document_title: What Ever Happened to Baby Jane? (1962 film)

question_text: who played young blanche in whatever happened to baby jane

text: Plot[edit]

text: In 1917, "Baby Jane" Hudson is an adored yet ill-tempered vaudevillian child star while her older sister Blanche lives in her shadow. By 1935, their fortunes have reversed: Blanche is a successful film actress and Jane lives in obscurity, her films having failed. One night, Jane mocks Blanche at a party, prompting Blanche to run away in tears. That same night, Blanche is paralyzed from the waist down in a mysterious car accident that is unofficially blamed on Jane, who is found three days later in a drunken stupor.

text: In 1962, Blanche (Joan Crawford) and Jane (Bette Davis) are living together in Blanche's mansion, purchased with Blanche's movie earnings. Blanche now uses a wheelchair. By now, Jane has become a heavy alcoholic, mentally ill and treats Blanche with cruelty to punish her for stealing her spotlight.  Later, when Blanche informs Jane she will be selling the house, Jane's mental health begins to deteriorate further. During an argument, she removes the telephone from Blanche's bedroom, cutting Blanche off from the outside world. Later, Jane begins denying Blanche food, until she serves Blanche her dead parakeet on a platter—and, at a later meal, a rat that she killed in the cellar.

text: Jane becomes obsessed with recapturing her childhood stardom and puts an advertisement in the paper for a pianist to accompany her singing. When Jane leaves the house, Blanche tries to get the attention of her neighbor, Mrs. Bates (Anna Lee), by writing a note pleading for help and throwing it out her bedroom window. Jane returns in time to notice the note and prevents Mrs. Bates from seeing it. When Jane reads the note, the two sisters quarrel again.

text: When Blanche's caretaker Elvira Stitt (Maidie Norman) comes to clean the house, Jane pays her and gives her the day off, but when Elvira returns later on, Jane abruptly fires her and sends her away.  After Jane goes to the bank to get some cash, Elvira comes back and finds that Jane has locked Blanche in her room. When Jane returns, Mrs. Bates tells her she saw Elvira go into the house. Jane confronts Elvira. Meanwhile, eccentric and cash-strapped Edwin Flagg (Victor Buono) sees Jane's newspaper advertisement and arrives at the mansion, where Jane hires him as her accompanist.  Desperate for cash, Edwin insincerely flatters Jane and encourages her to revive her act.  While Jane drives Edwin home, Blanche searches the house for food and discovers Jane has been forging her signature on checks. Desperate for help, Blanche crawls down the stairs and calls their doctor, telling him of Jane's erratic behavior and begging him to come to the house. Jane returns in time to find Blanche on the phone and beats her unconscious before imitating her voice over the phone and telling the doctor not to come. She then binds and gags Blanche and locks her back in her upstairs bedroom. Elvira, still suspicious of Jane, returns the next day and discovers Blanche in a  starved state and threatens to go to the police. Before she can rescue her, however, Jane beats Elvira to death with a hammer and disposes of her body.

text: Days later, the police call upon the Hudson house and tell Jane that her maid's cousin has reported her missing. The panicked Jane prepares to leave, taking Blanche with her. Before they can leave, Edwin shows up uninvited and drunk, and discovers Blanche in her bed, bound, gagged, and emaciated.  Edwin flees to a drugstore where he notifies the authorities.

text: Jane drives Blanche to the beach and reverts to her childhood self. Near death, Blanche confesses that the accident that caused her paralysis is her own fault: on the night of the accident, she had tried to run Jane over because she was angry at her sister for mocking her, and ever since she has let Jane believe she was to blame for her spine being severed when the car struck the iron gate of their house. Pathetically, Jane asks, "You mean all this time we could have been friends?"  With childlike joy, Jane goes to a beachside snack bar to get ice-cream cones for herself and her sister, and then dances before a crowd of horrified onlookers, believing she is once again "Baby Jane", performing for her adoring fans. Two police officers, who have come to arrest Jane for Elvira's murder, see Blanche lying motionless in the sand and rush to her.  The film ends here, without revealing whether Blanche has survived her ordeal.

text: Cast[edit]

text:
Bette Davis as Jane Hudson
Julie Allred as nine-year-old Jane
Debbie Burton as young Jane's singing voice
Joan Crawford as Blanche Hudson
Gina Gillespie as thirteen-year-old Blanche
Victor Buono as Edwin Flagg
Marjorie Bennett as Dehlia Flagg
Maidie Norman as Elvira Stitt
Anna Lee as Mrs. Bates
B. D. Merrill as Liza Bates
Dave Willock as Ray Hudson
Anne Barton as Cora Hudson
Wesley Addy as Marty McDonald
Bert Freed as Ben Golden
Robert Cornthwaite as Doctor Shelby

text: Production[edit]

text:
Bette Davis came up with her own makeup for her role.
The house exterior of the Hudson mansion is located at 172 South McCadden Place in the neighborhood of Hancock Park, Los Angeles. Other residential exteriors show cottages on DeLongpre Avenue near Harvard Avenue in Hollywood without their current gated courtyards. The scene on the beach was shot in Malibu, reportedly the same site where Aldrich filmed the final scene of Kiss Me Deadly (1955).

text: Footage from the Bette Davis films Parachute Jumper and Ex-Lady (both 1933) and the Joan Crawford film Sadie McKee (1934) was used to represent the film acting of Baby Jane and Blanche respectively.

text: The neighbor's daughter was played by Davis' daughter B. D. Merrill who, following in the footsteps of Crawford's daughter Christina, later wrote a memoir that depicted her mother in an unfavorable light.

text: Crawford was scheduled to appear alongside Davis on a publicity tour of Baby Jane but cancelled at the last minute. Davis claimed that Crawford backed out because she didn't want to share the stage with her.[12] In a 1972 telephone conversation, Crawford related to future author Shaun Considine that after seeing a screening of the film she urged Davis to go and have a look. When she didn't hear back from her co-star, Crawford called Davis and asked her what she thought of the film to which Davis replied, "You were so right, Joan. The picture is good. And I was terrific." Crawford replied, "That was it. She never said anything about my performance. Not a word." Considine alleges that this denial from Davis (with regard to Joan's talent as an actress) prompted Crawford to cancel the publicity tour and upstage Davis at the Oscars.[13]

text: Prior to the Oscars ceremony, Crawford contacted the Best Actress nominees who were unable to attend the ceremonies and offered to accept the award on their behalf should they win. Davis claimed that Crawford lobbied against her among Academy voters. When Anne Bancroft was declared the winner for The Miracle Worker, she was in New York performing in a play, and had agreed to have Crawford accept her award if she won. Crawford triumphantly swept on-stage to pick up the trophy. Davis later commented, "It would have meant a million more dollars to our film if I had won. Joan was thrilled I hadn't."[14] As both Davis and Crawford had accepted lower salaries in exchange for a share of the film's profits,[15] Davis considered it especially foolish of Crawford to have worked against their common interests, especially at a time when roles for actresses of their generation were hard to find.

text: During the filming of Hush… Hush, Sweet Charlotte (1964), Crawford acknowledged to visiting reporter/author Lawrence J. Quirk the difficulty she was having with Davis because of the Oscar incident but added, "She acted like Baby Jane was a one-woman show after they nominated her. What was I supposed to do, let her hog all the glory, act like I hadn't even been in the movie? She got the nomination. I didn't begrudge her that, but it would have been nice if she'd been a little gracious in interviews and given me a little credit. I would have done it for her."[16]

text: Critical reception[edit]

text: Contemporary reviews were mixed. In a generally negative review in The New York Times, Bosley Crowther observed, "[Davis and Crawford] do get off some amusing and eventually blood-chilling displays of screaming sororal hatred and general monstrousness ... The feeble attempts that Mr. Aldrich has made to suggest the irony of two once idolized and wealthy females living in such depravity, and the pathos of their deep-seated envy having brought them to this, wash out very quickly under the flood of sheer grotesquerie. There is nothing moving or particularly significant about these two."[17] Philip K. Scheuer of the Los Angeles Times also panned the film, writing that Crawford and Davis had been turned into "grotesque caricatures of themselves" and that the film "mocks not only its characters but also the sensibilities of its audience."[18] The Chicago Tribune wrote, "This isn't a movie, it's a caricature. Bette Davis' make-up could very well have been done by Charles Addams, Joan Crawford's perils make those of Pauline look like good, clean fun and the plot piles one fantastic twist upon another until it all becomes nonsensical."[19] Brendan Gill of The New Yorker was somewhat negative as well, calling the film "far from being a Hitchcock—it goes on and on, in a light much dimmer than necessary, and the climax, when it belatedly arrives, is a bungled, languid mingling of pursuers and pursued which put me in mind of 'Last Year at Marienbad.' Still, Bette Davis and Joan Crawford do get a chance to carry on like mad things, which at least one of them is supposed to be."[20]

text: Among the positive reviews, Variety stated that after a slow and overlong introduction the film became "an emotional toboggan ride," adding, "Although the results heavily favor Davis (and she earns the credit), it should be recognized that the plot, of necessity, allows her to run unfettered through all the stages of oncoming insanity ... Crawford gives a quiet, remarkably fine interpretation of the crippled Blanche, held in emotionally by the nature and temperament of the role."[21] Richard L. Coe of The Washington Post also liked the film, writing that "Miss Davis has the showiest role and bites into it with all her admired force, looking a fright from head to foot. I doubt if she would regret some of the laughs she gets. She plays for them and psychologically, they are needed. If Miss Crawford has the passive role, that is not without rewards. Suffering is one of her particular gifts."[22] The Monthly Film Bulletin wrote that numerous directorial techniques, including all the plunging shots down the staircase, made the film look "rather like an anthology of the oldest and most hackneyed devices in thrillerdom. And yet, in its curious Gothick way, the film works marvellously, though mainly as a field-day for its actors."[23]

text: In Sight & Sound, Peter John Dyer stated that the film had "a frequent air of incompetence," writing of Aldrich's direction that "Like some textbook student of Hitchcock who never got beyond Blackmail, he dispenses suspense with ham-fisted conventionality." Dyer did praise the performances of the leads, however, finding that they seemed to have found "a new maturity, a discipline encouraged perhaps by the confined sets and Crawford's wheelchair, or by the interaction of their professional rivalry upon a belated mutual respect."[24]

text: More recent assessments have been more uniformly positive. On review aggregator website Rotten Tomatoes the film holds an approval rating of 92% based on 50 reviews. The site's critical consensus reads, "What Ever Happened to Baby Jane? combines powerhouse acting, rich atmosphere, and absorbing melodrama in service of a taut thriller with thought-provoking subtext."[25]

text: In a retrospective review, TV Guide awarded the film four stars, calling it "Star wars, trenchantly served" and adding, "If it sometimes looks like a poisonous senior citizen show with over-the-top spoiled ham, just try to look away ... As in the best Hitchcock movies, suspense, rather than actual mayhem, drives the film."[26]

text: Accolades[edit]

text: The film was nominated for five Academy Awards, winning one for Best Costume Design.[27]

text:
Academy Award for Best Actress (Bette Davis, nominee)
Academy Award for Best Supporting Actor (Victor Buono, nominee)
Academy Award for Best Costume Design, Black and White (Norma Koch, winner)
Academy Award for Best Cinematography, Black and White (Ernest Haller, nominee)
Academy Award for Best Sound (Joseph D. Kelly, nominee)
BAFTA Award for Best Foreign Actress (Crawford, nominee)
BAFTA Award for Best Foreign Actress (Davis, nominee)
Golden Globe Award for Best Actress - Motion Picture Drama (Davis, nominee)
Golden Globe Award for Best Supporting Actor - Motion Picture (Buono, nominee)
Laurel Award for Golden Laurel for Sleeper of the Year (Winner)
Golden Palm – 1963 Cannes Film Festival (nominee)[28]

text: Box office[edit]

text: The film was a box office hit, grossing $9 million at the worldwide box office and $4,050,000 in theatrical rentals in North America.[3][29] Its estimated budget was only $980,000.[1]

text: In the United Kingdom, the film was given an X certificate by the BBFC in 1962, with a few minor cuts. These cuts were waived for a video submission, which was given an 18 certificate in 1988, meaning no-one under 18 years of age could purchase a copy of the film.[1] However, in 2004, the film was re-submitted for a theatrical re-release, and it was given a 12A certificate, now meaning persons under 12 years of age could view it if accompanied by an adult. It remains at this category.[30]

text: Legacy[edit]

text: This section may need to be rewritten entirely to comply with Wikipedia's quality standards. You can help. The discussion page may contain suggestions. (July 2017)

text: The film's success spawned a succession of horror/thriller films featuring psychotic older women, later dubbed the psycho-biddy subgenre, among them Aldrich's Hush… Hush, Sweet Charlotte, What Ever Happened to Aunt Alice?, and director Curtis Harrington's Whoever Slew Auntie Roo? and What's the Matter with Helen?. It was parodied by the Italian comedy film What Ever Happened to Baby Toto?[31]

text: Shaun Considine's book Bette and Joan: The Divine Feud (1989) chronicles the actresses' rivalry, including their experience shooting this film.[32]

text: Comedy duo French and Saunders (Jennifer Saunders and Dawn French) did a BBC episode called "Whatever Happened to Baby Dawn" on 22 March 1990.[33]

text: In 1991, the film was remade as a television film starring real-life sisters Vanessa and Lynn Redgrave.[34]

text: In 2006, Christina Aguilera adopted a new alter ego called Baby Jane after Bette Davis' character in the film.[35]

text: In episode 4 of RuPaul's Drag Race: All Stars (season 2), the queens' acting chops are tested in parody movie sequels of RuPaul's favourite movies. A parody of ''What Ever Happened to Baby Jane?'' called ''Wha' Ha' Happened to Baby JJ?'' was made by Alaska and Alyssa Edwards.[36]

text: The backstage battle between Crawford and Davis during the production of the film is the basis for Feud: Bette and Joan, the 2017 first season of the Ryan Murphy television series Feud. It stars Jessica Lange as Crawford and Susan Sarandon as Davis.[37][38] It premiered on March 5, 2017.


document_title: List of posthumous Academy Award winners and nominees

question_text: who was the first person to be nominated posthumously for the best actor oscar

root

text: Competitive awards[edit]

text:
Name
Date of Death
Ceremony
Film Year
Academy Award
Film
Winner
[hide]Notes

Marit Allen
000000002007-11-26-0000November 26, 2007
80th
2007
Best Costume Design
La Vie en Rose

Howard Ashman
000000001991-03-14-0000March 14, 1991
64th
1991
Best Music (Song)
Beauty and the Beast
Won
[1]

Best Music (Song)
Beauty and the Beast

Best Music (Song)
Beauty and the Beast

65th
1992
Best Music (Song)
Aladdin

Joseph H. August
000000001947-09-25-0000September 25, 1947
21st
1948
Best Cinematography
Portrait of Jennie

Robert Alan Aurthur
000000001978-11-20-0000November 20, 1978
52nd
1979
Best Picture
All That Jazz

52nd
1979
Best Writing
All That Jazz

Mario Cecchi Gori
000000001993-11-05-0000November 5, 1993
68th
1995
Best Picture
Il Postino

Frank Churchill
000000001942-05-14-0000May 14, 1942
15th
1942
Best Music (Scoring)
Bambi

15th
1942
Best Music (Song)
Bambi

Allen Davey
000000001946-03-05-0000March 5, 1946
18th
1945
Best Cinematography
A Song to Remember

James Dean
000000001955-09-30-0000September 30, 1955
28th
1955
Best Actor
East of Eden

29th
1956
Best Actor
Giant

Walt Disney
000000001966-12-15-0000December 15, 1966
41st
1968
Best Short Film (Animated)
Winnie the Pooh and the Blustery Day
Won

Gail Dolgin
000000002010-10-07-0000October 7, 2010
84th
2011
Best Documentary (Short Subject)
The Barber of Birmingham: Foot Soldier of the Civil Rights Movement

Gerald Duffy
000000001928-06-25-0000June 25, 1928
01st
1927 / 1928
Best Writing
The Private Life of Helen of Troy

Jeanne Eagels
000000001929-10-03-0000October 3, 1929
02nd
1928 / 1929
Best Actress
The Letter

William Ferrari
000000001962-09-10-0000September 10, 1962
36th
1963
Best Art Direction
How the West Was Won

Peter Finch
000000001977-01-14-0000January 14, 1977
49th
1976
Best Actor
Network
Won
[2]

Gil Friesen
000000002012-12-13-0000December 13, 2012
86th
2013
Best Documentary Feature
20 Feet from Stardom
Won
[3]

George Gershwin
000000001937-07-11-0000July 11, 1937
10th
1937
Best Music (Song)
Shall We Dance

Stuart Gilmore
000000001971-11-19-0000November 19, 1971
44th
1971
Best Film Editing
The Andromeda Strain

Thomas C. Goodwin
000000001992-12-11-0000December 11, 1992
65th
1992
Best Documentary (Short Subject)
Educating Peter
Won

Conrad Hall
000000002003-01-04-0000January 4, 2003
75th
2002
Best Cinematography
Road to Perdition
Won
[4]

David Hall
000000001964-07-23-0000July 23, 1964
38th
1965
Best Art Direction
The Greatest Story Ever Told

Dale Hennesy
000000001981-07-20-0000July 20, 1981
55th
1982
Best Art Direction
Annie

Bernard Herrmann
000000001975-12-24-0000December 24, 1975
49th
1976
Best Music (Scoring)
Obsession

49th
1976
Best Music (Scoring)
Taxi Driver

Gordon Hollingshead
000000001952-07-08-0000July 8, 1952
25th
1952
Best Short Film (Live Action)
Desert Killer

25th
1952
Best Short Film (Live Action)
Thar She Blows!

William A. Horning
000000001959-03-02-0000March 2, 1959
31st
1958
Best Art Direction
Gigi
Won

32nd
1959
Best Art Direction
Ben-Hur
Won

32nd
1959
Best Art Direction
North by Northwest

Sidney Howard
000000001939-08-23-0000August 23, 1939
12th
1939
Best Writing
Gone with the Wind
Won

John Hubley
000000001977-02-21-0000February 21, 1977
50th
1977
Best Short Film (Animated)
A Doonesbury Special

Eiko Ishioka
000000002012-01-21-0000January 21, 2012
85th
2012
Best Costume Design
Mirror Mirror

Bert Kalmar
000000001947-09-18-0000September 18, 1947
24th
1951
Best Music (Song)
The Strip

Jerome Kern
000000001945-11-11-0000November 11, 1945
18th
1945
Best Music (Scoring)
Can't Help Singing

18th
1945
Best Music (Song)
Can't Help Singing

19th
1946
Best Music (Song)
Centennial Summer

William Kiernan
000000001973-11-19-0000November 19, 1973
46th
1973
Best Art Direction
The Way We Were

Frederic Knudtson
000000001964-02-14-0000February 14, 1964
36th
1963
Best Film Editing
It's a Mad, Mad, Mad, Mad World

[5]

Albert Lamorisse
000000001970-06-02-0000June 2, 1970
51st
1978
Best Documentary (Feature)
The Lovers' Wind

Heath Ledger
000000002008-01-22-0000January 22, 2008
81st
2008
Best Supporting Actor
The Dark Knight
Won
[6]

Boris Leven
000000001986-10-11-0000October 11, 1986
59th
1986
Best Art Direction
The Color of Money

Walt Martin
000000002014-07-24-0000July 24, 2014
87th
2014
Best Sound Mixing
American Sniper

[7]

William C. Mellor
000000001963-04-30-0000April 30, 1963
38th
1965
Best Cinematography
The Greatest Story Ever Told

Anthony Minghella
000000002008-03-18-0000March 18, 2008
81st
2008
Best Picture
The Reader

James V. Monaco
000000001945-10-16-0000October 16, 1945
19th
1946
Best Music (Song)
The Dolly Sisters

Alfred Newman
000000001970-02-17-0000February 17, 1970
43rd
1970
Best Music (Scoring)
Airport

Joseph O'Brien
000000001945-03-30-0000March 30, 1945
18th
1945
Best Short Film (Live Action)
Your National Gallery

Bridget O'Connor
000000002010-09-22-0000September 22, 2010
84th
2011
Best Writing, Adapted Screenplay
Tinker Tailor Soldier Spy

Eric Orbom
000000001959-05-23-0000May 23, 1959
33rd
1960
Best Art Direction
Spartacus
Won

Arnold Perl
000000001971-12-11-0000December 11, 1971
45th
1972
Best Documentary (Feature)
Malcolm X

Sydney Pollack
000000002008-05-26-0000May 26, 2008
81st
2008
Best Picture
The Reader

Raymond Rasch
000000001964-12-23-0000December 23, 1964
45th
1972
Best Music (Scoring)
Limelight
Won
[8]

Gretchen Rau
000000002006-03-29-0000March 29, 2006
79th
2006
Best Art Direction
The Good Shepherd

Ralph Richardson
000000001983-10-10-0000October 10, 1983
57th
1984
Best Supporting Actor
Greystoke: The Legend of Tarzan, Lord of the Apes

Richard H. Riedel
000000001960-03-18-0000March 18, 1960
32nd
1959
Best Art Direction
Pillow Talk

Larry Russell
000000001954-02-14-0000February 14, 1954
45th
1972
Best Music (Scoring)
Limelight
Won
[8]

Tess Slesinger
000000001945-02-21-0000February 21, 1945
18th
1945
Best Writing
A Tree Grows in Brooklyn

Carol Sobieski
000000001990-11-04-0000November 4, 1990
64th
1991
Best Writing
Fried Green Tomatoes

Gile Steele
000000001952-01-16-0000January 16, 1952
24th
1951
Best Costume Design
Kind Lady

24th
1951
Best Costume Design
The Great Caruso

25th
1952
Best Costume Design
The Merry Widow

Harry Stradling
000000001970-02-14-0000February 14, 1970
42nd
1969
Best Cinematography
Hello, Dolly!

Harry W. Tetrick
000000001977-02-17-0000February 17, 1977
49th
1976
Best Sound
King Kong

49th
1976
Best Sound
Rocky

Spencer Tracy
000000001967-06-10-0000June 10, 1967
40th
1967
Best Actor
Guess Who's Coming to Dinner

Massimo Troisi
000000001994-06-04-0000June 4, 1994
68th
1995
Best Actor
Il Postino

68th
1995
Best Writing
Il Postino

Lamar Trotti
000000001952-08-28-0000August 28, 1952
27th
1954
Best Writing
There's No Business Like Show Business

Geoffrey Unsworth
000000001978-10-28-0000October 28, 1978
53rd
1980
Best Cinematography
Tess
Won
[9]

August Wilson
000000002005-10-02-0000October 2, 2005
89th
2016
Best Writing, Adapted Screenplay
Fences

Robert L. Wolfe
000000001981-02-28-0000February 28, 1981
54th
1981
Best Film Editing
On Golden Pond

Victor Young
000000001956-11-10-0000November 10, 1956
29th
1956
Best Music (Scoring)
Around the World in 80 Days
Won

29th
1956
Best Music (Song)
Written on the Wind

Sam Zimbalist
000000001958-11-04-0000November 4, 1958
32nd
1959
Best Picture
Ben-Hur
Won
[10]

tag: table

text: Honorary awards[edit]

text:
Name
Date of Death
Ceremony
Film Year
Academy Award
Notes

Robert Benjamin
000000001979-10-22-0000October 22, 1979
52nd
1979
Jean Hersholt Humanitarian Award

Les Bowie
000000001979-01-27-0000January 27, 1979
51st
1978
Special Achievement Award (Visual Effects) for Superman

Theo Brown
000000002002-04-30-0000April 30, 2002
82nd
2009
Scientific and Technical Award (Scientific and Engineering Award)
[11]

Douglas Fairbanks
000000001939-12-12-0000December 12, 1939
12th
1939
Academy Honorary Award

Chuck Gaspar
000000002009-01-15-0000January 15, 2009
86th
2013
Scientific or Technical Award (Technical Achievement Award)
[12]

Audrey Hepburn
000000001993-01-20-0000January 20, 1993
65th
1992
Jean Hersholt Humanitarian Award
[13]

Werner Hopf
000000001953-11-28-0000November 28, 1953
32nd
1959
Scientific and Technical Award (Class II)
[14]

George Kraemer
000000001993-01-18-0000January 18, 1993
65th
1992
Scientific and Technical Award (Scientific and Engineering Award)

John D. Lowry
000000002012-01-21-0000January 21, 2012
84th
2011
Scientific and Technical Award (Scientific and Engineering Award)
[15]

Charles Miller

13th
1940
Scientific or Technical Award (Class I)

Jürgen Noffke
000000002011-11-07-0000November 7, 2011
84th
2011
Scientific and Technical Award (Scientific and Engineering Award)
[16]

Edward G. Robinson
000000001973-01-26-0000January 26, 1973
45th
1972
Honorary Award
[17]

Louis Stankiewicz

54th
1981
Scientific or Technical Award (Technical Achievement Award)

Geoffrey H. Williamson
000000001993-01-20-0000January 20, 1993
65th
1992
Scientific and Technical Award (Scientific and Engineering Award)

text: Excluded: retrospective awards[edit]

text: The list does not include people who were retrospectively honoured with an Academy Award and were dead at the time the Academy made the decision to make the retrospective award. For example: in 1993, seventeen years after his death, Dalton Trumbo was retrospectively awarded the 1953 Oscar for Best Writing - Motion Picture Story for Roman Holiday. It had been previously awarded to Ian McLellan Hunter. However, Hunter was merely a front for Trumbo, because Trumbo was blacklisted at the time and it was not possible for his name to appear in either the film's credits or the Academy Award nomination (hence, it was not generally known that he was the real screenwriter). Trumbo did not die until 1976, and under normal circumstances he would have received this award in person in 1953; hence the Academy does not consider this a posthumous award but a correction of the record.

tag: p

text: Similarly, the Oscar for Best Screenplay (Adaptation) for The Bridge on the River Kwai was originally awarded to Pierre Boulle, but only in 1984 corrected to honor the actual screenwriters, Carl Foreman and Michael Wilson, who were on the Hollywood blacklist at the time and could only work on the film in secret. By the time this correction was made, both Foreman and Wilson had died, but the award does not qualify for an entry in the above list.

text: Notes[edit]

text:
Jump up ^ Ashman's partner Bill Lauch accepted the award on his behalf. Ashman had a total of three nominations in this category this year, for "Belle", "Be Our Guest", and "Beauty and the Beast", which he won the award for.
Jump up ^ Finch became the first posthumous winner in an acting category. His widow Eletha and screenwriter Paddy Chayefsky accepted the award on his behalf.
Jump up ^ With Morgan Neville and Caitrin Rogers
Jump up ^ Conrad Hall's son Conrad W. Hall accepted the award on his behalf.
Jump up ^ Frederic Knudtson
Jump up ^ Ledger died after completing his scenes in The Dark Knight but before the film had been completed, and a year before the nominations were announced. His father, mother and sister accepted the award on his behalf.
Jump up ^ Walt Martin[permanent dead link] with John Reitz and Gregg Rudloff
^ Jump up to: a b Limelight, a 1952 film, won its award in 1972 because the blacklisting of Charlie Chaplin prevented it from being shown in Los Angeles until then. (The Academy subsequently changed its rules to prevent films more than two years old from receiving awards.)
Jump up ^ Unsworth died during the shooting of Tess, and the cinematography was completed by Ghislain Cloquet. Unsworth and Cloquet were jointly nominated, successfully, for Best Cinematography.
Jump up ^ Zimbalist died during the filming of Ben-Hur. His widow Mary Zimbalist accepted the award on his behalf.
Jump up ^ Theo Brown
Jump up ^ Chuck Gaspar Archived 2014-04-26 at Archive.is
Jump up ^ Hepburn died eight days after the Academy voted to confer this award, but two months before the 65th Academy Awards ceremony. Her son Sean Hepburn Ferrer accepted the award on her behalf.
Jump up ^ Werner Hopf
Jump up ^ John D. Lowry
Jump up ^ Dr. Jürgen Noffke
Jump up ^ Robinson died after the Academy voted to confer this award, but two months before the 45th Academy Awards ceremony. His widow Jane accepted the award on his behalf.

tag: ol


document_title: Corned beef

question_text: where did corned beef and cabbage originated from

text: Corned beef

text: History[edit]

text: This section may require cleanup to meet Wikipedia's quality standards. The specific problem is: Some of this section may refer to Bully beef and should be moved to that page. (July 2017) (Learn how and when to remove this template message)

text: Although the exact beginnings of corned beef are unknown, it most likely came about when people began preserving meat through salt-curing. Evidence of its legacy is apparent in numerous cultures, including ancient Europe and the Middle East.[2] The word corn derives from Old English and is used to describe any small, hard particles or grains.[3] In the case of "corned beef", the word may refer to the coarse, granular salts used to cure the beef.[2] The word "corned" may also refer to the corns of potassium nitrate, also known as saltpeter, which were formerly used to preserve the meat.[4][5][6]

text: 19th-century Atlantic trade[edit]

text: Although the practice of curing beef was found locally in many cultures, the industrial production of corned beef started in the British Industrial Revolution. Irish corned beef was used and traded extensively from the 17th century to the mid-19th century for British civilian consumption and as provisions for the British naval fleets and North American armies due to its nonperishable nature.[7] The product was also traded to the French for use in Caribbean sugar plantations as sustenance for the colonists and the slave laborers.[8] The 17th-century British industrial processes for corned beef did not distinguish between different cuts of beef beyond the tough and undesirable parts such as the beef necks and shanks.[8][9] Rather, the grading was done by the weight of the cattle into "small beef", "cargo beef", and "best mess beef", the former being the worst and the latter the best.[8] Much of the undesirable portions and lower grades were traded to the French, while better parts were saved for British consumption or shipped to British colonies.[8]

text: Ireland produced a significant amount of the corned beef in the Atlantic trade from local cattle and salt imported from the Iberian Peninsula and southwestern France.[8] Coastal cities, such as Dublin, Belfast, and Cork, created vast beef curing and packing industries, with Cork producing half of Ireland's annual beef exports in 1668.[9] Although the production and trade of corned beef as a commodity was a source of great wealth for the colonial nations of Britain and France (which were participating in the Atlantic slave trade), in the colonies themselves, the product was looked upon with disdain due to its association with poverty and slavery.[8]

text: Increasing corned beef production to satisfy the rising populations of the industrialised areas of Great Britain and Atlantic trade worsened the effects of the Irish Famine and the Great Potato Famine:

text: The Celtic grazing lands of ... Ireland had been used to pasture cows for centuries. The British colonized ... the Irish, transforming much of their countryside into an extended grazing land to raise cattle for a hungry consumer market at home ... The British taste for beef had a devastating impact on the impoverished and disenfranchised people of ... Ireland. Pushed off the best pasture land and forced to farm smaller plots of marginal land, the Irish turned to the potato, a crop that could be grown abundantly in less favorable soil. Eventually, cows took over much of Ireland, leaving the native population virtually dependent on the potato for survival.

text: Despite being a major producer of beef, most of the people of Ireland during this period consumed little of the meat produced, in either fresh or salted form, due to its prohibitive cost. This was because most of the farms and its produce were owned by wealthy Anglo-Irish who were absentee landlords and that most of the population were from families of poor tenant farmers, and that most of the corned beef was exported.

text: The lack of beef or corned beef in the Irish diet is especially true in Northern Ireland and areas away from the major centres for corned beef production. However, individuals living in these production centres such as Cork did consume the product to a certain extent. The majority of Irish who resided in Ireland at the time mainly consumed dairy products and meats such as pork or salt pork,[9] bacon and cabbage being a notable example of a traditional Irish meal.

text: 20th century to present[edit]

text: Although it ceased to be an important commodity in the 20th-century Atlantic trade due in part to the abolition of slavery, corned beef production and its canned form remained important as a food source during the Second World War. Much of the canned corned beef came from Fray Bentos in Uruguay, with over 16 million cans exported in 1943.[9] Even now, significant amounts of the global canned corned beef supply comes from South America. Today, around 80% of the global canned corned beef supply originates from Brazil.[11]

text: Cultural associations[edit]

text: In North America, corned beef dishes are associated with traditional Irish cuisine. However, considerable debate remains about the association of corned beef with Ireland. Mark Kurlansky, in his book Salt, states that the Irish produced a salted beef around the Middle Ages that was the "forerunner of what today is known as Irish corned beef" and in the 17th century, the English named the Irish salted beef "corned beef".[12]

text: Some say until the wave of 18th-century Irish immigration to the United States, many of the ethnic Irish had not begun to consume corned beef dishes as seen today. The popularity of corned beef compared to bacon among the immigrant Irish may have been due to corned beef being considered a luxury product in their native land, while it was cheaply and readily available in America.[9]

text: The Jewish population produced similar salt-cured meat product made from beef brisket which the Irish immigrants purchased as corned beef from Jewish butchers. This may have been facilitated by the close cultural interactions and collaboration of these two diverse cultures in the United States' main 19th- and 20th-century immigrant port of entry, New York City.[9][13]

text: Canned corned beef has long become one of the standard meals included in military field ration packs around the world, due to its simplicity and instant preparation in such rations. One example is the American Meal, Ready-to-Eat (MRE) pack. Astronaut John Young snuck a contraband corned beef sandwich on board Gemini 3, hiding it in a pocket of his spacesuit.[14]

text: Colloquialisms[edit]

text: The dish, corned beef and cabbage, is known by a variety of names around the globe. In the United States around WWI, it was often called Red Mike and Violets, "Red Mike" referring to corned beef, and "Violets" referring to cabbage and any other accompanying vegetable.[citation needed]

text: Regions[edit]

text: North America[edit]

text: In North America, corned beef typically is sold in two forms, a cut of beef (usually brisket, but sometimes round or silverside) cured or pickled in a seasoned brine, cooked, and canned, or tinned.

text: Corned beef is often purchased ready to eat in delicatessens. It is the key ingredient in the grilled Reuben sandwich, consisting of corned beef, Swiss cheese, sauerkraut, and Thousand Island or Russian dressing on rye bread.

text: Corned beef hash is commonly served with eggs for breakfast.

text: Smoking corned beef, typically with a generally similar spice mix, produces smoked meat (or "smoked beef") such as pastrami.

text: In both the United States and Canada, corned beef is sold in cans in minced form. It is also sold this way in Puerto Rico and Uruguay.

text: Saint Patrick's Day[edit]

text: In the United States, consumption of corned beef is often associated with Saint Patrick's Day.[15] Corned beef is not considered an Irish national dish, and the connection with Saint Patrick's Day specifically originates as part of Irish-American culture, and is often part of their celebrations in North America.[16]

text: Corned beef was used as a substitute for bacon by Irish-American immigrants in the late 19th century.[17] Corned beef and cabbage is the Irish-American variant of the Irish dish of bacon and cabbage. A similar dish is the New England boiled dinner, consisting of corned beef, cabbage, and root vegetables such as carrots, turnips, and potatoes, which is popular in New England and another similar dish, Jiggs dinner, is popular in parts of Atlantic Canada.

text: United Kingdom[edit]

text: The U.S. version of corned beef is known in the UK as salt beef.[18][19]

text: Ireland[edit]

text: The appearance of corned beef in Irish cuisine dates to the 12th century in the poem Aislinge Meic Con Glinne or The Vision of MacConglinne.[20] Within the text, it is described as a delicacy a king uses to purge himself of the "demon of gluttony". Cattle, valued as a bartering tool, were only eaten when no longer able to provide milk or to work. The corned beef as described in this text was a rare and valued dish, given the value and position of cattle within the culture, as well as the expense of salt, and was unrelated to the corned beef eaten today.[21]

text: Israel[edit]

text: In Israel, corned beef, or loof, has been the traditional field ration of the Israeli army (Israel Defense Forces). As a result of universal conscription, it was said that Israel has been force-feeding "Loof – a colloquially corrupt short form of 'meatloaf' – to its citizens since the nation's founding."[22] While some sources state that loof was developed by the IDF in the 1940s, as a form of British "bully beef", it actually antedated the State of Israel as a component of Jewish organizations' relief packages sent to Palestine by groups such as Hadassah.[22]


document_title: Robert E. Lee Monument (New Orleans, Louisiana)

question_text: when was lee statue erected in new orleans

text: History[edit]

text: The monument was dedicated in 1884, at Tivoli Circle (since commonly called Lee Circle) on St. Charles Avenue. Dignitaries present at the dedication on February 22—George Washington's birthday—included former Confederate President Jefferson Davis, two daughters of General Lee, and Confederate General P.G.T. Beauregard.[5] Efforts raise funds to build the statue began after Lee's death in 1870 by the Robert E. Lee Monument Association, which by 1876 had raised the $36,400 needed. The association's president was Louisiana Supreme Court Justice Charles E. Fenner.[6] New York sculptor Alexander Doyle was hired to sculpt the statue, which was installed in 1884. Base and pedestal designed and built by John Ray [Roy], architect; contract dated 1877. Cost $26,474. John Hagan, a builder, was contracted to "furnish and set" the column. Cost $9,350.[7]

text: The statue itself rises 16'6" tall, with an 8'4" base, standing on a 60' column with an interior staircase, according to a schematic released by the City of New Orleans on the day of the removal of the statue and its base, May 19, 2017.[8] The Lee statue faced "north where, as local lore has it, he can always look in the direction of his military adversaries."[9]

text: In January of 1953, the statue of General Lee was lifted from atop the column for repairs to the monument's foundation. The statue was returned to its perch in January the following year. [10]

text: A racial confrontation occurred at the monument on January 19, 1972, the birthday of Confederate General Robert E. Lee. Addison Roswell Thompson, a perennial segregationist candidate for governor of Louisiana and mayor of New Orleans, and his friend and mentor, Rene LaCoste (not to be confused with the French tennis player René Lacoste), clashed with a group of Black Panthers. Then eighty-nine years of age and a former opera performer in New York City, LaCoste was described as "dapper in seersucker slacks and navy sports jacket" and with a "white mustache and goatee" resembling Colonel Sanders of Kentucky Fried Chicken. LaCoste and Thompson dressed in Klan robes for the occasion and placed a Confederate flag at the monument. The Black Panthers began throwing bricks at the pair, but police arrived in time to prevent serious injury. At the time of the Thompson/LaCoste confrontation, David Duke, then an active Klansman who served from 1989 to 1992 in the Louisiana House of Representatives, had been among those jailed in New Orleans for "inciting to riot".[11]

text: Removal of the monument[edit]

text: On June 24, 2015, New Orleans Mayor Mitch Landrieu acknowledged the impact of the June 2015 Charleston church shooting, but credited a 2014 conversation with New Orleans jazz ambassador Wynton Marsalis for his decision to call for the removal of the Lee statue and renaming of Lee Circle and other city memorials to Confederate slaveholders.[12]

text: As part of a sixty-day period for public input, two city commissions called for the removal of four monuments associated with the Confederacy: the Lee statue, statues of Jefferson Davis and P.G.T. Beauregard, and an obelisk commemorating the Battle of Liberty Place. Governor Bobby Jindal opposed the removals.[13]

text: On December 15, 2015, Wynton Marsalis explained his reasons for advocating removal in The Times-Picayune: "When one surveys the accomplishments of our local heroes across time from Iberville and Bienville, to Andrew Jackson, from Mahalia Jackson, to Anne Rice and Fats Domino, from Wendell Pierce, to John Besh and Jonathan Batiste, what did Robert E. Lee do to merit his distinguished position? He fought for the enslavement of a people against our national army fighting for their freedom; killed more Americans than any opposing general in history; made no attempt to defend or protect this city; and even more absurdly, he never even set foot in Louisiana. In the heart of the most progressive and creative cultural city in America, why should we continue to commemorate this legacy?"[14][15]

text: Contrary to assertions that Robert E. Lee never set foot in New Orleans, he visited or passed through the city in 1846, 1848, 1860 and 1861, while serving in the United States Army.[16][17] While in New Orleans, Lee was quartered at the military post of Jackson Barracks.[18]

text: On December 17, 2015, the New Orleans City Council voted to relocate four statues from public display, among them the statue of Robert E. Lee located in Lee Circle.[19][20] Four organizations immediately filed a lawsuit[21] in federal court the day of the decision and the city administration agreed that no monument removals would take place before a court hearing scheduled for January 14, 2016.[22]

text: In January 2016, David Mahler, a contractor who had been hired by the City of New Orleans to remove the four statues including the statue of Robert E. Lee located in Lee Circle backed out of his contract with the city after he, his family, and employees began receiving death threats.[23][24] According to authorities in Baton Rouge, early on the morning of January 19, 2016 the Fire Department found a 2014 Lamborghini Huracan ablaze in a parking lot behind David Mahler's company, H&O Investments, LLC. The car, belonging to Mahler and valued at $200,000, was completely destroyed.[25][26]

text: On March 4, 2016, State Senator Beth Mizell, of Franklinton in Washington Parish, filed a bill in the Legislature seeking to block local governments in Louisiana from removing Confederate monuments and other commemorative statues without State permission.[27] The Mizell bill was unexpectedly assigned by Senate President John Alario, a Democrat from Westwego in Jefferson Parish, to the Senate Governmental Affairs Committee, rather than to the Senate Education Committee. This doomed the bill; five of the nine members of the Governmental Affairs Committee are African-American Democrats and it is chaired by Karen Carter Peterson of New Orleans. The Education Committee is composed of six Republicans and two Democrats.[28]

text: 2016–17 legal developments[edit]

text: On March 25, 2016 a three-judge panel of the U. S. 5th Circuit Court of Appeals unanimously issued an injunction for that suit brought in federal district court by the Monumental Task Committee and other groups opposed to the removal of the Robert E. Lee Monument, and statues of Confederate President Jefferson Davis and Gen. P.G.T. Beauregard prohibiting the City of New Orleans from proceeding forward with the removal of the Lee Monument and statues of Davis and Beauregard. The Court of Appeals set a hearing date of September 28, 2016 for oral argument for whether its injunction should be maintained pending a final judgment on the merits of the district court suit.[29] The decision of the Court of Appeals superseded that ruling of United States District Court Judge Carl Barbier rendered January 26, 2016 denying the motion of the plaintiffs for a preliminary injunction against the City of New Orleans pending a final judgment on the merits of their suit.[30][31]

text: On April 6, 2016 Senate Bill 276 by State Sen. Beth Mizell, R-Franklinton to block local governments in Louisiana from removing Confederate monuments and other commemorative statues without State permission[32] was rejected by the Governmental Affairs Committee on a straight 5-4 racial and party line vote.[33] On August 14, 2016 pro-monuments House Bill 944 by Rep. Thomas Carmody, R-Shreveport to create a state board with the power to grant or deny proposals to remove or relocate a statue, monument, memorial or plaque that has been on public property for more than 30 years died in the Municipal Affairs Committee after a 7-7 tie vote.[34][35][36]

text: Following oral argument before United States 5th Circuit Court of Appeals on September 28, 2016 for whether its injunction should be maintained pending a final judgment of the district court on the merits of the suit brought by the Monumental Task Committee and other groups opposed to the removal of the Robert E. Lee Monument, and monuments to Confederate President Jefferson Davis and Gen. P.G.T. Beauregard, on March 6, 2017 the three-judge panel of the Court of Appeals unanimously held the City of New Orleans should be enjoined no further and could proceed forward with the removal of the three Confederate monuments. In support of its ruling the three-judge panel found, "we have exhaustively reviewed the record and can find no evidence in the record suggesting that any party other than the city has ownership” and the plaintiffs failed to show any irreparable harm would occur to the monuments for the City of New Orleans proceeding forward with their removal, even assuming such evidence would constitute harm to the groups bringing the suit.[37] The decision of the Court of Appeals affirmed that ruling of United States District Court Judge Carl Barbier rendered January 26, 2016, denying the motion of the plaintiffs for a preliminary injunction against the City of New Orleans pending a final judgment on the merits of their suit.[38]

text: Dismantling[edit]

text: On May 18, 2017 the City of New Orleans announced the statue of General Robert E. Lee would be removed the following day.[39][40] On May 19, 2017 just after 6 p.m. following a day-long effort the statue of Lee was finally detached and removed from its column pedestal.[41][42][43]

text: While crews were working on removing the statue, New Orleans mayor Mitch Landrieu gave a speech at Gallier Hall discussing the historical context of the Lee and other monuments, and the reasons for and meaning of their removal.[44]

text: The removal prompted Mississippi lawmaker Karl Oliver to post on Facebook that those supporting the take-down of the Confederate monuments "should be LYNCHED". He later apologized for this statement.[45][46]


document_title: List of Chief Justices of the Uttarakhand High Court

question_text: who was the first chief justice of uttarakhand high court

text: List of the Chief Justices of Uttarakhand[edit]

text: Following is the list of the Chief Justices of Uttarakhand since its inception on 9 November 2000:

text:
S. No.
Name
Portrait
Term
Tenure

Justice Ashok A. Desai

9 November 2000
5 December 2000
26 days

1
Justice Ashok A. Desai

6 December 2000
31 March 2003
2 years, 3 months and 25 days (Total 2 years, 4 months and 21 days)

Justice P. C. Verma

1 April 2003
4 August 2003
4 months and 3 days

2
Justice S. H. Kapadia

5 August 2003
17 December 2003
4 months and 12 days

Justice P. C. Verma

18 December 2003
24 July 2004
7 months and 6 days

3
Justice V. S. Sirpurkar

25 July 2004
19 March 2005
7 months and 22 days

4
Justice Cyriac Joseph

20 March 2005
7 January 2006
9 months and 18 days

Justice P. C. Verma

8 January 2006
13 January 2006
5 days (Total 11 months and 14 days)

5
Justice Rajiv Gupta

14 January 2006
1 February 2008
2 years and 18 days

6
Justice V. K. Gupta

2 February 2008
9 September 2009
1 year, 7 months and 7 days

Justice B. C. Kandpal

10 September 2009
28 November 2009
2 months and 18 days

7
Justice J. S. Khehar

29 November 2009
7 August 2010
8 months and 9 days

8
Justice Barin Ghosh

8 August 2010
30 July 2014
3 years, 11 months and 22 days

9
Justice K. M. Joseph

31 July 2014
Incumbent
3 years, 8 months and 10 days


document_title: Eiffel Tower

question_text: how high up is the first floor of the eiffel tower

question_tokens: how high up is the first floor of the eiffel tower

text: Eiffel Tower

text: History

text: Origin

text: The design of the Eiffel Tower was the product of Maurice Koechlin and Émile Nouguier, two senior engineers working for the Compagnie des Établissements Eiffel, after discussion about a suitable centrepiece for the proposed 1889 Exposition Universelle, a world's fair to celebrate the centennial of the French Revolution. Eiffel openly acknowledged that inspiration for a tower came from the Latting Observatory built in New York City in 1853.[4] In May 1884, working at home, Koechlin made a sketch of their idea, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals".[5] Eiffel initially showed little enthusiasm, but he did approve further study, and the two engineers then asked Stephen Sauvestre, the head of company's architectural department, to contribute to the design. Sauvestre added decorative arches to the base of the tower, a glass pavilion to the first level, and other embellishments.

text: The new version gained Eiffel's support: he bought the rights to the patent on the design which Koechlin, Nougier, and Sauvestre had taken out, and the design was exhibited at the Exhibition of Decorative Arts in the autumn of 1884 under the company name. On 30 March 1885, Eiffel presented his plans to the Société des Ingénieurs Civils; after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying the tower would symbolise,

text: Not only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude.[6]

text: Little progress was made until 1886, when Jules Grévy was re-elected as president of France and Édouard Lockroy was appointed as minister for trade. A budget for the exposition was passed and, on 1 May, Lockroy announced an alteration to the terms of the open competition being held for a centrepiece to the exposition, which effectively made the selection of Eiffel's design a foregone conclusion, as entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars.[6] (A 300-meter tower was then considered a herculean engineering effort). On 12 May, a commission was set up to examine Eiffel's scheme and its rivals, which, a month later, decided that all the proposals except Eiffel's were either impractical or lacking in details.

text: After some debate about the exact location of the tower, a contract was signed on 8 January 1887. This was signed by Eiffel acting in his own capacity rather than as the representative of his company, and granted him 1.5 million francs toward the construction costs: less than a quarter of the estimated 6.5 million francs. Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the next 20 years. He later established a separate company to manage the tower, putting up half the necessary capital himself.[7]

text: Artists' protest

text: The proposed tower had been a subject of controversy, drawing criticism from those who did not believe it was feasible and those who objected on artistic grounds. These objections were an expression of a long-standing debate in France about the relationship between architecture and engineering. It came to a head as work began at the Champ de Mars: a "Committee of Three Hundred" (one member for each metre of the tower's height) was formed, led by the prominent architect Charles Garnier and including some of the most important figures of the arts, such as Adolphe Bouguereau, Guy de Maupassant, Charles Gounod and Jules Massenet. A petition called "Artists against the Eiffel Tower" was sent to the Minister of Works and Commissioner for the Exposition, Charles Alphand, and it was published by Le Temps on 14 February 1887:

text: We, writers, painters, sculptors, architects and passionate devotees of the hitherto untouched beauty of Paris, protest with all our strength, with all our indignation in the name of slighted French taste, against the erection … of this useless and monstrous Eiffel Tower … To bring our arguments home, imagine for a moment a giddy, ridiculous tower dominating Paris like a gigantic black smokestack, crushing under its barbaric bulk Notre Dame, the Tour Saint-Jacques, the Louvre, the Dome of les Invalides, the Arc de Triomphe, all of our humiliated monuments will disappear in this ghastly dream. And for twenty years … we shall see stretching like a blot of ink the hateful shadow of the hateful column of bolted sheet metal.[8]

text: Gustave Eiffel responded to these criticisms by comparing his tower to the Egyptian pyramids: "My tower will be the tallest edifice ever erected by man. Will it not also be grandiose in its way? And why would something admirable in Egypt become hideous and ridiculous in Paris?"[9] These criticisms were also dealt with by Édouard Lockroy in a letter of support written to Alphand, ironically saying,[10] "Judging by the stately swell of the rhythms, the beauty of the metaphors, the elegance of its delicate and precise style, one can tell this protest is the result of collaboration of the most famous writers and poets of our time", and he explained that the protest was irrelevant since the project had been decided upon months before, and construction on the tower was already under way.

text: Indeed, Garnier was a member of the Tower Commission that had examined the various proposals, and had raised no objection. Eiffel was similarly unworried, pointing out to a journalist that it was premature to judge the effect of the tower solely on the basis of the drawings, that the Champ de Mars was distant enough from the monuments mentioned in the protest for there to be little risk of the tower overwhelming them, and putting the aesthetic argument for the tower: "Do not the laws of natural forces always conform to the secret laws of harmony?"[11]

text: Some of the protesters changed their minds when the tower was built; others remained unconvinced.[12] Guy de Maupassant supposedly ate lunch in the tower's restaurant every day because it was the one place in Paris where the tower was not visible.[13]

text: By 1918, it had become a symbol of Paris and of France after Guillaume Apollinaire wrote a nationalist poem in the shape of the tower (a calligram) to express his feelings about the war against Germany.[14] Today, it is widely considered to be a remarkable piece of structural art, and is often featured in films and literature.

text: Construction

text: Work on the foundations started on 28 January 1887.[15] Those for the east and south legs were straightforward, with each leg resting on four 2 m (6.6 ft) concrete slabs, one for each of the principal girders of each leg. The west and north legs, being closer to the river Seine, were more complicated: each slab needed two piles installed by using compressed-air caissons 15 m (49 ft) long and 6 m (20 ft) in diameter driven to a depth of 22 m (72 ft)[16] to support the concrete slabs, which were 6 m (20 ft) thick. Each of these slabs supported a block of limestone with an inclined top to bear a supporting shoe for the ironwork.

text: Each shoe was anchored to the stonework by a pair of bolts 10 cm (4 in) in diameter and 7.5 m (25 ft) long. The foundations were completed on 30 June, and the erection of the ironwork began. The visible work on-site was complemented by the enormous amount of exacting preparatory work that took place behind the scenes: the drawing office produced 1,700 general drawings and 3,629 detailed drawings of the 18,038 different parts needed.[17] The task of drawing the components was complicated by the complex angles involved in the design and the degree of precision required: the position of rivet holes was specified to within 0.1 mm (0.0039 in) and angles worked out to one second of arc. The finished components, some already riveted together into sub-assemblies, arrived on horse-drawn carts from a factory in the nearby Parisian suburb of Levallois-Perret and were first bolted together, with the bolts being replaced with rivets as construction progressed. No drilling or shaping was done on site: if any part did not fit, it was sent back to the factory for alteration. In all, 18,038 pieces were joined together using 2.5 million rivets.[15]

text: At first the legs were constructed as cantilevers, but about halfway to the first level, construction was paused in order to create a substantial timber scaffold. This renewed concerns about the structural integrity of the tower, and sensational headlines such as "Eiffel Suicide!" and "Gustave Eiffel Has Gone Mad: He Has Been Confined in an Asylum" appeared in the tabloid press.[18] At this stage, a small "creeper" crane designed to move up the tower was installed in each leg. They made use of the guides for the lifts which were to be fitted in the four legs. The critical stage of joining the legs at the first level was completed by the end of March 1888.[15] Although the metalwork had been prepared with the utmost attention to detail, provision had been made to carry out small adjustments in order to precisely align the legs; hydraulic jacks were fitted to the shoes at the base of each leg, capable of exerting a force of 800 tonnes, and the legs were intentionally constructed at a slightly steeper angle than necessary, being supported by sandboxes on the scaffold. Although construction involved 300 on-site employees,[15] only one person died thanks to Eiffel's stringent safety precautions and the use of movable gangways, guardrails and screens[citation needed].

text:
The start of the erection of the metalwork.

7 December 1887: Construction of the legs with scaffolding.

20 March 1888: Completion of the first level.

15 May 1888: Start of construction on the second stage.

21 August 1888: Completion of the second level.

26 December 1888: Construction of the upper stage.

15 March 1889: Construction of the cupola.

tag: ul

text: Lifts

text: Equipping the tower with adequate and safe passenger lifts was a major concern of the government commission overseeing the Exposition. Although some visitors could be expected to climb to the first level, or even the second, lifts clearly had to be the main means of ascent.[19]

text: Constructing lifts to reach the first level was relatively straightforward: the legs were wide enough at the bottom and so nearly straight that they could contain a straight track, and a contract was given to the French company Roux, Combaluzier & Lepape for two lifts to be fitted in the east and west legs.[20] Roux, Combaluzier & Lepape used a pair of endless chains with rigid, articulated links to which the car was attached. Lead weights on some links of the upper or return sections of the chains counterbalanced most of the car's weight. The car was pushed up from below, not pulled up from above: to prevent the chain buckling, it was enclosed in a conduit. At the bottom of the run, the chains passed around 3.9 m (12 ft 10 in) diameter sprockets. Smaller sprockets at the top guided the chains.[20]

text: Installing lifts to the second level was more of a challenge because a straight track was impossible. No French company wanted to undertake the work. The European branch of Otis Brothers & Company submitted a proposal but this was rejected: the fair's charter ruled out the use of any foreign material in the construction of the tower. The deadline for bids was extended but still no French companies put themselves forward, and eventually the contract was given to Otis in July 1887.[21] Otis were confident they would eventually be given the contract and had already started creating designs.

text: The car was divided into two superimposed compartments, each holding 25 passengers, with the lift operator occupying an exterior platform on the first level. Motive power was provided by an inclined hydraulic ram 12.67 m (41 ft 7 in) long and 96.5 cm (38.0 in) in diameter in the tower leg with a stroke of 10.83 m (35 ft 6 in): this moved a carriage carrying six sheaves. Five fixed sheaves were mounted higher up the leg, producing an arrangement similar to a block and tackle but acting in reverse, multiplying the stroke of the piston rather than the force generated. The hydraulic pressure in the driving cylinder was produced by a large open reservoir on the second level. After being exhausted from the cylinder, the water was pumped back up to the reservoir by two pumps in the machinery room at the base of the south leg. This reservoir also provided power to the lifts to the first level.

text: The original lifts for the journey between the second and third levels were supplied by Léon Edoux. A pair of 81 m (266 ft) hydraulic rams were mounted on the second level, reaching nearly halfway up to the third level. One lift car was mounted on top of these rams: cables ran from the top of this car up to sheaves on the third level and back down to a second car. Each car only travelled half the distance between the second and third levels and passengers were required to change lifts halfway by means of a short gangway. The 10-ton cars each held 65 passengers.[22]

text: Inauguration and the 1889 exposition

text: The main structural work was completed at the end of March 1889 and, on 31 March, Eiffel celebrated by leading a group of government officials, accompanied by representatives of the press, to the top of the tower.[12] Because the lifts were not yet in operation, the ascent was made by foot, and took over an hour, with Eiffel stopping frequently to explain various features. Most of the party chose to stop at the lower levels, but a few, including the structural engineer, Émile Nouguier, the head of construction, Jean Compagnon, the President of the City Council, and reporters from Le Figaro and Le Monde Illustré, completed the ascent. At 2:35 pm, Eiffel hoisted a large Tricolour to the accompaniment of a 25-gun salute fired at the first level.[23]

text: There was still work to be done, particularly on the lifts and facilities, and the tower was not opened to the public until nine days after the opening of the exposition on 6 May; even then, the lifts had not been completed. The tower was an instant success with the public, and nearly 30,000 visitors made the 1,710-step climb to the top before the lifts entered service on 26 May.[24] Tickets cost 2 francs for the first level, 3 for the second, and 5 for the top, with half-price admission on Sundays,[25] and by the end of the exhibition there had been 1,896,987 visitors.[3]

text: After dark, the tower was lit by hundreds of gas lamps, and a beacon sent out three beams of red, white and blue light. Two searchlights mounted on a circular rail were used to illuminate various buildings of the exposition. The daily opening and closing of the exposition were announced by a cannon at the top.

text: On the second level, the French newspaper Le Figaro had an office and a printing press, where a special souvenir edition, Le Figaro de la Tour, was made. There was also a pâtisserie.

text: At the top, there was a post office where visitors could send letters and postcards as a memento of their visit. Graffitists were also catered for: sheets of paper were mounted on the walls each day for visitors to record their impressions of the tower. Gustave Eiffel described some of the responses as vraiment curieuse ("truly curious").[26]

text: Famous visitors to the tower included the Prince of Wales, Sarah Bernhardt, "Buffalo Bill" Cody (his Wild West show was an attraction at the exposition) and Thomas Edison.[24] Eiffel invited Edison to his private apartment at the top of the tower, where Edison presented him with one of his phonographs, a new invention and one of the many highlights of the exposition.[27] Edison signed the guestbook with this message:

text: To M Eiffel the Engineer the brave builder of so gigantic and original specimen of modern Engineering from one who has the greatest respect and admiration for all Engineers including the Great Engineer the Bon Dieu, Thomas Edison.

text: Eiffel had a permit for the tower to stand for 20 years. It was to be dismantled in 1909, when its ownership would revert to the City of Paris. The City had planned to tear it down (part of the original contest rules for designing a tower was that it should be easy to dismantle) but as the tower proved to be valuable for communication purposes, it was allowed to remain after the expiry of the permit.

text: Eiffel made use of his apartment at the top of the tower to carry out meteorological observations, and also used the tower to perform experiments on the action of air resistance on falling bodies.[28]

text: Subsequent events

text: For the 1900 Exposition Universelle, the lifts in the east and west legs were replaced by lifts running as far as the second level constructed by the French firm Fives-Lille. These had a compensating mechanism to keep the floor level as the angle of ascent changed at the first level, and were driven by a similar hydraulic mechanism to the Otis lifts, although this was situated at the base of the tower. Hydraulic pressure was provided by pressurised accumulators located near this mechanism.[21] At the same time the lift in the north pillar was removed and replaced by a staircase to the first level. The layout of both first and second levels was modified, with the space available for visitors on the second level. The original lift in the south pillar was removed 13 years later.

text: On 19 October 1901, Alberto Santos-Dumont, flying his No.6 airship, won a 100,000-franc prize offered by Henri Deutsch de la Meurthe for the first person to make a flight from St. Cloud to the Eiffel Tower and back in less than half an hour.[29]

text: Many innovations took place at the Eiffel Tower in the early 20th century. In 1910, Father Theodor Wulf measured radiant energy at the top and bottom of the tower. He found more at the top than expected, incidentally discovering what are known today as cosmic rays.[30] Just two years later, on 4 February 1912, Austrian tailor Franz Reichelt died after jumping from the first level of the tower (a height of 57 metres) to demonstrate his parachute design.[31] In 1914, at the outbreak of World War I, a radio transmitter located in the tower jammed German radio communications, seriously hindering their advance on Paris and contributing to the Allied victory at the First Battle of the Marne.[32] From 1925 to 1934, illuminated signs for Citroën adorned three of the tower's sides, making it the tallest advertising space in the world at the time.[citation needed] In April 1935, the tower was used to make experimental low-resolution television transmissions, using a shortwave transmitter of 200 watts power. On 17 November, an improved 180-line transmitter was installed.[33]

text: On two separate but related occasions in 1925, the con artist Victor Lustig "sold" the tower for scrap metal.[34] A year later, in February 1926, pilot Leon Collet was killed trying to fly under the tower. His aircraft became entangled in an aerial belonging to a wireless station.[35] A bust of Gustave Eiffel by Antoine Bourdelle was unveiled at the base of the north leg on 2 May 1929.[36] In 1930, the tower lost the title of the world's tallest structure when the Chrysler Building in New York City was completed.[37] In 1938, the decorative arcade around the first level was removed.[38]

text: Upon the German occupation of Paris in 1940, the lift cables were cut by the French. The tower was closed to the public during the occupation and the lifts were not repaired until 1946.[39] In 1940, German soldiers had to climb the tower to hoist a swastika-centered Reichskriegsflagge,[40] but the flag was so large it blew away just a few hours later, and was replaced by a smaller one.[41] When visiting Paris, Hitler chose to stay on the ground. When the Allies were nearing Paris in August 1944, Hitler ordered General Dietrich von Choltitz, the military governor of Paris, to demolish the tower along with the rest of the city. Von Choltitz disobeyed the order.[42] On 25 June, before the Germans had been driven out of Paris, the German flag was replaced with a Tricolour by two men from the French Naval Museum, who narrowly beat three men led by Lucien Sarniguet, who had lowered the Tricolour on 13 June 1940 when Paris fell to the Germans.[39]

text: A fire started in the television transmitter on 3 January 1956, damaging the top of the tower. Repairs took a year, and in 1957, the present radio aerial was added to the top.[43] In 1964, the Eiffel Tower was officially declared to be a historical monument by the Minister of Cultural Affairs, André Malraux.[44] A year later, an additional lift system was installed in the north pillar.[45]

text: According to interviews, in 1967, Montreal Mayor Jean Drapeau negotiated a secret agreement with Charles de Gaulle for the tower to be dismantled and temporarily relocated to Montreal to serve as a landmark and tourist attraction during Expo 67. The plan was allegedly vetoed by the company operating the tower out of fear that the French government could refuse permission for the tower to be restored in its original location.[46]

text: In 1982, the original lifts between the second and third levels were replaced after 97 years in service. These had been closed to the public between November and March because the water in the hydraulic drive tended to freeze. The new cars operate in pairs, with one counterbalancing the other, and perform the journey in one stage, reducing the journey time from eight minutes to less than two minutes. At the same time, two new emergency staircases were installed, replacing the original spiral staircases. In 1983, the south pillar was fitted with an electrically driven Otis lift to serve the Jules Verne restaurant.[citation needed] The Fives-Lille lifts in the east and west legs, fitted in 1899, were extensively refurbished in 1986. The cars were replaced, and a computer system was installed to completely automate the lifts. The motive power was moved from the water hydraulic system to a new electrically driven oil-filled hydraulic system, and the original water hydraulics were retained solely as a counterbalance system.[45] A service lift was added to the south pillar for moving small loads and maintenance personnel three years later.

text: Robert Moriarty flew a Beechcraft Bonanza under the tower on 31 March 1984.[47] In 1987, A.J. Hackett made one of his first bungee jumps from the top of the Eiffel Tower, using a special cord he had helped develop. Hackett was arrested by the police.[48] On 27 October 1991, Thierry Devaux, along with mountain guide Hervé Calvayrac, performed a series of acrobatic figures while bungee jumping from the second floor of the tower.[49] Facing the Champ de Mars, Devaux used an electric winch between figures to go back up to the second floor. When firemen arrived, he stopped after the sixth jump.[citation needed]

text: For its "Countdown to the Year 2000" celebration on 31 December 1999, flashing lights and high-powered searchlights were installed on the tower. Fireworks were set off all over it. An exhibition above a cafeteria on the first floor commemorates this event. The searchlights on top of the tower made it a beacon in Paris's night sky, and 20,000 flashing bulbs gave the tower a sparkly appearance for five minutes every hour on the hour.[50]

text: The lights sparkled blue for several nights to herald the new millennium On 31 December 2000. The sparkly lighting continued for 18 months until July 2001. The sparkling lights were turned on again on 21 June 2003, and the display was planned to last for 10 years before they needed replacing.[51]

text: The tower received its 200,000,000th guest on 28 November 2002.[52] The tower has operated at its maximum capacity of about 7 million visitors since 2003.[53] In 2004, the Eiffel Tower began hosting a seasonal ice rink on the first level.[54] A glass floor was installed on the first level during the 2014 refurbishment.[55]

text: Design

text: Material

text: The puddled iron (wrought iron) of the Eiffel Tower weighs 7,300 tons,[56] and the addition of lifts, shops and antennae have brought the total weight to approximately 10,100 tons.[57] As a demonstration of the economy of design, if the 7,300 tons of metal in the structure were melted down, it would fill the square base, 125 metres (410 ft) on each side, to a depth of only 6.25 cm (2.46 in) assuming the density of the metal to be 7.8 tons per cubic metre.[58] Additionally, a cubic box surrounding the tower (324 m x 125 m x 125 m) would contain 6,200 tons of air, weighing almost as much as the iron itself. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7 in) due to thermal expansion of the metal on the side facing the sun.[59]

text: Wind considerations

text: When it was built, many were shocked by the tower's daring form. Eiffel was accused of trying to create something artistic with no regard to the principles of engineering. However, Eiffel and his team – experienced bridge builders – understood the importance of wind forces, and knew that if they were going to build the tallest structure in the world, they had to be sure it could withstand them. In an interview with the newspaper Le Temps published on 14 February 1887, Eiffel said:

text: Is it not true that the very conditions which give strength also conform to the hidden rules of harmony? … Now to what phenomenon did I have to give primary concern in designing the Tower? It was wind resistance. Well then! I hold that the curvature of the monument's four outer edges, which is as mathematical calculation dictated it should be … will give a great impression of strength and beauty, for it will reveal to the eyes of the observer the boldness of the design as a whole.[60]

text: He used graphical methods to determine the strength of the tower and empirical evidence to account for the effects of wind, rather than a mathematical formula. Close examination of the tower reveals a basically exponential shape.[61] All parts of the tower were over-designed to ensure maximum resistance to wind forces. The top half was even assumed to have no gaps in the latticework.[62] In the years since it was completed, engineers have put forward various mathematical hypotheses in an attempt to explain the success of the design. The most recent, devised in 2004 after letters sent by Eiffel to the French Society of Civil Engineers in 1885 were translated into English, is described as a non-linear integral equation based on counteracting the wind pressure on any point of the tower with the tension between the construction elements at that point.[61]

text: The Eiffel Tower sways by up to 9 centimetres (3.5 in) in the wind.[63]

text: Accommodation

text: When originally built, the first level contained three restaurants—one French, one Russian and one Flemish—and an "Anglo-American Bar". After the exposition closed, the Flemish restaurant was converted to a 250-seat theatre. A promenade 2.6-metre (8 ft 6 in) wide ran around the outside of the first level. At the top, there were laboratories for various experiments, and a small apartment reserved for Gustave Eiffel to entertain guests, which is now open to the public, complete with period decorations and lifelike mannequins of Eiffel and some of his notable guests.[64]

text: In May 2016, an apartment was created on the first level to accommodate four competition winners during the UEFA Euro 2016 football tournament in Paris in June. The apartment has a kitchen, two bedrooms, a lounge, and views of Paris landmarks including the Seine, the Sacre Coeur, and the Arc de Triomphe.[65]

text: Passenger lifts

text: The arrangement of the lifts has been changed several times during the tower's history. Given the elasticity of the cables and the time taken to align the cars with the landings, each lift, in normal service, takes an average of 8 minutes and 50 seconds to do the round trip, spending an average of 1 minute and 15 seconds at each level. The average journey time between levels is 1 minute. The original hydraulic mechanism is on public display in a small museum at the base of the east and west legs. Because the mechanism requires frequent lubrication and maintenance, public access is often restricted. The rope mechanism of the north tower can be seen as visitors exit the lift.[citation needed]

text: Engraved names

text: Gustave Eiffel engraved on the tower the names of 72 French scientists, engineers and mathematicians in recognition of their contributions to the building of the tower. Eiffel chose this "invocation of science" because of his concern over the artists' protest. At the beginning of the 20th century, the engravings were painted over, but they were restored in 1986–87 by the Société Nouvelle d'exploitation de la Tour Eiffel, a company operating the tower.[66]

text: Aesthetics

text: The tower is painted in three shades: lighter at the top, getting progressively darker towards the bottom to complement the Parisian sky.[67] It was originally reddish brown; this changed in 1968 to a bronze colour known as "Eiffel Tower Brown".[68]

text: The only non-structural elements are the four decorative grill-work arches, added in Sauvestre's sketches, which served to make the tower look more substantial and to make a more impressive entrance to the exposition.[69]

text: A pop-culture movie cliché is that the view from a Parisian window always includes the tower.[70] In reality, since zoning restrictions limit the height of most buildings in Paris to seven storeys, only a small number of tall buildings have a clear view of the tower.[citation needed]

text: Maintenance

text: Maintenance of the tower includes applying 60 tons of paint every seven years to prevent it from rusting. The tower has been completely repainted at least 19 times since it was built. Lead paint was still being used as recently as 2001 when the practice was stopped out of concern for the environment.[51]

text: Tourism

text: Transport

text: The nearest Paris Métro station is Bir-Hakeim and the nearest RER station is Champ de Mars-Tour Eiffel.[71] The tower itself is located at the intersection of the quai Branly and the Pont d'Iéna.

text: Popularity

text: More than 250 million people have visited the tower since it was completed in 1889.[3] In 2015, there were 6.91 million visitors.[72] The tower is the most-visited paid monument in the world.[73] An average of 25,000 people ascend the tower every day which can result in long queues.[74] Tickets can be purchased online to avoid the long queues.

text: Restaurants

text: The tower has two restaurants: Le 58 Tour Eiffel on the first level, and Le Jules Verne, a gourmet restaurant with its own lift on the second level. This restaurant has one star in the Michelin Red Guide. It is run by the multi-Michelin star chef Alain Ducasse[75] and owes its name to the famous science-fiction writer Jules Verne. Additionally, there is a champagne bar at the top of the Eiffel Tower.

text: Replicas

text: As one of the most iconic landmarks in the world, the Eiffel Tower has been the inspiration for the creation of many replicas and similar towers. An early example is Blackpool Tower in England. The mayor of Blackpool, Sir John Bickerstaffe, was so impressed on seeing the Eiffel Tower at the 1889 exposition that he commissioned a similar tower to be built in his town. It opened in 1894 and is 158.1 metres (518 ft) tall.[76] Tokyo Tower in Japan, built as a communications tower in 1958, was also inspired by the Eiffel Tower.[77]

text: There are various scale models of the tower in the United States, including a half-scale version at the Paris Las Vegas, Nevada, one in Paris, Texas built in 1993, and two 1:3 scale models at Kings Island, Ohio, and Kings Dominion, Virginia, amusement parks opened in 1972 and 1975 respectively. Two 1:3 scale models can be found in China, one in Durango, Mexico that was donated by the local French community, and several across Europe.[78]

text: In 2011, the TV show Pricing the Priceless on the National Geographic Channel speculated that a full-size replica of the tower would cost approximately US$480 million to build.[79]

text: Communications

text: The tower has been used for making radio transmissions since the beginning of the 20th century. Until the 1950s, sets of aerial wires ran from the cupola to anchors on the Avenue de Suffren and Champ de Mars. These were connected to longwave transmitters in small bunkers. In 1909, a permanent underground radio centre was built near the south pillar, which still exists today. On 20 November 1913, the Paris Observatory, using the Eiffel Tower as an aerial, exchanged wireless signals with the United States Naval Observatory, which used an aerial in Arlington, Virginia. The object of the transmissions was to measure the difference in longitude between Paris and Washington, D.C.[80] Today, radio and digital television signals are transmitted from the Eiffel Tower.

text: FM radio

text:
Frequency
kW
Service

87.8 MHz
10
France Inter

89.0 MHz
10
RFI Paris

89.9 MHz
6
TSF Jazz

90.4 MHz
10
Nostalgie

90.9 MHz
4
Chante France

text: Digital television

text: A television antenna was first installed on the tower in 1957, increasing its height by 18.7 m (61.4 ft). Work carried out in 2000 added a further 5.3 m (17.4 ft), giving the current height of 324 m (1,063 ft).[51] Analogue television signals from the Eiffel Tower ceased on 8 March 2011.

text:
Frequency
VHF
UHF
kW
Service

182.25 MHz
6
—
100
Canal+

479.25 MHz
—
22
500
France 2

503.25 MHz
—
25
500
TF1

527.25 MHz
—
28
500
France 3

543.25 MHz
—
30
100
France 5

567.25 MHz
—
33
100
M6

text: Illumination copyright

text: The tower and its image have long been in the public domain.[81] In June 1990 a French court ruled that a special lighting display on the tower in 1989 to mark the tower's 100th anniversary was an "original visual creation" protected by copyright. The Court of Cassation, France's judicial court of last resort, upheld the ruling in March 1992.[82] The Société d'Exploitation de la Tour Eiffel (SETE) now considers any illumination of the tower to be a separate work of art that falls under copyright.[83] As a result, the SNTE alleges that it is illegal to publish contemporary photographs of the lit tower at night without permission in France and some other countries for commercial use.[84][85]

text: The imposition of copyright has been controversial. The Director of Documentation for what was then called the Société Nouvelle d'exploitation de la Tour Eiffel (SNTE), Stéphane Dieu, commented in 2005: "It is really just a way to manage commercial use of the image, so that it isn't used in ways [of which] we don't approve".[86] SNTE made over €1 million from copyright fees in 2002.[87] However, it could also be used to restrict the publication of tourist photographs of the tower at night, as well as hindering non-profit and semi-commercial publication of images of the illuminated tower.[81]

text: French doctrine and jurisprudence allows pictures incorporating a copyrighted work as long as their presence is incidental or accessory to the subject being represented,[88] a reasoning akin to the de minimis rule. Therefore, SETE may be unable to claim copyright on photographs of Paris which happen to include the lit tower.

text: Taller structures

text: The Eiffel Tower was the world's tallest structure when completed in 1889, a distinction it retained until 1929 when the Chrysler Building in New York City was topped out.[89] The tower has lost its standing both as the world's tallest structure and the world's tallest lattice tower but retains its status as the tallest freestanding (non-guyed) structure in France.

text: Lattice towers taller than the Eiffel Tower

text:
Name
Pinnacle height
Year
Country
Town
Remarks

Tokyo Skytree
634 m (2,080 ft)
2011
Japan
Tokyo

Kiev TV Tower
385 m (1,263 ft)
1973
Ukraine
Kiev

Dragon Tower
336 m (1,102 ft)
2000
China
Harbin

Tokyo Tower
333 m (1,093 ft)
1958
Japan
Tokyo

text: Structures in France taller than the Eiffel Tower

text:
Name
Pinnacle height
Year
Structure type
Town
Remarks

Longwave transmitter Allouis
350 m (1,150 ft)
1974
Guyed mast
Allouis

HWU transmitter
350 m (1,150 ft)
 ?
Guyed mast
Rosnay
Military VLF transmitter; multiple masts

Viaduc de Millau
343 m (1,125 ft)
2004
Bridge pillar
Millau

TV Mast Niort-Maisonnay
330 m (1,080 ft)
1978
Guyed mast
Niort

Transmitter Le Mans-Mayet
342 m (1,122 ft)
1993
Guyed mast
Mayet

La Regine transmitter
330 m (1,080 ft)
1973
Guyed mast
Saissac
Military VLF transmitter

Transmitter Roumoules
330 m (1,080 ft)
1974
Guyed mast
Roumoules
Spare transmission mast for longwave; insulated against ground