document_title: Oz the Great and Powerful

question_text: who plays finley in oz the great and powerful

text: Oz the Great and Powerful

text: Plot[edit]

text: In 1905 Kansas, Oscar Diggs works as a magician in a traveling circus. As a storm approaches, the circus strongman learns Oscar has flirted with his wife and threatens him. Oscar escapes in a hot air balloon, but is sucked into a tornado that takes him to the Land of Oz. There he encounters the beautiful yet naïve witch Theodora, who believes him to be a wizard prophesied to become King of Oz by destroying the Wicked Witch who killed the previous king; the idea of being an immensely wealthy monarch makes Oscar immediately accept. En route to the Emerald City, Theodora falls in love with Oscar, though he does not reciprocate her feelings. They encounter the flying monkey Finley, who pledges a life debt to Oscar when he saves him from a lion. Oscar reveals his deception to Finley, forcing him to maintain the lie that he is a wizard.

text: At the Emerald City, Oscar meets Theodora's beautiful older sister, Evanora, who tells him that the Wicked Witch resides in the Dark Forest and can be killed by destroying her wand. Oscar and Finley are joined en route to the forest by China Girl, a young, living china doll whose village and family were destroyed by the Wicked Witch. The three reach the forest and, upon retrieving the wand, discover the "Wicked Witch" is Glinda the Good Witch, who identifies herself as the late king's daughter and Evanora as the true Wicked Witch. Evanora sees this with her crystal ball and tricks Theodora into thinking he is trying to court all three witches at once. She offers Theodora a magic green apple she says will remove her heartache. Theodora bites it and turns into a hideous green-skinned witch.

text: Glinda brings Oscar's group to her domain to escape Evanora's army of Winkies and flying baboons. She confides in Oscar that she knows he is not a wizard, but still believes he can help stop Evanora. He reluctantly takes charge of an "army" of Quadlings, Tinkers, and Munchkins. Theodora enters Glinda's domain and angrily reveals her new, hideous appearance to Oscar before threatening to kill him and his allies with the Emerald City's well-prepared army. Oscar despairs at his chances of victory, but after telling China Girl about the exploits of his hero Thomas Edison, he conceives a plan that relies on trickery and makes preparations with Glinda and his group.

text: Glinda and her subjects mount a fake attack on the Emerald City using a pulley-rig army of scarecrow puppets hidden by thick fog. The witches are tricked into sending their flying baboons through a poppy field that puts them to sleep. However, two baboons manage to capture Glinda, who is brought to the city square and chained. Meanwhile, Oscar infiltrates the Emerald City with his allies, but appears to abandon them in a hot air balloon loaded with gold, which Theodora destroys with a fireball. As the wicked sisters prepare to execute Glinda, Oscar appears before his friends, having faked his betrayal and death. Using a hidden smoke machine and image projector, he presents a giant image of his face as his "true" form, and a fireworks display to intimidate the Wicked Witches. Evanora fearfully hides in her castle while Theodora flees on her broom, unable to hurt the "invincible" wizard. Oscar calls to Theodora, offering that she would be welcome to return should she overcome her wickedness, which is met with defiance from Theodora, who flies away to the West hysterically laughing, leaving Oscar saddened. China Girl frees Glinda, who engages Evanora in a magical duel. During the fight, Glinda destroys Evanora's emerald necklace, revealing her to be an old hag, and banishes her. Evanora is carried away by the two remaining flying baboons as she vows revenge.

text: Oscar, now ruler of Oz, uses his projector to sustain the belief that he is a powerful wizard. He also presents gifts to his friends: Master Tinker, who helped build his machines, receives Oscar's camping-tool jackknife; Knuck, the grumpy Munchkin herald, receives a mask with a smiley face; the long-suffering Finley receives Oscar's friendship along with his top hat; and China Girl accepts her friends as her new family. Finally, Oscar takes Glinda behind the curtains of his projector, thanking her for making him a better person, and they kiss.

text: Cast[edit]

text:
James Franco as Oscar Diggs, a philandering con artist, a stage magician, and a barnstormer[8] who is part of a traveling circus in the Midwest. He is whisked in a hot air balloon by a tornado to the Land of Oz, where he is believed to be a wizard destined to bring peace to the land, forcing him to overcome his dubious ethics to convince his peers he is the hero needed by the people of Oz. He eventually becomes what is known as the Wizard of Oz.
Michelle Williams as Glinda, the daughter of the late king. She rules and protects a peaceful kingdom in Oz inhabited by kind Quadlings, tinkers, and Munchkins. Oscar originally believed her to be the Wicked Witch responsible for terrorizing the land. She guides Oscar to achieve his destiny of defeating Evanora, becoming his love interest in the process.
Michelle Williams also plays Annie, an old flame of Oscar's and the future mother of Dorothy Gale.[9]
Rachel Weisz as Evanora, the protector of the Emerald City. Being the Wicked Witch of the East, she has a hideous form which she hides by wearing a necklace that gives her the appearance of a young woman. She deceives Oscar by framing Glinda for the King's murder and telling Oscar that Glinda is the Wicked Witch rather than herself.
Mila Kunis as Theodora, a naïve good witch who has the Land of Oz's best interests at heart. She believes that Oscar is the wizard prophesied to defeat the seemingly evil Glinda from the Dark Forest, developing an attraction to him in the process. Evanora gradually manipulates Theodora into thinking Oscar has betrayed her for Glinda, ushering her transformation into the Wicked Witch of the West.[10]
Zach Braff as voice of Finley, a winged monkey who pledges an irrevocable life debt to Oscar, believing him to be the prophesied wizard, for saving him from the Cowardly Lion.[11] He quickly regrets his decision when Oscar reveals he is not a wizard, but nonetheless becomes his loyal ally.
Braff also plays Frank, Oscar's long-suffering yet loyal assistant in Kansas.
Bill Cobbs as Master Tinker, the leader of the tinkers who are ruled by Glinda. He would later build the Tin Woodman.
Joey King as voice of China Girl, a young, living china doll from China Town where everything, including its inhabitants, is made of china. Her home is destroyed by Evanora, leaving her its only survivor when she is found by Oscar, with whom she forms a strong friendship after he uses glue to fix her legs.
King also plays a girl in a wheelchair visiting Oscar's magic show in Kansas.
Tony Cox as Knuck, the quick-tempered herald and fanfare player of Emerald City who is allied with Glinda.

text: Stephen R. Hart and Bruce Campbell play Winkie guards at the Emerald City.[12] Abigail Spencer plays May, Oscar's temporary magic assistant in Kansas and one of his several fleeting loves in the film.[12] Tim Holmes plays the strongman who attacks Oscar for trying to court his wife (played by Toni Wynne), prompting Oscar to take the hot air balloon that sends him to the Land of Oz.

text: Raimi, who often casts friends and actor-regulars in cameo roles, cast his brother Ted Raimi as a small-town skeptic at Oscar's magic show who yells "I see a wire!", two of his former teachers—Jim Moll and Jim Bird—as Emerald City townspeople, and the three actresses from his 1981 directorial debut The Evil Dead—Ellen Sandweiss, Betsy Baker and Theresa Tilly—as Quadling townspeople.[13]

text: Continuity[edit]

text: Oz the Great and Powerful features several artistic allusions, homages, and technical parallels to Baum's novels and the 1939 Metro-Goldwyn-Mayer film, The Wizard of Oz.

text: The film's opening sequence is presented in black and white. When Oscar is caught up in the tornado, the audio switches from monaural to stereo and eventually surround sound.[14] The film shifts to full color when Oscar arrives in Oz; additionally, the aspect ratio gradually widens from 4:3 Academy ratio to 2.35:1 widescreen.[15][16] As in the 1939 film, Glinda travels in giant bubbles, and the Emerald City is actually emerald; in the novel, characters wear tinted glasses to make it appear so. However, during the battle preparations sequence Oz can be seen wearing emerald goggles. The iconic green look of the Wicked Witch of the West is closer to her look in the 1939 film, as the Witch is a short, one-eyed crone in the novel. The Wicked Witches are portrayed as sisters, an idea which originated in the 1939 film. Also from the 1939 film is that several actors who play Oz characters make cameos in the Kansas segments, such as Frank (Zach Braff), Oscar's assistant whom he refers to as his "trained monkey" (Frank's "Oz" counterpart is the winged monkey Finley) and a young girl in a wheelchair (Joey King) who serves as the Kansas counterpart to China Girl (in Kansas, Oscar is unable to make the wheelchair-bound young girl walk, and gets a chance to do so when he repairs China Girl's broken legs). Annie (Michelle Williams), a woman wearing a gingham dress who inspires Oscar to be a good and great person, informs him that she has been proposed to by John Gale, presumably hinting at Dorothy Gale's parental lineage (Annie's "Oz" counterpart, Glinda, also inspires Oscar to be a better person).[17] Theodora (Mila Kunis), who became the Wicked Witch of the West after suffering from a "broken heart" caused by Oscar's "betrayal", has no Kansas counterpart. However, an unnamed woman who worked as Oscar's assistant at the time and suddenly left after suffering from a "broken heart", may be a possible reference to the existence of Theodora's unknown counterpart. The character of Miss Almira Gulch, who did not exist in Baum's novel, is the Kansas counterpart of the Wicked Witch of the West in the 1939 film.

text: Other referenced characters include the Scarecrow, who is built by the townspeople as a scare tactic, and the Tin Woodman, whose creator is the Master Tinker that can build "anything".[11] Similarly, various other races of Oz are depicted besides the Munchkins; the Quadlings, the china doll inhabitants of Dainty China Country, and the Winkies (who went unnamed in the 1939 film). Similarly, Glinda is referred to by her title in the novel (the Good Witch of the South), unlike the 1939 film, where her character's title is "Good Witch of the North" (due to her character being merged with the Good Witch of the North). Glinda is also the daughter of the late King of Oz, though in the novels, Ozma is the King's daughter. Theodora's tears leave streaks of scars on her face, reflecting her weakness to water in the original novel/film. Also, Oz is presented as a real place as it is in the novel, and not as a possible dream as the 1939 film implies.[18] Finally, the lion that attacks Finley but was warded off by Oz is a reference to the Cowardly Lion in the original novel and film.

text: Production[edit]

text: Disney's history with Oz[edit]

text: After the success of Snow White and the Seven Dwarfs in 1937, Walt Disney planned to produce an animated film based on the first of L. Frank Baum's Oz books. Roy O. Disney, chairman of the Walt Disney Productions, was informed by Baum's estate that they had sold the film rights to the first book to Samuel Goldwyn, who re-sold it to Louis B. Mayer in 1938.[19] The film was ironically approved due to the success of Snow White.[20] The project was developed by Metro-Goldwyn-Mayer (MGM) into the well-known musical adaptation and released the following year.

text: In 1954, when the film rights to Baum's remaining thirteen Oz books were made available, Walt Disney Productions acquired them[21] for use in Walt Disney's television series Disneyland which led to the live-action film Rainbow Road to Oz, which was abandoned and never completed.[22] Disney's history with the Oz series continued with the 1985 film Return to Oz, which performed poorly, both critically and commercially,[23][24][25] but has developed a cult following since its release.[26][27] After Return to Oz, Disney lost the film rights to the Oz books and they were subsequently reverted to the public domain.[28]

text: Development[edit]

text: Screenwriter Mitchell Kapner was intrigued by the prospect of exploring the origins of the Wizard of Oz character which he discussed in many meetings. After Wicked came out, Kapner felt he missed his window of opportunity.[29] In 2009, Kapner met with Joe Roth, who turned down his current pitches, request any other ideas he had. The discussion turned to what Kapner was reading which he indicated he was reading the Oz series to his kids. Roth was interested as he only knew about the first book. Kapner went through the plot of the novels, when Roth stopped him on the sixth novel in the series, The Emerald City of Oz, which had some of back story of the Wizard.[30] Producer Joe Roth became involved for nearly the same reason as Kapner, stating that "… during the years that I spent running Walt Disney Studios—I learned about how hard it was to find a fairy tale with a good strong male protagonist. You've got your Sleeping Beauties, your Cinderellas and your Alices. But a fairy tale with a male protagonist is very hard to come by. But with the origin story of the Wizard of Oz, here was a fairy tale story with a natural male protagonist. Which is why I knew that this was an idea for a movie that was genuinely worth pursuing."[30] Kapner and co-writer Palak Patel presented the idea to Sony Pictures but were turned down.[29] In 2009, the project was set up at Walt Disney Pictures when the studio's president of production, Sean Bailey commissioned Oz the Great and Powerful under the working title Brick during the tenure of then Walt Disney Studios chairman Dick Cook, who was succeeded by Rich Ross and later Alan Horn, a succession in management that a major studio release is rare to survive.[29] David Lindsay-Abaire was later hired to do a re-write.[28]

text: Roth initially sought out Robert Downey Jr. for the titular role of the Wizard in April 2010.[31] By summer of that year, Sam Raimi was hired to direct the film from a shortlist that reportedly included directors Sam Mendes and Adam Shankman.[31] In January 2011, Raimi met with Downey, but did not secure his casting.[29] With Downey's disinterest acknowledged, Johnny Depp was then approached due to his previous collaboration with the studio in the Pirates of the Caribbean franchise and Alice in Wonderland.[32] Depp liked the role but declined involvement, citing his commitment to another Disney tentpole film, The Lone Ranger.[29] The film was without a lead until February when James Franco entered final negotiations to star in the film (including a $7 million salary), five months before filming was scheduled to begin.[29] Franco and Raimi had previously worked together on the Spider-Man trilogy.[33] Franco received training with magician Lance Burton to prepare for the role.[29]

text: Screenwriter Kapner adopted information about the Wizard from L. Frank Baum's novels to conceptualize an original story. Raimi made sure that the film would also "nod lovingly" to the 1939 film and inserted several references and homages to that film.[34] Disney wanted to reduce the film's production budget to be approximately $200 million.[33] Casting calls were put out for local actors in Michigan.[35]

text: In June 2011, composer Danny Elfman was chosen to score Oz the Great and Powerful, despite Elfman and Raimi having had a falling-out over Spider-Man 2 (2004) and Elfman declaring that they would never again work together.[36]

text: Filming[edit]

text: Principal photography for Oz the Great and Powerful began July 25, 2011, at Raleigh Michigan Studios in Pontiac, Michigan, employing 3D cameras.[37]

text: Raimi opted to use practical sets in conjunction with computer-generated imagery during filming.[38] Physical sets were constructed so the actors could have a visual reference, as opposed to using green screen technology for every scene. Chroma key compositing was only used for background pieces.[37] Zach Braff and Joey King were on set, recording their dialogue simultaneously with the other actors, whenever their CG characters were present in a scene. Puppetry was employed for a physical version of the China Girl to serve as a visual key-point for actors to manipulate.[39] Braff wore a blue motion capture suit to create Finley's movements and had a camera close to his face for the flying sequences to obtain facial movements.

text: Art director Robert Stromberg, who worked on Avatar and Alice in Wonderland, drew inspiration from the films of Frank Capra and James Wong Howe to achieve the Art Deco design he envisioned for the Emerald City. Stromberg contrasted the colorful tonal qualities of Oz with the restrained appearance of Alice, affirming that although both films explore similar fantasy worlds, the overall atmosphere and landscape of each "are completely different."[40] In 2011, Stromberg and his team visited the Walt Disney archives during the pre-production phase to reference production art from Disney's animated films such as Pinocchio, Bambi, Fantasia, Cinderella, Sleeping Beauty, Alice in Wonderland, and Snow White and the Seven Dwarfs, drawing from designs and textures, in order to give certain settings in the film an affectionate nod to the Disney style.[41] Costume designer Gary Jones focused on authenticity with his wardrobe designs: "We started by doing a lot of research and having ideas of the ways (costumes) should look in order to be (historically accurate) but as we went on, we really began creating a whole new world."[42]

text:
My first instinct was, there are such iconic images in the Wizard of Oz movie, it would be wrong for us to re-create the Yellow Brick Road or the Emerald City in a different way. We had to go 180 degrees in the other direction. We're just going to have to make our own Oz.
Sam Raimi on recreating the Land of Oz under legalities.[29]

tag: div

text: Although the film is a spiritual prequel to the 1939 MGM film, The Wizard of Oz, it was not allowed legally to be considered as such. The filmmakers had to toe a fine line between calling the film to mind but not infringing upon it. To that end, Disney had a copyright expert on set to ensure no infringement occurred. The production team worked under the constraint of abiding by the stipulations set forth by Warner Bros., the legal owner of the rights to iconic elements of the 1939 film (via its Turner Entertainment sister company which purchased the MGM film library in 1986), including the ruby slippers worn by Judy Garland. Therefore, Disney was unable to use them nor any original character likenesses from the 1939 film.[43] This extended to the green of the Wicked Witch's skin, for which Disney used what its legal department considered a sufficiently different shade dubbed "Theostein" (a portmanteau of "Theodora" and "Frankenstein").[44] Additionally, the studio could not use the signature chin mole of Margaret Hamilton's portrayal of the Wicked Witch of the West, nor could they employ the yellow brick road's swirl design for Munchkinland.[39] The expert also ensured that the Emerald City was not too close in appearance to the Emerald City in the 1939 film.[citation needed]

text: While Warner and Disney did not engage in copyright battle, they did file rival trademarks. In October 2012, Disney filed a trademark on "Oz the Great and Powerful." One week later, Warner filed its own trademarks for "The Great and Powerful Oz." The U.S. Patent and Trademark Office suspended Warner's attempt at a trademark because Disney had filed basically the same one a week earlier.[45]

text: In addition to the legal issues, the film was also faced with delays when several cast members went on hiatus due to unrelated commitments and circumstances. Rachel Weisz left halfway through the shoot to film her entire role in The Bourne Legacy, Michelle Williams was required to promote the release of My Week with Marilyn, and Franco's father died during production. Roth compared the task of managing overlapping schedules to "being an air-traffic controller."[29] Mila Kunis's makeup and prosthetics were supervised by Greg Nicotero and demanded four hours to apply and another hour to remove, with Kunis taking nearly two months to fully recover from the subsequent removal of the makeup from her skin.[29][46] Raimi had to edit the frightening nature of several scenes to secure Disney's desired PG rating from the MPAA.[29] Sony Pictures Imageworks was contracted to create the film's visual effects.[47]

text: Music[edit]

text: Composer Danny Elfman noted that the film's score was accessibly quick to produce, with a majority of the music being written in six weeks.[48] Regarding the tonal quality of the score, Elfman stated, "We're going to take an approach that's old school but not self-consciously old-fashioned. Let the melodrama be melodrama, let everything be what it is. I also think there's the advantage that I'm able to write narratively, and when I'm able to write narratively I can also move quicker because that's my natural instincts, I can tell a story in the music."[49]

text: American singer-songwriter Mariah Carey recorded a promotional Pop single called "Almost Home" written by Carey, Simone Porter, Justin Gray, Lindsey Ray, Tor Erik Hermansen, and Mikkel Eriksen (a.k.a. Stargate) for the soundtrack of the film. The single was released on February 19, 2013 by Island Records.[50]

text: Soundtrack[edit]

text: The original soundtrack to Oz the Great and Powerful was released digitally and physically by Walt Disney Records on March 5, 2013.[51] The physical CD release was in association with Intrada Records.[52]

text:
Oz the Great and Powerful (Original Motion Picture Soundtrack)Film score by Danny ElfmanReleased
March 5, 2013 (2013-03-05)Recorded
2012Studio
Sony Scoring StageGenre
Film scoreLength
1:06:19Label
Walt Disney

text: All music composed by Danny Elfman.

text: No.TitleLength1."Main Titles"2:572."A Serious Talk"2:233."Oz Revealed"1:584."A Strange World"1:485."Where Am I?/Schmooze-A-Witch"2:056."Fireside Dance"1:197."Meeting Finley"1:578."The Emerald Palace"0:479."Amanece, Amanece / Dios de Pactos"2:5610."China Town"3:0711."A Con Job"1:4712."Glinda Revealed"1:4313."The Munchkin Welcome Song"0:4114."Bad Witch"4:3215."The Bubble Voyage"2:4816."Great Expectations/The Apple"4:5817."Meeting the Troops"1:1818."What Army"0:2919."Theodora's Entrance/Puppet Waltz"1:5120."A Threat"2:0721."Bedtime/The Preparation Montage"7:0022."Call to Arms"2:1323."Destruction"2:3824."Oz the Great and Powerful"1:2525."Fireworks/Witch Fight"1:3926."Time for Gifts"5:5427."End Credits from Oz"1:59Total length:1:06:19

text: Release[edit]

text: In May 2011 before filming began, Walt Disney Studios Motion Pictures gave Oz the Great and Powerful a March 8, 2013 North American theatrical release date.[53] The film had its world premiere at the El Capitan Theatre in Hollywood on February 14, 2013.[12] Disney opened the film in wide release in 3,912 theaters.[54]

text: To promote the film, Disney partnered with the IMAX Corporation and HSN to coordinate a hot air balloon campaign across the United States beginning in California at the Walt Disney Studios lot in Burbank, stopping at four locations; the El Capitan Theatre during the world premiere, the Disneyland Resort in Anaheim, the Daytona International Speedway in Florida and Central Park in New York City.[55] Disney also promoted the film through its theme parks; Epcot's International Flower and Garden Festival featured a multi-purpose garden and play area themed to the film and Disney California Adventure hosted sample viewings inside the Muppet*Vision 3D theatre.[56][57] The estimated marketing campaign cost upwards of $100 million.[29]

text: Home media[edit]

text: Oz the Great and Powerful was released by Walt Disney Studios Home Entertainment on Blu-ray, Blu-ray 3D, DVD, and digital download on June 11, 2013.[58] The film is Disney's first home media release to exclude a physical digital copy disc and instead provides only a digital code for the download.[59] Oz the Great and Powerful debuted at number one in its first week of home media release in overall disc sales with 46% of its first week sales from Blu-ray Discs.[60] The film has earned $52 million in sales.[61]

text: Reception[edit]

text: Box office[edit]

text: Oz the Great and Powerful earned $234.9 million in the United States and Canada, and $258.4 million in other countries for a worldwide total of $493.3 million.[3] Worldwide, it was the thirteenth-highest-grossing film of 2013.[62] Calculating in all expenses, Deadline Hollywood estimated that the film made a profit of $36.4 million.[63] It topped the box office on its worldwide opening weekend with $149 million.[64] Before its theatrical release, several media outlets reported that Oz the Great and Powerful was expected to duplicate the box office performance of 2010's Alice in Wonderland.[65][66][67] However, Oz accumulated less than half of Alice's worldwide gross.[68]

text: Preliminary reports had the film tracking for an $80–$100 million debut in North America.[69] The movie earned $2 million from 9 p.m. showings on Thursday night.[70] For its opening day, Oz the Great and Powerful grossed $24.1 million, the fourth-highest March opening day.[71] During its opening weekend, the film topped the box office with $79.1 million, the third-highest March opening weekend.[72] Despite the film's solid debut, which was larger than nearly all comparable titles, it clearly lagged behind Alice in Wonderland's opening ($116.1 million). The film's 3-D share of the opening weekend was 53%. Females made up 52% of the audience. Surprisingly, though, families only represented 41% of attendance, while couples accounted for 43%.[72] The film retained first place at the box office during its second weekend with $41.3 million.[73]

text: Outside North America, the film earned $69.9 million on its opening weekend from 46 territories. Among all markets, its highest-grossing debuts were achieved in Russia and the CIS ($14.7 million), China ($9.06 million),[74] France and the Maghreb region ($5.77 million).[75] The film's openings trailed Alice in Wonderland in all major markets except Russia and the CIS.[76] It retained first place at the box office outside North America for a second weekend.[77] In total grosses, Oz's largest countries are Russia and the CIS ($27.4 million), China ($25.9 million) and the UK, Ireland and Malta ($23.4 million).[75]

text: Critical response[edit]

text: On review aggregator Rotten Tomatoes, Oz the Great and Powerful received an approval rating of 59% based on 247 reviews, with an average rating of 6/10. The site's critical consensus reads, "It suffers from some tonal inconsistency and a deflated sense of wonder, but Oz the Great and Powerful still packs enough visual dazzle and clever wit to be entertaining in its own right."[78] On Metacritic the film holds a score of 44 out of 100, based on 42 critics, indicating "mixed to average reviews".[79] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[80]

text: Kim Newman, writing for Empire, gave the film 4 out of 5 stars and said, "If there are post-Harry Potter children who don't know or care about The Wizard Of Oz, they might be at sea with this story about a not-very-nice grownup in a magic land, but long-term Oz watchers will be enchanted and enthralled … Mila Kunis gets a gold star for excellence in bewitchery and Sam Raimi can settle securely behind the curtain as a mature master of illusion."[81] Critic Alonso Duralde also admired the movie: "That Oz the Great and Powerful is so thoroughly effective both on its own terms and as a prequel to one of the most beloved movies ever made indicates that this team has magic to match any witch or wizard."[82] Leonard Maltin on IndieWire claimed that "No movie ever can, or will, replace 1939's The Wizard Of Oz, but taken on its own terms, this eye-filling fantasy is an entertaining riff on how the Wizard of that immortal film found his way to Oz."[83] IGN rated the film 7.8 and said, "The film is expansive and larger-than-life in scope and so are the performances, overall. Franco in particular hams it up and is often playing to the balcony … The 3D is utilized just as it should be in a children's fantasy epic such as this – overtly, but with skill. Snowflakes, music boxes and mysterious animals all leap through the screen towards the audience as the story unfolds."[84]

text: Justin Chang of Variety had a mixed reaction, writing that the film "gets some mileage out of its game performances, luscious production design and the unfettered enthusiasm director Sam Raimi brings to a thin, simplistic origin story."[85] He also compared the film's scale with the Star Wars prequel trilogy adding, "In a real sense, Oz the Great and Powerful has a certain kinship with George Lucas's Star Wars prequels, in the way it presents a beautiful but borderline-sterile digital update of a world that was richer, purer and a lot more fun in lower-tech form. Here, too, the actors often look artificially superimposed against their CG backdrops, though the intensity of the fakery generates its own visual fascination."[85] /Film rated the film 7 out of 10, saying it had "many charms" while considering it to be "basically Army of Darkness: (Normal guy lands in magical land, is forced to go on quest to save that land.) But just when you see Raimi's kinetic, signature style starting to unleash, the story forces the film back into its Disney shell to play to the masses. We're left with a film that's entertaining, a little scarier than you'd expect, but extremely inconsistent."[86]

text: Richard Roeper, writing for Roger Ebert, noted the film's omnipresent visual effects but was largely disappointed by the performance of some cast members; "… to see Williams so bland and sugary as Glinda, and Kunis so flat and ineffectual as the heartsick Theodora …"[87] Marshall Fine of The Huffington Post was unimpressed, writing, "Oh, it's exciting enough for a six-year-old; anyone older, however, will already have been exposed to so much on TV, at the movies and on the Internet that this will seem like so much visual cotton-candy. Even a sophisticated grade-schooler will find these doings weak and overblown."[88] Similarly, Todd McCarthy criticized the characterization, writing that the film's supporting cast "can't begin to compare with their equivalents in the original … so the burden rests entirely upon Franco and Williams, whose dialogue exchanges are repetitive and feel tentative."[89] Entertainment Weekly agreed, giving the film a C+ and saying that the "miscast" Franco "lacks the humor, charm, and gee-whiz wonder we're meant to feel as he trades wisecracks with a flying monkey … and soars above a field of poppies in a giant soap bubble. If he's not enchanted, how are we supposed to be?" and complaining that "while Raimi's Oz is like retinal crack, he never seduces our hearts and minds."[8] Alisha Coelho of in.com gave the movie 2.5 stars, saying "Oz The Great and Powerful doesn't leave a lasting impression, but is an a-ok watch."[90]

text: Accolades[edit]

text:
Awards

Award

Date of ceremony

Category

Recipient and nominees

Result

Costume Designers Guild[91]

February 22, 2014

Excellence in Fantasy Film

Gary Jones and Michael Kutsche

Nominated

Golden Trailer Awards[92]

May 5, 2013

Best Animation/Family

"Witches"

Nominated

Best Animation/Family TV Spot

"Super Hybrid"

Nominated

"Music Box"

Nominated

Kids' Choice Awards[93]

March 29, 2014

Favorite Movie

Nominated

Favorite Movie Actress

Mila Kunis

Nominated

MTV Movie Awards[94]

April 13, 2014

Best Villain

Mila Kunis

Won

People's Choice Awards[95]

January 8, 2014

Best Family Film

Nominated

Phoenix Film Critics Society

December 17, 2013

Best Live Action Family Film

Won

Best Production Design

Robert Stromberg

Nominated

Satellite Awards[96]

February 24, 2014

Best Visual Effects

James Schwalm, Scott Stokdyk, Troy Saliba

Nominated

Best Art Direction and Production Design

Nancy Haigh, Robert Stromberg

Nominated

Best Costume Design

Gary Jones

Nominated

Saturn Awards

June 2014

Best Fantasy Film

Nominated

Best Music

Danny Elfman

Nominated

Best Production Design

Robert Stromberg

Nominated

Best Costume

Gary Jones

Nominated

Teen Choice Awards

August 11, 2013

Choice Movie – Sci-Fi/Fantasy

Nominated

Choice Movie Actor – Sci-Fi/Fantasy

James Franco

Nominated

Choice Movie Actress – Sci-Fi/Fantasy

Mila Kunis

Nominated

Michelle Williams

Nominated

Visual Effects Society

February 12, 2014

Outstanding Animated Character in a Live Action Feature Motion Picture

Troy Saliba, In-Ah Roediger, Carolyn Vale, Kevin Souls for "China Girl"

Nominated

text: Sequel[edit]

text: On March 7, 2013, Variety confirmed that Disney has already approved plans for a sequel, with Mitchell Kapner and Joe Roth returning as screenwriter and producer respectively.[97] Mila Kunis said during an interview with E! News, "We're all signed on for sequels."[98] On March 8, 2013, Sam Raimi told Bleeding Cool that he has no plans to direct the sequel, saying, "I did leave some loose ends for another director if they want to make the picture," and that "I was attracted to this story but I don't think the second one would have the thing I would need to get me interested."[99] On March 11, 2013, Kapner and Roth have said to the Los Angeles Times that the sequel will "absolutely not" involve Dorothy Gale, with Kapner pointing out that there are twenty years between the events of the first film and Dorothy's arrival, and "a lot can happen in that time."[100]


document_title: Beowulf (hero)

question_text: what is the meaning of the word beowulf

question_tokens: what is the meaning of the word beowulf

root

text: Beowulf (hero)

text: Etymology and origins of the character[edit]

text: A number of origins have been proposed for the name Beowulf.

tag: p

text: Beowulf[edit]

text: Henry Sweet, a philologist and early linguist specializing in Germanic languages, proposed that the name Bēowulf literally means in Old English "bee-wolf" or "bee-hunter" and that it is a kenning for "bear".[3] This etymology is mirrored in recorded instances of similar names. Biuuuwulf is recorded as a name in the AD 1031 Liber Vitae. The name is attested to a monk from Durham and literally means bee wolf in Northumbrian.[4] The 11th century English Domesday Book contains a recorded instance of the name Beulf.[4] A scholar named Sarrazin also suggested that the name Beowulf was derived from a mistranslation of Böðvarr where -varr was interpreted as vargr meaning "wolf".[5] However, this etymology was questioned by Sophus Bugge, who instead suggested that the personage Böðvarr Bjarki was derived from Beowulf.[5]

text: Beow-Wolf[edit]

text: In 2005, Andy Orchard theorized an etymology on the basis of the common Old Norse name Þórólfr (which literally translates to "Thor Wolf"), stating in parallel that a "more likely" meaning for the name would be the "wolf" of the Germanic god Beow.[6]

text: Biewolf[edit]

text: English philologist Walter William Skeat proposed an etymological origin in a term for "Woodpecker" citing the Old Dutch term biewolf for the bird. Skeat states that the black woodpecker is common in Norway and Sweden and further reasons that the "indominatable nature" and that the "bird fights to the death" could have potentially influenced the choice of the name.[7] This etymological origin has been criticized as not being in accordance to Grimm's law and Skeat may have recanted the proposal at a later date.[8]

text: Beado-Wulf (war wolf)[edit]

text: The editors of Bosworth's monumental dictionary of Anglo-Saxon propose that Beowulf is a variant of beado-wulf meaning "war wolf" and that it is cognate with the Icelandic Bodulfr which also means "war wolf".[9]

text: Beowulf before Beowulf[edit]

text: Scholars have long debated the origins of the character Beowulf. Some have argued that Beowulf existed in heroic-legendary tradition prior to the composition of Beowulf, while others have believed that the Beowulf poet invented his Geatish protagonist. Leonard Neidorf has argued that Beowulf was present in (now lost) heroic-legendary cycles before Beowulf was composed. Neidorf argued that the seventh-century usage of the name ‘Biuuulf’ (Beowulf), which involves an element (Beow) that was unproductive in contemporary name-giving, suggests that legends of Beowulf existed well before the composition of our extant poem.[10]

text: Beowulf manuscript[edit]

text: Origins in Geatland[edit]

text: As told in the surviving epic poem, Beowulf was the son of Ecgtheow, a warrior of the Swedish Wægmundings. Ecgþeow had slain Heaðolaf, a man from another clan named the Wulfings (according to Scandinavian sources, they were the ruling dynasty of the Geatish petty kingdom of Östergötland). Apparently, because the victim was from a prominent family the weregild was set too high, and so Ecgþeow was banished and had to seek refuge among the Danes. The Danish king Hroðgar generously paid the weregild, and had Ecgþeow swear an oath.

text: Ecgþeow was in the service of the Geatish king Hreðel, whose daughter he married. They had Beowulf, who grew up with the Geats. Beowulf's childhood friend was Breca the Bronding "supposed to be the inhabitants of the island Brännö, lying off the coast of West Gothland in the Cattegat".[11] This would be a realistic location for a childhood friend of Beowulf, and the poem describes a swimming contest between them.

text: Zealand and Grendel[edit]

text: When King Hroðgar, his wife Wealhþeow, and his court were terrorized by the monstrous Grendel, Beowulf left Geatland (West Götaland) and sailed to Zealand with fourteen warriors in order to pay his father's debt. During the night, Grendel arrived to attack the sleeping men and devoured one of the other Geats before seizing Beowulf. As no manmade weapon could harm Grendel, Beowulf fought back with his bare hands and tore off the beast's arm. Grendel fled back to the bog to die from his wound, and his arm was attached to the wall of Heorot. The next day, Beowulf was lauded and a skald (scop) sang and compared Beowulf with the hero Sigmund.

text: However, during the following night Grendel's mother arrived to avenge her son's death and collect weregild. As Beowulf slept in a different building he could not stop her. He resolved to descend into the bog in order to kill her. They fought beside Grendel's corpse, and Beowulf finally won with the aid of an enchanted giant sword stolen from the lair's plunder.

text: Return to Geatland, Kingdom, and Death[edit]

text: Having returned to Geatland, Beowulf took part in a historic raid against the Franks with his king Higlac. Higlac died during the raid, and Beowulf swam home in full armour. Back in Geatland, queen Hygd offered Beowulf the throne but Beowulf declined in favour of the young prince Heardred. However, Heardred received two Swedish princes, Eadgils and Eanmund who reported that they had fled their uncle Onela who had usurped the Swedish throne. This led to a Swedish invasion in which Heardred was killed. Beowulf was proclaimed king and decided to avenge Heardred and to help Eadgils become king of Sweden.

text: The event when Onela was slain was probably a historic event. Even though it is only briefly mentioned in Beowulf, it occurs extensively in several Scandinavian sources where it is called the Battle on the Ice of Lake Vänern. For example, Snorri Sturluson wrote:

text: Onela rode Raven, as they rode to the ice, but a second one, a grey one, hastened, wounded by spears, eastwards under Eadgils. [...] In this fight Onela died and a great many of his people. Then king Eadgils took from him his helmet Battle-boar and his horse Raven.[citation needed]

text: (Although, in Snorri's text the names are in their corresponding Old Norse forms).

text: Beowulf ruled the Geats for 50 years, until his realm was terrorized by a dragon after a thief stole a golden cup from its hoard of treasure. After unsuccessfully attacking the dragon with his thegns, Beowulf decided to pursue the monster into its lair at Earnanæs, but only his young Swedish relative Wiglaf dared join him. Beowulf finally slew the dragon by cutting it in half with a seax, but was mortally wounded by being stabbed with the dragon's poisonous horn. Dying, he was carried out by Wiglaf and with his last breaths named Wiglaf his rightful heir. He was buried in a barrow by the sea.


document_title: Saturday Night Live (season 43)

question_text: when is saturday night live coming back on

text: Saturday Night Live (season 43)

text: Cast[edit]

text: Prior to the start of the season, Bobby Moynihan (a cast member since 2008), Vanessa Bayer (a cast member since 2010), and Sasheer Zamata (a cast member since 2014) left the cast.[3][4]

text: To fill out the cast, the show hired three new cast members, who became featured players: Heidi Gardner of The Groundlings, iO Chicago alum Luke Null, and stand-up comedian Chris Redd. Redd had been incorrectly reported as joining the cast during the previous season.[5][6] With this announcement came the confirmation that the rest of the cast from the previous season would return, including guest star Alec Baldwin in his role as President Donald Trump.[7][8] With his return, Kenan Thompson surpasses Darrell Hammond's record as the longest-tenured cast member in the show's history, with fifteen seasons compared to Hammond's fourteen.[9]

text: Cast roster[edit]

text:
Repertory players

Beck Bennett
Aidy Bryant
Michael Che
Pete Davidson
Leslie Jones
Colin Jost
Kate McKinnon
Kyle Mooney
Cecily Strong
Kenan Thompson

Featured players

Mikey Day
Heidi Gardner
Alex Moffat
Luke Null
Chris Redd
Melissa Villaseñor

tag: table

text: bold denotes "Weekend Update" anchor

text: Crew[edit]

text: Writers[edit]

text: Prior to the start of the season, the show added Steven Castillo, Andrew Dismukes, Claire Friedman, Sam Jay, Erik Marino, Nimesh Patel, and Gary Richardson to the writing staff.[5] Also prior to the season, head writers Chris Kelly and Sarah Schneider departed the show.[10]

text: Episodes[edit]

text:
No.
overall
No. in
season
Host(s)
Musical guest(s)
Original air date
Ratings/
Share

830
1
Ryan Gosling
Jay-Z
September 30, 2017 (2017-09-30)
4.5[11]

Jay-Z performs "Bam" with Damian Marley and "4:44."
Alec Baldwin appears as Donald Trump in the cold open.
Emma Stone appears in the opening monologue.
Heidi Gardner, Luke Null and Chris Redd's first episode as cast members.
Kenan Thompson's return for his fifteenth season on the show makes him the longest tenured cast member in the show's history, surpassing the previous record of fourteen seasons, which he had held jointly with Darrell Hammond.
A photograph of Hugh Hefner, who had died the previous week, is shown in silence before the goodnights.

831
2
Gal Gadot
Sam Smith
October 7, 2017 (2017-10-07)
4.4[11]

Sam Smith performs "Too Good at Goodbyes" and "Pray."
Jason Aldean appears in the cold open to pay tribute to the 2017 Las Vegas shooting victims as well as Tom Petty by singing "I Won't Back Down."
This was the first episode broadcast live in Israel; until this night, it took a week for episodes aired in the US to appear on Israeli TV.

832
3
Kumail Nanjiani
P!nk
October 14, 2017 (2017-10-14)
4.6/11[12]

P!nk performs "What About Us" and "Beautiful Trauma."
Alec Baldwin appears as Donald Trump in the cold open.

833
4
Larry David[13]
Miley Cyrus[13]
November 4, 2017 (2017-11-04)
TBD

834
5
Tiffany Haddish[13]
Taylor Swift[13]
November 11, 2017 (2017-11-11)
TBD

835
6
Chance the Rapper[13]
Eminem[13]
November 18, 2017 (2017-11-18)
TBD

text: Specials[edit]

text:
Title
Original air date
Ratings/
Share

"The David S. Pumpkins Animated Halloween Special"
October 28, 2017 (2017-10-28)
3.4/8[14]

21-minute animated special where David S. Pumpkins teaches a pair of siblings the true meaning of Halloween. Starring Tom Hanks as David S. Pumpkins, Mikey Day, Bobby Moynihan, and Streeter Seidell. Narrated by Peter Dinklage.

"SNL Presents: Halloween"
October 28, 2017 (2017-10-28)
3.1/9[14]

A collection of Halloween- and horror-themed sketches, including:

"Hillary Clinton's Halloween Party" from the season 33 episode hosted by Brian Williams.
"Vincent Price's Halloween Special 1959" from the season 34 episode hosted by Jon Hamm.
"Dave Chappelle's The Walking Dead" from the season 42 episode hosted by Dave Chappelle.
"Most Haunted" from the season 32 episode hosted by Hugh Laurie.
"Kellywise the Clown" from the season 43 episode hosted by Kumail Nanjiani.
"Merryville Haunted Castle" from the season 38 episode hosted by Bruno Mars.
"Firelight" from the season 35 episode hosted by Taylor Swift.
"Stefon's Halloween Tourist Tips" from the season 38 episode hosted by Bruno Mars.
"Haunted Elevator" from the season 42 episode hosted by Tom Hanks.
"Wes Anderson's The Midnight Coterie of Sinister Intruders" from the season 39 episode hosted by Edward Norton.
"Jeff Montgomery" from the season 34 episode hosted by Jon Hamm.


document_title: List of Big Ten Conference football rivalry games

question_text: what trophy does wisconsin and minnesota play for

text: Big Ten conference rivalry games[edit]

text:
Game
Trophy
Team
Team
First Year
Latest Year
Meetings

Illinois–Northwestern
Land of Lincoln Trophy
Illinois
Northwestern
1892

111

Illinois–Ohio State
Illibuck
Illinois
Ohio State
1902

103

Illinois–Purdue
Purdue Cannon
Illinois
Purdue
1890

93

Indiana–Michigan State
Old Brass Spittoon
Indiana
Michigan State
1922

64

Indiana–Purdue
Old Oaken Bucket
Indiana
Purdue
1891

120

Iowa–Minnesota
Floyd of Rosedale
Iowa
Minnesota
1891

111

Iowa–Nebraska
Heroes Trophy
Iowa
Nebraska
1891

48

Iowa–Wisconsin
Heartland Trophy
Iowa
Wisconsin
1894

91

Maryland–Penn State

Maryland
Penn State
1917

41

Michigan State–Ohio State

Michigan State
Ohio State
1912

46

Michigan State–Penn State
Land Grant Trophy
Michigan State
Penn State
1914

32

Michigan–Michigan State
Paul Bunyan Trophy
Michigan
Michigan State
1898

110

Michigan–Minnesota
Little Brown Jug
Michigan
Minnesota
1892

103

Michigan–Ohio State

Michigan
Ohio State
1897

114

Minnesota–Nebraska
$5 Bits of Broken Chair Trophy
Minnesota
Nebraska
1900

58

Minnesota–Penn State
Governor's Victory Bell
Minnesota
Penn State
1993

14

Minnesota–Wisconsin
Paul Bunyan's Axe
Minnesota
Wisconsin
1890

127

Nebraska–Wisconsin
Freedom Trophy
Nebraska
Wisconsin
1901

12

Ohio State–Penn State

Ohio State
Penn State
1912

33

text: Big Ten non-conference rivalry games[edit]

text:
Game
Trophy
Team
Team
First Year
Latest Year
Meetings

Alabama–Penn State

Alabama
Penn State
1959
2011
15

Colorado–Nebraska
Mr. Chip (Lost)
Colorado
Nebraska
1898
2010
69

Crab Bowl Classic

Maryland
Navy
1905
2010
21

Illinois–Missouri

Illinois
Missouri
1896
2010
24

Indiana–Kentucky
Bourbon Barrel
Indiana
Kentucky
1893
2005
36

Iowa–Iowa State
Cy-Hawk Trophy
Iowa
Iowa State
1894
2017
65

Maryland–Virginia

Maryland
Virginia
1919
2013
78

Maryland–West Virginia

Maryland
West Virginia
1919
2015
52

Michigan State–Notre Dame
Megaphone Trophy
Michigan State
Notre Dame
1897
2017
78

Michigan–Notre Dame

Michigan
Notre Dame
1887

42

Missouri–Nebraska
Victory Bell
Missouri
Nebraska
1892
2010
104

Nebraska–Oklahoma

Nebraska
Oklahoma
1912
2010
86

Northwestern–Notre Dame
Shillelagh (Lost)
Northwestern
Notre Dame
1889
2014
43

Notre Dame–Purdue
Shillelagh Trophy
Notre Dame
Purdue
1896

86

Penn State–Pittsburgh

Penn State
Pittsburgh
1893

98

Penn State–Syracuse

Penn State
Syracuse
1922

71

Penn State–West Virginia

Penn State
West Virginia
1904
1992
59

text:
[hide]

v
t
e

Big Ten Conference football rivalries

Conference

Illinois–Michigan
Illinois–Northwestern
Illinois–Ohio State
Illinois–Purdue
Indiana–Michigan State
Indiana–Purdue
Iowa–Minnesota
Iowa–Nebraska
Iowa–Wisconsin
Maryland–Penn State
Maryland–Rutgers
Michigan–Michigan State
Michigan–Minnesota
Michigan–Ohio State
Michigan State–Ohio State
Michigan State–Penn State
Minnesota–Nebraska
Minnesota–Penn State
Minnesota–Wisconsin
Nebraska–Wisconsin
Ohio State–Penn State

Non-conference

Alabama–Penn State
Chicago–Michigan
Chicago–Purdue
Colorado–Nebraska
Illinois–Missouri
Indiana–Kentucky
Iowa–Iowa State
Johns Hopkins–Maryland
Kansas–Nebraska
Kansas State–Nebraska
Maryland–Navy
Maryland–Virginia
Maryland–West Virginia
Miami–Nebraska
Michigan State–Notre Dame
Michigan–Notre Dame
Missouri–Nebraska
Nebraska–Oklahoma
Nebraska–Texas
Northwestern–Notre Dame
Notre Dame–Purdue
Penn State–Pittsburgh
Penn State–Syracuse
Penn State–Temple
Penn State–West Virginia

text: Big Ten Conference

tag: ul


document_title: Learning styles

question_text: the vark model states that everyone has a preferred style of

text: Learning styles

text: Overview of models[edit]

text: There are many different learning styles models; one literature review identified 71 different models.[1]:166–168 Only a few models are described below.

text: David Kolb's model[edit]

text: David A. Kolb's model is based on his experiential learning model, as explained in his book Experiential Learning.[8] Kolb's model outlines two related approaches toward grasping experience: Concrete Experience and Abstract Conceptualization, as well as two related approaches toward transforming experience: Reflective Observation and Active Experimentation.[8]:145 According to Kolb's model, the ideal learning process engages all four of these modes in response to situational demands; they form a learning cycle from experience to observation to conceptualization to experimentation and back to experience. In order for learning to be effective, Kolb postulated, all four of these approaches must be incorporated. As individuals attempt to use all four approaches, they may tend to develop strengths in one experience-grasping approach and one experience-transforming approach, leading them to prefer one of the following four learning styles:[8]:127[9]

text:
Accommodator = Concrete Experience + Active Experiment: strong in "hands-on" practical doing (e.g., physical therapists)
Converger = Abstract Conceptualization + Active Experiment: strong in practical "hands-on" application of theories (e.g., engineers)
Diverger = Concrete Experience + Reflective Observation: strong in imaginative ability and discussion (e.g., social workers)
Assimilator = Abstract Conceptualization + Reflective Observation: strong in inductive reasoning and creation of theories (e.g., philosophers)

tag: ol

text: Kolb's model gave rise to the Learning Style Inventory, an assessment method used to determine an individual's learning style. According to this model, individuals may exhibit a preference for one of the four styles — Accommodating, Converging, Diverging and Assimilating — depending on their approach to learning in Kolb's experiential learning model.[8]

text: Although Kolb's model is widely accepted with substantial empirical support and has been revised over the years, a 2013 study pointed out that Kolb's Learning Style Inventory, among its other weaknesses, incorrectly dichotomizes individuals on the abstract/concrete and reflective/action dimensions of experiential learning (in much the same way as the Myers-Briggs Type Indicator does in a different context), and proposed instead that these dimensions be treated as continuous rather than dichotomous/binary variables.[10]:44

text: Peter Honey and Alan Mumford's model[edit]

text: Peter Honey and Alan Mumford adapted Kolb's experiential learning model. First, they renamed the stages in the learning cycle to accord with managerial experiences: having an experience, reviewing the experience, concluding from the experience, and planning the next steps.[11]:121–122 Second, they aligned these stages to four learning styles named:[11]:122–124

text:
Activist
Reflector
Theorist
Pragmatist

text: These four learning styles are assumed to be acquired preferences that are adaptable, either at will or through changed circumstances, rather than being fixed personality characteristics. Honey and Mumford's Learning Styles Questionnaire (LSQ)[12] is a self-development tool and differs from Kolb's Learning Style Inventory by inviting managers to complete a checklist of work-related behaviours without directly asking managers how they learn. Having completed the self-assessment, managers are encouraged to focus on strengthening underutilised styles in order to become better equipped to learn from a wide range of everyday experiences.

text: A MORI survey commissioned by The Campaign for Learning in 1999 found the Honey and Mumford LSQ to be the most widely used system for assessing preferred learning styles in the local government sector in the UK.[citation needed]

text: Learning modalities[edit]

text: Walter Burke Barbe and colleagues proposed three learning modalities (often identified by the acronym VAK):[13]

text:
Visualising modality
Auditory modality
Kinesthetic modality

text:
Descriptions of learning modalities

Visual
Kinesthetic/tactile
Auditory

Picture
Gestures
Listening

Shape
Body movements
Rhythms

Sculpture
Object manipulation
Tone

Paintings
Positioning
Chants

text: Barbe and colleagues reported that learning modality strengths can occur independently or in combination (although the most frequent modality strengths, according to their research, are visual or mixed), they can change over time, and they become integrated with age.[14] They also pointed out that learning modality strengths are different from preferences; a person's self-reported modality preference may not correspond to their empirically measured modality strength.[14]:378 This disconnect between strengths and preferences was confirmed by a subsequent study.[15] Nevertheless, some scholars have criticized the VAK model.[16][17] Psychologist Scott Lilienfeld and colleagues have argued that much use of the VAK model is nothing more than pseudoscience or a psychological urban legend.[18]

text: Neil Fleming's VAK/VARK model[edit]

text: Neil Fleming's VARK model[19] expanded upon earlier notions of sensory modalities such as the VAK model of Barbe and colleagues[13] and the representational systems (VAKOG) in neuro-linguistic programming.[20] The four sensory modalities in Fleming's model are:[21]

text:
Visual learning
Auditory learning
Physical learning
Social learning

text: Fleming claimed that visual learners have a preference for seeing (visual aids that represent ideas using methods other than words, such as graphs, charts, diagrams, symbols, etc.). Subsequent neuroimaging research has suggested that visual learners convert words into images in the brain and vice versa,[22] but some psychologists have argued that this "is not an instance of learning styles, rather, it is an instance of ability appearing as a style".[2]:268 Likewise, Fleming claimed that auditory learners best learn through listening (lectures, discussions, tapes, etc.), and tactile/kinesthetic learners prefer to learn via experience—moving, touching, and doing (active exploration of the world, science projects, experiments, etc.). Students can use the model to identify their preferred learning style and, it is claimed, maximize their learning by focusing on the mode that benefits them the most. Fleming's model also posits two types of multimodality.[21]

text: Anthony Gregorc's model[edit]

text: Anthony Gregorc and Kathleen Butler organized a model describing different learning styles rooted in the way individuals acquire and process information differently.[23] This model posits that an individual's perceptual abilities are the foundation of his or her specific learning strengths, or learning styles.[24]

text: In this model, there are two perceptual qualities: concrete and abstract, and two ordering abilities: random and sequential.[24] Concrete perceptions involve registering information through the five senses, while abstract perceptions involve the understanding of ideas, qualities, and concepts which cannot be seen. In regard to the two ordering abilities, sequential ordering involves the organization of information in a linear, logical way, and random ordering involves the organization of information in chunks and in no specific order.[24] The model posits that both of the perceptual qualities and both of the ordering abilities are present in each individual, but some qualities and ordering abilities are more dominant within certain individuals.[24]

text: There are four combinations of perceptual qualities and ordering abilities based on dominance: concrete sequential, abstract random, abstract sequential, and concrete random. The model posits that individuals with different combinations learn in different ways—they have different strengths, different things make sense to them, different things are difficult for them, and they ask different questions throughout the learning process.[24]

text: The validity of Gregorc's model has been questioned by Thomas Reio and Albert Wiswell following experimental trials.[25] Gregorc argues that his critics have "scientifically-limited views" and that they wrongly repudiate the "mystical elements" of "the spirit" that can only be discerned by a "subtle human instrument".[26]

text: Cognitive approaches[edit]

text: Anthony Grasha and Sheryl Riechmann, in 1974, formulated the Grasha-Reichmann Learning Style Scale.[27] It was developed to analyze the attitudes of students and how they approach learning. The test was originally designed to provide teachers with insight on how to approach instructional plans for college students.[28] Grasha's background was in cognitive processes and coping techniques. Unlike some models of cognitive styles which are relatively nonjudgmental, Grasha and Riechmann distinguish between adaptive and maladaptive styles. The names of Grasha and Riechmann's learning styles are:

text:
avoidant
participative
competitive
collaborative
dependent
independent

text: Aiming to explain why aptitude tests, school grades, and classroom performance often fail to identify real ability, Robert Sternberg listed various cognitive dimensions in his book Thinking Styles.[29] Several other models are also often used when researching cognitive styles; some of these models are described in books that Sternberg co-edited, such as Perspectives on Thinking, Learning, and Cognitive Styles.[30][31][32]

text: NASSP model[edit]

text: In the 1980s, the National Association of Secondary School Principals (NASSP) formed a task force to study learning styles.[33] The task force defined three broad categories of style—cognitive, affective, and physiological—and 31 variables, including the perceptual strengths and preferences from the VAK model of Barbe and colleagues,[14] but also many other variables such as need for structure, types of motivation, time of day preferences, and so on.[33]:141–143 They defined a learning style as "a gestalt—not an amalgam of related characteristics but greater than any of its parts. It is a composite of internal and external operations based in neurobiology, personality, and human development and reflected in learner behavior."[33]:141

text:
Cognitive styles are preferred ways of perception, organization and retention.
Affective styles represent the motivational dimensions of the learning personality; each learner has a personal motivational approach.
Physiological styles are bodily states or predispositions, including sex-related differences, health and nutrition, and reaction to physical surroundings, such as preferences for levels of light, sound, and temperature.[33]:141

text: According to the NASSP task force, styles are hypothetical constructs that help to explain the learning (and teaching) process. They posited that one can recognize the learning style of an individual student by observing his or her behavior.[33]:138 Learning has taken place only when one observes a relatively stable change in learner behavior resulting from what has been experienced.

text: Assessment methods[edit]

text: Learning Style Inventory[edit]

text: The Learning Style Inventory (LSI) is connected with David A. Kolb's model and is used to determine a student's learning style.[9] Previous versions of the LSI have been criticized for problems with validity, reliability, and other issues.[10][34][35] Version 4 of the Learning Style Inventory replaces the four learning styles of previous versions with nine new learning styles: initiating, experiencing, imagining, reflecting, analyzing, thinking, deciding, acting, and balancing.[36] The LSI is intended to help employees or students "understand how their learning style impacts upon problem solving, teamwork, handling conflict, communication and career choice; develop more learning flexibility; find out why teams work well—or badly—together; strengthen their overall learning."[36]

text: A completely different Learning Styles Inventory is associated with a binary division of learning styles, developed by Richard Felder and Linda Silverman.[37] In Felder and Silverman's model, learning styles are a balance between pairs of extremes such as: Active/Reflective, Sensing/Intuitive, Verbal/Visual, and Sequential/Global. Students receive four scores describing these balances.[38] Like the LSI mentioned above, this inventory provides overviews and synopses for teachers.

text: NASSP Learning Style Profile[edit]

text: The NASSP Learning Style Profile (LSP) is a second-generation instrument for the diagnosis of student cognitive styles, perceptual responses, and study and instructional preferences.[39] The LSP is a diagnostic tool intended as the basis for comprehensive style assessment with students in the sixth to twelfth grades. It was developed by the National Association of Secondary School Principals research department in conjunction with a national task force of learning style experts. The Profile was developed in four phases with initial work undertaken at the University of Vermont (cognitive elements), Ohio State University (affective elements), and St. John's University (physiological/environmental elements). Rigid validation and normative studies were conducted using factor analytic methods to ensure strong construct validity and subscale independence.

text: The LSP contains 23 scales representing four higher order factors: cognitive styles, perceptual responses, study preferences and instructional preferences (the affective and physiological elements). The LSP scales are: analytic skill, spatial skill, discrimination skill, categorizing skill, sequential processing skill, simultaneous processing skill, memory skill, perceptual response: visual, perceptual response: auditory, perceptual response: emotive, persistence orientation, verbal risk orientation, verbal-spatial preference, manipulative preference, study time preference: early morning, study time preference: late morning, study time preference: afternoon, study time preference: evening, grouping preference, posture preference, mobility preference, sound preference, lighting preference, temperature preference.[39]

text: Other methods[edit]

text: Other methods (usually questionnaires) used to identify learning styles include Neil Fleming's VARK Questionnaire[19] and Jackson's Learning Styles Profiler.[1]:56–59 Many other tests have gathered popularity and various levels of credibility among students and teachers.

text: In the classroom[edit]

text: Various researchers have attempted to hypothesize ways in which learning style theory can be used in the classroom. Two such scholars are Rita Dunn and Kenneth Dunn, who build upon a learning modalities approach.[1]:20–35[40]

text: Although learning styles will inevitably differ among students in the classroom, Dunn and Dunn say that teachers should try to make changes in their classroom that will be beneficial to every learning style. Some of these changes include room redesign, the development of small-group techniques, and the development of "contract activity packages".[40] Redesigning the classroom involves locating dividers that can be used to arrange the room creatively (such as having different learning stations and instructional areas), clearing the floor area, and incorporating student thoughts and ideas into the design of the classroom.[40]

text: Dunn and Dunn's "contract activity packages" are educational plans that use: a clear statement of the learning need; multisensory resources (auditory, visual, tactile, kinesthetic); activities through which the newly mastered information can be used creatively; the sharing of creative projects within small groups; at least three small-group techniques; a pre-test, a self-test, and a post-test.[40]

text: Another scholar who believes that learning styles should have an effect on the classroom is Marilee Sprenger in Differentiation through Learning Styles and Memory.[41] She bases her work on three premises:

text:
Teachers can be learners, and learners teachers. We are all both.
Everyone can learn under the right circumstances.
Learning is fun! Make it appealing.[41][page needed]

text: Sprenger details how to teach in visual, auditory, or tactile/kinesthetic ways. Methods for visual learners include ensuring that students can see words written, using pictures, and drawing timelines for events.[41][page needed] Methods for auditory learners include repeating words aloud, small-group discussion, debates, listening to books on tape, oral reports, and oral interpretation.[41][page needed] Methods for tactile/kinesthetic learners include hands-on activities (experiments, etc.), projects, frequent breaks to allow movement, visual aids, role play, and field trips.[41][page needed] By using a variety of teaching methods from each of these categories, teachers cater to different learning styles at once, and improve learning by challenging students to learn in different ways.

text: James W. Keefe and John M. Jenkins have incorporated learning style assessment as a basic component in their "personalized instruction" model of schooling.[42] Six basic elements constitute the culture and context of personalized instruction. The cultural components—teacher role, student learning characteristics, and collegial relationships—establish the foundation of personalization and ensure that the school prizes a caring and collaborative environment. The contextual factors—interactivity, flexible scheduling, and authentic assessment—establish the structure of personalization.[42][page needed]

text: According to Keefe and Jenkins, cognitive and learning style analysis have a special role in the process of personalizing instruction. The assessment of student learning style, more than any other element except the teacher role, establishes the foundation for a personalized approach to schooling: for student advisement and placement, for appropriate retraining of student cognitive skills, for adaptive instructional strategy, and for the authentic evaluation of learning.[42][page needed] Some learners respond best in instructional environments based on an analysis of their perceptual and environmental style preferences: most individualized and personalized teaching methods reflect this point of view. Other learners, however, need help to function successfully in any learning environment. If a youngster cannot cope under conventional instruction, enhancing his cognitive skills may make successful achievement possible.[42][page needed]

text: Many of the student learning problems that learning style diagnosis attempts to solve relate directly to elements of the human information processing system. Processes such as attention, perception and memory, and operations such as integration and retrieval of information are internal to the system. Any hope for improving student learning necessarily involves an understanding and application of information processing theory. Learning style assessment can provide a window to understanding and managing this process.[42][page needed]

text: At least one study evaluating teaching styles and learning styles, however, has found that congruent groups have no significant differences in achievement from incongruent groups.[43] Furthermore, learning style in this study varied by demography, specifically by age, suggesting a change in learning style as one gets older and acquires more experience. While significant age differences did occur, as well as no experimental manipulation of classroom assignment, the findings do call into question the aim of congruent teaching–learning styles in the classroom.[1]:122

text: Educational researchers Eileen Carnell and Caroline Lodge concluded that learning styles are not fixed and that they are dependent on circumstance, purpose and conditions.[44]

text: Criticism[edit]

text: Learning style theories have been criticized by many scholars and researchers. Some psychologists and neuroscientists have questioned the scientific basis for separating out students based on learning style. According to Susan Greenfield the practice is "nonsense" from a neuroscientific point of view: "Humans have evolved to build a picture of the world through our senses working in unison, exploiting the immense interconnectivity that exists in the brain."[45]

text: Many educational psychologists have shown that there is little evidence for the efficacy of most learning style models, and furthermore, that the models often rest on dubious theoretical grounds.[46][47] According to professor of education Steven Stahl, there has been an "utter failure to find that assessing children's learning styles and matching to instructional methods has any effect on their learning."[48] Professor of education Guy Claxton has questioned the extent that learning styles such as VARK are helpful, particularly as they can have a tendency to label children and therefore restrict learning.[49] Similarly, psychologist Kris Vasquez pointed out a number of problems with learning styles, including the lack of empirical evidence that learning styles are useful in producing student achievement, but also her more serious concern that the use of learning styles in the classroom could lead students to develop self-limiting implicit theories about themselves that could become self-fulfilling prophecies that are harmful, rather than beneficial, to the goal of serving student diversity.[6]

text: Psychologists Scott Lilienfeld, Barry Beyerstein, and colleagues listed as one of the "50 great myths of popular psychology" the idea that "students learn best when teaching styles are matched to their learning styles", and they summarized some relevant reasons not to believe this "myth".[18]

text: Critique made by Coffield et al.[edit]

text: A 2004 non-peer-reviewed literature review by authors from the University of Newcastle upon Tyne criticized most of the main instruments used to identify an individual's learning style.[1] In conducting the review, Frank Coffield and his colleagues selected 13 of the most influential models of the 71 models they identified,[1]:8–9 including most of the models cited on this page. They examined the theoretical origins and terms of each model, and the instrument that purported to assess individuals against the learning styles defined by the model. They analyzed the claims made by the author(s), external studies of these claims, and independent empirical evidence of the relationship between the learning style identified by the instrument and students' actual learning. Coffield's team found that none of the most popular learning style theories had been adequately validated through independent research.

text: One of the most widely known theories assessed by Coffield's team was the learning styles model of Dunn and Dunn. This model is widely used in schools in the United States, and 177 articles have been published in peer-reviewed journals referring to this model.[1]:20 The conclusion of Coffield and colleagues was: "Despite a large and evolving research programme, forceful claims made for impact are questionable because of limitations in many of the supporting studies and the lack of independent research on the model."[1]:35

text: Coffield's team claimed that another model, Anthony Gregorc's Gregorc Style Delineator, was "theoretically and psychometrically flawed" and "not suitable for the assessment of individuals".[1]:20

text: Critique of Kolb's model[edit]

text: Mark K. Smith compiled and reviewed some critiques of Kolb's model in his article, "David A. Kolb on Experiential Learning". According to Smith's research, there are six key issues regarding the model:

text:
The model doesn't adequately address the process of reflection;
The claims it makes about the four learning styles are extravagant;
It doesn't sufficiently address the fact of different cultural conditions and experiences;
The idea of stages/steps doesn't necessarily match reality;
It has only weak empirical evidence;
The relationship between learning processes and knowledge is more complex than Kolb draws it.[50]

text: It should be noted, however, that the most recent work by Kolb that Smith cites is from 2005, and he does not address the changes in the 2015 edition of Kolb's book Experiential Learning.[8]

text: Other critiques[edit]

text: Coffield and his colleagues and Mark Smith are not alone in their judgements. Demos, a UK think tank, published a report on learning styles prepared by a group chaired by David Hargreaves that included Usha Goswami from the University of Cambridge and David Wood from the University of Nottingham. The Demos report said that the evidence for learning styles was "highly variable", and that practitioners were "not by any means always frank about the evidence for their work".[51]:11

text: Cautioning against interpreting neuropsychological research as supporting the applicability of learning style theory, John Geake, Professor of Education at the UK's Oxford Brookes University, and a research collaborator with Oxford University's Centre for Functional Magnetic Resonance Imaging of the Brain, commented: "We need to take extreme care when moving from the lab to the classroom. We do remember things visually and aurally, but information isn't defined by how it was received."[52]

text: The work of Daniel T. Willingham also holds true to the idea that there is not enough evidence to support a theory describing the differences in learning styles amongst students. In his book Why Don't Students Like School,[53] he claims that a cognitive styles theory must have three features: "it should consistently attribute to a person the same style, it should show that people with different abilities think and learn differently, and it should show that people with different styles do not, on average, differ in ability."[53][page needed] That being said, he concludes that there are no theories that have these three crucial characteristics, not necessarily implying that cognitive styles don't exist but rather stating that psychologists are unable to "find them".[53][page needed]

text: 2009 APS critique[edit]

text: In late 2009, the journal Psychological Science in the Public Interest of the Association for Psychological Science (APS) published a report on the scientific validity of learning styles practices.[4] The panel of experts that wrote the article, led by Harold Pashler of the University of California, San Diego, concluded that an adequate evaluation of the learning styles hypothesis—the idea that optimal learning demands that students receive instruction tailored to their learning styles—requires a particular kind of study. Specifically, students should be grouped into the learning style categories that are being evaluated (e.g., visual learners vs. verbal learners), and then students in each group must be randomly assigned to one of the learning methods (e.g., visual learning or verbal learning), so that some students will be "matched" and others will be "mismatched". At the end of the experiment, all students must sit for the same test. If the learning style hypothesis is correct, then, for example, visual learners should learn better with the visual method, whereas auditory learners should learn better with the auditory method. As disclosed in the report, the panel found that studies utilizing this essential research design were virtually absent from the learning styles literature. In fact, the panel was able to find only a few studies with this research design, and all but one of these studies were negative findings—that is, they found that the same learning method was superior for all kinds of students.[4] Examples of such negative findings include the research of Laura J. Massa and Richard E. Mayer,[54] as well as more recent research since the 2009 review.[2][55][56]

text: Furthermore, the panel noted that, even if the requisite finding were obtained, the benefits would need to be large, and not just statistically significant, before learning style interventions could be recommended as cost-effective. That is, the cost of evaluating and classifying students by their learning style, and then providing customized instruction would need to be more beneficial than other interventions (e.g., one-on-one tutoring, after school remediation programs, etc.).[4]:116–117

text: As a consequence, the panel concluded, "at present, there is no adequate evidence base to justify incorporating learning styles assessments into general educational practice. Thus, limited education resources would better be devoted to adopting other educational practices that have strong evidence base, of which there are an increasing number."[4]:105

text: The article incited critical comments from some defenders of learning styles. The Chronicle of Higher Education reported that Robert Sternberg from Tufts University spoke out against the paper: "Several of the most-cited researchers on learning styles, Mr. Sternberg points out, do not appear in the paper's bibliography."[57] This charge was also discussed by Science, which reported that Pashler said, "Just so... most of [the evidence] is 'weak'."[58] The Chronicle reported that even David A. Kolb partly agreed with Pashler; Kolb said: "The paper correctly mentions the practical and ethical problems of sorting people into groups and labeling them. Tracking in education has a bad history."[57]


document_title: Streetwear

question_text: when did streetwear start as a fashion trend

text: Streetwear

text: History[edit]

text: The movement is generally accepted to have been born out of the Los Angeles surf culture of the late 1970s and early 1980s. Brands included BlauGrun, Ocean Pacific, Hobie, Off Shore, Gotcha and Life's a Beach. Local surfboard designer Shawn Stussy began selling printed T-shirts featuring the same trademark signature he placed on his custom surfboards. Initially selling the items from his own car, Stussy expanded sales to boutiques once popularity increased.[2][3][4]

text: Stüssy's move into exclusive sales firmed up the baseline definition of streetwear: taking "a multi-faceted, subculturally diverse, Southern California lifestyle-based T-shirt brand and [mimicking] the limited feel of a high-end luxury brand....those are the two most integral components of what makes a brand streetwear: T-shirts and exclusivity."[5]

text: Early streetwear brands took inspiration from the DIY aesthetic of punk, new wave, heavy metal and later hip hop cultures. Established sportswear and fashion brands attached themselves to the emerging early 1980s hip hop scene such as Kangol and Adidas.

text: Nike's capture of soon-to-be basketball superstar Michael Jordan from rival Adidas in 1984 proved to be a huge turning point, as Nike dominated the urban streetwear sneaker market in the late 80's and early 90's.[citation needed] Other clothing brands such as Champion, Carhartt and Timberland were very closely associated with the scene, particularly on the East coast with hip hop acts such as Wu-Tang Clan and Mobb Deep sporting the look.[citation needed]

text: The mid to late 90's saw the professional American sports franchises have a huge impact on the look of the scene, from the Los Angeles Raiders and Chicago Bulls caps and jackets in the early to the oversized team jerseys.

text: With the advent of "bling" culture, the turn of the century saw an increase in established luxury brands beginning to make in roads into the market such as Burberry, Gucci and Fendi all making appearances in hip hop videos and films. The most popular shoe of the era was the Nike Air Force One, immortalized in the song by Nelly.[citation needed]

text: Brand launches by the chief executives of record companies followed, with Russell Simmons of Def Jam launching his Phat Farm label, Sean Combs of Bad Boy with Sean John, and Jay-Z and Damon Dash of Roc-a-Fella Records launching Rocawear. Rap superstar 50 Cent a few years later launched his G-Unit clothing label, with the sneaker rights given to Reebok.

text: Contemporary[edit]

text: Sportswear fashion is a fashion trend which mixes the high and low, formal and active style in one look. They emphasize being casual and comfortable. Contemporary people can go directly from gym to shopping, without a change of their looks. Sporty outfits have transformed into street style, they no longer just emphasize on the garment’s functionality. Instead, the trend has an increasing diversified style, which may allow people to dress trendily even in sportswear. Common sportswear worn in contemporary street styles are like hoodies, bomber jackets, tennis-style skirts, luxe track pants, leggings, and sneakers, etc. Sportswear in trend can be seen as revival from the 1990s hip-hop fashion, which also contain elements such as the bomber jacket and baseball cap.

text: Contemporary streetwear is usually influenced by the generic sporty twists and sleek athletic lines. In earlier stages of sportswear fashion, femininity was usually expressed with the lines becoming cleaner, and silhouettes becoming minimal. Later, bold volumes in sportswear started to develop, hi-tech fabrics and old-school approaches were used in styling. In general, relaxed silhouettes, clean shapes, little embellishments, and an overall sophisticated feel would be observed in the looks of the trend.

text: Luxury sportswear[edit]

text: The decline of formal wear led to the rise of streetwear fashion. High-end and luxury brands are starting to develop “luxury sportswear”, for example Alexander Wang, Gucci, and DKNY. Among this type of “luxury sportswear”, luxe fabrics were used to produce their sportswear fashion for a high contrast on the sporty silhouette. Fabrics like silk organza, washed satin, leather, neoprene, and wool crepe were used to produce the “luxury sportswear”. These types of fabrics may help experiment a garment with texture, and may assist in capturing a modern-sports spirit of the season. Details of the designs in “luxury sportswear” looks are pulled directly from actual active wear. The two words, “luxury” and “minimalism” were first used together for sportswear in fashion, to interpret a fresh sports look which is sleek and clean, but bearing recognizable athletic influences. Common mix-and-match combination of “luxury sportswear” on streetwear are track pants under basketball shorts, with bold patterns and sumptuous fabrics for men; And light colored pencil skirts, with bomber jackets and sleek tops, which is cut in satin or tweed for women.

text: Seasonal sportswear[edit]

text: Sportswear in streetwear designs also change according to season. For example, with the drop of temperature, sports silhouette tends to turn slouchier, volumes become more exaggerated. Solid fabrics such as fur, velvet, wool and leather would become predominant, and quilted detailing on windbreakers, sporty skirts and vests may sometimes be seen in winter. Typical winter look can be voluminous sweatshirt with satin boxer shorts, or a brocade bomber worn on top of a laid-back dress featuring mesh detailing. In contrast, sportswear in summer usually look more light-weighted and simple. The summer look can be a combination of easy crop tops, sleek dresses and gym-shorts.