evermore" (Demo)
Menken
2:55

Total length:
62:52

text:
[show]Deluxe edition – Disc two

No.
Title
Performer(s)
Length

1.
"Main Title: Prologue" (Score)
Menken
3:01

2.
"Belle Meets Gaston" (Score)
Menken
0:54

3.
"Your Mother" (Score)
Menken
2:13

4.
"The Laverie" (Score)
Menken
1:22

5.
"Wolf Chase" (Score)
Menken
3:14

6.
"Entering the Castle" (Score)
Menken
1:18

7.
"A White Rose" (Score)
Menken
3:57

8.
"The Beast" (Score)
Menken
4:03

9.
"Meet the Staff" (Score)
Menken
1:00

10.
"Home" (extended mix) (Score)
Menken
2:04

11.
"Madame de Garderobe" (Score)
Menken
1:28

12.
"There's a Beast" (Score)
Menken
2:02

13.
"A Petal Drops" (Score)
Menken
1:02

14.
"A Bracing Cup of Tea" (Score)
Menken
2:06

15.
"The West Wing" (Score)
Menken
2:58

16.
"Wolves Attack Belle" (Score)
Menken
3:17

17.
"The Library" (Score)
Menken
3:05

18.
"Colonnade Chat" (Score)
Menken
2:54

19.
"The Plague" (Score)
Menken
0:51

20.
"Maurice Accuses Gaston" (Score)
Menken
2:01

21.
"Beast Takes a Bath" (Score)
Menken
1:21

22.
"The Dress" (Score)
Menken
1:01

23.
"You Must Go to Him" (Score)
Menken
2:50

24.
"Belle Stops the Wagon" (Score)
Menken
2:42

25.
"Castle Under Attack" (Score)
Menken
4:20

26.
"Turret Pursuit" (Score)
Menken
2:12

27.
"You Came Back" (Score)
Menken
5:13

28.
"Transformations" (Score)
Menken
4:06

Total length:
68:34

text: The Spotify version of the album instead opens with Celine Dion's "How Does a Moment Last Forever", followed by Ariana Grande and John Legend's "Beauty and the Beast", and Josh Groban's "Evermore", with the rest of the songs in the same order.

tag: ul

text: Commercial performance[edit]

text: The album debuted at No. 3 on the Billboard 200 chart with 57,000 units, 48,000 of which are traditional album sales.[3] It has sold 337,000 copies in the United States as of July 2017.[4]

text: Charts[edit]

text:
Chart (2017)
Peak
position

Australian Albums (ARIA)[5]
4

Austrian Albums (Ö3 Austria)[6]
10

Belgian Albums (Ultratop Flanders)[7]
5

Belgian Albums (Ultratop Wallonia)[8]
26

Canadian Albums (Billboard)[9]
7

Danish Albums (Hitlisten)[10]
32

Dutch Albums (MegaCharts)[11]
44

Finnish Albums (Suomen virallinen lista)[12]
23

Irish Albums (IRMA)[13]
8

Mexican Albums (AMPROFON)[14]
(Spanish version)
11

New Zealand Albums (RMNZ)[15]
7

Norwegian Albums (VG-lista)[16]
12

Polish Albums (ZPAV)[17]
46

Scottish Albums (OCC)[18]
6

South Korean Albums (Gaon)[19]
34

South Korean Albums International (Gaon)[20]
1

Spanish Albums (PROMUSICAE)[21]
60

Swiss Albums (Schweizer Hitparade)[22]
19

UK Albums (OCC)[23]
8

UK Soundtrack Albums (OCC)[24]
1

US Billboard 200[25]
3

US Soundtrack Albums (Billboard)[26]
1

text: Certifications[edit]

text:
Region
Certification
Certified units/Sales

United Kingdom (BPI)[27]
Silver
60,000^

*sales figures based on certification alone
^shipments figures based on certification alone


document_title: Batman (1966 film)

question_text: who played the riddler in the original batman movie

text: Batman (1966 film)

text: Plot[edit]

text: When Batman and Robin get a tip that Commodore Schmidlapp is in danger aboard his yacht, they launch a rescue mission using the Batcopter. As Batman descends on the bat-ladder to land on the yacht, it suddenly vanishes beneath him. He rises out of the sea with a shark attacking his leg. After Batman dislodges it with bat-shark repellent, the shark explodes. Batman and Robin head back to Commissioner Gordon's office, where they deduce that the tip was a set-up by the United Underworld, a gathering of four of the most powerful villains in Gotham City: The Joker, The Penguin, The Riddler, and Catwoman.

text: The United Underworld equip themselves with a dehydrator that can turn humans into dust (an invention of Schmidlapp, who is unaware that he has been kidnapped), a submarine made to resemble a penguin, and their three pirate henchmen (Bluebeard, Morgan and Quetch). It is revealed the yacht was really a projection. When Batman and Robin return to a buoy concealing a projector, they are trapped on the buoy by a magnet and targeted by torpedoes. They use a radio-detonator to destroy two of the missiles, and a porpoise sacrifices itself to intercept the last one. Catwoman, disguised as Soviet journalist "Miss Kitka", helps the group kidnap Bruce Wayne and pretends to be kidnapped with him, as part of a plot to lure Batman and finish him off with another of the Penguin's explosive animals (not knowing that Bruce Wayne is Batman's alter-ego). After Bruce Wayne escapes captivity, the Penguin disguises himself as the Commodore and schemes his way into the Batcave along with five dehydrated henchmen. This plan fails when the henchmen unexpectedly disappear into antimatter once struck: The Penguin mistakenly rehydrated them with heavy water, used to recharge the Batcave's atomic pile.

text: Ultimately, Batman and Robin are unable to prevent the kidnapping of the dehydrated United World Organization's Security Council. Giving chase in the batboat to retrieve them (and Miss Kitka, presumed by the duo as still captive), Robin uses a sonic charge weapon to disable The Penguin's submarine and force it to surface, where a fist fight ensues. Although Batman and Robin win the fight, Batman is heartbroken to find out that his "true love" Miss Kitka is actually Catwoman when her mask falls off. Commodore Schmidlapp accidentally breaks the vials containing the powdered Council members, mixing them together.

text: Batman sets to work, constructing an elaborate filter to separate the mingled dust. Robin asks him whether it might be in the world's best interests for them to alter the dust samples, so that humans can no longer harm one another. In response, Batman says that they cannot do so, reminding Robin of the fate of the Penguin's henchmen and their tainted rehydration, and can only hope for people in general to learn to live together peacefully on their own.

text: With the world watching, the Security Council is re-hydrated. All of the members are restored alive and well, but continue to squabble amongst themselves, totally oblivious of their surroundings, but each of them now speaks the language and displays the stereotypical mannerisms of a nation other than their own. Batman quietly expresses his sincere hope to Robin that this "mixing of minds" does more good than it does harm. The duo quietly leave United World Headquarters by climbing out of the window and descending on their batropes.

text: Cast[edit]

text:
Adam West as Bruce Wayne / Batman
Burt Ward as Dick Grayson / Robin
Lee Meriwether as Catwoman (Miss Kitka)
Cesar Romero as The Joker
Burgess Meredith as The Penguin
Frank Gorshin as The Riddler
Alan Napier as Alfred Pennyworth
Neil Hamilton as Commissioner James Gordon
Stafford Repp as Chief Miles O'Hara
Madge Blake as Aunt Harriet Cooper
Reginald Denny as Commodore Schmidlapp
Milton Frome as Vice Admiral Fangschleister
Gil Perkins as Bluebeard
Dick Crockett as Morgan
George Sawaya as Quetch
Van Williams (uncredited voice) as President Lyndon B. Johnson[4]

text: The film includes most members of the original TV cast: the actors for Batman, Robin, Alfred, Gordon, O'Hara, Aunt Harriet, the Joker, the Penguin, and the Riddler all reprised their roles. Though Julie Newmar had at this point played Catwoman in two episodes of season one in the TV series, she had other commitments at that time[5] and was replaced by Lee Meriwether in the film. According to the Biography special Catwoman: Her Many Lives, aired on July 20, 2004, it was stated that Newmar was unable to reprise her role due to a reported back injury. Catwoman was nonetheless played by Newmar once again in the following eleven episodes of season two of the series; Eartha Kitt would then play Catwoman in three episodes of season three.

text: In his autobiography, Adam West writes of his asking for more money to do the film and that the producers countered with the fact that another actor would be hired. Batman was Denny's final film appearance. Jack LaLanne has a cameo as a man on a rooftop with bikini-clad women.[6]

text: Production[edit]

text: William Dozier wanted to make a big-screen film to generate interest in his proposed Batman TV series by having the feature in theaters while the first season of the series was rolling before the cameras. The studio, 20th Century Fox, refused because it would have to cover the entire cost of a movie, while it would only have to share the cost of a TV series (a much less risky proposition).[7]

text: The film features many characters from the show. It was written by series writer Lorenzo Semple, Jr. and directed by Leslie H. Martinson.[8] Martinson had directed a pair of the television series season one episodes: "The Penguin Goes Straight" and "Not Yet, He Ain't".

text: Tone and themes[edit]

text: Even though it is often described (like many contemporary shows) as a parody of a popular comic-book character, some commentators believe that its comedy is not so tightly confined. They felt the film's depiction of the Caped Crusader "captured the feel of the contemporary comics perfectly".[9] The film was, they remind us, made at a time when "the Batman of the Golden Age comics was already essentially neutered."[10]

text: Certain elements verge into direct parody of the history of Batman. The movie, like the TV series, is strongly influenced by the comparatively obscure 1940s serials of Batman, such as the escapes done almost out of luck.[10] The penchant for giving devices a "Bat-" prefix and the dramatic use of stylized title cards during fight scenes acknowledge some of the conventions that the character had accumulated in various media. However, the majority of Batman's campier moments can be read as a broader parody on contemporary mid-1960s culture in general.[11]

text: Furthermore, the movie represented Batman's first major foray into Cold War issues paying heavy attention to Polaris Missiles, war surplus submarines and taking a poke at the Pentagon. The inclusion of a glory-hunting presidential character and the unfavorable portrayal of Security Council Members marked Batman's first attempts to poke fun at domestic and international politics.[12]

text: Vehicles[edit]

text: Besides the Batmobile, other vehicles used by The Dynamic Duo include:

text:
Batcycle with side car
Batboat, provided by Glastron
Batcopter

text: Of the three new Batvehicles which first appeared in the Batman film, only the Batcycle properly crossed over into the TV series as the budgetary limits of the TV series precluded the full use of the others. While the Batcopter and Batboat from the movie appeared briefly in episodes (including a use of the Batboat in the conclusion of the first post-film two-parter: "Walk the Straight and Narrow"), they primarily did so in the form of stock-footage scenes from the film intercut into the series.

text: Soundtrack[edit]

text: Nelson Riddle's original score to Batman the Movie was released in 2010 by La-La Land Records and Fox Music.  The album contains the entire score as heard in the film in chronological order as well as an unreleased cue.  This limited edition includes a lavishly illustrated color booklet which features exclusive liner notes by Brian Baterwhite. This Limited Edition was of 2000 units.[13]

text: It was newly re-issued in 2016.  While the program and master of this release is identical to the 2010 release, this reissue features all-new exclusive liner notes by John Takis and art design by Jim Titus. This new Limited Edition is of 2500 units.[14]

text: Release[edit]

text: Batman premiered at the Paramount Theatre in Austin, Texas on July 30, 1966 (between the first and second seasons of the TV series); it was moderately successful at the box office. The Batboat featured in the film was created by Austin-based company Glastron, whose payment was in having the film premiere in their hometown. In conjunction with the premiere, Jean Boone of Austin CBS affiliate station KTBC interviewed the film's cast, including Lee Meriwether, Cesar Romero, and Adam West.[15]

text: ABC, the network which previously aired the Batman television series, first broadcast the film on the July 4, 1971 edition of The ABC Sunday Night Movie; the film was quickly rebroadcast on ABC September 4 of that year. The film debuted on home video via formats VHS and Betamax release in 1985 by Playhouse Video, in 1989 by CBS/Fox Video, and in 1994 by Fox Video. The film was released on DVD in 2001, and  re-released July 1, 2008 on DVD and on Blu-ray.[16]

text: Reception[edit]

text: The film has received generally positive reviews over the years. On review aggregator website Rotten Tomatoes, the film has an 80% rating based on 30 reviews, with an average rating of 6.2/10. The site's consensus states: "Batman: The Movie elevates camp to an art form—and has a blast doing it, every gloriously tongue-in-cheek inch of the way."[17] Bill Gibron of Filmcritic.com gave the film 3 out of 5 stars: "Unlike other attempts at bringing these characters to life...the TV cast really captures the inherent insanity of the roles."[18] Variety magazine stated on their review that "the intense innocent enthusiasm of Cesar Romero, Burgess Meredith and Frank Gorshin as the three criminals is balanced against the innocent calm of Adam West and Burt Ward, Batman and Robin respectively."[19]


document_title: Louisiana Purchase

question_text: who was the leader of france when the us purchased the louisiana territory

text: Louisiana Purchase

text: Background

text: Throughout the second half of the 18th century, Louisiana was a pawn on the chessboard of European politics.[2] It was controlled by the French, who had a few small settlements along the Mississippi and other main rivers. Following French defeat in the Seven Years' War, Spain gained control of the territory west of the Mississippi and the British the territory to the east of the river.[3]

text: Following the establishment of the United States, the Americans controlled the area east of the Mississippi and north of New Orleans. The main issue for the Americans was free transit of the Mississippi to the sea. As the lands were being gradually settled by a few American migrants, many Americans, including Jefferson, assumed that the territory would be acquired "piece by piece." The risk of another power taking it from a weakened Spain made a "profound reconsideration" of this policy necessary.[2] New Orleans was already important for shipping agricultural goods to and from the areas of the United States west of the Appalachian Mountains. Pinckney's Treaty, signed with Spain on October 27, 1795, gave American merchants "right of deposit" in New Orleans, granting them use of the port to store goods for export. Americans used this right to transport products such as flour, tobacco, pork, bacon, lard, feathers, cider, butter, and cheese. The treaty also recognized American rights to navigate the entire Mississippi, which had become vital to the growing trade of the western territories.[3]

text: In 1798, Spain revoked the treaty allowing American use of New Orleans, greatly upsetting Americans. In 1801, Spanish Governor Don Juan Manuel de Salcedo took over from the Marquess of Casa Calvo, and restored the American right to deposit goods. However, in 1800 Spain had ceded the Louisiana territory back to France as part of Napoleon's secret Third Treaty of San Ildefonso. The territory nominally remained under Spanish control, until a transfer of power to France on 30 November 1803, just three weeks before the formal cession of the territory to the United States on 20 December 1803.[4] A further ceremony was held in St. Louis a few months later partially due to winter conditions impeding the arrival of news, Upper Louisiana, regarding the New Orleans formalities. The 9-10 March 1804 event is remembered as Three Flags Day.

text: James Monroe and Robert R. Livingston had traveled to Paris to negotiate the purchase of New Orleans in January 1803. Their instructions were to negotiate or purchase control of New Orleans and its environs; they did not anticipate the much larger acquisition which would follow.

text: The Louisiana Purchase was by far the largest territorial gain in U.S. history. Stretching from the Mississippi River to the Rocky Mountains, the purchase doubled the size of the United States. Before 1803, Louisiana had been under Spanish control for forty years. Although Spain aided the rebels in the American Revolutionary War, the Spanish didn't want the Americans to settle in their territory.[5]

text: Although the purchase was thought of by some as unjust and unconstitutional, Jefferson determined that his constitutional power to negotiate treaties allowed the purchase of what became fifteen states. In hindsight, the Louisiana Purchase could be considered one of his greatest contributions to the United States.[6] On April 18, 1802, Jefferson penned a letter to United States Ambassador to France Robert Livingston. It was an intentional exhortation to make this supposedly mild diplomat strongly warn the French of their perilous course. The letter began:

text: The cession of Louisiana and the Floridas by Spain to France works most sorely on the U.S. On this subject the Secretary of State has written to you fully. Yet I cannot forbear recurring to it personally, so deep is the impression it makes in my mind. It completely reverses all the political relations of the U.S. and will form a new epoch in our political course. Of all nations of any consideration France is the one which hitherto has offered the fewest points on which we could have any conflict of right, and the most points of a communion of interests. From these causes we have ever looked to her as our natural friend, as one with which we never could have an occasion of difference. Her growth therefore we viewed as our own, her misfortunes ours. There is on the globe one single spot, the possessor of which is our natural and habitual enemy. It is New Orleans, through which the produce of three-eighths of our territory must pass to market, and from its fertility it will ere long yield more than half of our whole produce and contain more than half our inhabitants. France placing herself in that door assumes to us the attitude of defiance. Spain might have retained it quietly for years. Her pacific dispositions, her feeble state, would induce her to increase our facilities there, so that her possession of the place would be hardly felt by us, and it would not perhaps be very long before some circumstance might arise which might make the cession of it to us the price of something of more worth to her. Not so can it ever be in the hands of France. The impetuosity of her temper, the energy and restlessness of her character, placed in a point of eternal friction with us...

text: Jefferson's letter went on with the same heat to a much quoted passage about "the day that France takes possession of New Orleans." Not only did he say that day would be a low point in France's history, for it would seal America's marriage with the British fleet and nation, but he added, astonishingly, that it would start a massive shipbuilding program.[7]

text: Negotiation

text: While the transfer of the territory by Spain back to France in 1800 went largely unnoticed, fear of an eventual French invasion spread nationwide when, in 1801, Napoleon sent a military force to secure New Orleans. Southerners feared that Napoleon would free all the slaves in Louisiana, which could trigger slave uprisings elsewhere.[8] Though Jefferson urged moderation, Federalists sought to use this against Jefferson and called for hostilities against France. Undercutting them, Jefferson took up the banner and threatened an alliance with the United Kingdom, although relations were uneasy in that direction.[8] In 1801 Jefferson supported France in its plan to take back Saint-Domingue (present-day Haiti), then under control of Toussaint Louverture after a slave rebellion.

text: Jefferson sent Livingston to Paris in 1801[9] after discovering the transfer of Louisiana from Spain to France under the Third Treaty of San Ildefonso. Livingston was authorized to purchase New Orleans.

text: In January 1802, France sent General Charles Leclerc to Saint-Domingue (present-day Haiti) to re-establish slavery, which had been abolished by the constitution of the French Republic of 1795, as well as to reduce the rights of free people of color and take back control of the island from Toussaint Louverture. Louverture had fended off invasions of St. Domingue by the Spanish and British empires, but had also begun to consolidate power for himself on the island. Before the Revolution, France had derived enormous wealth from St. Domingue at the cost of the lives and freedom of the slaves. Napoleon wanted its revenues and productivity for France restored. Alarmed over the French actions and its intention to re-establish an empire in North America, Jefferson declared neutrality in relation to the Caribbean, refusing credit and other assistance to the French, but allowing war contraband to get through to the rebels to prevent France from regaining a foothold.[10]

text: In November 1803, France withdrew its 7,000 surviving troops from Saint-Domingue (more than two-thirds of its troops died there) and gave up its ambitions in the Western Hemisphere.[11] In 1804 Haiti declared its independence; but, fearing a slave revolt at home, Jefferson and Congress refused to recognize the new republic, the second in the Western Hemisphere, and imposed a trade embargo against it. This, together with later claims by France to reconquer Haiti, encouraged by UK, made it more difficult for Haiti to recover after ten years of wars.[12]

text: In 1803, Pierre Samuel du Pont de Nemours, a French nobleman, began to help negotiate with France at the request of Jefferson. Du Pont was living in the United States at the time and had close ties to Jefferson as well as the prominent politicians in France. He engaged in back-channel diplomacy with Napoleon on Jefferson's behalf during a visit to France and originated the idea of the much larger Louisiana Purchase as a way to defuse potential conflict between the United States and Napoleon over North America.[13]

text: Jefferson disliked the idea of purchasing Louisiana from France, as that could imply that France had a right to be in Louisiana. Jefferson had concerns that a U.S. president did not have the constitutional authority to make such a deal. He also thought that to do so would erode states' rights by increasing federal executive power. On the other hand, he was aware of the potential threat that France could be in that region and was prepared to go to war to prevent a strong French presence there.[citation needed]

text: Throughout this time, Jefferson had up-to-date intelligence on Napoleon's military activities and intentions in North America. Part of his evolving strategy involved giving du Pont some information that was withheld from Livingston. He also gave intentionally conflicting instructions to the two.[citation needed] Desperate to avoid possible war with France, Jefferson sent James Monroe to Paris in 1803 to negotiate a settlement, with instructions to go to London to negotiate an alliance if the talks in Paris failed. Spain procrastinated until late 1802 in executing the treaty to transfer Louisiana to France, which allowed American hostility to build. Also, Spain's refusal to cede Florida to France meant that Louisiana would be indefensible. Monroe had been formally expelled from France on his last diplomatic mission, and the choice to send him again conveyed a sense of seriousness.

text: Napoleon needed peace with the UK to implement the Treaty of San Ildefonso and take possession of Louisiana. Otherwise, Louisiana would be an easy prey for the UK or even for the United States. But in early 1803, continuing war between France and the UK seemed unavoidable. On March 11, 1803, Napoleon began preparing to invade the UK.

text: As Napoleon had failed to re-enslave the emancipated population of Haiti, he abandoned his plans to rebuild France's New World empire. Without sufficient revenues from sugar colonies in the Caribbean, Louisiana had little value to him. Spain had not yet completed the transfer of Louisiana to France, and war between France and the UK was imminent. Out of anger towards Spain and the unique opportunity to sell something that was useless and not truly his yet, Napoleon decided to sell the entire territory.[14]

text: Although the foreign minister Talleyrand opposed the plan, on April 10, 1803, Napoleon told the Treasury Minister François de Barbé-Marbois that he was considering selling the entire Louisiana Territory to the United States. On April 11, 1803, just days before Monroe's arrival, Barbé-Marbois offered Livingston all of Louisiana for $15 million, equivalent to about $233 million in 2011 dollars[15] which averages to less than three cents per acre.[16][17]

text: The American representatives were prepared to pay up to $10 million for New Orleans and its environs, but were dumbfounded when the vastly larger territory was offered for $15 million. Jefferson had authorized Livingston only to purchase New Orleans. However, Livingston was certain that the United States would accept the offer.[18]

text: The Americans thought that Napoleon might withdraw the offer at any time, preventing the United States from acquiring New Orleans, so they agreed and signed the Louisiana Purchase Treaty on April 30, 1803. On July 4, 1803, the treaty reached Washington, D.C.. The Louisiana Territory was vast, stretching from the Gulf of Mexico in the south to Rupert's Land in the north, and from the Mississippi River in the east to the Rocky Mountains in the west. Acquiring the territory would double the size of the United States, at a sum of less than 3 cents per acre.

text: Domestic opposition and constitutionality

text: Henry Adams and other historians have argued that Jefferson acted hypocritically with the Louisiana Purchase, due to his position as a strict constructionist regarding the Constitution since he stretched the intent of that document to justify his purchase.[19] This argument goes as follows:

text: The American purchase of the Louisiana territory was not accomplished without domestic opposition. Jefferson's philosophical consistency was in question because of his strict interpretation of the Constitution. Many people believed that he and others, including James Madison, were doing something they surely would have argued against with Alexander Hamilton. The Federalists strongly opposed the purchase, favoring close relations with Britain over closer ties to Napoleon, and were concerned that the United States had paid a large sum of money just to declare war on Spain.[citation needed]

text: Both Federalists and Jeffersonians were concerned over the purchase's constitutionality. Many members of the House of Representatives opposed the purchase. Majority Leader John Randolph led the opposition. The House called for a vote to deny the request for the purchase, but it failed by two votes, 59–57. The Federalists even tried to prove the land belonged to Spain, not France, but available records proved otherwise.[20]

text: The Federalists also feared that the power of the Atlantic seaboard states would be threatened by the new citizens in the West, whose political and economic priorities were bound to conflict with those of the merchants and bankers of New England. There was also concern that an increase in the number of slave-holding states created out of the new territory would exacerbate divisions between North and South as well. A group of Northern Federalists led by Senator Timothy Pickering of Massachusetts went so far as to explore the idea of a separate northern confederacy.

text: Another concern was whether it was proper to grant citizenship to the French, Spanish, and free black people living in New Orleans, as the treaty would dictate. Critics in Congress worried whether these "foreigners", unacquainted with democracy, could or should become citizens.[21]

text: Spain protested the transfer on two grounds: First, France had previously promised in a note not to alienate Louisiana to a third party and second, France had not fulfilled the Third Treaty of San Ildefonso by having the King of Etruria recognized by all European powers. The French government replied that these objections were baseless since the promise not to alienate Louisiana was not in the treaty of San Ildefonso itself and therefore had no legal force, and the Spanish government had ordered Louisiana to be transferred in October 1802 despite knowing for months that Britain had not recognized the King of Etruria in the Treaty of Amiens.[22]

text: Henry Adams claimed "The sale of Louisiana to the United States was trebly invalid; if it were French property, Bonaparte could not constitutionally alienate it without the consent of the French Chambers; if it were Spanish property, he could not alienate it at all; if Spain had a right of reclamation, his sale was worthless."[23] The sale of course was not "worthless"—the U.S. actually did take possession. Furthermore, the Spanish prime minister had authorized the U.S. to negotiate with the French government "the acquisition of territories which may suit their interests." Spain turned the territory over to France in a ceremony in New Orleans on November 30, a month before France turned it over to American officials.[24]

text: Other historians counter the above arguments regarding Jefferson's alleged hypocrisy as follows:

text: Countries change their borders in two ways: (1) conquest, or (2) an agreement between nations, otherwise known as a treaty. The Louisiana Purchase was the latter, a treaty. The Constitution specifically grants the president the power to negotiate treaties (Art. II, Sec. 2), which is just what Jefferson did.[25]

text: Jefferson's Secretary of State, James Madison (the "Father of the Constitution"), assured Jefferson that the Louisiana Purchase was well within even the strictest interpretation of the Constitution. Treasury Secretary Albert Gallatin added that since the power to negotiate treaties was specifically granted to the president, the only way extending the country's territory by treaty could not be a presidential power would be if it were specifically excluded by the Constitution (which it was not). Jefferson, as a strict constructionist, was right to be concerned about staying within the bounds of the Constitution, but felt the power of these arguments and was willing to "acquiesce with satisfaction" if the Congress approved the treaty.[26]

text: The Senate quickly ratified the treaty, and the House, with equal alacrity, authorized the required funding, as the Constitution specifies.[27][28]

text: The opposition of New England Federalists to the Louisiana Purchase was primarily economic self-interest, not any legitimate concern over constitutionality or whether France indeed owned Louisiana or was required to sell it back to Spain should it desire to dispose of the territory. The Northerners were not enthusiastic about Western farmers gaining another outlet for their crops that did not require the use of New England ports. Also, many Federalists were speculators in lands in upstate New York and New England and were hoping to sell these lands to farmers, who might go west instead, if the Louisiana Purchase went through. They also feared that this would lead to Western states being formed, which would likely be Republican, and dilute the political power of New England Federalists.[27][29]

text: When Spain later objected to the United States purchasing Louisiana from France, Madison responded that America had first approached Spain about purchasing the property, but had been told by Spain itself that America would have to treat with France for the territory.[30]

text: Treaty signing

text: The Louisiana Purchase Treaty was signed on 30 April by Robert Livingston, James Monroe, and Barbé Marbois in Paris. Jefferson announced the treaty to the American people on July 4. After the signing of the Louisiana Purchase agreement in 1803, Livingston made this famous statement, "We have lived long, but this is the noblest work of our whole lives...From this day the United States take their place among the powers of the first rank."[31]

text: The United States Senate ratified the treaty with a vote of twenty-four to seven on October 20. The Senators who voted against the treaty were: Simeon Olcott and William Plumer of New Hampshire, William Wells and Samuel White of Delaware, James Hillhouse and Uriah Tracy of Connecticut, and Timothy Pickering of Massachusetts.

text: On the following day, October 21, 1803, the Senate authorized Jefferson to take possession of the territory and establish a temporary military government. In legislation enacted on October 31, Congress made temporary provisions for local civil government to continue as it had under French and Spanish rule and authorized the President to use military forces to maintain order. Plans were also set forth for several missions to explore and chart the territory, the most famous being the Lewis and Clark Expedition.

text: Formal transfers and initial organization

text: France turned over New Orleans, the historic colonial capital, on December 20, 1803, at the Cabildo, with a flag-raising ceremony in the Plaza de Armas, now Jackson Square. Just three weeks earlier, on November 30, 1803, Spanish officials had formally conveyed the colonial lands and their administration to France.

text: On March 9 and 10, 1804, another ceremony, commemorated as Three Flags Day, was conducted in St. Louis, to transfer ownership of Upper Louisiana from Spain to the French First Republic, and then from France to the United States. From March 10 to September 30, 1804, Upper Louisiana was supervised as a military district, under Commandant Amos Stoddard.

text: Effective October 1, 1804, the purchased territory was organized into the Territory of Orleans (most of which would become the state of Louisiana) and the District of Louisiana, which was temporarily under control of the governor and judicial system of the Indiana Territory. The following year, the District of Louisiana was renamed the Territory of Louisiana, aka Louisiana Territory (1805–1812).

text: New Orleans was the administrative capital of the Orleans Territory, and St. Louis was the capital of the Louisiana Territory.

text: Boundaries

text: A dispute soon arose between Spain and the United States regarding the extent of Louisiana. The territory's boundaries had not been defined in the 1762 Treaty of Fontainebleau that ceded it from France to Spain, nor in the 1801 Third Treaty of San Ildefonso ceding it back to France, nor the 1803 Louisiana Purchase agreement ceding it to the United States.[32]

text: The United States claimed Louisiana included the entire western portion of the Mississippi River drainage basin to the crest of the Rocky Mountains and land extending southeast to the Rio Grande and West Florida.[33] Spain insisted that Louisiana comprised no more than the western bank of the Mississippi River and the cities of New Orleans and St. Louis.[34] The dispute was ultimately resolved by the Adams–Onís Treaty of 1819, with the United States gaining most of what it had claimed in the west.

text: The relatively narrow Louisiana of New Spain had been a special province under the jurisdiction of the Captaincy General of Cuba while the vast region to the west was in 1803 still considered part of the Commandancy General of the Provincias Internas. Louisiana had never been considered one of New Spain's internal provinces.[35]

text: If the territory included all the tributaries of the Mississippi on its western bank, the northern reaches of the Purchase extended into the equally ill-defined British possession—Rupert's Land of British North America, now part of Canada. The Purchase originally extended just beyond the 50th parallel. However, the territory north of the 49th parallel (including the Milk River and Poplar River watersheds) was ceded to the UK in exchange for parts of the Red River Basin south of 49th parallel in the Anglo-American Convention of 1818.

text: The eastern boundary of the Louisiana purchase was the Mississippi River, from its source to the 31st parallel, though the source of the Mississippi was, at the time, unknown. The eastern boundary below the 31st parallel was unclear. The U.S. claimed the land as far as the Perdido River, and Spain claimed that the border of its Florida Colony remained the Mississippi River. In early 1804, Congress passed the Mobile Act, which recognized West Florida as part of the United States. The Adams–Onís Treaty with Spain (1819) resolved the issue upon ratification in 1821. Today, the 31st parallel is the northern boundary of the western half of the Florida Panhandle, and the Perdido is the western boundary of Florida.

text: Because the western boundary was contested at the time of the Purchase, President Jefferson immediately began to organize three missions to explore and map the new territory. All three started from the Mississippi River. The Lewis and Clark Expedition (1804) traveled up the Missouri River; the Red River Expedition (1806) explored the Red River basin; the Pike Expedition (1806) also started up the Missouri, but turned south to explore the Arkansas River watershed. The maps and journals of the explorers helped to define the boundaries during the negotiations leading to the Adams–Onís Treaty, which set the western boundary as follows: north up the Sabine River from the Gulf of Mexico to its intersection with the 32nd parallel, due north to the Red River, up the Red River to the 100th meridian, north to the Arkansas River, up the Arkansas River to its headwaters, due north to the 42nd parallel and due west to its previous boundary.

text: Slavery

text: Governing the Louisiana Territory was more difficult than acquiring it. Its European peoples, of ethnic French, Spanish and Mexican descent, were largely Catholic; in addition, there was a large population of enslaved Africans made up of a high proportion of recent arrivals, as Spain had continued the international slave trade. This was particularly true in the area of the present-day state of Louisiana, which also contained a large number of free people of color. Both present-day Arkansas and Missouri already had some slaveholders in the early 19th century.

text: During this period, south Louisiana received an influx of French-speaking refugee planters, who were permitted to bring their slaves with them, and other refugees fleeing the large slave revolt in Saint-Domingue, today's Haiti. Many Southern slaveholders feared that acquisition of the new territory might inspire American-held slaves to follow the example of those in Saint-Domingue and revolt. They wanted the US government to establish laws allowing slavery in the newly acquired territory so they could be supported in taking their slaves there to undertake new agricultural enterprises, as well as to reduce the threat of future slave rebellions.[36]

text: The Louisiana Territory was broken into smaller portions for administration, and the territories passed slavery laws similar to those in the southern states but incorporating provisions from the preceding French and Spanish rule (for instance, Spain had prohibited slavery of Native Americans in 1769, but some slaves of mixed African-Native American descent were still being held in St. Louis in Upper Louisiana when the U.S. took over).[37] In a freedom suit that went from Missouri to the US Supreme Court, slavery of Native Americans was finally ended in 1836.[37] The institutionalization of slavery under U.S. law in the Louisiana Territory contributed to the American Civil War a half century later.[36] As states organized within the territory, the status of slavery in each state became a matter of contention in Congress, as southern states wanted slavery extended to the west, and northern states just as strongly opposed new states being admitted as "slave states."

text: The Missouri Compromise of 1820 was a temporary solution.

text: Asserting U.S. possession

text: After the early explorations, the U.S. government sought to establish control of the region, since trade along the Mississippi and Missouri rivers was still dominated by British and French traders from Canada and allied Indians, especially the Sauk and Fox. The U.S. adapted the former Spanish facility at Fort Bellefontaine as a fur trading post near St. Louis in 1804 for business with the Sauk and Fox.[38] In 1808 two military forts with trading factories were built, Fort Osage along the Missouri River in western present-day Missouri and Fort Madison along the Upper Mississippi River in eastern present-day Iowa.[39] With tensions increasing with Great Britain, in 1809 Fort Bellefontaine was converted to a U.S. military fort, and was used for that purpose until 1826.

text: During the War of 1812, Great Britain and allied Indians defeated U.S. forces in the Upper Mississippi; the U.S. abandoned Forts Osage and Madison, as well as several other U.S. forts built during the war, including Fort Johnson and Fort Shelby. After U.S. ownership of the region was confirmed in the Treaty of Ghent (1814), the U.S. built or expanded forts along the Mississippi and Missouri rivers, including adding to Fort Bellefontaine, and constructing Fort Armstrong (1816) and Fort Edwards (1816) in Illinois, Fort Crawford (1816) in Prairie du Chien Wisconsin, Fort Snelling (1819) in Minnesota, and Fort Atkinson (1819) in Nebraska.[39]

text: Financing

text: The American government used $3 million in gold as a down payment, and issued bonds for the balance to pay France for the purchase. Earlier that year, Francis Baring and Company of London had become the U.S. government's official banking agent in London. Because of this favored position, the U.S. asked the Baring firm to handle the transaction. Francis Baring's son Alexander was in Paris at the time and helped in the negotiations.[40] Another Baring advantage was a close relationship with Hope and Company of Amsterdam. The two banking houses worked together to facilitate and underwrite the Purchase.

text: Because Napoleon wanted to receive his money as quickly as possible, the two firms received the American bonds and shipped the gold to France.[40] Napoleon used the money to finance his planned invasion of England, which never took place.[41]


document_title: A Christmas Story

question_text: who are the neighbors in a christmas story

text: A Christmas Story

text: Plot[edit]

text: The film is presented in a series of vignettes, with narration provided by the adult Ralphie Parker reminiscing on one particular Christmas when he was nine years old. Ralphie wanted only one thing for that Christmas: a Red Ryder Carbine Action 200-shot Range Model air rifle. Ralphie's desire is rejected by his mother, his teacher Miss Shields, and even a Santa Claus at Higbee's department store, all giving him the same warning: "You'll shoot your eye out."

text: Christmas morning arrives and Ralphie dives into his presents. Although he does receive some presents he enjoys, Ralphie ultimately is disappointed that he did not receive the one thing he wanted more than anything. After it appears all of the presents have been opened, Ralphie's father, "The Old Man," directs Ralphie to look at one last present that he had hidden. Ralphie opens it to reveal the Red Ryder gun he wanted.

text: Ralphie takes the gun outside and fires it at a target perched on a metal sign in the backyard. However, the BB ricochets back at Ralphie and knocks his glasses off. While searching for them, thinking he has indeed shot his eye out, Ralphie accidentally steps on his glasses and breaks them. He lies to his mother that a falling icicle broke his glasses, and she believes him.

text: Ralphie is in bed on Christmas night with his gun by his side. The adult Ralphie narrates that this was the best present he had ever received or would ever receive.

text: Other vignettes:

text:
The Old Man wins a "major award" in a contest, which turns out to be a lamp in the shape of a woman's leg wearing a fishnet stocking, which was derived from the logo for Nehi (pronounced "knee-high") pop, a popular soft drink of the period.[4] The Old Man is overjoyed by the lamp, but Mrs. Parker does not like it and a feud over it — referred to by adult Ralphie as "The Battle of the Lamp" — develops and results in the lamp's "accidental" destruction.[5]
The Old Man also fights a never-ending battle with the malfunctioning furnace in the Parker home. His frustrations cause him to swear quite often, including one profanity-laden rant that the adult Ralphie says "is still hanging in space over Lake Michigan."[6]
Still another source of frustration for The Old Man is the dogs that belong to the next door hillbilly neighbors, the Bumpuses. The Bumpuses own "at least 785 smelly hound dogs" that harass The Old Man whenever he comes home from work. On Christmas Day, the dogs ruin the family's dinner by romping through their kitchen and eating their turkey. This results in the family having Christmas dinner at a Chinese restaurant instead.[7]
Ralphie and his friends Flick and Schwartz are tormented by the neighborhood bullies Scut Farkus and Grover Dill. Ralphie eventually snaps and beats up Farkus.[8]
Flick accepts a dare from Schwartz to stick his tongue onto the school flagpole. His tongue freezes onto the pole, requiring assistance from the police and fire department to free him.
After getting a Christmas tree on the ride home, one of The Old Man's tires becomes flat, so he goes to fix it. Mrs. Parker encourages Ralphie to help. When Ralphie flips the tire he says, "Oh Fudge!" but he actually said the bad word. At home, Ralphie is given Lifebuoy soap in his mouth. His mother asks where he heard the word. He actually has heard from The Old Man every day but chickens out and says Schwartz. This leads to his mother calling Schwartz's mother on the phone. As a result, Schwartz's mother beats him and Ralphie is punitively sent to bed.
For homework, Ralphie and his class are assigned to write on what they want for Christmas. Ralphie knows what he is going to write about: The Red Ryder BB Gun. He imagines the ultimate A+, but gets a C+, with Miss Shields writing, "You'll shoot your eye out!" on the paper.
Ralphie, a fan of the Little Orphan Annie radio program, eagerly awaits the arrival of a decoder pin he has applied to receive. When it comes in the mail, he uses it to decode a secret message at the end of the day's broadcast, but is disappointed to find it is only an advertisement for Ovaltine, the show's sponsor.

text: Cast[edit]

text:
Peter Billingsley as Ralphie Parker
Jean Shepherd as adult Ralphie (voice)
Ian Petrella as Randy Parker
Melinda Dillon as Mrs. Parker
Darren McGavin as Mr. Parker (The Old Man)
Scott Schwartz as Flick
R. D. Robb as Schwartz
Zack Ward as Scut Farkus
Yano Anaya as Grover Dill
Tedde Moore as Miss Shields
Jeff Gillen as Santa Claus

text: Casting[edit]

text: The basis of the screenplay is a series of monologues written and performed by Jean Shepherd on radio. Shepherd wrote the screenplay adaptation with Bob Clark and Leigh Brown.[9] Several subplots are incorporated into the body of the film, based on other separate short stories by Shepherd. Shepherd provides the film's narration from the perspective of an adult Ralphie, a narrative style later used in the dramedy television series The Wonder Years. Shepherd, Brown and Clark all have cameo appearances in the film: Shepherd plays the man who directs Ralphie and Randy to the back of the Santa line at the department store; Brown – Shepherd's wife in real life – plays the woman in the Santa line with Shepherd; Clark plays Swede, the neighbor the Old Man talks to outside during the Leg Lamp scene.

text: In the DVD commentary, director Bob Clark mentions that Jack Nicholson was considered for the role of the Old Man; Clark expresses gratitude that he ended up with Darren McGavin instead, who later appeared in several other Clark films. He cast Melinda Dillon on the basis of her similar role in Close Encounters of the Third Kind. Some 8,000 actors auditioned for the role of Ralphie; "He walked in, and he had us from the beginning," Clark later recalled of Peter Billingsley who was already a successful actor in commercials[9] and from co-hosting the TV series Real People. Clark initially wanted him for the role of Ralphie, but decided he was "too obvious" a choice and auditioned many other young actors before realizing that Billingsley was the right choice after all.

text: Ian Petrella was cast immediately before filming began. Tedde Moore had previously appeared in Clark's film Murder by Decree and was the only onscreen character from A Christmas Story who was played by the same actor in the sequel, My Summer Story. Jeff Gillen was an old friend of Clark's who had been in one of his earliest films.[10] The schoolyard bully, Scut Farkus, was played by Zack Ward, now an actor, writer and director, who had actually been bullied himself while in elementary school. In 2017, he said he was surprised at the impact his role had had over the years. "I saw that I was ranked — as Christmas villains go — higher than the Grinch. That's amazing."[11]

text: Production[edit]

text: The screenplay for A Christmas Story is based on material from author Jean Shepherd's collection of short stories, In God We Trust, All Others Pay Cash.  Three of the semi-autobiographical short stories on which the film is based were originally published in Playboy magazine between 1964 and 1966.[12] Shepherd later read "Duel in the Snow, or Red Ryder nails the Cleveland Street Kid" and told the otherwise unpublished story "Flick's Tongue" on his WOR Radio talk show, as can be heard in one of the DVD extras.[13] Bob Clark states on the DVD commentary that he became interested in Shepherd's work when he heard "Flick's Tongue" on the radio in 1968. Additional source material for the film, according to Clark, came from unpublished anecdotes that Shepherd told live audiences "on the college circuit."[10]

text: Locations[edit]

text: The film is set in Hohman, Indiana, a fictionalized version of Shepherd's hometown of Hammond, named for Hohman Avenue, which runs through downtown Hammond.[14] Local references in the film include Warren G. Harding Elementary School and Cleveland Street (where Shepherd spent his childhood). Other local references include mention of a person "swallowing a yo-yo" in nearby Griffith,[15] the Old Man being one of the fiercest "furnace fighters in northern Indiana" and that his obscenities were "hanging in space over Lake Michigan," a mention of the Indianapolis 500, and the line to Santa Claus "stretching all the way to Terre Haute, Indiana." The Old Man is also revealed to be a fan of the Bears (whom he jokingly calls the "Chicago Chipmunks") and White Sox, consistent with living in northwest Indiana.

text: Director Bob Clark reportedly sent scouts to twenty cities before selecting Cleveland for exterior filming. Cleveland was chosen because of Higbee's Department Store in downtown Cleveland. (Since Higbee's was exclusive to northeast Ohio,[16] the department store referenced in Shepherd's book and the film is most likely Goldblatt's, located in downtown Hammond [with the Cam-Lan Chinese Restaurant three doors down on Sibley Ave].) Until they connected with Higbee's, location scouts had been unsuccessful in finding a department store that was willing to be part of the film. Higbee's vice president Bruce Campbell agreed to take part in the project on the condition he be allowed to edit the script for cursing. Ultimately, Higbee's was the stage for three scenes in the film:

text:
The opening scene in which Ralphie first spies the Red Ryder BB Gun in the store's Christmas window display. Higbee's was known for its elaborate, child-centered Christmas themes and decorations, with Santa as the centerpiece.
The parade scene, filmed just outside Higbee's on Public Square at 3 AM. The parade was filmed at night because during the daytime the 1960s Erieview Tower and Federal Building were visible from the Public Square, as was the BP Tower, which was under construction at the time.
Ralphie and Randy's visit to see Santa, which was filmed inside Higbee's. The store kept the Santa slide that was made for the film and used it for several years after the film's release.

text: Higbee's became Dillard's in 1992 and closed for good in 2002.[17]

text: In addition to the scenes involving Higbee's, the exterior shots (and select interior shots where Ralphie lived, including the opening of the leg lamp) of the house and neighborhood, were filmed in the Tremont section of Cleveland's West Side. The house used as the Parker home in these scenes has been restored, reconfigured inside to match the soundstage interiors, and opened to the public as "A Christmas Story House". Appropriately, the fictional boyhood home of Ralphie Parker is on Cleveland Street, the name of the actual street where Shepherd grew up.

text: However, Cleveland was only one of several locations used. The school scenes were shot at the Victoria School in St. Catharines, Ontario.[18] The Christmas tree-purchasing scene was filmed in Toronto, Ontario, as was the sound stage filming of interior shots of the Parker home.[19][20] The "...only I didn't say fudge" scene was filmed at the foot of Cherry Street in Toronto; several lake freighters are visible in the background spending the winter at Toronto's port, which lends authenticity to the time of year when the film was produced.

text: In 2008, two Canadian fans released a documentary that visits every location. Their film, Road Trip for Ralphie, was shot over two years and includes footage of the filmmakers saving Miss Shields' blackboard from the garbage bin on the day the old Victoria School was gutted for renovation, discovering the antique fire truck that saved Flick, locating all the original costumes from the film, and tracking down the real-life location of the film's Chop Suey Palace in Toronto.[21]

text: Red Ryder BB gun[edit]

text: The Red Ryder BB gun was available beginning in 1938 and remains available today, but never in the exact configuration mentioned in the film. The Daisy "Buck Jones" model did have a compass and a sundial in the stock, but these features were not included in the Red Ryder model.[22] The compass and sundial were placed on Ralphie's BB gun, but on the opposite side of the stock due to Peter Billingsley being left-handed.[23]

text: Dating the story[edit]

text: Director Bob Clark stated in the film's DVD commentary that both he and author Shepherd wished for the film to be seen as "amorphously late-'30s, early-'40s".[24] A specific year is never mentioned in the film; however, numerous sources including The New York Times and CBS News have dated the film variously at 1940 to the early 1940s.[25][26][27][28]

text: Soundtrack[edit]

text: This section is empty. You can help by adding to it. (September 2018)

text:
A Christmas StorySoundtrack album by Various artistsReleased
November 10, 2009Recorded
1983Genre
Instrumental, holidayLabel
Rhino Records

text: Professional ratingsReview scoresSourceRatingAllmusic[29]

text: Release and reception[edit]

text: Initially overlooked as a sleeper film,[30] A Christmas Story was released a week before Thanksgiving 1983 to moderate success, earning about $2 million in its first weekend.[31] Vincent Canby's mostly negative The New York Times review complained that "the movie's big comic pieces tend only to be exceedingly busy. Though Mr. Billingsley, Mr. Gavin, Miss Dillon and the actress who plays Ralphie's school teacher (Tedde Moore) are all very able, they are less funny than actors in a television situation comedy." [32]

text: Roger Ebert suggested the film had only modest success because holiday-themed films were not popular at the time but he praised the nostalgia of the movie, and the Santa scene, which is the "best visit to Santa I've ever seen".[33] In 2000, Ebert added the film to his list of Great Movies.[34] The film would go on to win two categories in the 5th Genie Awards, for Director Bob Clark and Best Original Screenplay for the work of Leigh Brown, Bob Clark and Jean Shepherd.[35]

text: By Christmas 1983 the film was no longer playing at most venues, but remained in about a hundred theaters until January 1984.[10] Gross earnings were just over $19.2 million.[31] In the years since, due to television airings and home video release, A Christmas Story has become widely popular and is now an annual Christmas special. The film was produced and released by Metro-Goldwyn-Mayer. The rights to the film were acquired by Turner Entertainment Co. after Ted Turner's purchase of MGM's pre-1986 film library. Subsequently, Time Warner purchased Turner Entertainment, and currently holds rights to the film.

text: Over the years, the film's critical reputation has grown considerably and it is considered by some to be one of the best films of 1983.[36] Based on 55 reviews on Rotten Tomatoes, the film has an overall approval rating from critics of 89%, with an average score of 8.5/10. The site's consensus reads: "Both warmly nostalgic and darkly humorous, A Christmas Story deserves its status as a holiday perennial."[37] On Metacritic, the film has a score of 77 out of 100, based on 8 critics, indicating "generally favorable reviews".[38] In his movie guide, Leonard Maltin awarded the film a rare[citation needed] four-star rating, calling the film "Delightful" and "Truly funny for kids and grown-ups alike" with "Wonderful period flavor."[39]

text: On December 24, 2007, AOL ranked the film their #1 Christmas film of all time.[40] IGN ranked the film the top holiday-themed film of all time.[41] In 2012, a Marist Poll named the film the favorite holiday film in the U.S.[42]

text: American Film Institute lists

text:
AFI's 100 Years...100 Laughs – Nominated[43]
AFI's 100 Years...100 Movie Quotes:
"You'll shoot your eye out." – Nominated[44]
AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated[45]

text: Broadcasting and home video release[edit]

text: Television[edit]

text: The film first aired on television on HBO in 1985, and quickly attracted a growing following. In the late 1980s and early 1990s, the film began airing quietly on SuperStation WTBS and Superstation WGN.[46] In 1988, then-fledgling Fox aired the film the night after Thanksgiving.[46] In 1989–1990, TBS showed it Thanksgiving night, while in 1991–1992, they aired it the night after.[46]

text: 24 Hours of A Christmas Story[edit]

text: Turner Broadcasting has maintained ownership of the broadcast rights, and since the mid-1990s, aired the film increasingly on TBS, TNT, and TCM. By 1995, it was aired on those networks a combined six times on December 24–26,[46] and in 1996, it was aired eight times over those three days.[46]

text: Due to the increasing popularity of the film, in 1997, TNT began airing a 24-hour marathon dubbed "24 Hours of A Christmas Story," consisting of the film shown twelve consecutive times beginning at 7 or 8 p.m. on Christmas Eve and ending Christmas Day.[46] This was in addition to various other airings earlier in the month of December. In 2004, after TNT switched to a predominantly drama format, sister network TBS, under its comedy-based "Very Funny" moniker, took over the marathon. Clark stated that, in 2002, an estimated 38.4 million people tuned into the marathon at one point or another, nearly one sixth of the country.[10] TBS reported 45.4 million viewers in 2005,[47] and 45.5 million in 2006.[48] In 2007, new all-time ratings records were set,[49] with the highest single showing (8 p.m. Christmas Eve) drawing 4.4 million viewers.[49] Viewership increased again in 2008, with 8 p.m. Christmas Eve drawing 4.5 million viewers, and 10 p.m. drawing 4.3 million,[50] and 54.4 million total.[51] As of 2009, the film had been shown 250 times on the Turner family of networks.[51]

text: In 2007, the marathon continued, and the original tradition was revived. TNT also aired the film twice the Sunday of Thanksgiving weekend (November 25). In 2009, the 24-hour marathon continued on TBS, for the 13th overall year, starting at 8 p.m. eastern on Christmas Eve.[52]

text: In 2009, the film aired on TBS during a 24-hour marathon on Christmas Eve. The first viewing at 8 p.m. Eastern on December 24 earned a 1.6 rating (18–49) and beat the major broadcast networks (NBC, ABC, CBS, and Fox).[53] In 2010, the marathon averaged 3 million viewers, up 2% from the previous year, ranking TBS as the top cable network for the 24-hour period. The 10 a.m. airing on December 25 was seen by 4.4 million viewers, and the 8 p.m. airing on December 24 was close behind with 4.3 million viewers.[54] The marathons in 2011[55] and 2012[56] continued to see increases in ratings.

text: For the 2014 and 2015 editions of the marathon, Turner Broadcasting elected to simulcast it on both TNT and TBS, marking the first time since 2003 that TNT aired it as well as the first time the marathon is being carried by multiple stations; the two networks set their airings one hour apart (so that the TNT airings began while TBS was at the middle of the film).[57][58] Both networks were running 24 hour marathons in 2017, as well.[2]

text: Subsequent and earlier works[edit]

text: A sequel involving Ralphie and his family, titled My Summer Story (originally released as It Runs in the Family), was made in 1994. With the exceptions of Tedde Moore as Ralphie's teacher (Miss Shields) and Jean Shepherd as the narrator (the voice of the adult Ralphie), it features an entirely different cast. A series of television films involving the Parker family, also from Shepherd stories, were made by PBS, including Ollie Hopnoodle's Haven of Bliss (1988), The Star-Crossed Romance of Josephine Cosnowski (1985), The Great American Fourth of July and Other Disasters (1982), and The Phantom of the Open Hearth (1976).

text: A Christmas Story 2 is another sequel which ignores the references and events of My Summer Story and was released direct-to-video in 2012[59] and directed by Brian Levant. It was filmed in New Westminster, British Columbia, Canada.[60]

text: Stage adaptations[edit]

text: In 2000, a stage play adaptation of A Christmas Story was written by Philip Grecian.[61]

text: In November 2012, A Christmas Story: The Musical, based on the film, opened on Broadway. Written by Benj Pasek and Justin Paul (music and lyrics) and Joseph Robinette (book), the musical opened to positive reviews.[62] The run ended December 30, 2012.[63] The musical was directed by John Rando with choreography by Warren Carlyle and featured Dan Lauria as Jean Shepherd.[64] The musical received Tony Award nominations for Best Musical, Best Book of a Musical (Robinette), and Best Original Score (Music and/or Lyrics) Written for the Theatre.[65]

text: The musical was then adapted for television as the three hour A Christmas Story Live!, which aired on the Fox network in the United States on December 17, 2017.[66] Reviews were mixed; on Rotten Tomatoes, the production received a 46% rating based on 13 critics' reviews and a very low 14% based on 44 audience reviews.[67]

text: Home video releases[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. (April 2015) (Learn how and when to remove this template message)

text:
Betamax (1984,1988)
VHS (1984, 1988, 1993, 1994, 1999, 2000)
LaserDisc (1985): pan and scan
LaserDisc (1993): deluxe letterbox edition
DVD (1997, reissued by Warner Home Video in 1999): fullscreen, includes original theatrical trailer
DVD (2003) 20th Anniversary 2-Disc Special Edition DVD (2003): Widescreen & Fullscreen; includes cast interviews, audio commentary, and featurettes.
HD DVD (2006)[68]
Blu-ray (2006)[69]
DVD (2008) Ultimate Collector's Edition: Metal tin case features the same 2003 two-disc special edition, but includes special memorabilia.[70]
Blu-ray (2008) Ultimate Collector's Edition: Metal tin which features the same 2006 Blu-ray disc, but also includes a strand of Leg Lamp Christmas lights.[71]
Blu-ray (2013) 30th Anniversary Edition: Steelbook with Blu-ray in 1080p (like the previous Blu-ray and HD-DVD) with a DTS-HD Master Audio mono track (whereas the previous releases had Dolby Digital mono), and more special features than the previous Blu-ray and HD-DVD.


document_title: Continental Divide, New Mexico

question_text: where is the continental divide located in new mexico

text: Continental Divide, New Mexico

text:
Continental Divide, New Mexico

Unincorporated community

Continental Divide, New Mexico

Coordinates: 35°25′30″N 108°18′55″W / 35.42500°N 108.31528°W / 35.42500; -108.31528Coordinates: 35°25′30″N 108°18′55″W / 35.42500°N 108.31528°W / 35.42500; -108.31528

Country
United States

State
New Mexico

County
McKinley

Elevation
7,228 ft (2,203 m)

Time zone
Mountain (MST) (UTC-7)

 • Summer (DST)
MDT (UTC-6)

ZIP code
87312

Area code(s)
505

GNIS feature ID
1923007[1]

text: Continental Divide is an unincorporated community in McKinley County, New Mexico, United States.[1] Continental Divide is located along Interstate 40 25.1 miles (40.4 km) east-southeast of Gallup. Continental Divide has a post office with ZIP code 87312.[2][3]


document_title: White Sands Space Harbor

question_text: when did the space shuttle land at white sands

text: White Sands Space Harbor

text:
White Sands Space Harbor

IATA: none
ICAO: none

Summary

Airport type
Military

Owner
US Air Force

Operator
NASA

Serves
White Sands Test Facility

Location
White Sands Missile Range

Elevation AMSL
3,913 ft / 1,192 m

Coordinates
32°56′35.67″N 106°25′10.31″W / 32.9432417°N 106.4195306°W / 32.9432417; -106.4195306

Runways

Direction
Length
Surface

ft
m

17/35
35,000
10,700
Dry Lakebed

5/23
35,000
10,700
Dry Lakebed

2/20
12,800
3,900
Dry Lakebed

text: White Sands Space Harbor (WSSH) was a Space Shuttle runway, a test site for rocket research, and the primary training area used by NASA for Space Shuttle pilots practicing approaches and landings in the Shuttle Training Aircraft and T-38 Talon aircraft. With its runways, navigational aids, runway lighting, and control facilities, it also served as a backup Shuttle landing site.[1] WSSH is a part of the White Sands Test Facility, and is located approximately 30 miles (50 kilometers) west of Alamogordo, New Mexico, within the boundaries of the White Sands Missile Range.

text: Runway facilities[edit]

text: In 1976, NASA selected Northrup Strip as the site for shuttle pilot training. A second runway was added crossing the original north-south landing strip, and in 1979 both lakebed runways were lengthened to 35,000 ft (10,668 m), which includes 15,000 ft (4,572 m) usable runway with 10,000 ft (3048 m) extensions on either end, to allow the White Sands Space Harbor (WSSH) to serve as shuttle backup landing facility. While the Space Harbor was activated as a backup landing site for STS-116 due to poor weather conditions at both Edwards Air Force Base (high cross-winds) and Kennedy Space Center (clouds and rain), White Sands was only used for one landing of the space shuttle, that of the Space Shuttle Columbia on 30 March 1982 for STS-3.[2]

text: Launch complex[edit]

text: The McDonnell Douglas DC-X of the USAF Single Stage Rocket Technology (SSRT) program was launched 1993-96 at the harbor.[3][4]