document_title: History of attention deficit hyperactivity disorder

question_text: who identified the symptoms of the disorder we now call adhd

text: 18th century[edit]

text: A number of early writers described human behaviour patterns similar to today's definitions of ADHD.

text: Melchior Adam Weikard[edit]

text: In 1775, Melchior Adam Weikard, a prominent German physician, published the textbook Der Philosophische Arzt. Weikard's text contained a description of ADHD-like behaviours, possibly the first ever such description in medical literature[3] Weikard described many of the symptoms now associated with the inattentive dimension of ADHD in the Diagnostic and Statistical Manual of Mental Disorders. For instance, according to the English translation provided by Barkley and Peters, Weikard stated that:

text: An inattentive person won't remark anything but will be shallow everywhere. He studies his matters only superficially; his judgements are erroneous and he misconceives the worth of things because he does not spend enough time and patience to search a matter individually or by the piece with the adequate accuracy. Such people only hear half of everything; they memorize or inform only half of it or do it in a messy manner. According to a proverb they generally know a little bit of all and nothing of the whole…. They are mostly reckless, often copious considering imprudent projects, but they are also most inconstant in execution. They treat everything in a light manner since they are not attentive enough to feel denigration or disadvantages.[3]

text: According to Weikard, the treatment recommended was:

text: The inattentive person is to be separated from the noise or any other objects; he is to be kept solitary, in the dark, when he is too active. The easily agile fibres are to be fixated by rubbing, cold baths, steel powder, cinchona, mineral waters, horseback riding, and gymnastic exercises.[3]

text: Sir Alexander Crichton[edit]

text: Scottish-born physician and author, Sir Alexander Crichton described a mental state much like the inattentive subtype of ADHD, in his book An Inquiry into the Nature and Origin of Mental Derangement.[4] Crichton had received some of his medical training in Germany and may well have known Weikard given that his training occurred in several of the towns where Weikard was known to have practiced medicine.[citation needed] More detailed in his observation than Weikard, Crichton described attention problems as:

text: The incapacity of attending with a necessary degree of constancy to any one object, almost always arises from an unnatural or morbid sensibility of the nerves, by which means this faculty is incessantly withdrawn from one impression to another. It may be either born with a person, or it may be the effect of accidental diseases.

text: When born with a person it becomes evident at a very early period of life, and has a very bad effect, inasmuch as it renders him incapable of attending with constancy to any one object of education. But it seldom is in so great a degree as totally to impede all instruction; and what is very fortunate, it is generally diminished with age.[4]:271

text: Crichton further observed:

text: In this disease of attention, if it can with propriety be called so, every impression seems to agitate the person, and gives him or her an unnatural degree of mental restlessness. People walking up and down the room, a slight noise in the same, the moving of a table, the shutting a door suddenly, a slight excess of heat or of cold, too much light, or too little light, all destroy constant attention in such patients, inasmuch as it is easily excited by every impression.[4]:272

text: Crichton noted that "…they have a particular name for the state of their nerves, which is expressive enough of their feelings. They say they have the fidgets."[4]:272 Dr. Crichton suggested that these children needed special educational intervention and noted that it was obvious that they had a problem attending even how hard they did try. "Every public teacher must have observed that there are many to whom the dryness and difficulties of the Latin and Greek grammars are so disgusting that neither the terrors of the rod, nor the indulgence of kind intreaty can cause them to give their attention to them."[4]:278

text: Both Melchior Adam Weikard and Alexander Crichton wrote about the occupationally disabling features of this disorder, including attentional problems, restlessness, early onset, and how it can affect schooling, without any of the moralism introduced by George Still and later authors.[5]

text: 20th century[edit]

text: Sir George Frederic Still[edit]

text: In March 1902, Sir George Frederic Still (1868–1941), known as the father of British paediatrics, gave a series of lectures to the Royal College of Physicians in London under the name Goulstonian Lectures on ‘some abnormal psychical conditions in children’, which were published later the same year in The Lancet.[6]

text: He described 43 children who had serious problems with sustained attention and self-regulation, who were often aggressive, defiant, resistant to discipline, excessively emotional or passionate, which showed little inhibitory volition, and could not learn from the consequences of their actions; though their intellect was normal. He wrote: "I would point out that a notable feature in many of these cases of moral defect without general impairment of intellect is a quite abnormal incapacity for sustained attention.[6]

text: Dr. Still wrote: "there is a defect of moral consciousness which cannot be accounted for by any fault of environment". When Still was talking about moral control, he was referring to it as William James had done before him, but to Still, the moral control of behavior meant "the control of action in conformity with the idea of the good of all."[6]

text: "Another boy, aged 6 years, with marked moral defect was unable to keep his attention even to a game for more than a very short time, and as might be expected, the failure of attention was very noticeable at school, with the result that in some cases the child was backward in school attainments, although in manner and ordinary conversation he appeared as bright and intelligent as any child could be."[6] He proposed a biological predisposition to this behavioral condition that was probably hereditary in some children and the result of pre- or postnatal injury in others.[5][7]

text: Many historians of ADHD have inferred that the children Still described in his series of three published lectures to the Royal College of Physicians would likely have qualified for the current disorder of ADHD combined type, among other disorders.[5][6][7]

text: Terminology[edit]

text:
Years
Name
From

1968 to 1980
Hyperkinetic Reaction of Childhood
DSM-II

1980 to 1987
Attention-Deficit Disorder with or without hyperactivity
DSM-III

1987 to 1994
Attention-Deficit Hyperactivity Disorder
DSM-III-R

1994 to present
ADHD with inattentive presentation (no hyperactivity) [ADHD-I]
DSM-IV, DSM-IV-TR, DSM-5

ADHD with hyperactive presentation [ADHD-II]

ADHD with combined presentation (hyperactivity and inattentiveness) [ADHD-III]

text: The clinical definition of "ADHD" dates to the mid-20th century, but was known by other names. Physicians developed a diagnosis for a set of conditions variously referred to as "minimal brain damage", "minimal brain dysfunction", "minimal brain disorder", "learning/behavioral disabilities" and "hyperactivity". Some of these labels became problematic as knowledge expanded. For example, as awareness grew that many children with no indication of brain damage also displayed the syndrome, the label which included the words "brain damage" did not seem appropriate.

text: The DSM-II (1968) began to call it "Hyperkinetic Reaction of Childhood" even though the professionals were aware that many of the children so diagnosed exhibited attention deficits without any signs of hyperactivity. In 1980, the DSM-III introduced the term "ADD (Attention-Deficit Disorder) with or without hyperactivity." That terminology (ADD) technically expired with the revision in 1987 to ADHD in the DSM-III-R. In the DSM-IV, published in 1994, ADHD with sub-types was presented. The DSM-IV-TR was released in 2000, primarily to correct factual errors and make changes to reflect recent research; ADHD was largely unchanged.

text: Under the DSM-5, there are three ADHD presentations, including one which lacks the hyperactivity component. Approximately one-third of people with ADHD have the predominantly inattentive presentation (ADHD-I), meaning that they do not have the hyperactive or overactive behavior components of the other ADHD presentations.[2][8]

text: Even today, the ADHD terminology is objectionable to many. There is some preference for using the ADHD-I, ADD, and AADD terminology when describing individuals lacking the hyperactivity component, especially among older adolescents and adults who find the term "hyperactive" inaccurate, inappropriate and even derogatory.

text: Encephalitis epidemic 1917–1918[edit]

text: The treatment of children with similar behavioral problems who had survived the epidemic of encephalitis lethargica from 1917 to 1918 and the pandemic of influenza from 1919 to 1920 led to terminology which referred to "brain damage."[9] This would also be called "post-encephalitic behavior disorder." The association of symptoms similar to ADHD in the surviving children eventually led later authors to speculate that whenever the behavior pattern may be present, it may reflect an underlying disturbance of or damage to the brain. The syndrome came to be known as brain-injured child syndrome, to be amended later to minimal brain damage, and subsequently to minimal brain dysfunction.[10][page needed][11]

text: Adult ADHD Diagnostic Expansion[edit]

text: In the 1970s, American research began to study the symptoms and development of children diagnosed with ADHD. By the 1980s, research was published confirming the continuation of ADHD symptoms beyond childhood.[12][13] Some controversy exists over the findings of scholars such as Gabrielle Weiss in 1986, which showed a 66% continuation of symptoms into adulthood,[14][page needed] contrasted with a lower 31% reported by Gittleman et al.[15] Research continued from there, often based on the model that ADHD could only be continued and not recognized and diagnosed newly in adults and adolescents. Publications by numerous individuals, including Kelly and Ramundo[16] as well as Hallowell and Ratey[17] in the 1990s, complicated this model by not only inspiring[weasel words] self-diagnosis but also through promoting the social model of disability. Currently[when?] there exists significant social and medical debate surrounding medication and prevailing diagnosis of ADHD in adults as well as children. Partly, this is influenced by media and agenda setting. As analyzed by Conrad and Potter, "ironically, controversy about ADHD raises the public's awareness and increases the diffusion of information about the disorder, which can indirectly contribute to diagnostic expansion."[12]


document_title: The Girl with the Dragon Tattoo (2011 film)

question_text: where did they film the girl with the dragon tattoo

root

text: Plot[edit]

text: In Stockholm, Sweden, divorced journalist Mikael Blomkvist (Daniel Craig), co-owner of Millennium magazine, has lost a libel case brought against him by businessman Hans-Erik Wennerström (Ulf Friberg) . Lisbeth Salander (Rooney Mara), a brilliant but troubled investigator and hacker, compiles an extensive background check on Blomkvist for business magnate Henrik Vanger (Christopher Plummer), who has a special task for him. In exchange for the promise of damning information about Wennerström, Blomkvist agrees to move to the Hedestad and investigate the disappearance and assumed murder of Henrik's grandniece, Harriet, 40 years ago, to the disappointment of Blomkvist's long term lover and business partner Erika Berger (Robin Wright) who wants him to stay in Stockholm. After moving to the Vanger family's estate, Blomkvist uncovers a notebook containing a list of names and numbers that no one has been able to decipher.

tag: p

text: Salander, who is under state legal guardianship due to diagnosed mental incompetency, is appointed a new guardian, lawyer Nils Bjurman (Yorick van Wageningen) in control of her finances, after her previous guardian Holger Palmgren suffers a stroke. Bjurman, a sexual sadist, abuses his authority to extort sexual favors from Salander and violently rapes her, not realizing she is secretly recording the assault with a camera on her bag. At their next meeting, Salander exacts revenge by incapacitating Bjurman with a taser, binding him to the legs of a bed, raping him with a dildo, and then tattooing a statement on his chest permanently marking him as a rapist. She coerces him into using his authority to have her incompetency diagnosis invalidated and leave her in control of her finances, threatening to upload the video of his assault to the Internet if he fails or refuses.

text: Blomkvist's daughter Pernilla (Josefin Asplund) visits him and notes that the numbers from the notebook are Bible references. Blomkvist tells Vanger's lawyer, Dirch Frode (Steven Berkoff), that he needs help with his research, and Frode recommends Salander based on the work she did researching Blomkvist himself. Blomkvist hires Salander to investigate the notebook's content. She uncovers a connection to a series of murders of young women from 1947 through to 1967, with the women either being Jewish or having Biblical names; many of the Vangers are known antisemites. One morning, Blomkvist finds the mutilated corpse of a cat he'd been tending to and one night while walking, he is shot at and narrowly escapes. While Salander tends to his injuries, they have sex and become lovers. Henrik's openly national socialist brother Harald identifies Martin (Stellan Skarsgård), Harriet's brother and operational head of the Vanger empire, and Blomkvist marks Martin as a possible suspect. Salander's research uncovers evidence that Martin and his deceased father, Gottfried, committed the murders.

text: Blomkvist breaks into Martin's house to look for more clues, but Martin catches him and prepares to kill him. While torturing Blomkvist, Martin brags of having killed women for decades but denies killing Harriet. Salander arrives, subdues Martin and saves Blomkvist. While Salander tends to Blomkvist, Martin flees. Salander, on her motorcycle, pursues Martin in his SUV. He loses control of his vehicle on an icy road and dies when it catches fire. Salander nurses Blomkvist back to health and tells him that she tried to kill her father when she was 12 which led to her being under state care. Blomkvist deduces that Harriet is still alive and her cousin Anita (Joely Richardson) probably knows where she is. They travel to London where Anita has been living since leaving Sweden and he and Salander monitor her, waiting for her to contact Harriet. When nothing happens, Blomkvist confronts her, deducing that the woman posing as Anita is Harriet herself. She explains that her father and brother had sexually abused her for years, and that Martin saw her kill their father in self-defense. Her cousin, Anita, smuggled her out of the island and let her live under her identity when she moved to London. Finally free of her brother Martin, she returns to Sweden and tearfully reunites with Henrik.

text: As promised, Henrik gives Blomkvist the information on Wennerström, but it proves worthless. Salander hacks into Wennerström's computer and presents Blomkvist with evidence of Wennerström's crimes. Blomkvist publishes an article that ruins Wennerström, who flees the country. Salander hacks into Wennerström's bank accounts and, travelling to Switzerland in disguise, transfers two billion euros to various accounts. Wennerström is found murdered. Salander reveals to her former guardian Holger Palmgren that she has made a friend (Blomkvist) and is happy. On her way to give Blomkvist a Christmas present, Salander sees him together with Erika, though he had said he was going to see his daughter that evening. Heartbroken, Salander discards the gift and rides away.

text: Cast[edit]

text: Daniel Craig as Mikael Blomkvist:

tag: ul

text: Rooney Mara as Lisbeth Salander:

text: Christopher Plummer as Henrik Vanger:

text: Stellan Skarsgård as Martin Vanger:

text:
Steven Berkoff as Dirch Frode, Head Legal Counsel for Vanger Industries
Robin Wright as Erika Berger: Blomkvist's business partner and editor-in-chief of Millennium magazine. She's also Blomkvist's occasional lover.
Yorick van Wageningen as Nils Bjurman:

text: Joely Richardson as Harriet Vanger:

text:
Goran Višnjić as Dragan Armansky, head of Milton Security, Salander's employer
Donald Sumpter as Detective Morell
Ulf Friberg as Hans-Erik Wennerström, CEO of the Wennerström Group
Geraldine James as Cecilia Vanger
Embeth Davidtz as Annika Giannini, Mikael's sister and a lawyer
Josefin Asplund as Pernilla Blomkvist, Mikael's daughter
Per Myrberg as Harald Vanger
Tony Way as Plague, Salander's hacker friend
Fredrik Dolk as Bertil Camnermarker, Counsel for the Wennerström Group
Alan Dale as Detective Isaksson
Julian Sands as Young Henrik Vanger
David Dencik as Young Morell
Gustaf Hammarsten as Young Harald
Leo Bill as Trinity, another of Salander's hacker friends
Élodie Yung as Miriam Wu, Salander's occasional lover
Joel Kinnaman as Christer Malm

text: Production[edit]

text: Conception and writing[edit]

text: The success of Stieg Larsson's novel created Hollywood interest in adapting the book, as became apparent in 2009, when Lynton and Pascal pursued the idea of developing an "American" version unrelated to the Swedish film adaptation released that year. By December, two major developments occurred for the project: Steven Zaillian, who had recently completed the script for Moneyball (2011), became the screenwriter, while producer Scott Rudin finalized a partnership allocating full copyrights to Sony.[9] Zaillian, who was unfamiliar with the novel, got a copy from Rudin. The screenwriter recalled, "They sent it to me and said, 'We want to do this. We will think of it as one thing for now. It's possible that it can be two and three, but let's concentrate on this one.'"[20] After reading the book, the screenwriter did no research on the subject.[21] Fincher, who was requested with partner Cean Chaffin by Sony executives to read the novel,[9][22] was astounded by the series' size and success. As they began to read, the duo noticed that it had a tendency to take "readers on a lot of side trips"—"from detailed explanations of surveillance techniques to angry attacks on corrupt Swedish industrialists," professed The Hollywood Reporter's Gregg Kilday. Fincher recalled of the encounter: "The ballistic, ripping-yarn thriller aspect of it is kind of a red herring in a weird way. It is the thing that throws Salander and Blomkvist together, but it is their relationship you keep coming back to. I was just wondering what 350 pages Zaillian would get rid of." Because Zaillian was already cultivating the screenplay, the director avoided interfering. After a conversation, Fincher was comfortable "they were headed in the same direction".[9]

text:
"I imagined someone who could move through the streets of Stockholm almost invisibly even though she looks the way she looks ... it's almost like a forcefield"

—Steven Zaillian[23]

tag: div

text: The writing process consumed approximately six months, including three months creating notes and analyzing the novel.[20] Zaillian noted that as time progressed, the writing accelerated. "As soon as you start making decisions," he explained, "you start cutting off all of the other possibilities of things that could happen. So with every decision that you make you are removing a whole bunch of other possibilities of where that story can go or what that character can do."[20] Given the book's sizable length, Zaillian deleted elements to match Fincher's desired running time.[20] Even so, Zaillan took significant departures from the book.[23] To Zaillian, there was always a "low-grade" anxiety, "but I was never doing anything specifically to please or displease," he continued. "I was simply trying to tell the story the best way I could, and push that out of my mind. I didn't change anything just for the sake of changing it. There's a lot right about the book, but that part, I thought we could do it a different way, and it could be a nice surprise for the people that have read it."[23]

text: Zaillian discussed many of the themes in Larsson's Millennium series with Fincher, taking the pair deeper into the novel's darker subjects, such as the psychological dissimilarities between rapists and murderers.[23] Fincher was familiar with the concept, from projects such as Seven (1995) and Zodiac (2007). Zaillian commented, "A rapist, or at least our rapist, is about exercising his power over somebody. A serial killer is about destruction; they get off on destroying something. It's not about having power over something, it's about eliminating it. What thrills them is slightly different."[23] The duo wanted to expose the novels' pivotal themes, particularly misogyny. "We were committed to the tack that this is a movie about violence against women about specific kinds of degradation, and you can't shy away from that. But at the same time you have to walk a razor thin line so that the audience can viscerally feel the need for revenge but also see the power of the ideas being expressed."[7] Instead of the typical three-act structure, they reluctantly chose a five-act structure, which Fincher pointed out is "very similar to a lot of TV cop dramas."[24]

text: Filming[edit]

text: Fincher and Zaillian's central objective was to maintain the novel's setting. To portray Larsson's vision of Sweden, and the interaction of light on its landscape, Fincher cooperated with an artistic team that included cinematographer Jeff Cronenweth and production designer Donald Graham Burt. The film was wholly shot using Red Digital Cinema Camera Company's RED MX digital camera, chosen to help evoke Larsson's tone. The idea, according to Cronenweth, was to employ unorthodox light sources and maintain a realistic perspective. "So there may be shadows, there may be flaws, but it's reality. You allow silhouettes and darkness, but at the same time we also wanted shots to counter that, so it would not all be one continuous dramatic image."[7] Sweden's climate was a crucial element in enhancing the mood. Cronenweth commented, "It's always an element in the background and it was very important that you feel it as an audience member. The winter becomes like a silent character in the film giving everything a low, cool-colored light that is super soft and non-direct."[7] To get acquainted with Swedish culture, Burt set out on a month-long expedition across the country. He said of the process, "It takes time to start really taking in the nuances of a culture, to start seeing the themes that recur in the architecture, the landscape, the layouts of the cities and the habits of the people. I felt I had to really integrate myself into this world to develop a true sense of place for the film. It was not just about understanding the physicality of the locations, but the metaphysics of them, and how the way people live comes out through design."[7]

text: Principal photography began in Stockholm, Sweden in September 2010.[25] Production mostly took place at multiple locations in the city's central business district, including at the Stockholm Court House.[26] One challenge was realizing the Vanger estate. They picked an eighteenth-century French architecture mansion Hofsta located approximately 60 miles (97 km) southwest of Stockholm. Filmmakers wanted to use a typical "manor from Småland" that was solemn, formal, and "very Old Money". "The Swedish are very good at the modern and the minimal but they also have these wonderful country homes that can be juxtaposed against the modern city—yet both speak to money."[7] Principal photography relocated in October to Uppsala. On Queen Street, the facade of the area was renovated to mimic the Hotel Alder, after an old photograph of a building obtained by Fincher.[27] From December onward, production moved to Zurich, Switzerland, where locations were established at Dolder Grand Hotel and the Zurich Airport.[28] Because of the "beautiful" environment of the city, Fincher found it difficult to film in the area.[29] Principal photography concluded in Oslo, Norway, where production took place at Oslo Airport, Gardermoen. Recorded for over fifteen hours, twelve extras were sought for background roles.[30] Filming also took place in the United Kingdom and the United States.[citation needed]

text: In one sequence the character Martin Vanger plays the song "Orinoco Flow" by Enya before beginning his torture of Mikael Blomkvist. David Fincher, the director, said that he believed that Martin "doesn’t like to kill, he doesn’t like to hear the screams, without hearing his favorite music" so therefore the character should play a song during the scene.[31] Daniel Craig, the actor who played Blomkvist, selected "Orinoco Flow" on his iPod as a candidate song. Fincher said "And we all almost pissed ourselves, we were laughing so hard. No, actually, it’s worse than that. He said, ‘Orinoco Flow!’ Everybody looked at each other, like, what is he talking about? And he said, ‘You know, “Sail away, sail away...”’ And I thought, this guy is going to make Blomkvist as metro as we need."[31]

text: Title sequence[edit]

text: Tim Miller, creative director for the title sequence, wanted to develop an abstract narrative that reflected the pivotal moments in the novel, as well as the character development of Lisbeth Salander. It was arduous for Miller to conceptualize the sequence abstractly, given that Salander's occupation was a distinctive part of her personality. His initial ideas were modeled after a keyboard. "We were going to treat the keyboard like this giant city with massive fingers pressing down on the keys," Miller explained, "Then we transitioned to the liquid going through the giant obelisks of the keys."[32] Among Miller's many vignettes was "The Hacker Inside", which revealed the character's inner disposition and melted them away. The futuristic qualities in the original designs provided for a much more cyberpunk appearance than the final product. In creating the "cyber" look for Salander, Miller said, "Every time I would show David a design he would say, 'More Tandy!' It's the shitty little computers from Radio Shack, the Tandy computers. They probably had vacuum tubes in them, really old technology. And David would go 'More Tandy', until we ended up with something that looked like we glued a bunch of computer parts found at a junkyard together."[32]

text: Fincher wanted the vignette to be a "personal nightmare" for Salander, replaying her darkest moments. "Early on, we knew it was supposed to feel like a nightmare," Miller professed, who commented that early on in the process, Fincher wanted to use an artwork as a template for the sequence. After browsing through various paintings to no avail, Fincher chose a painting that depicted the artist, covered in black paint, standing in the middle of a gallery. Many of Miller's sketches contained a liquid-like component, and were rewritten to produce the "gooey" element that was so desired. "David said let's just put liquid in all of them and it will be this primordial dream ooze that's a part of every vignette," Miller recalled. "It ties everything together other than the black on black."[32]

text: The title sequence includes abundant references to the novel, and exposes several political themes. Salander's tattoos, such as her phoenix and dragon tattoos, were incorporated. The multiple flower representations signified the biological life cycle, as well as Henrik, who received a pressed flower each year on his birthday. "One had flowers coming out of this black ooze," said Fincher, "it blossoms, and then it dies. And then a different flower, as that one is dying is rising from the middle of it. It was supposed to represent this cycle of the killer sending flowers."[32] Ultimately, the vignette becomes very conceptual because Miller and his team took "a whole thought, and cut it up into multiple different shots that are mixed in with other shots". In one instance, Blomkvist is strangled by strips of newspaper, a metaphor for the establishment squelching his exposes.[32]

text: In the "Hot Hands" vignette, a pair of rough, distorted hands that embrace Salander's face and melt it represent all that's bad in men. The hands that embrace Blomkvist's face and shatter it, represent wealth and power.[32] Themes of domestic violence become apparent as a woman's face shatters after a merciless beating; this also ties in the brutal beating of Salander's mother by her father, an event revealed in the sequel, The Girl Who Played with Fire (2006).[32]

text: A cover of Led Zeppelin's "Immigrant Song" (1970) plays throughout the title sequence. The rendition was produced by soundtrack composers Atticus Ross and Nine Inch Nails member Trent Reznor, and features vocals from Yeah Yeah Yeahs lead singer Karen O.[33] Fincher suggested the song, but Reznor agreed only at his request.[34] Led Zeppelin licensed the song only for use in the film's trailer and title sequence. Fincher stated that he sees title sequences as an opportunity to set the stage for the film, or to get an audience to let go of its preconceptions.[35]

text: Software packages that were primarily used are 3ds Max (for modeling, lighting, rendering), Softimage (for rigging and animation), Digital Fusion (for compositing), Real Flow (for fluid dynamics), Sony Vegas (for editorial), Zbrush and Mudbox (for organic modeling), and VRAY (for rendering).[36]

text: Soundtrack[edit]

text:
"[The instrumental sounds are] processed and stretched and manipulated into a setting where it may sound harmonically familiar, but if you tune into it, it's not behaving in a way that you're accustomed to that type of sound behaving. I find experimenting around in that is an interesting place to work."

—Trent Reznor[37]

text: Fincher recruited Reznor and Ross to produce the score; aside from their successful collaboration on The Social Network, the duo had worked together on albums from Nine Inch Nails' later discography.[37][38] They dedicated much of the year to work on the film, as they felt it would appeal to a broad audience.[39] Akin to his efforts in The Social Network, Reznor experiments with acoustics and blends them with elements of electronic music, resulting in a forbidding atmosphere. "We wanted to create the sound of coldness—emotionally and also physically," he asserted, "We wanted to take lots of acoustic instruments [...] and transplant them into a very inorganic setting, and dress the set around them with electronics."[37]

text: Even before viewing the script, Reznor and Ross opted to use a redolent approach to creating the film's score. After discussing with Fincher the varying soundscapes and emotions, the duo spent six weeks composing. "We composed music we felt might belong," stated the Nine Inch Nails lead vocalist, "and then we'd run it by Fincher, to see where his head’s at and he responded positively. He was filming at this time last year and assembling rough edits of scenes to see what it feels like, and he was inserting our music at that point, rather than using temp music, which is how it usually takes place, apparently." Finding a structure for the soundtrack was arguably the most strenuous task. "We weren’t working on a finished thing, so everything keeps moving around, scenes are changing in length, and even the order of things are shuffled around, and that can get pretty frustrating when you get precious about your work. It was a lesson we learned pretty quickly of, 'Everything is in flux, and approach it as such. Hopefully it’ll work out in the end.'"[39]

text: Release[edit]

text: Pre-release[edit]

text: A screening for The Girl with the Dragon Tattoo took place on November 28, 2011, as part of a critics-only event hosted by the New York Film Critics Circle. Commentators at the event predicted that while the film would become a contender for several accolades, it would likely not become a forerunner in the pursuit for Academy Award nominations.[40] A promotional campaign commenced thereafter, including a Lisbeth Salander-inspired collection, designed by Trish Summerville for H&M.[41][42] The worldwide premiere was at the Odeon Leicester Square in London on December 12, 2011,[43] followed by the American opening at the Ziegfeld Theatre in New York City on December 14 and Stockholm the next day.[44][45] Sony's target demographics were men and women over the age of 25 and 17–34.[46] The film went into general release in North America on December 21, at 2,700 theaters,[47] expanding to 2,974 theaters on its second day.[47] The United Kingdom release was on December 26,[48] Russia on January 1, 2012,[49] and Japan on February 13.[50] India and Vietnam releases were abandoned due to censorship concerns.[51][52] A press statement from the Central Board of Film Certification stated: "Sony Pictures will not be releasing The Girl with the Dragon Tattoo in India. The censor board has judged the film unsuitable for public viewing in its unaltered form and, while we are committed to maintaining and protecting the vision of the director, we will, as always, respect the guidelines set by the board."[52] In contrast, the National Film Board of Vietnam insisted that the film's withdrawal had no relation to rigid censorship guidelines, as it had not been reviewed by the committee.[51]

text: Home media[edit]

text: Sony Pictures Home Entertainment released the film in a DVD and Blu-ray disc combo pack in the United States on March 20, 2012.[53] Bonus features include a commentary from Fincher, featurettes on Blomkvist, Salander, the sets and locations, etc.[54] The disc artwork for the DVD version of the film resembles a Sony brand DVD-R, a reference to the hacker Lisbeth Salander. This caused a bit of confusion in the marketplace with consumers thinking they had obtained a bootleg copy.[55][56] The release sold 644,000 copies in its first week, in third place behind The Muppets and Hop.[57] The following week, the film sold an additional 144,000 copies generating $2.59 million in gross revenue.[58] As of January 2014, 1,478,230 units had been sold, grossing $22,195,069.[59]

text: Reception[edit]

text: Box office[edit]

text: Fincher's film grossed $232.6 million during its theatrical run.[2] The film's American release grossed $1.6 million from its Tuesday night screenings,[47] a figure that increased to $3.5 million by the end of its first day of general release.[60] It maintained momentum into its opening weekend, accumulating $13 million for a total of $21 million in domestic revenue.[61] The film's debut figures fell below media expectations.[62][63][64] Aided by positive word of mouth,[65] its commercial performance remained steady into the second week, posting $19 million from 2,914 theaters.[66] The third week saw box office drop 24% to $11.3 million, totaling $76.8 million. The number of theaters slightly increased to 2,950.[67] By the fifth week, the number of theaters shrank to 1,907, and grosses to $3.7 million, though it remained within the national top ten.[68] The film completed its North American theatrical run on March 22, 2012, earning over $102.5 million.[2]

text: The international debut was in six Scandinavian markets on December 19–25, 2011, securing $1.6 million from 480 venues.[69] In Sweden the film opened in 194 theaters to strong results, accounting for more than half of international revenue at the time ($950,000).[69] The first full week in the United Kingdom collected $6.7 million from 920 theaters.[48] By the weekend of January 6–8, 2012, the film grossed $12.2 million for a total of $29 million; this included its expansion into Hong Kong, where it topped the box office, earning $470,000 from thirty-six establishments. The film similarly led the field in South Africa. It accumulated $6.6 million from an estimated 600 theaters over a seven-day period in Russia, placing fifth.[49] The expansion continued into the following week, opening in nine markets. The week of January 13–15 saw the film yield $16.1 million from 3,910 locations in over forty-three territories, thus propelling the international gross to $49.3 million.[70] It debuted at second place in Austria and Germany, where in the latter, it pulled $2.9 million from 525 locations.[70] Similar results were achieved in Australia, where it reached 252 theaters.[70] The film's momentum continued throughout the month, and by January 22, it had hit ten additional markets, including France and Mexico, from which it drew $3.25 million from 540 venues and $1.25 million from 540 theaters, respectively.[71] In its second week in France it descended to number three, with a total gross of $5.8 million.[72]

text: The next major international release came in Japan on February 13, where it opened in first place with $3.68 million (¥288 million)[50] in 431 theaters.[73] By the weekend of February 17–19, the film had scooped up $119.5 million from international markets.[74] The total international gross for The Girl with the Dragon Tattoo was $130.1 million.[2] MGM, one of the studios involved in the production, posted a "modest loss" and declared that they had expected the film to gross at least 10% more.[75]

text: Critical response[edit]

text: The Girl with the Dragon Tattoo received positive reviews from critics, with particular note to the cast, tone, score and cinematography. Review aggregation website Rotten Tomatoes gives the film a rating of 86%, based on 224 reviews, with an average rating of 7.6/10. The site's consensus states, "Brutal yet captivating, The Girl with the Dragon Tattoo is the result of David Fincher working at his lurid best with total role commitment from star Rooney Mara."[76] At Metacritic, which assigns a normalized score, the film received an average score of 71 out of 100, based on 41 critics, indicating "generally favorable reviews".[77]

text: David Denby of The New Yorker asserted that the austere, but captivating installment presented a "glancing, chilled view" of a world where succinct moments of loyalty coexisted with constant trials of betrayal.[78] To USA Today columnist Claudia Puig, Fincher captures the "menace and grim despair in the frosty Scandinavian landscape" by carefully approaching its most gruesome features.[79] Puig noted a surfeit of "stylistic flourishes" and "intriguing" changes in the narrative, compared to the original film.[79] In his three-and-a-half star review, Chris Knight of the National Post argued that it epitomized a so-called "paradoxical position" that was both "immensely enjoyable and completely unnecessary".[80] Rene Rodriguez of The Miami Herald said that the "fabulously sinister entertainment" surpassed the original film "in every way".[81] The film took two-and-a-half stars from Rolling Stone commentator Peter Travers, who concluded: "Fincher's Girl is gloriously rendered but too impersonal to leave a mark."[82] A. O. Scott, writing for The New York Times, admired the moments of "brilliantly orchestrated" anxiety and confusion, but felt that The Girl with the Dragon Tattoo was vulnerable to the "lumbering proceduralism" that he saw in its literary counterpart, as evident with the "long stretches of drab, hackneyed exposition that flatten the atmosphere".[83] The Wall Street Journal's Joe Morgenstern praised Cronenweth's cinematography, which he thought provided for glossy alterations in the film's darkness; "Stockholm glitters in nighttime exteriors, and its subway shines in a spectacular spasm of action involving a backpack."[84] Rex Reed of The New York Observer professed that despite its occasional incomprehensibility, the movie was "technically superb" and "superbly acted".[85] In contrast, Kyle Smith of New York Post censured the film, calling it "rubbish" and further commenting that it "demonstrates merely that masses will thrill to an unaffecting, badly written, psychologically shallow and deeply unlikely pulp story so long as you allow them to feel sanctified by the occasional meaningless reference to feminism or Nazis."[86]

text: The performances were a frequent topic in the critiques. Mara's performance, in particular, was admired by commentators. A revelation in the eyes of Entertainment Weekly's Owen Gleiberman, he proclaimed that her character was more important than "her ability to solve a crime".[87] Her "hypnotic" portrayal was noted by Justin Chang of Variety,[88] as well as Salon critic Andrew O'Hehir, who wrote, "Rooney Mara is a revelation as Lisbeth Salander, the damaged, aggressive computer geek and feminist revenge angel, playing the character as far more feral and vulnerable than Noomi Rapace’s borderline-stereotype sexpot Goth girl."[89] Scott Tobias of The A.V. Club enjoyed the chemistry between Mara and Craig,[90] as did David Germain of the Associated Press; "Mara and Craig make an indomitable screen pair, he nominally leading their intense search into decades-old serial killings, she surging ahead, plowing through obstacles with flashes of phenomenal intellect and eruptions of physical fury."[91] Although Puig found Mara inferior to Rapace in playing Salander, with regard to Craig's performance, he said that the actor shone.[79] This was supported by Morgenstern, who avouched that Craig "nonetheless finds welcome humor in Mikael's impassive affect".[84] Roger Ebert of the Chicago Sun-Times said the film was given a more assured quality than the original because of Fincher's direction and the lead performances, although he believed this did not always work to the film's advantage, preferring the original version's "less confident surface" where "emotions were closer to the surface."[92]

text: Accolades[edit]

text: In addition to numerous awards, The Girl with the Dragon Tattoo was included on several year-end lists by film commentators and publications. It was named the best film of 2011 by MTV and James Berardinelli of ReelViews.[93][94] The former wrote, "The director follows up the excellent Social Network with another tour de force, injecting the murder mystery that introduces us to outcast hacker Lisbeth Salander [...] and embattled journalist [...] with style, intensity and relentless suspense. Mara is a revelation, and the film's daunting 160-minute runtime breezes by thanks to one heart-racing scene after the next. Dark and tough to watch at times, but a triumph all around."[93] The film came second in indieWire's list of "Drew Taylor's Favorite Films Of 2011",[95] while reaching the top ten of seven other publications,[96] including the St. Louis Post-Dispatch,[97] San Francisco Chronicle,[98] and the New Orleans Times-Picayune.[99] The Girl with the Dragon Tattoo was declared one of the best films of the year by the American Film Institute,[100] as well as the National Board of Review of Motion Pictures.[101]

text:
Date of ceremony
Award
Category
Recipients
Result

January 10, 2012
Alliance of Women Film Journalists Awards 2011[102]
Best Film Music or Score
Trent Reznor, Atticus Ross
Won

February 12, 2012
American Society of Cinematographers Awards[103]
Best Cinematography
Jeff Cronenweth
Nominated

February 12, 2012
British Academy Film and Television Awards[104]
BAFTA Award for Best Cinematography
Jeff Cronenweth
Nominated

BAFTA Award for Best Original Music
Trent Reznor, Atticus Ross
Nominated

January 12, 2012
Broadcast Film Critics Association Awards[105]
Best Editing
Kirk Baxter, Angus Wall
Won

Best Composer
Trent Reznor, Atticus Ross
Nominated

January 5, 2012
Central Ohio Film Critics Association Awards[106]
Best Picture

Nominated

Best Director
David Fincher
Nominated

Best Adapted Screenplay
Steven Zaillian
Won

December 19, 2011
Chicago Film Critics Association Awards[107]
Best Original Score
Trent Reznor, Atticus Ross
Nominated

January 10, 2012
Denver Film Critics Association Awards[108]
Best Actress
Rooney Mara
Nominated

January 28, 2012
Directors Guild of America Awards[109]
Best Director
David Fincher
Nominated

January 15, 2012
Golden Globe Awards[110]
Best Actress – Motion Picture Drama
Rooney Mara
Nominated

Best Original Score
Trent Reznor, Atticus Ross
Nominated

June 3, 2012
MTV Movie Awards[111]
Best Female Performance
Rooney Mara
Nominated

Breakthrough Performance
Rooney Mara
Nominated

Best On-Screen Transformation
Rooney Mara
Nominated

December 1, 2011
National Board of Review Awards[112]

Breakthrough Performance
Rooney Mara (Tied with Felicity Jones)
Won

December 23, 2011
Oklahoma Film Critics Circle Awards[113]
Best Picture

Nominated

January 21, 2012
Producers Guild of America Award[114]
Best Picture

Nominated

December 19, 2011
St. Louis Gateway Film Critics Association Awards[115][116]
Best Director
David Fincher
Nominated

Best Actress
Rooney Mara
Won

Best Cinematography
Jeff Cronenweth
Nominated

Best Music
Trent Reznor, Atticus Ross
Nominated

Best Scene
Blur Studio (for the opening credits)
Won

December 5, 2011
Washington D.C. Area Film Critics Association Awards[117]
Best Score
Trent Reznor, Atticus Ross
Nominated

February 19, 2012
Writers Guild Awards[118]
Best Screenplay Adapted
Steven Zaillian
Nominated

February 26, 2012
84th Academy Awards[119]
Best Actress
Rooney Mara
Nominated

Best Cinematography
Jeff Cronenweth
Nominated

Best Film Editing
Angus Wall, Kirk Baxter
Won

Best Sound Editing
Ren Klyce
Nominated

Best Sound Mixing
David Parker, Michael Semanick, Ren Klyce and Bo Persson
Nominated

June 7, 2012
Kerrang! Awards[120]
Best Film

Nominated

July 26, 2012
38th Saturn Awards[121]
Best Horror or Thriller Film

Won

February 10, 2013
Grammy Awards[122]
Best Score Soundtrack for Visual Media
Trent Reznor, Atticus Ross
Won

tag: table

text: Sequel[edit]

text: In December 2011, Fincher stated that he wanted to film the sequels, The Girl Who Played with Fire and The Girl Who Kicked the Hornets' Nest, "back to back."[123] There was an announced release date of 2013 for a film version of The Girl Who Played with Fire, although by August 2012 it was delayed due to difficulties with the script, being written by Zaillian.[124][125] In July 2013, Andrew Kevin Walker was hired to re-write the script.[126]

text: In September 2014, Fincher stated that a script for Played with Fire had been written that was "extremely different from the book," and that, despite the long delay, he was confident that the film would be made because Sony "already has spent millions of dollars on the rights and the script".[127] Mara, when asked about potential sequels, expressed much less optimism about them, though she stated that she was still very interested in continuing on in the role.[128][129][130]

text: In November 2015, it was announced that Sony was planning on doing a soft-reboot to the franchise with an adaptation of The Girl in the Spider's Web, a 2015 novel by David Lagercrantz that was a continuation of the original Millennium trilogy after series creator Stieg Larsson died in 2004.[131] At the time, Alicia Vikander was considered a favorite to take over the role of Salander.[132]

text: In November 2016, Fede Álvarez was announced as the new director.[133] The Girl in the Spider's Web will be the first in the book series to be produced into an English-language film in its initial adaptation.[134] Knight will serve as screenwriter, together with Alvarez and Jay Basu.[135] In March 2017, it was confirmed that the film would have an entirely new cast and was scheduled to be released on October 5, 2018.[136][137] In September 2017, Claire Foy was officially cast for the role of Lisbeth Salander in the new film.[138]


document_title: Solar thermal energy in Australia

question_text: where is solar thermal energy used in australia

text: Solar thermal energy in Australia

text: Environmental importance[edit]

text: 85% of electricity in Australia is generated by coal-fired power stations. They produce 42% of Australia's greenhouse gas emissions. The IPCC has recommended that developed nations such as Australia cut greenhouse gas emissions by 25 to 40% by 2020 and 80 to 95% by 2050.[1] The Garnaut Climate Change Review found that Australia is highly vulnerable to global warming caused by climate change because of the effects of global warming on Australia.[2] The Great Barrier Reef, Kakadu and Murray Darling Basin are all threatened by climate change. Sea level rise threatens much of the highly populated Australian coast line, including the Gold Coast. The Carbon Pollution Reduction Scheme and Mandatory Renewable Energy Target are intended to reduce Australia's emissions and the further development of techniques to harness solar thermal energy are critical to that effort.

text: Solar resources of Australia[edit]

text: Of all the continents, Australia has the highest average amount of solar radiation per square metre per annum. The amount is from 1500 to 1900 kWh/m2/yr, mainly depending on location. Australia’s total current primary energy consumption of approximately 5500 PJ/a could be met by an area of 4000 km2 of solar collectors with an average of 20% conversion efficiency. If this were built as a power station with land coverage of 20% it would be 138 × 138 km. The collector area has been described as being approximately the same as the area of domestic house roofs available nationally.[3]

text: Research[edit]

text: The CSIRO conducts research into solar thermal energy.[4][5] The newly established UNSW Centre for Energy Research and Policy Analysis also conducts research into solar thermal energy and associated topics.[6]

text: The ANU Solar Thermal Group at Australian National University in Canberra works on solar thermal energy, with emphasis on high-temperature concentrators, solar air conditioning, and thermochemical energy storage.[7]

text: Development[edit]

text: 2009 Commonwealth budget announcement[edit]

text: The Australian Government, under the Clean Energy Initiative and the Solar Flagships Program, will invest $1.5 billion in up to 4 large-scale solar power generation projects. The Program will aim to create an additional 1000 megawatts of solar power generation capacity in Australia. The largest solar energy project currently operating anywhere in the world is only one third of that size.[8][9]

text: Commercial applications[edit]

text: Desalination[edit]

text: Domestic[edit]

text: Solar hot water[edit]

text: Australia has a small but long established solar hot water industry.

text: Industrial[edit]

text: Electricity generation[edit]

text: Liddell Power Station, New South Wales has a concentrating solar thermal adjunct to the coal-fired power station. It was designed by Solar Heat & Power Pty Ltd, now part of AUSRA [10]

text: Cloncurry, Queensland is to be the site of a 10 MW power station using 8,000 mirrors to reflect sunlight onto graphite blocks. Water pumped through the blocks will be turned into steam to power a conventional steam turbine connected to a generator. The estimated cost is AUD30M of which the Queensland government has committed AUD7M.[11] On 24 May 2012 the recently elected Newman government announced the withdrawal of state funds for the project. In a statement the Minister for Energy Mark McArdle described the reason for the scrapping as 'saving the taxpayer's money'.


document_title: List of Major League Baseball progressive single-season home run leaders

question_text: who holds the record for the most homeruns in a single season

text: Single-season records[edit]

text:
Batter
Team
Age
Year
HR
Reign
Record breaker

George Hall
Philadelphia Athletics
27
1876
5
3 years
—

Charley Jones
Boston Red Caps
29
1879
9
4 years
6th on July 31 off George Bradley

Harry Stovey
Philadelphia Athletics
27
1883
14
1 year
10th on August 1 off Jack Neagle

Ned Williamson
Chicago White Stockings
27
1884
27
35 years
15th on July 9 off Ed Bagley

Babe Ruth
Boston Red Sox
24
1919
29
1 year
28th on September 24 off Bob Shawkey

Babe Ruth
New York Yankees
25
1920
54
1 year
30th on July 19 off Dickie Kerr

Babe Ruth
New York Yankees
26
1921
59
6 years
55th on September 15 off Bill Bayne

Babe Ruth
New York Yankees
32
1927
60
34 years
60th on September 30 off Tom Zachary

Roger Maris
New York Yankees
27
1961
61
37 years
61st on October 1 off Tracy Stallard

Mark McGwire
St. Louis Cardinals
35
1998
70
3 years
62nd on September 8 off Steve Trachsel

Barry Bonds
San Francisco Giants
36
2001
73
17 years
71st on October 5 off Chan Ho Park

text: Sammy Sosa hit his 66th home run on September 25, 1998, breaking McGwire's then standing record of 65 home runs. McGwire tied that record less than an hour later and then hit two home runs on each of the next two days to achieve his 70 home run record.[1]

text: Progression[edit]

text: Summarized from The Baseball Encyclopedia for older information, and from various news stories for newer information:[vague]

text: Home runs per game[edit]

text: Number of home runs in the season divided by number of games in schedule (not games played)

text:
Average
Name

0.451
Barry Bonds

0.430
Mark McGwire

0.390
Babe Ruth (1)

0.383
Babe Ruth (2)

0.377
Roger Maris

0.350
Babe Ruth (3)

0.240
Ned Williamson

0.200
Babe Ruth (4)

0.140
Harry Stovey

0.100
Charley Jones

0.070
George Hall


document_title: Political machine

question_text: who did political machines appeal to the most

text: Political machine

text: Definition[edit]

text: The Encyclopædia Britannica defines "political machine" as, "in U.S. politics, a party organization, headed by a single boss or small autocratic group, that commands enough votes to maintain political and administrative control of a city, county, or state".[1] William Safire, in his Safire's Political Dictionary, defines "machine politics" as "the election of officials and the passage of legislation through the power of an organization created for political action".[3]

text: Hierarchy and discipline are hallmarks of political machines. "It generally means strict organization", according to Safire.[3] Quoting Edward Flynn, a Bronx County Democratic leader who ran the borough from 1922 until his death in 1953,[5] he wrote "[...] the so-called 'independent' voter is foolish to assume that a political machine is run solely on good will, or patronage. For it is not only a machine; it is an army. And in any organization as in any army, there must be discipline."[3]

text: Political patronage, while often associated with political machines, is not essential to the definition for either Safire or Britannica.[3]

text: The phrase is considered derogatory "because it suggests that the interest of the organization are placed before those of the general public", according to Safire. Machines are criticized as undemocratic and inevitably encouraging corruption.[3]

text: Function[edit]

text: A political machine is a party organization that recruits its members by the use of tangible incentives—money, political jobs—and that is characterized by a high degree of leadership control over member activity.

text: Political machines started as grass roots organizations to gain the patronage needed to win the modern election. Having strong patronage, these "clubs" were the main driving force in gaining and getting out the "straight party vote" in the election districts.[6]

text: In the United States[edit]

text: In the late 19th century, large cities in the United States—Boston, Chicago, Cleveland, Kansas City, New York City, Philadelphia, St. Louis—were accused of using political machines.[7] During this time "cities experienced rapid growth under inefficient government".[7] Each city's machine lived under a hierarchical system with a "boss" who held the allegiance of local business leaders, elected officials and their appointees, and who knew the proverbial buttons to push to get things done. Benefits and problems both resulted from the rule of political machines.[8][9]

text: This system of political control—known as "bossism"—emerged particularly in the Gilded Age. A single powerful figure (the boss) was at the center and was bound together to a complex organization of lesser figures (the political machine) by reciprocity in promoting financial and social self-interest. One of the most infamous of these political machines was Tammany Hall, the Democratic Party machine that played a major role in controlling New York City and New York politics and helping immigrants, most notably the Irish, rise up in American politics from the 1790s to the 1960s. From 1872, Tammany had an Irish "boss". However, Tammany Hall also served as an engine for graft and political corruption, perhaps most notoriously under William M. "Boss" Tweed in the mid-19th century.

text: Lord Bryce describes these political bosses saying:

text: An army led by a council seldom conquers: It must have a commander-in-chief, who settles disputes, decides in emergencies, inspires fear or attachment. The head of the Ring is such a commander. He dispenses places, rewards the loyal, punishes the mutinous, concocts schemes, negotiates treaties. He generally avoids publicity, preferring the substance to the pomp of power, and is all the more dangerous because he sits, like a spider, hidden in the midst of his web. He is a Boss.[10]

text: When asked if he was a boss, James Pendergast said simply,

text: I've been called a boss. All there is to it is having friends, doing things for people, and then later on they'll do things for you... You can't coerce people into doing things for you—you can't make them vote for you. I never coerced anybody in my life. Wherever you see a man bulldozing anybody he don't last long.[7]

text: Theodore Roosevelt, before he became president in 1901, was deeply involved in New York City politics. He explains how the machine worked:

text: The organization of a party in our city is really much like that of an army. There is one great central boss, assisted by some trusted and able lieutenants; these communicate with the different district bosses, whom they alternately bully and assist. The district boss in turn has a number of half-subordinates, half-allies, under him; these latter choose the captains of the election districts, etc., and come into contact with the common heelers.[11]

text: Voting strategy[edit]

text: Many machines formed in cities to serve immigrants to the U.S. in the late 19th century who viewed machines as a vehicle for political enfranchisement. Machine workers helped win elections by turning out large numbers of voters on election day. It was in the machine's interests to only maintain a minimally winning amount of support. Once they were in the majority and could count on a win, there was less need to recruit new members, as this only meant a thinner spread of the patronage rewards to be spread among the party members. As such, later-arriving immigrants, such as Jews, Italians, and other immigrants from Southern and Eastern Europe between the 1880s and 1910s, saw fewer rewards from the machine system than the well-established Irish.[12] At the same time, the machines' staunchest opponents were members of the middle class, who were shocked at the malfeasance and did not need the financial help.[13]

text: The corruption of urban politics in the United States was denounced by private citizens. They achieved national and state civil-service reform and worked to replace local patronage systems with civil service. By Theodore Roosevelt's time, the Progressive Era mobilized millions of private citizens to vote against the machines.[14]

text: In the 1930s, James A. Farley was the chief dispenser of the Democratic Party's patronage system through the Post Office and the Works Progress Administration which eventually nationalized many of the job benefits machines provided. The New Deal allowed machines to recruit for the WPA and Civilian Conservation Corps, making Farley's machine the most powerful. All patronage was screened through Farley, including presidential appointments. The New Deal machine fell apart after he left the administration over the third term in 1940. Those agencies were abolished in 1943 and the machines suddenly lost much of their patronage. The formerly poor immigrants who had benefited under Farley's national machine had become assimilated and prosperous and no longer needed the informal or extralegal aides provided by machines.[15] In the 1940s most of the big city machines collapsed, with the exception of Chicago.[15] A local political machine in Tennessee was forcibly removed in what was known as the 1946 Battle of Athens.

text: Since the 1960s, some historians have reevaluated political machines, considering them corrupt but efficient. Machines were undemocratic but responsive. They were also able to contain the spending demands of special interests. In Mayors and Money, a comparison of municipal government in Chicago and New York, Ester R. Fuchs credited the Cook County Democratic Organization with giving Mayor Richard J. Daley the political power to deny labor union contracts that the city could not afford and to make the state government assume burdensome costs like welfare and courts. Describing New York, Fuchs wrote, "New York got reform, but it never got good government." At the same time, as Dennis R. Judd and Todd Swanstrom point out in City Politics, this view often coincided with a lack of period alternatives. They go on to point out that this is a falsehood, since there are certainly examples of reform oriented, anti-machine leaders during this time.

text: Smaller communities such as Parma, Ohio, in the post–Cold War Era under Prosecutor Bill Mason's "Good Old Boys" and especially communities in the Deep South, where small-town machine politics are relatively common, also feature what might be classified as political machines, although these organizations do not have the power and influence of the larger boss networks listed in this article. For example, the "Cracker Party" was a Democratic Party political machine that dominated city politics in Augusta, Georgia, for over half of the 20th century.[16][17][18][19][20] Political machines also thrive on Native American reservations, where the veil of sovereignty is used as a shield against federal and state laws against the practice.[21]