document_title: Wedding dress

question_text: when did brides start wearing white wedding dresses

text: Wedding dress

text: Western culture[edit]

text: Weddings performed during and immediately following the Middle Ages were often more than just a union between two people. They could be a union between two families, two businesses or even two countries. Many weddings were more a matter of politics than love, particularly among the nobility and the higher social classes. Brides were therefore expected to dress in a manner that cast their families in the most favorable light and befitted their social status, for they were not representing only themselves during the ceremony. Brides from wealthy families often wore rich colors and exclusive fabrics. It was common to see them wearing bold colors and layers of furs, velvet and silk. Brides dressed in the height of current fashion, with the richest materials their families' money could buy. The poorest of brides wore their best church dress on their wedding day. The amount and the price of material a wedding dress contained was a reflection of the bride's social standing and indicated the extent of the family's wealth to wedding guests.

text: The first documented instance of a princess who wore a white wedding gown for a royal wedding ceremony is that of Philippa of England, who wore a tunic with a cloak in white silk bordered with grey squirrel and ermine in 1406.[1][2] Mary, Queen of Scots, wore a white wedding gown in 1559 when she married her first husband, Francis Dauphin of France, because it was her favorite color, although white was then the color of mourning for French Queens.[3][4]

text: This was not a widespread trend, however: prior to the Victorian era, a bride was married in any color, black being especially popular in Scandinavia.[5]

text: White became a popular option in 1840, after the marriage of Queen Victoria to Albert of Saxe-Coburg, when Victoria wore a white gown trimmed with Honiton lace. Illustrations of the wedding were widely published, and many brides opted for white in accordance with the Queen's choice.[6]

text: Even after that, for a period, wedding dresses were adapted to the styles of the day. In the early 1900s, clothing included a lot of decorations, such as lace or frills. This was also adopted in wedding dresses, where decorative frills and lace was common. For example, in the 1920s, they were typically short in the front with a longer train in the back and were worn with cloche-style wedding veils. This tendency to follow current fashions continued until the late 1960s, when it became popular to revert to long, full-skirted designs reminiscent of the Victorian era.

text: Today, Western wedding dresses are usually white,[7] though "wedding white" includes shades such as eggshell, ecru and ivory.

text: Later, many people assumed that the color white was intended to symbolize virginity, though this was not the original intention: it was the color blue that was connected to purity, piety, faithfulness, and the Virgin Mary.[8]

text: Current fashion[edit]

text: About 75 percent of wedding dresses on the market are strapless dresses or sleeveless, in part because such dresses require less skill from the designers and are easier to alter to fit correctly.[9] However, the sleeved wedding gown as well as wedding gowns with straps have both become more popular in recent years.[10]

text: Eastern culture[edit]

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text: Many wedding dresses in China, India (wedding sari), Pakistan (heavily embroidered shalwar qameez or lehngas) and Vietnam (in the traditional form of the Ao dai) are red, the traditional colour of good luck and auspiciousness. Nowadays, many women choose other colours besides red. In modern mainland Chinese weddings, the bride may opt for Western dresses of any colour, and later don a traditional costume for the official tea ceremony.

text: In modern Taiwanese weddings, the bride generally picks red (following Chinese tradition) or white (more Western) silk for the wedding gown material, but most will wear the red traditional garment for their formal wedding banquets. Traditionally, the father of the bride is responsible for the wedding banquet hosted on the bride's side and the alcohol (specifically called "xi-jiu," confusingly the same as what the wedding banquet itself is called) consumed during both banquets. While the wedding itself is often based on the couple's choices, the wedding banquets are a symbolic gesture of "thanks" and appreciation, to those that have raised the bride and groom (such as grandparents and uncles) and those who will continue to be there to help the bride and groom in the future. Thus out of respect for the elders, wedding banquets are usually done formally and traditionally.

text: Red wedding saris are the traditional garment choice for brides in Indian culture. Sari fabric is also traditionally silk. Over time, colour options and fabric choices for Indian brides have expanded. Today fabrics like crepe, Georgette, charmeuse, and satin are used, and colors have been expanded to include gold, pink, orange, maroon, brown, and yellow as well. Indian brides in Western countries often wear the sari at the wedding ceremony and change into traditional Indian wear afterwards (lehnga, choli, etc.).

text: A Japanese wedding usually involves a traditional pure white kimono for the formal ceremony, symbolizing purity and maidenhood. The bride may change into a red kimono for the events after the ceremony for good luck.

text: The Javanese people of Indonesia wear a kebaya, a traditional kind of blouse, along with batik.

text: In the Philippines, variations of the Baro't saya adapted to the white wedding tradition are considered to be wedding attire for women, along with the Barong Tagalog for men. Various tribes and Muslim Filipinos don other forms of traditional dress during their respective ceremonies.

text: Native American culture[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2014) (Learn how and when to remove this template message)

text: The indigenous peoples of the Americas have varying traditions related to weddings and thus wedding dresses. A Hopi bride traditionally had her garments woven by the groom and any men in the village who wished to participate. The garments consisted of a large belt, two all-white wedding robes, a white wedding robe with red stripes at top and bottom, white buckskin leggings and moccasins, a string for tying the hair, and a reed mat in which to wrap the outfit. This outfit also served as a shroud, since these garments would be necessary for the trip through the underworld.

text: A Pueblo bride wore a cotton garment tied above the right shoulder, secured with a belt around the waist.

text: In the traditions of the Delaware, a bride wore a knee-length skirt of deerskin and a band of wampum beads around her forehead. Except for fine beads or shell necklaces, the body was bare from the waist up. If it was a winter wedding, she wore deerskin leggings and moccasins and a robe of turkey feathers. Her face was painted with white, red and yellow clay.

text: The tribes of Northern California (which include the Klamath, the Modoc and the Yurok) had a traditional bridal dress woven in symbolic colors: white for the east, blue for the south, yellow (orange) for the west; and black for the north. Turquoise and silver jewelry were worn by both the bride and the groom in addition to a silver concho belt. Jewelry was considered a shield against evils including hunger, poverty and bad luck.

text: Gallery[edit]

text: Historical European wedding dresses[edit]

text:
Detail from "The Marriage" by Nicolo da Bologna, 1350s.

Helena Fourment, second wife of Peter Paul Rubens, painted by Rubens in her wedding dress, 1630.

Sophia Magdalena of Denmark's wedding dress, 1766. The Royal Armoury in Sweden.

Marriage of Napoleon I and Marie Louise. France, 1810.

text: Wedding dresses from different areas of the world[edit]

text:
Traditional Japanese wedding robes worn by the Crown Prince of Japan, Akihito and Michiko Shoda for their marriage, 1959.

Wishram (North American Indian) bride around 1911

Traditional Finnish farmer wedding dress in Jomala

Traditional Kazakh wedding dress

Hutsul wedding dress

Traditional Armenian wedding dress

18th century wedding dress from Kymi, Greece (Collection of PFF, Nauplio)

Bride in a wedding dress, Podhale, the Tatra Mountains

text: Middle Eastern dresses[edit]

text:
Jewish Yemenite bride in Israel, 1950's

Wedding of Tewfik Pasha and Emina Ilhamy, Cairo, Egypt, January 1873

text: East Asian dresses[edit]

text:
Chinese couple wearing traditional wedding hanfu

Reenactment of the royal wedding ceremony of King Gojong and Queen Myeongseong

text: South Asian dresses[edit]

text:
Indian Hindu bride in red Sari

West Bengali bride

Indian Christian bride in white Sari

Bangladeshi bride in formal matrimonial Sari

Bride at a Nikah ceremony wearing typical South Asian red head covering and jewellery

A Nepali bride in wedding dress

Nepali bride of Kathmandu, 1941

Wedding dresses and other Asian couture in London

text: Modern Western-style dresses[edit]

text:
A bride in 1968, wearing a dress reflecting the styles of the time

Taiwanese couple dressed Western-style for keepsake photos in the park, 1989

Opulent wedding dress of Soraya Esfandiary, created by Christian Dior

Patricia Nixon Cox with her father Richard Nixon, 1971

American bride marrying a Scotsman wearing a kilt, 1996

New Orleans bride wearing a strapless, sleeveless gown, 2006


document_title: The Shawshank Redemption

question_text: where does andy go at the end of shawshank redemption

root

text: The Shawshank Redemption

text: Plot[edit]

text: In 1947 Portland, Maine, banker Andy Dufresne is convicted of murdering his wife and her lover, and sentenced to two consecutive life sentences at the Shawshank State Penitentiary. He is befriended by contraband smuggler, Ellis "Red" Redding, an inmate serving a life sentence. Red procures a rock hammer, and later a large poster of Rita Hayworth for Andy. Working in the prison laundry, Andy is regularly assaulted and raped by "the Sisters" and their leader, Bogs.

tag: p

text: In 1949, Andy overhears the captain of the guards, Byron Hadley, complaining about being taxed on an inheritance and offers to help him shelter the money legally. After an assault by the Sisters nearly kills Andy, Hadley beats Bogs severely. Left crippled, Bogs is transferred to another prison, and Andy is not attacked again. Warden Samuel Norton meets Andy and reassigns him to the prison library to assist elderly inmate Brooks Hatlen. Andy's new job is a pretext for him to begin managing financial matters for the prison employees. As time passes, the warden begins using him to handle matters for himself and a variety of people, including guards from other prisons. Andy begins writing weekly letters to the state legislature requesting funds to improve the prison's decaying library.

text: Brooks is paroled in 1954 after serving 50 years, but he cannot adjust to the outside world, and he commits suicide by hanging himself. Andy receives a library donation that includes a recording of The Marriage of Figaro. He plays an excerpt over the public address system, and is punished with solitary confinement. After his release from solitary, Andy explains that hope is what gets him through his time, a concept that Red dismisses. In 1963, Norton begins exploiting prison labor for public works, profiting by undercutting skilled labor costs and receiving bribes. Andy launders the money using the alias Randall Stephens.

text: Tommy Williams is incarcerated for burglary in 1965. Andy and Red befriend him, and Andy helps him pass his GED exam. A year later, Tommy reveals to Red and Andy that an inmate at another prison claimed responsibility for the murders for which Andy was convicted. Andy approaches Norton with this information, but he refuses to listen and sends him back to solitary confinement when he mentions the money laundering. Norton has Hadley murder Tommy under the guise of an escape attempt. Andy declines to continue the laundering, but he relents after Norton threatens to burn the library, remove Andy's protection from the guards, and move him to worse conditions. After two months, Andy is released from solitary confinement, and he tells Red of his dream of living in Zihuatanejo, a Mexican coastal town. Red feels Andy is being unrealistic, but promises him that if he is ever released, he will visit a specific hayfield near Buxton, Maine, and retrieve a package Andy buried there. He worries about Andy's well-being, especially when he learns Andy asked another inmate to supply him with six feet (1.8 meters) of rope.

text: The next day at roll call, the guards find Andy's cell empty. An irate Norton throws a rock at the poster of Raquel Welch hanging on the cell wall, revealing a tunnel that Andy dug with his rock hammer over the last 19 years. The previous night, Andy escaped through the tunnel and prison sewage pipe, using the rope to bring with him Norton's suit, shoes, and the ledger containing details of the money laundering. While guards search for him, Andy poses as Randall Stephens and visits several banks to withdraw the laundered money, then mails the ledger and evidence of the corruption and murders at Shawshank to a local newspaper. State police arrive at Shawshank and take Hadley into custody, while Norton commits suicide to avoid arrest.

text: After serving 40 years, Red is paroled. He struggles to adapt to life outside prison and fears that he never will. Remembering his promise to Andy, he visits Buxton and finds a cache containing money, and a letter asking him to come to Zihuatanejo. Red violates his parole and travels to Fort Hancock, Texas, to cross the border into Mexico, admitting he finally feels hope. On a beach in Zihuatanejo he finds Andy, and the two friends are happily reunited.

text: Cast[edit]

text:
Tim Robbins as Andy Dufresne:
A banker sentenced to life in prison in 1947 for the murder of his wife and her lover[4]
Morgan Freeman as Ellis Boyd "Red" Redding:
A prison contraband smuggler who befriends Andy[5][6]
Bob Gunton as Samuel Norton:
The pious and strict warden of Shawshank penitentiary[4]
William Sadler as Heywood:
A member of Red's gang of long-serving convicts[5][7]
Clancy Brown as Byron Hadley:
The brutal captain of the prison guards[8][9]
Gil Bellows as Tommy Williams:
A young convict imprisoned for burglary in 1965[5][10]
James Whitmore as Brooks Hatlen:
The elderly prison librarian, imprisoned since the early 1900s[11]

tag: ul

text: The cast also includes: Mark Rolston as Bogs Diamond, the head of "The Sisters" gang and a prison rapist;[12] Jeffrey DeMunn as the prosecuting attorney in Dufresne's trial; Alfonso Freeman as Fresh Fish Con; Ned Bellamy and Don McManus as, respectively, prison guards Youngblood and Wiley; and Dion Anderson as Head Bull Haig.[5] Renee Blaine portrays Andy's wife, and Scott Mann portrays her golf-instructor lover Glenn Quentin.[13] Frank Medrano plays Fat Ass, one of Andy's fellow new inmates who is beaten to death by Hadley,[5][14] and Bill Bolender plays Elmo Blatch, a convict who may actually be responsible for the crimes of which Andy is accused.[15] James Kisicki portrays a bank manager.[16]

text: Analysis[edit]

text: The film has been interpreted as being grounded in Christian mysticism.[17] Andy is offered as a messianic, Christ-like figure, with Red describing him early in the film as having an aura that engulfs and protects him from Shawshank.[18] The scene in which Andy and several inmates tar the prison roof can be seen as a recreation of the Last Supper, with Andy obtaining beer/wine for the twelve inmates/disciples as Freeman describes them as the "lords of all creation" invoking Jesus' blessing.[19] Director Frank Darabont responded that this was not his deliberate intention,[20] but he wanted people to find their own meaning in the film.[21] The discovery of The Marriage of Figaro record is described in the screenplay as akin to finding the Holy Grail, bringing the prisoners to a halt, and causing the sick to rise up in their beds.[22]

text: Early in the film, Warden Norton quotes Jesus Christ to describe himself to Andy, saying, "I am the light of the world", declaring himself Andy's savior. But this description can also reference Lucifer, the bearer of light.[23] Indeed, the warden does not enforce the general rule of law, but chooses to enforce his own rules and punishments as he sees fit, becoming a law unto himself, like the behavior of Satan.[4] The warden has also been compared to former United States President Richard Nixon. Norton's appearance and public addresses can be seen to mirror Nixon's. Similarly, Norton projects an image of a Holy man, speaking down sanctimoniously to the servile masses while running corrupt scams, like those which made Nixon infamous.[24]

text: Zihuatanejo has been interpreted as an analogue for heaven or paradise.[25] In the film, Andy describes it as a place with no memory, offering absolution from his sins by forgetting about them or allowing them to be washed away by the Pacific Ocean, whose name means "peace". The possibility of escaping to Zihuatanejo is only raised following Andy's admission of guilt over his wife's death.[25] Similarly, Red's freedom is only earned once he accepts he cannot save himself or atone for his sins. Freeman has described Red's story as one of salvation as he is not innocent of his crimes, unlike Andy who finds redemption.[26] While some Christian viewers interpret Zihuatanejo as heaven, it can also be interpreted as a Nietzschean form of guiltlessness achieved outside traditional notions of good and evil, where the amnesia offered is the destruction rather than forgiveness of sin, meaning Andy's aim is secular and atheistic. Just as Andy can be interpreted as a Christ-like figure, he can be seen as a Zarathustra-like prophet offering escape through education and the experience of freedom.[25] Ebert argued that The Shawshank Redemption is an allegory for maintaining one's feeling of self-worth when placed in a hopeless position. Andy's integrity is an important theme in the story line, especially in prison, where integrity is lacking.[27]

text: Robbins himself believes that the concept of Zihuatanejo resonates with audiences because it represents a form of escape that can be achieved after surviving for many years within whatever "jail" someone finds themselves, from a bad relationship, job, or environment. Robbins said that it is important that such a place exists for us.[28] Isaac M. Morehouse suggests that the film provides a great illustration of how characters can be free, even in prison, or unfree, even in freedom, based on their outlooks on life.[29] Philosopher Jean-Paul Sartre described freedom as an ongoing project that requires attention and resilience, without which a person begins to be defined by others or institutions, mirroring Red's belief that inmates become dependent on the prison to define their lives. Andy displays resilience through rebellion, by playing music over the prison loudspeaker, and refusing to continue with the money laundering scam.[4]

text: Many elements can be considered as tributes to the power of cinema. In the prison theater, the inmates watch the film Gilda (1946), but this scene was originally intended to feature The Lost Weekend (1945). The interchangeability of the films used in the prison theater suggests that it is the cinematic experience and not the subject which is key to the scene, allowing the men to escape the reality of their situation.[30] Immediately following this scene, Andy is assaulted by the Sisters in the projector room and uses a film reel to help fight them off.[31] Then in the end of the film, Andy passes through a hole in his cell hidden by a movie poster to escape both his cell and ultimately Shawshank.[32]

text: Andy's and Red's relationship has been described as a non-sexual love story between two men,[33] that few other films offer, where the friendship is not built on conducting a caper, car chases, or developing a relationship with women.[34] Philosopher Alexander Hooke argued that Andy's and Red's true freedom is their friendship, being able to share joy and humor with each other.[4]

text: Production[edit]

text: Development[edit]

text: Darabont first collaborated with author Stephen King in 1983 on the short film adaptation of "The Woman in the Room", buying the rights from him for $1—a Dollar Deal that King used to help new directors build a résumé by adapting his short stories.[9] After receiving his first screenwriting credit in 1987 for A Nightmare on Elm Street 3: Dream Warriors, Darabont returned to King with $5,000[3] to purchase the rights to adapt Rita Hayworth and Shawshank Redemption, a 96-page novella from King's 1982 collection Different Seasons, written to explore genres other than the horror stories for which he was commonly known.[35] Although King did not understand how the story, largely focused on Red contemplating his fellow prisoner Andy, could be turned into a feature film, Darabont believed it was "obvious".[9]

text: Five years later, Darabont wrote the script over an eight-week period. He expanded on elements of King's story. Brooks, who in the novella is a minor character who dies in a retirement home, became a tragic character who eventually hanged himself. Tommy, who in the novella trades his evidence exonerating Andy for transfer to a nicer prison, in the screenplay is murdered on the orders of Warden Norton, who is a composite of several warden characters in King's story.[9] Darabont opted to create a single warden character to serve as the primary antagonist.[36] Among his inspirations, Darabont listed the works of director Frank Capra, including Mr. Smith Goes to Washington (1939) and It's a Wonderful Life (1946), describing them as tall tales; Darabont likened The Shawshank Redemption to a tall tale more than a prison movie.[37] He also cited Goodfellas (1990) as an inspiration on the use of dialogue to illustrate the passage of time in the script.[38] King never cashed the $5,000 cheque from Darabont for the rights to The Shawshank Redemption; he later framed it and returned it to Darabont accompanied by a note which read: "In case you ever need bail money. Love, Steve."[39]

text: At the time, prison-based films were not considered likely box office successes, but Darabont's script was read by then-Castle Rock Entertainment producer Liz Glotzer, whose interest in prison stories, and reaction to the script, led her to threaten to quit if Castle Rock did not produce The Shawshank Redemption.[9] Director and Castle Rock co-founder Rob Reiner also liked the script. He offered Darabont between $2.4 million[40] and $3 million to allow him to direct it himself.[9] Reiner, who had previously adapted King's 1982 novella The Body into the 1986 film Stand by Me, planned to cast Tom Cruise as Andy and Harrison Ford as Red.[9][41]

text: Castle Rock offered to finance any other film Darabont wanted to develop. Darabont seriously considered the offer, citing growing up poor in Los Angeles, believing it would elevate his standing in the industry, and that Castle Rock could have contractually fired him and given the film to Reiner anyway. But, he chose to remain the director, saying in a 2014 Variety interview, "you can continue to defer your dreams in exchange for money and, you know, die without ever having done the thing you set out to do".[9] Reiner served as Darabont's mentor on the project instead.[9] Within two weeks of showing the script to Castle Rock, Darabont had a $25 million budget to make his film[2] (taking a $750,000 screenwriting and directing salary plus a percentage of the net profits),[40] and pre-production began in January 1993.[37]

text: Casting[edit]

text: Freeman was cast at the suggestion of producer Liz Glotzer, who ignored the novella's character description of a white Irishman, nicknamed "Red". Freeman's character alludes to the choice when queried by Andy on why he is called Red, replying "Maybe it's because I'm Irish."[38] Freeman opted not to research his role, saying "acting the part of someone who's incarcerated doesn't require any specific knowledge of incarceration ... because men don't change. Once you're in that situation, you just toe whatever line you have to toe."[2]

text: Darabont looked initially at some of his favorite actors like Gene Hackman and Robert Duvall for the role of Andy Dufresne, but they were unavailable;[38] Clint Eastwood and Paul Newman were also considered.[42] Tom Cruise, Tom Hanks, and Kevin Costner were offered, and passed on the role[9] —Hanks due to his starring role in Forrest Gump,[38] and Costner because he had the lead in Waterworld.[43] Johnny Depp, Nicolas Cage, and Charlie Sheen were also considered for the role at different stages.[43] Cruise attended table readings of the script, but refused to work for the inexperienced Darabont.[9] Darabont said he cast Robbins after seeing his performance in the 1990 psychological horror Jacob's Ladder.[44] When Robbins was cast, he insisted that Darabont use experienced cinematographer Roger Deakins, who had worked with him on The Hudsucker Proxy.[9] To prepare for the role, Robbins observed caged animals at a zoo, spent an afternoon in solitary confinement, spoke with prisoners and guards,[33] and had his arms and legs shackled for a few hours.[2]

text: Cast initially as young convict Tommy, Brad Pitt dropped out following his success in Thelma & Louise[9] (the role went to a debuting Gil Bellows);[2] James Gandolfini passed on portraying prison rapist Bogs.[9] Bob Gunton was filming Demolition Man (1993) when he went to audition for the role of Warden Norton. To convince the studio that Gunton was right for the part, Darabont and producer Niki Marvin arranged for him to record a screen test on a day off from Demolition Man. They had a wig made for him as his head was shaved for his Demolition Man role. Gunton wanted to portray Norton with hair as this could then be grayed to convey his on-screen aging as the film progressed. Gunton performed his screen test with Robbins, which was filmed by Deakins. After being confirmed for the role, he used the wig in the film's early scenes until his hair re-grew. Gunton said that Marvin and Darabont saw that he understood the character which went in his favor, as did the fact his height was similar to Robbins' allowing Andy to believably use the warden's suit.[36]

text: Portraying the head guard Byron Hadley, Clancy Brown was given the opportunity to speak with former guards by the production's liaison officer, but declined believing it would not be a good thing to say that his brutal character was in any way inspired by Ohio state correctional officers.[45] William Sadler, who portrays Heywood, said that Darabont had approached him in 1989 on the set of the Tales from the Crypt television series where he was a writer, about starring in the adaptation he was intending to make.[46] Freeman's son Alfonso has a cameo as a young Red in mug shot photos,[38] and as a prisoner shouting "fresh fish" as Andy arrives at Shawshank.[47] Among the extras used in the film were the former warden and former inmates of the Reformatory, and active guards from a nearby incarceration facility.[48][2] The novella's original title attracted several people to audition for the non-existent role of Rita Hayworth, including a man in drag clothing.[40]

text: Filming[edit]

text: On a $25 million budget,[49] principal photography took place over three months[9] between June and August 1993.[50][51] Filming regularly required up to 18-hour workdays, six days a week.[9] Freeman described filming as tense, saying, "Most of the time, the tension was between the cast and director. I remember having a bad moment with the director, had a few of those." Freeman referred to Darabont's requiring multiple takes of scenes which he considered had no discernible differences. For example, the scene where Andy first approaches Red to procure a rock hammer took nine hours to film, and featured Freeman throwing and catching a baseball with another inmate throughout it. The number of takes that were shot resulted in Freeman turning up to filming the following day with his arm in a sling. Freeman sometimes simply refused to do the additional takes. Robbins said that the long days were difficult. Darabont felt that making the film taught him a lot, "A director really needs to have an internal barometer to measure what any given actor needs."[9] He found his most frequent struggles were with Deakins. Darabont favored more scenic shots, while Deakins felt that not showing the outside of the prison added a sense of claustrophobia, and it meant that when a wide scenic shot was used, it had more impact.[2]

text: Marvin spent five months scouting prisons across the United States and Canada, looking for a site that had a timeless aesthetic, and was completely abandoned, hoping to avoid the complexity of filming the required footage, for hours each day, in an active prison with the security difficulties that would entail.[52] Marvin eventually chose the Ohio State Reformatory in Mansfield, Ohio to serve as the fictional Shawshank State Penitentiary in Maine, citing its Gothic-style stone and brick buildings.[52][51] After nearly a century of use, the facility had been closed three years earlier on New Year's Eve, 1990,[53] due to inhumane living conditions.[51]

text: The 15-acre reformatory, housing its own power plant and farm, was partially torn down shortly after filming was completed, leaving the main administration building and two cell blocks.[51] Several of the interior shots of the specialized prison facilities, such as the admittance rooms and the warden's office, were shot in the reformatory. The interior of the boarding room used by Brooks and Red was in the administration building; exterior shots of the boarding house were taken elsewhere. Internal scenes in the prison cellblocks were filmed on a soundstage built inside a nearby shuttered Westinghouse Electric factory. Since Darabont wanted the inmates' cells to face each other, almost all the cellblock scenes were shot on a purpose-built set housed in the Westinghouse factory[51] except for the scene featuring Elmo Blatch's admission of guilt for the crimes for which Andy was convicted. It was filmed in one of the actual prison's more confined cells.[54] Scenes were also filmed in Mansfield, as well as neighboring Ashland, Ohio.[55] The oak tree under which Andy buries his letter to Red was located near Malabar Farm State Park, in Lucas, Ohio;[42] it was destroyed by winds in 2016.[56]

text: Just as a prison in Ohio stood in for a fictional one in Maine, the beach scene showing Andy and Red's reunion in Zihuatanejo, Mexico, was actually shot in the Caribbean on the island of Saint Croix, one of the U.S. Virgin Islands.[57] The beach at 'Zihuatanejo' is the Sandy Point National Wildlife Refuge,[58] a protected area for leatherback sea turtles.[59] Scenes shot in Upper Sandusky included the prison wood shop scene where Red and his fellow inmates hear "The Marriage of Figaro" (the woodshop is now called the Shawshank Woodshop),[42] and the opening court scene which was shot at the Wyandot County Courthouse.[58] Other shooting locations included Pugh Cabin in Malabar Farm State Park, where Andy sits outside as his wife engages in an affair,[60] Butler, Ohio which stood in for Buxton, Maine,[61] and The Bissman Building in Mansfield, which served as the hotel where Brooks stayed following his incarceration.[62]

text: While the film portrays Andy escaping to freedom through a sewer pipe described as a "river of shit", Robbins crawls through a mixture of water, chocolate syrup, and sawdust. The stream into which Robbins emerges was actually certified toxic by a chemist according to production designer Terence Marsh.[47] Of the scene, Robbins said, "when you're doing a film, you want to be a good soldier—you don't want to be the one that gets in the way. So you will do things as an actor that are compromising to your physical health and safety."[63] As for the scene where Andy rebelliously plays music over the prison announcement system, it was Robbins' idea for Andy to turn the music up and not shut it off.[47] While in the finished film the inmates watch Rita Hayworth in Gilda (1946), they were originally intended to be watching Billy Wilder's The Lost Weekend (1945), a film about the dangers of alcohol. As the footage was too costly to procure from Paramount Pictures, producer Niki Marvin approached The Shawshank Redemption's domestic distribution rights-holder Columbia Pictures, who offered a list of lower-priced titles, one of which was Gilda.[64]

text: Post-production[edit]

text: The final cut of the theatrically released film runs for 142 minutes,[1] and was dedicated to Allen Greene, Darabont's former agent who died during filming from AIDS.[65] The film's first edit ran for nearly two and a half hours, which Glotzer considered "long", and several scenes were cut including a longer sequence of Red adjusting to life post incarceration; Darabont said that in test screenings the audience seemed to be getting impatient with the scene as they were already convinced that Red would not make it.[33] Another scene cut for time showed a prison guard investigating Andy's escape tunnel; it was thought this slowed down the action.[66] The film originally had a cold open that played out Andy's crime, with his trial playing throughout the opening credits, but these scenes were edited together to create a more "punchy" opening.[67] One scripted scene, which Darabont described as his best work, was left unfilmed because of the shooting schedule.[68] In the scene, a dreaming Red is sucked into the poster of Rita Hayworth to find himself alone and insignificant on the Pacific shore, saying "I am terrified, there is no way home." Darabont said that he regretted being unable to capture the scene.[69]

text: In Darabont's original vision for the end of the film Red is seen riding a bus towards the Mexican border, leaving his fate ambiguous. Glotzer insisted on including the scene of Red and Andy reuniting in Zihuatanejo. She said Darabont felt this was a "commercial, sappy" ending, but Glotzer wanted the audience to see them together.[9] Castle Rock agreed to finance filming for the scene without requiring its inclusion, guaranteeing Darabont the final decision.[70] The scene originally featured a longer reunion in which Andy and Red recited dialogue from their first meeting, but Darabont said it had a "golly-gee-ain't-we-cute" quality and excised it.[71] The beach reunion was test audiences' favorite scene; both Freeman and Robbins felt it provided the necessary closure. Darabont agreed to include the scene after seeing the test audience reactions, saying: "I think it's a magical and uplifting place for our characters to arrive at the end of their long saga..."[70]

text: Music[edit]

text: The film's score was composed by Thomas Newman. He felt that it already elicited such strong emotions without music that he found it difficult to compose one that would elevate scenes without distracting from them. The piece, "Shawshank Redemption", plays during Andy's escape from Shawshank and originally had a three-note motif, but Darabont felt it had too much of a "triumphal flourish" and asked that it be toned down to a single-note motif. "So Was Red", played following Red's release from prison, and leading to his discovery of Andy's cache, became one of Newman's favorite pieces. The piece was initially written for a solo oboe, until Newman reluctantly agreed to add harmonica—a reference to the harmonica Red receives from Andy to continue his message of hope. According to Darabont, harmonica player Tommy Morgan "casually delivered something dead-on perfect on the first take", and this is heard in the finished film.[72] Newman's score was so successful that excerpts from it were used in movie trailers for years afterwards.[35]

text: Release[edit]

text: Theatrical[edit]

text: Leading up to its release, the film was test screened with the public. These were described as "through the roof", and Glotzer said they were some of the best she had seen.[9][73] It was decided to mostly omit Stephen King's name from any advertising, as the studio wanted to attract a "more prestigious audience" who might reject a film from a writer known mostly for pulp fiction works like The Shining and Cujo.[74]

text: Following early September premieres at the Renaissance Theatre in Mansfield, and the Toronto International Film Festival,[75][16] The Shawshank Redemption began a limited North American release on September 23, 1994. During its opening weekend, the film earned $727,000 from 33 theaters—an average of $22,040 per theater. Following a Hollywood tradition of visiting different theaters on opening night to see the audiences view their film live, Darabont and Glotzer went to the Cinerama Dome, but found no one there. Glotzer claimed that the pair actually sold two tickets outside the theater with the promise that if the buyers did not like the film, they could ask Castle Rock for a refund.[9] While critics praised the film, Glotzer believed that a lackluster review from the Los Angeles Times pushed crowds away.[9][73] It received a wide release on October 14, 1994, expanding to a total of 944 theaters to earn $2.4 million—an average of $2,545 per theater—finishing as the number nine film of the weekend, behind sex-comedy Exit to Eden ($3 million), and just ahead of the historical drama Quiz Show ($2.1 million), which was in its fifth week at the cinemas.[35][49] The Shawshank Redemption closed in late November 1994, after 10 weeks with an approximate total gross of $16 million.[76] It was considered a box office bomb, failing to recoup its $25 million budget, not including marketing costs and the cinema exhibitors' cuts.[9]

text: The film was also competing with Pulp Fiction ($108 million),[3] which also premiered October 14 following its Palme d'Or award win, and Forrest Gump ($330 million)[3] which was in the middle of a successful 42-week theatrical run.[73] Both films would become quotable cultural phenomena. A general audience trend towards action films starring the likes of Bruce Willis and Arnold Schwarzenegger was also considered to work against the commercial success of The Shawshank Redemption.[9] Freeman blamed the title, saying it was unmemorable,[9] while Robbins recalled fans asking: "What was that Shinkshonk Reduction thing?".[21] Several alternative titles had been posited before the release due to concerns that it was not a marketable title.[46] The low box office was also blamed on a lack of female characters to broaden the audience demographic, and the general unpopularity of prison films.[21]

text: After being nominated for several Oscars in early 1995,[9] the film was re-released between February and March.[76] In total, the film made about $28.3 million in North American theaters, and about $30 million from other markets for a worldwide total of $58.3 million.[3] In the United States, it became the 51st-highest-grossing film of 1994, and the 21st-highest grossing R-rated film of 1994.[49]

text: Post theatrical[edit]

text: Despite its disappointing box-office returns, in what was then considered a risky move, Warner Home Video shipped 320,000 rental video copies throughout the United States in 1995. It went on to become one of the top rented films of the year.[35] Positive recommendations and repeat customer viewings, and being well-received by both male and female audiences, were considered key to the film's rental success.[21]

text: Ted Turner's Turner Broadcasting System had acquired Castle Rock in 1993, which enabled his TV channel, TNT, to obtain the cable-broadcast rights to the film.[3] According to Glotzer, because of the low box office numbers, TNT could air the film at a very low cost, but still charge premium advertising rates. The film began airing on the network in June 1997.[3][9] It was the first feature in TNT's Saturday Night New Classics, and would air nearly daily.[9] TV airings of the film accrued record-breaking numbers,[21] and its repeated broadcast was considered essential to turning the film into a cultural phenomenon after its poor box office performance.[9] Darabont felt the turning point for the film's success was the Academy Award nominations, saying "nobody had heard of the movie, and that year on the Oscar broadcast, they were mentioning this movie seven times".[44] In 1996, the rights to The Shawshank Redemption were passed to Warner Bros., following the merger of its parent company Time Warner with the Turner Broadcasting System.[77]

text: By 2013, The Shawshank Redemption had aired on fifteen basic cable networks, and in that year occupied 151 hours of airtime, rivaling Scarface (1983), and behind only Mrs. Doubtfire (1993). It was in the top 15 percent of movies among adults between the ages of 18 and 49 on the Spike, Up, SundanceTV, and Lifetime channels. Despite its mainly male cast it was the most watched movie on the female-targeted OWN network. In a 2014 Wall Street Journal article, it was estimated that based on the margins studios take from box office returns, home media sales, and television licensing, The Shawshank Redemption had made $100 million. Jeff Baker, then-executive vice president and general manager of Warner Bros. Home Entertainment, said that the home video sales had earned about $80 million.[3] While Warner Bros. does not report what it earns in licensing the film for TV, in 2014 current and former executives at the studio confirmed that it was one of the highest valued assets in Warner Bros. $1.5 billion library.[78] That same year, Gunton said that by its tenth anniversary in 2004, he was still earning six-figure residual payments, and was still earning a "substantial income" from it, which was considered unusual so many years after its release.[79]

text: Reception[edit]

text: Critical response[edit]

text: The Shawshank Redemption opened to generally positive reviews.[83][84][85] Some reviewers compared the film to other well-received prison dramas, including: Birdman of Alcatraz, One Flew Over the Cuckoo's Nest, Cool Hand Luke, and Riot in Cell Block 11.[86][87] Gene Siskel said that like One Flew Over the Cuckoo's Nest, The Shawshank Redemption is an inspirational drama about overcoming overbearing authority.[87]

text: Entertainment Weekly's Owen Gleiberman said that Freeman makes the Red character feel genuine and "lived-in".[6] Janet Maslin of The New York Times said that Freeman was quietly impressive, but lamented that Red's role in the film had limited range, restricted to observing Andy. She considered Freeman's commanding performance made him a much stronger figure than simply an observer. Maslin said that Freeman's performance was especially moving when describing how dependent Red had become on living within the prison walls.[88] Variety's Leonard Klady suggested that Freeman had the "showier" role, allowing him "a grace and dignity that come naturally", without ever becoming banal,[80] and The Washington Post's Desson Howe called Freeman a "master" of comedic and poignant cadence.[89] Even Kenneth Turan's Los Angeles Times review, which Glotzer credited with derailing the film's box office success, praised Freeman, saying his "effortless screen presence lends Shawshank the closest thing to credibility it can manage".[90]

text: Of Robbins' performance, Gleiberman said that in his "laconic-good-guy, neo-Gary Cooper role, [Robbins] is unable to make Andy connect with the audience".[6] Conversely, Maslin said that Andy has the more subdued role, but that Robbins portrays him intensely, and effectively depicts the character as he transitions from new prisoner to aged father figure,[88] and Klady stated that his "riveting, unfussy ... precise, honest, and seamless" performance anchors the film.[80] Howe said that while the character is "cheesily messianic" for easily charming everyone to his side, comparing him to "Forrest Gump goes to jail", Robbins exudes the perfect kind of innocence to sell the story.[89] The Hollywood Reporter stated that both Freeman and Robbins gave outstanding, layered performances that imbued their characters with individuality,[81] and Rolling Stone's Peter Travers said that the pair create something "undeniably powerful and moving".[86] Gunton and Brown were cited as "extremely credible" as villains,[80] Howe countered that Gunton's warden was a clichéd character who extols religious virtues while having people murdered.[89]

text: Maslin called the film an impressive directorial debut that tells a gentle tale with a surprising amount of loving care,[88] and Klady saying the only failings came when Darabont focused for too long on supporting characters, or embellished a secondary story.[80] The Hollywood Reporter said that both the directing and writing were crisp, while criticizing the film's long running time.[81] Klady said that the length and tone, while tempered by humor and unexpected events, would dampen the film's mainstream appeal, but the story offered a fascinating portrait of the innate humanity of the inmates.[80] Gleiberman disliked that the prisoners' crimes were overlooked to portray them more as good guys.[6] Turan similarly objected to what he perceived as extreme violence and rape scenes, and making most of the prisoners seem like a "bunch of swell and softhearted guys" to cast the prison experience in a "rosy glow".[90] Klady summarized the film as "estimable and haunting entertainment", comparing it to a rough diamond with small flaws,[80] but Howe criticized it for deviating with multiple subplots, and pandering by choosing to resolve the story with Andy's and Red's reunion, rather than leaving the mystery.[89] Ebert noted that the story works because it is not about Andy as the hero, but how Red perceives him.[75]

text: Deakins cinematography was routinely praised,[80] with The Hollywood Reporter calling it "foreboding" and "well-crafted",[81] and Travers saying "the everyday agonies of prison life are meticulously laid out ... you can almost feel the frustration and rage seeping into the skin of the inmates".[86] Gleiberman praised the choice of scenery, writing that the "moss-dark, saturated images have a redolent sensuality" that makes the film very realistic.[6] The Hollywood Reporter said of Newman's score, "at its best moments, alights with radiant textures and sprightly grace notes, nicely emblematic of the film's central theme",[81] and Klady describing it as "the right balance between the somber and the absurd".[80]

text: Accolades[edit]

text: The film was nominated for seven Academy Awards in 1995, the most for a Stephen King film adaptation:[91] Best Picture, Best Actor (Freeman), Best Adapted Screenplay (Darabont), Best Cinematography (Deakins), Best Editing (Richard Francis-Bruce), Best Sound Mixing (Robert J. Litt, Elliot Tyson, Michael Herbick, and Willie D. Burton),[92] and Best Original Score (Newman, his first Academy Award nomination).[72] It did not win in any category.[91] It received two Golden Globe Award nominations for Best Performance by an Actor in a Motion Picture for Freeman, and Best Screenplay for Darabont.[93]

text: Robbins and Freeman were both nominated for Outstanding Performance by a Male Actor in a Leading Role at the inaugural Screen Actors Guild Awards in 1995.[94] Darabont was nominated for a Directors Guild of America award in 1994 for Best Director of a feature film,[95] and a Writers Guild of America Award for Best Adapted Screenplay.[96] Deakins won the American Society of Cinematographers award for Outstanding Achievement in Cinematography,[82] while producer Niki Marvin was nominated for a 1994 Golden Laurel Award by the Producers Guild of America.[96]

text: Legacy[edit]

text: Darabont later adapted and directed two other King stories, The Green Mile (1999) and The Mist (2007).[97] In a 2016 interview, King said that The Shawshank Redemption was his favorite adaptation of his work, alongside Stand by Me.[98]

text: The oak tree, under which Andy leaves a note for Red directing him to Zihuatanejo, became a symbol of hope for its role in the film, and is considered iconic.[56][99] In 2016, The New York Times reported that the tree attracted thousands of visitors annually.[100] The tree was partially destroyed on July 29, 2011, when it was split by lightning; news of the damage was reported across the United States on newscasts, in newspapers, and on websites as far away as India.[101][99] The tree was completely felled by strong winds on or around July 22, 2016,[99] and its vestiges were cut down in April 2017.[102] The remains were turned into The Shawshank Redemption memorabilia including rock hammers and magnets.[103]

text: The prison site became a tourist attraction,[51] with many of the rooms and props remaining including the false pipe through which Andy escapes,[53] and a portion of the oak tree from the finale, after it was damaged in 2011.[42] The surrounding area is also visited by fans, while local businesses market "Shawshanwiches" and Bundt cakes in the shape of the prison. The prison itself was to be torn down completely following filming, but was eventually sold to enthusiasts for $1.[53] According to the Mansfield/Richland County Convention and Visitors Bureau (later renamed Destination Mansfield),[57] tourism in the area had increased every year since The Shawshank Redemption premiered, and in 2013 drew in 18,000 visitors and over $3 million to the local economy.[42] In late August that year, a series of events were held in Mansfield to celebrate the film's 20th anniversary including a screening of the film at the Renaissance Theatre, a bus tour of certain filming locations, and a cocktail party at the Reformatory. Cast from the film attended some of the events including Gunton, Scott Mann, Renee Blaine, and James Kisicki.[16] As of 2017, Destination Mansfield operates the Shawshank Trail, a series of 15 marked stops around locations related to the film across Mansfield, Ashland, Upper Sandusky, and St. Croix.[57]

text: Lasting reception[edit]

text: Contemporary review aggregation website Rotten Tomatoes offers a 91% approval rating from 66 critics—an average rating of 8.2 out of 10, which provides the consensus, "The Shawshank Redemption is an uplifting, deeply satisfying prison drama with sensitive direction and fine performances."[104] The film also has a score of 80 out of 100 on Metacritic based on 20 critics indicating "generally favorable reviews".[105]

text: In 1999, film critic Roger Ebert listed Shawshank on his list of The Great Movies.[85] The film has been nominated for, or appeared on, the American Film Institute's lists celebrating the top 100 film or film-related topics. In 1998, it was nominated for AFI's 100 Years...100 Movies list, and was No. 72 on the 2007 revised list, outranking Forrest Gump (No. 76) and Pulp Fiction (No. 94).[106][107] It was also No. 23 on AFI's 100 Years...100 Cheers (2006) list charting inspiring films.[108] The characters of Andy and Warden Norton received nominations for AFI's 100 Years...100 Heroes & Villains list;[109] AFI's 100 Years...100 Movie Quotes list for "Get busy livin', or get busy dyin'";[110] AFI's 100 Years...100 Songs list for "Duettino – Sull'Aria" (from The Marriage of Figaro);[111] and AFI's 100 Years of Film Scores for Newman's work.[112] In 2005, the Writers Guild of America listed Darabont's screenplay at No. 22 on its list of the 101 Greatest Screenplays,[113] and in 2014, The Shawshank Redemption was named Hollywood's fourth favorite film, based on a survey of 2,120 Hollywood-based entertainment industry members; entertainment lawyers skewed the most towards the film.[114] In 2017, The Daily Telegraph named it the seventeenth-best prison film ever made.[115] The Shawshank Redemption appeared on several lists of the greatest films of the 1990s, by outlets including: Paste and NME (2012),[116][117] Complex (2013),[118] CHUD.com (2014),[119] MSN (2015),[120] and TheWrap, Maxim,[121][122] and Rolling Stone (2017).[123]

text: Cultural impact[edit]

text: In November 2014, the Academy of Motion Picture Arts and Sciences celebrated the film's 20th anniversary with a special one-night screening at the Samuel Goldwyn Theater in Beverly Hills, California.[44] In 2015, the film was selected by the United States Library of Congress to be preserved in the National Film Registry for being "culturally, historically, or aesthetically significant". Darabont responded: "I can think of no greater honor than for The Shawshank Redemption to be considered part of our country's cinematic legacy."[83] Variety said that the word "Shawshank" could be used to instantly convey images of a prison.[35]

text: Critics have sometimes struggled to define the immense public appreciation for the film.[83] In an interview, Freeman said, "About everywhere you go, people say, 'The Shawshank Redemption—greatest movie I ever saw'" and that such praise "Just comes out of them". Robbins said, "I swear to God, all over the world—all over the world—wherever I go, there are people who say, 'That movie changed my life' ".[9] In a separate interview, Stephen King said, "If that isn't the best [adaptation of my works], it's one of the two or three best, and certainly, in moviegoers' minds, it's probably the best because it generally rates at the top of these surveys they have of movies. ... I never expected anything to happen with it."[124] In a 2014 Variety article, Robbins claimed that South African politician Nelson Mandela told him about his love for the film,[9] while it has been cited as a source of inspiration by several sportsmen including Jonny Wilkinson (UK), Agustín Pichot (Argentina), Al Charron (Canada), and Dan Lyle (USA),[125] and Sarah Ferguson, the Duchess of York.[126] Gunton said he had encountered fans in Morocco, Australia, South America,[127] Germany, France, and Bora Bora.[36] Director Steven Spielberg said that the film was "a chewing-gum movie—if you step on it, it sticks to your shoe".[38]

text: It has been the number 1 film on IMDb's user-generated Top 250 since 2008, when it surpassed The Godfather, having remained at or near the top since the late 1990s.[9][74] In the United Kingdom, readers of Empire magazine voted the film as the best of the 1990s, the greatest film of all time in 2006, and it placed number four on Empire's 2008 list of "The 500 Greatest Movies of All Time" and their 2017 list of "The 100 Greatest Movies".[21][128][129][130] In March 2011, the film was voted by BBC Radio 1 and BBC Radio 1Xtra listeners as their favorite film of all time.[131] It regularly appears on Empire's top 100 films, was named the greatest film to not win the Academy Award for Best Picture in a 2013 poll by Sky UK (it lost to Forrest Gump),[132] and ranked as Britain's favorite film in a 2015 YouGov poll. When the British Film Institute analyzed the demographic breakdown of the YouGov poll, it noted that The Shawshank Redemption was not the top-ranked film in any group, but was the only film to appear in the top 15 of every age group, suggesting it is able to connect with every polled age group, unlike Pulp Fiction which fared better with younger voters, and Gone with the Wind (1939) with older voters.[73] A 2017 poll conducted by Gatwick Airport also identified the film as the fourth-best to watch while in flight.[133] When film critic Mark Kermode interviewed a host of United States moviegoers, they compared it to a "religious experience".[73] It was also voted as New Zealand's favorite film in a 2015 poll.[134]


document_title: Jnanpith Award

question_text: who was chosen for the 52 bharatiya jnanpith award for year 2016

text: Jnanpith Award

text: Background[edit]

text: The Bharatiya Jnanpith, a research and cultural institute founded in 1944 by industrialist Sahu Shanti Prasad Jain of the Sahu Jain family, conceived an idea in May 1961 to start a scheme "commanding national prestige and of international standard" to "select the best book out of the publications in Indian languages".[3][7] Later in November, Rama Jain, the Founder President of the Bharatiya Jnanpith, invited a few literary experts to discuss various aspects of the scheme. Jain along with Kaka Kalelkar, Harivansh Rai Bachchan, Ramdhari Singh Dinkar, Jainendra Kumar, Jagdish Chandra Mathur, Prabhakar Machwe, Akshaya Kumar Jain, and Lakshmi Chandra Jain presented the initial draft to the then President of India Rajendra Prasad who had shown interest in the scheme's implementation. The idea was also discussed at the 1962 annual sessions of the All India Gujarati Sahitya Parishad and the Bharatiya Bhasha Parishad.[3]

text: On 2 April 1962, around 300 writers of various Indian languages were invited to Delhi for the two sessions conducted by Dharamvir Bharati in which the draft was finalised and later presented to Prasad. The first award selection committee meeting was scheduled on 16 March 1963 and Prasad was appointed as its president.[3] However, Prasad died on 28 February 1963 and thus the scheduled meeting was chaired by Kalelkar and Sampurnanand acted as president of the committee.[3][9]

text: The first Selection Board consisted of Kalelkar, Niharranjan Ray, Karan Singh, R. R. Diwakar, V. Raghavan, B. Gopal Reddy, Harekrushna Mahatab, Rama Jain, and Lakshmi Chandra Jain and was headed by Sampurnanand. Works that were published between 1921 and 1951 were considered for the first award. The nine language committees that were formed were to submit to the board nominations along with translations of the work into Hindi or English. The final round had four authors; Kazi Nazrul Islam (Bengali), D. V. Gundappa (Kannada), Viswanatha Satyanarayana (Telugu), and G. Sankara Kurup (Malayalam). On 19 November 1966, Kurup was presented with the citation, statue of Saraswati, and a cheque for prize of ₹1 lakh (US$1,600) at a ceremony held at Vigyan Bhavan, Delhi.[c] In his acceptance speech, Kurup appreciated the concept of the new award and thanked it for bringing "integration of the diverse people of this land on a spiritual plane".[10]

text: Rules and selection process[edit]

text: The nominations for the award are received from various literary experts, teachers, critics, universities, and numerous literary and language associations. Every three years, an advisory committee is constituted for each of the languages.[3] The language of the most recent recipient's work is not eligible for consideration for the next two years.[2] Each committee consists of three literary critics and scholars of their respective languages. All the nominations are scrutinised by the committee and their recommendations are submitted to the Jnanpith Award Selection Board (Pravara Parishad).[2][3]

text: The Selection Board consists of between seven and eleven members of "high repute and integrity". Each member is part of the committee for a term of three years which can also be extended further for two more terms.[3] The recommendations of all language advisory committees are evaluated by the board based on complete or partial translations of the selected writings of the proposed writers into Hindi or English. The recipient for a particular year is announced by the Selection Board, which has final authority in selection.[2]

text: List of recipients[edit]

text:
Key

†
Indicates a joint award for the given year

tag: table

text:
List of award recipients, showing the year, and language(s)[11]

Year
Recipient(s)
Language(s)
Refs./Notes

1965
(1st)
Kurup, G. SankaraG. Sankara Kurup
Malayalam !Malayalam
[d][12]

1966
(2nd)
Bandyopadhyay, TarasankarTarasankar Bandyopadhyay
Bengali !Bengali
[e][12]

1967
(3rd) †
Joshi, UmashankarUmashankar Joshi
Gujarati !Gujarati
[f][12]

1967
(3rd) †
Puttappa 'Kuvempu', Kuppali VenkatappaKuppali Venkatappa Puttappa 'Kuvempu'
Kannada !Kannada
[g][12]

1968
(4th)
Pant, SumitranandanSumitranandan Pant
Hindi !Hindi
[h][12]

1969
(5th)
Gorakhpuri, FiraqFiraq Gorakhpuri
Urdu !Urdu
[i][12]

1970
(6th)
Satyanarayana, ViswanathaViswanatha Satyanarayana
Telugu !Telugu
[j][12]

1971
(7th)
Dey, BishnuBishnu Dey
Bengali !Bengali
[k][12]

1972
(8th)
Singh 'Dinkar', RamdhariRamdhari Singh 'Dinkar'
Hindi !Hindi
[l][12]

1973
(9th) †
Bendre, D. R.D. R. Bendre
Kannada !Kannada
[m][12]

1973
(9th) †
Mohanty, GopinathGopinath Mohanty
Odia !Odia
[n][12]

1974
(10th)
Khandekar, Vishnu SakharamVishnu Sakharam Khandekar
Marathi !Marathi
[o][12]

1975
(11th)
, AkilanAkilan
Tamil !Tamil
[p][12]

1976
(12th)
Devi, AshapoornaAshapoorna Devi
Bengali !Bengali
[q][12]

1977
(13rd)
Karanth, K. ShivaramK. Shivaram Karanth
Kannada !Kannada
[r][12]

1978
(14th)
Vatsyayan, SachchidanandaSachchidananda Vatsyayan
Hindi !Hindi
[s][12]

1979
(15th)
Bhattacharya, Birendra KumarBirendra Kumar Bhattacharya
Assamese !Assamese
[t][12]

1980
(16th)
Pottekkatt, S. K.S. K. Pottekkatt
Malayalam !Malayalam
[u][12]

1981
(17th)
Pritam, AmritaAmrita Pritam
Punjabi !Punjabi
[v][12]

1982
(18th)
Varma, MahadeviMahadevi Varma
Hindi !Hindi
[13]

1983
(19th)
Iyengar, Masti VenkateshaMasti Venkatesha Iyengar
Kannada !Kannada
[14]

1984
(20th)
Pillai, Thakazhi SivasankaraThakazhi Sivasankara Pillai
Malayalam !Malayalam
[15]

1985
(21st)
Patel, PannalalPannalal Patel
Gujarati !Gujarati
[16]

1986
(22nd)
Routray, SachidanandaSachidananda Routray
Odia !Odia
[17]

1987
(23rd)
Shirwadkar 'Kusumagraj', Vishnu VamanVishnu Vaman Shirwadkar 'Kusumagraj'
Marathi !Marathi
[18]

1988
(24th)
Reddy, C. NarayanaC. Narayana Reddy
Telugu !Telugu
[19]

1989
(25th)
Hyder, QurratulainQurratulain Hyder
Urdu !Urdu
[20]

1990
(26th)
Gokak, Vinayaka KrishnaVinayaka Krishna Gokak
Kannada !Kannada
[21]

1991
(27th)
Mukhopadhyay, SubhashSubhash Mukhopadhyay
Bengali !Bengali
[22]

1992
(28th)
Mehta, NareshNaresh Mehta
Hindi !Hindi
[23]

1993
(29th)
Mahapatra, SitakantSitakant Mahapatra
Odia !Odia
[24]

1994
(30th)
Ananthamurthy, U. R.U. R. Ananthamurthy
Kannada !Kannada
[25]

1995
(31st)
Nair, M. T. VasudevanM. T. Vasudevan Nair
Malayalam !Malayalam
[26]

1996
(32nd)
Devi, MahaswetaMahasweta Devi
Bengali !Bengali
[27]

1997
(33rd)
Jafri, Ali SardarAli Sardar Jafri
Urdu !Urdu
[28]

1998
(34th)
Karnad, GirishGirish Karnad
Kannada !Kannada
[29]

1999
(35th) †
Verma, NirmalNirmal Verma
Hindi !Hindi
[30]

1999
(35th) †
Singh, GurdialGurdial Singh
Punjabi !Punjabi
[30]

2000
(36th)
Goswami, Mamoni RaisomMamoni Raisom Goswami
Assamese !Assamese
[31]

2001
(37th)
Shah, RajendraRajendra Shah
Gujarati !Gujarati
[32]

2002
(38th)
Jayakanthan, Jayakanthan
Tamil !Tamil
[33]

2003
(39th)
Karandikar, VindaVinda Karandikar
Marathi !Marathi
[34]

2004
(40th)
Rahi, RehmanRehman Rahi
Kashmiri !Kashmiri
[35]

2005
(41st)
Narayan, KunwarKunwar Narayan
Hindi !Hindi
[36]

2006
(42nd) †
Kelekar, RavindraRavindra Kelekar
Konkani !Konkani
[36]

2006
(42nd) †
Shastri, Satya VratSatya Vrat Shastri
Sanskrit !Sanskrit
[36]

2007
(43rd)
Kurup, O. N. V.O. N. V. Kurup
Malayalam !Malayalam
[37]

2008
(44th)
Khan 'Shahryar', Akhlaq MohammedAkhlaq Mohammed Khan 'Shahryar'
Urdu !Urdu
[38]

2009
(45th) †
Amarkant, Amarkant
Hindi !Hindi
[39]

2009
(45th) †
Sukla, Sri LalSri Lal Sukla
Hindi !Hindi
[39]

2010
(46th)
Kambara, ChandrashekharaChandrashekhara Kambara
Kannada !Kannada
[40]

2011
(47th)
Ray, PratibhaPratibha Ray
Odia !Odia
[41]

2012
(48th)
Bharadhwaja, RavuriRavuri Bharadhwaja
Telugu !Telugu
[42]

2013
(49th)
Singh, KedarnathKedarnath Singh
Hindi !Hindi
[43]

2014
(50th)
Nemade, BhalchandraBhalchandra Nemade
Marathi !Marathi
[44]

2015
(51st)
Chaudhari, RaghuveerRaghuveer Chaudhari
Gujarati !Gujarati
[45]

2016
(52nd)
Ghosh, ShankhaShankha Ghosh
Bengali !Bengali
[46]

text: Explanatory notes[edit]

text:
Jump up ^ The Eighth Schedule to the Constitution of India consists of twenty-two languages viz. Assamese, Bengali, Bodo, Dogri, Gujarati, Hindi, Kannada, Kashmiri, Konkani, Maithili, Malayalam, Manipuri, Marathi, Nepali, Odia, Punjabi, Sanskrit, Santhali, Sindhi, Tamil, Telugu, and Urdu.[1]
Jump up ^ The trilogy consists of Pratham Pratisruti, Subarnalata, and Bakul Katha.
Jump up ^ The Malayalam language committee headed by N. V. Krishna Warrier submitted an undisputed nomination of Kurup's work Odakkuzhal although the Kerala Sahitya Akademi opined that no work in Malayalam language was worthy of the inaugural prize.[10]
Jump up ^ Awarded for Odakkuzhal.
Jump up ^ Awarded for Ganadevta.
Jump up ^ Awarded for Nishitha.
Jump up ^ Awarded for Sri Ramayana Darshanam.
Jump up ^ Awarded for Chidambara.
Jump up ^ Awarded for Gul-e-Naghma.
Jump up ^ Awarded for Ramayana Kalpavrukshamu.
Jump up ^ Awarded for Smriti Satta Bhavishyat.
Jump up ^ Awarded for Urvashi.
Jump up ^ Awarded for Nakutanti.
Jump up ^ Awarded for Matimatal.
Jump up ^ Awarded for Yayati.
Jump up ^ Awarded for Chitttrappavai.
Jump up ^ Awarded for Pratham Pratisruti.
Jump up ^ Awarded for Mookajjiya Kanasugalu.
Jump up ^ Awarded for Kitni Navon Men Kitni Bar.
Jump up ^ Awarded for Mrityunjay.
Jump up ^ Awarded for Oru Desathinte Katha.
Jump up ^ Awarded for Kagaj te Canvas.

tag: ol


document_title: History of Brasília

question_text: which brazilian president ordered the construction of brasilia

text: History of Brasília

text:
showThis article may be expanded with text translated from the corresponding article in Portuguese.  (April 2010) Click [show] for important translation instructions.
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text: This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2014) (Learn how and when to remove this template message)

text: The history of Brasília, the centrally located capital of Brazil, started with discussions in the eighteenth century. The name Brasília was first proposed in 1822, but construction only began in 1956, following the election of Juscelino Kubitschek as President of Brazil. Its official declaration as a city dates to 21. April 1960, and the process of moving the federal government offices started on that date.

text: President Juscelino Kubitschek ordered the construction of Brasília, fulfilling an article of the country's constitution dating back to 1891 stating that the capital should be moved from Rio de Janeiro to a place close to the center of the country. The building of the new capital also fulfilled a campaign promise of Kubitschek. The plan was originally conceived in 1827 by José Bonifacio, an advisor to Emperor Pedro I, who presented a plan to the General Assembly for a new city called Brasilia with the initial idea of moving the capital further westward from the already heavily populated southeastern corridor. The bill was not enacted because Emperor Pedro I dissolved the Assembly.

text: Lúcio Costa won a contest and was the main urban planner. Oscar Niemeyer, a close friend of Lúcio's, was the chief architect of most public buildings and Roberto Burle Marx was the landscape designer. Brasília was built in 41 months, from 1956 to April 21, 1960, when it was officially inaugurated. From 1763 to 1960, Rio de Janeiro was the capital of Brazil. At this time, resources tended to be centered in Brazil's southeast region near Rio de Janeiro. Brasília's geographically more central location made for a more regionally neutral federal capital. The idea of locating the capital in the center of Brazil was first suggested in 1891 but was not defined until 1922.

text: Right from the beginning, the growth of Brasília exceeded expectations. Until the 1980s, the governor of the Distrito Federal was appointed by the Federal Government, and the laws of Brasília were issued by the Brazilian Federal Senate. After the Constitution of 1988, Brasília gained the right to elect its Governor, and a District Assembly (Câmara Distrital) was elected to exercise legislative power.


document_title: Constituent Assembly of India

question_text: who worked as a constitutional advisor for constitutional assembly

text: Constituent Assembly of India

text: Description [edit]

text: The Constituent Assembly, consisting of indirectly elected representatives, was established to draft a constitution for India (including the now-separate countries of Pakistan and Bangladesh). It existed for almost three years, the first parliament of India after independence in 1947. The Assembly was not elected on the basis of universal adult suffrage, and Muslims and Sikhs received special representation as minorities. The Muslim League boycotted the Assembly after failing to prevent its creation. Although a large part of the Constituent Assembly was drawn from the Congress Party in a one-party environment, the Congress Party included a wide diversity of opinions—from conservative industrialists and radical Marxists to Hindu revivalists—all of whom participated in the process.

text: The Assembly met for the first time in New Delhi on 9 December 1946, and its last session was held on 24 January 1950.[1] During this period (two years, eleven months and eighteen days) the Assembly held eleven sessions, sitting for a total of 166 days.[2] The hope of the Assembly was expressed by Jawaharlal Nehru:

text: The first task of this Assembly is to free India through a new constitution, to feed the starving people, and to clothe the naked masses, and to give every Indian the fullest opportunity to develop himself according to his capacity. This is certainly a great task. Look at India today. We, are sitting here and there in despair in many places, and unrest in many cities. The atmosphere is surcharged with these quarrels and feuds which are called communal disturbances, and unfortunately we sometimes cannot avoid them. But at present the greatest and most important question in India is how to solve the problem of the poor and the starving. Wherever we turn, we are confronted with this problem. If we cannot solve this problem soon, all our paper constitutions will become useless and purposeless. Keeping this aspect in view, who could suggest to us to postpone and wait?

text: Background and election[edit]

text: The Constituent Assembly was established while India was under British rule, following negotiations between Indian leaders and members of the 1946 Cabinet Mission to India from the United Kingdom. Provincial assembly elections were held early in 1946. Constituent Assembly members were elected indirectly by members of the newly elected provincial assemblies, and initially included representatives for those provinces which formed part of Pakistan (some of which are now in Bangladesh). The Constituent Assembly had 299 representatives, including nine women.

text: The Interim Government of India was formed on 2 September 1946 from the newly elected Constituent Assembly. The Congress held a large majority in the Assembly (69 percent of the seats), and the Muslim League held nearly all the seats reserved in the Assembly for Muslims. There were also members of smaller parties, such as the Scheduled Caste Federation, the Communist Party of India and the Unionist Party.

text: In June 1947 delegations from Sindh, East Bengal, Baluchistan, West Punjab and the North West Frontier Province withdrew to form the Constituent Assembly of Pakistan, meeting in Karachi. On 15 August 1947 the Dominion of India and Dominion of Pakistan became independent nations, and members of the Constituent Assembly who had not withdrawn to Karachi became India's Parliament. Twenty-eight members of the Muslim League joined the Indian Assembly, and 93 members were later nominated from the princely states; the Congress Party secured a majority of 82 percent.

text: Constitution and elections[edit]

text: At 11 am on 9 December 1946 the Assembly began its first session, with 208 members attending. By early 1947, representatives of the Muslim League and princely states joined, and the Assembly approved the draft constitution on 26 November 1949. On 26 January 1950 the constitution took effect (commemorated as Republic Day), and the Constituent Assembly became the Provisional Parliament of India (continuing until after the first elections under the new constitution in 1952).

text: Organization[edit]

text: Dr. Sachchidananda Sinha was the first elected chairman (temporary) of Constituent Assembly. Later Dr. Rajendra Prasad was elected as the president and Its vice-president was Harendra Coomar Mookerjee, a Christian from Bengal and former vice-chancellor of Calcutta University. Also chairing the assembly's Minorities Committee, Mookerjee was appointed governor of West Bengal after India became a republic. Jurist B. N. Rau was appointed constitutional adviser to the assembly; Rau prepared the original draft of the constitution, and was later appointed a judge in the Permanent Court of International Justice in The Hague.

text: The assembly's work had five stages:

text:
Committees presented reports on issues.
B.N. Rau prepared an initial draft based on the reports and his research into the constitutions of other nations.
The drafting committee, chaired by B. R. Ambedkar, presented a detailed draft constitution which was published for public discussion.
The draft constitution was discussed, and amendments proposed and enacted.
The constitution was adopted, with a committee of experts led by the Congress Party (known as the Congress Assembly Party) played a pivotal role.[3]

text: Timeline[edit]

text:
9 December 1946: The first meeting of the Constituent Assembly was held in the constitution hall (now the Central Hall of Parliament House). Demanding a separate state, the Muslim League boycotted the meeting. Sachchidananda Sinha was elected temporary president of the assembly, in accordance with French practice.
11 December 1946: Rajendra Prasad was elected as president and H. C. Mukherjee was elected as vice-president of the constituent assembly. B. N. Rau was appointed as its constitutional adviser.
13 December 1946: An 'Objective Resolution' was moved by Jawaharlal Nehru in the assembly, laying down the underlying principles of the constitution. It finally became the Preamble of the constitution.
22 January 1947: Objective resolution unanimously adopted.
22 July 1947: National flag adopted.
15 August 1947: Indian independence achieved as the Dominion of India.
29 August 1947: Drafting Committee appointed with Dr. B. R. Ambedkar as the Chairman.
16 July 1948: Along with Harendra Coomar Mookerjee V. T. Krishnamachari was also elected as second vice-president of Constituent Assembly.
26 November 1949: Constitution passed and accepted by the assembly.
24 January 1950: "Jana Gana Mana" adopted as the national anthem, with the first two verses of "Vande Mataram" the national song. Rajendra Prasad elected the first president of India.

text: The assembly was chaired by Dr. Rajendra Prasad when it met as a constituent body, and by G. V. Mavlankar when it met as a legislative body. It completed the task of drafting a constitution in two years, eleven months and eighteen days, at a total expenditure of ₹6.4 million.

text: Committees of the Constituent Assembly[edit]

text: The Constituent Assembly appointed a total of 23 committees to deal with different tasks of constitution-making. Out of these, eight were major committees and the others were minor committees.

text: Major Committees

text:
Drafting Committee – Dr. B.R. Ambedkar
Union Powers Committee – Jawaharlal Nehru
Union Constitution Committee – Jawaharlal Nehru
Provincial Constitution Committee – Sardar Patel
Advisory Committee on Fundamental Rights, Minorities and Tribal and Excluded Areas – Sardar Patel. This committee had the following sub-committes:

Fundamental Rights Sub-Committee – J.B. Kripalani
Minorities Sub-Committee – H.C. Mukherjee
North-East Frontier Tribal Areas and Assam Excluded & Partially Excluded Areas Sub-Committee – Gopinath Bardoloi
Excluded and Partially Excluded Areas (Other than those in Assam) Sub-Committee – A.V. Thakkar

Rules of Procedure Committee – Dr. Rajendra Prasad
States Committee (Committee for Negotiating with States) – Jawaharlal Nehru
Steering Committee – Dr. Rajendra Prasad

text: Prominent members[edit]

text:
B. N. Rau, Constitutional Advisor
Jawaharlal Nehru, first Prime Minister of India
Sardar Vallabhbhai Patel, first Deputy Prime Minister and Home Minister
B. R. Ambedkar, Minister for Law; Chairman of Drafting Committee
Maulana Abul Kalam Azad, Minister for Education
Rajendra Prasad, President of Constituent Assembly
C. Rajagopalachari, Governor-General of India
Sarat Chandra Bose, Barrister and Indian independence activist
Krishna Sinha, first Chief Minister, Bihar
Binodanand Jha, Minister, Bihar
Shyam Nandan Prasad Mishra
Anugrah Narayan Sinha, Deputy Chief Minister and Finance Minister, Bihar
Rafi Ahmed Kidwai
Asaf Ali
Syama Prasad Mookerjee, Industries Minister, President, Hindu Mahasabha
Moturi Satyanarayana, Freedom Fighter
Rajkumari Amrit Kaur, Health Minister
Hansa Mehta, President, All India Women's Conference
N. G. Ranga
Deep Narayan Singh, Minister, Bihar
Gopinath Bordoloi, Prime Minister of Assam[4]
Sir Syed Muhammad Saadulla, Assam
P. Subbarayan
Kailashnath Katju
N. Gopalaswami Ayyangar
T. T. Krishnamachari
Rameshwar Prasad Sinha
Durgabai Deshmukh
K. M. Munshi
Krishana Ballabh Sahay
Frank Anthony, Anglo-Indian representative
Sarvepalli Radhakrishnan
John Mathai
Pratap Singh Kairon
L. Krishnaswamy Bharati - Madras Province
Chidambaram Subramaniam

text: Members (by province/state)[edit]

text: Madras: Annie mascarene,O. V. Alagesan, Mrs. Ammu Swaminathan, M. Ananthasayanam Ayyangar, Moturi Satyanarayana, Mrs. Dakshayani Velayudhan, Mrs. G. Durgabai, Kala Venkatarao, N. Gopalaswamy Ayyangar, D. Govinda Das, Revd. Jerome D'Souza, P. Kakkan, T.M. Kaliyannan Gounder, K. Kamaraj, V. C. Kesava Rao, T. T. Krishnamachari, Alladi Krishnaswamy Iyer L. Krishnaswami Bharathi, P. Kunhiraman, Mosalikanti Thirumala Rao, V. I. Munuswamy Pillai, M. A. Muthiah Chettiar, V. Nadimuthu Pillai, S. Nagappa, P. L. Narasimha Raju, B. Pattabhi Sitaramayya, C. Perumalswamy Reddy, T. Prakasam, S. H. Prater, Raja Swetachalapati Ramakrishna Renga Roa of Bobbili, R. K. Shanmukham Chetty, T. A. Ramalingam Chettiar, Ramnath Goenka, O. P. Ramaswamy Reddiar, N. G. Ranga, Neelam Sanjeeva Reddy, Sheik Galib Sahib, K. Santhanam, B. Shiva Rao, Kallur Subba Rao, U. Srinivasa Mallya, P. Subbarayan, C. Subramaniam, V Subramaniam, M. C. Veerabahu Pillai, P. M. Velayudapani, A. K. Menon, T. J. M. Wilson, Mohamed Ismail Sahib, K. T. M. Ahmed Ibrahim, Mahboob Ali Baig Sahib Bahadur, B. Pocker Sahib Bahadur, pattam Tanupillai

text: Bombay: Balchandra Maheshwar Gupte, Hansa Mehta, Hari Vinayak Pataskar, Dr. B. R. Ambedkar, Joseph Alban D'Souza, Kanayalal Nanabhai Desai, Keshavrao Marutirao Jedhe, Khandubhai Kasanji Desai, Bal Gangadhar Kher, M.R. Masani, K.M. Munshi, Narahar Vishnu Gadgil, S. Nijalingappa, S. K. Patil, Ramchandra Manohar Nalavade, R. R. Diwakar, Shankarrao Deo, G. V. Mavalankar, Vallabhbhai Patel, Abdul Kadar Mohammad Shaikh, A. A. Khan

text: West Bengal: Monomohan Das, Arun Chandra Guha, Lakshmi Kanta Maitra, Mihir Lal Chattopadhyay, Satis Chandra Samanta, Suresh Chandra Majumdar, Upendranath Barman, Prabhudayal Himatsingka, Basanta Kumar Das, Renuka Ray, H. C. Mukherjee, Surendra Mohan Ghose, Syama Prasad Mookerjee, Ari Bahadur Gurung, R. E. Platel, K. C. Neogy, Raghib Ahsan, Somnath Lahiri, Jasimuddin Ahmad, Naziruddin Ahmad, Abdul Hamid, Abdul Halim Ghuznavi

text: United Provinces: Ajit Prasad Jain, Algu Rai Shastri, Balkrishna Sharma, Banshi Dhar Misra, Bhagwan Din, Damodar Swarup Seth, Dayal Das Bhagat, Dharam Prakash, A. Dharam Dass, R. V. Dhulekar, Feroz Gandhi, Gopal Narain, Krishna Chandra Sharma, Govind Ballabh Pant, Govind Malaviya, Har Govind Pant, Harihar Nath Shastri, Hriday Nath Kunzru, Jaspat Roy Kapoor, Jagannath Baksh Singh, Jawaharlal Nehru, Jogendra Singh, Jugal Kishore[disambiguation needed], Jwala Prasad Srivastava, B. V. Keskar, Kamala Chaudhry, Kamalapati Tiwari, J. B. Kripalani, Mahavir Tyagi, Khurshed Lal, Masurya Din, Mohan Lal Saksena, Padampat Singhania, Phool Singh, Paragi Lal, Purnima Banerjee, Purushottam Das Tandon, Hira Vallabha Tripathi, Ram Chandra Gupta, Shibban Lal Saxena, Satish Chandra, John Matthai, Sucheta Kripalani, Sunder Lall, Venkatesh Narayan Tivary, Mohanlal Gautam, Vishwambhar Dayal Tripathi, Vishnu Sharan Dublish, Begum Aizaz Rasul, Hyder Hussain, Hasrat Mohani, Abul Kalam Azad, Muhammad Ismail Khan, Rafi Ahmad Kidwai, Mohd. Hifzur Rahman, Z H Lari

text: East Punjab: Bakshi Tek Chand, Jairamdas Daulatram, Thakurdas Bhargava, Bikramlal Sondhi, Yashwant Rai, Ranbir Singh, Lala Achint Ram, Nand Lal, Baldev Singh, Giani Gurmukh Singh Musafir, Sardar Hukam Singh, Sardar Bhopinder Singh Mann, Sardar Rattan Singh Lohgarh Chaudhry Suraj Mal

text: Bihar: Amiyo Kumar Ghosh, Anugrah Narayan Sinha, Banarsi Prasad Jhunjhunwala, Bhagwat Prasad, Boniface Lakra, Brajeshwar Prasad, Chandika Ram, K. T. Shah, Devendra Nath Samanta, Dip Narain Sinha, Guptanath Singh, Jadubans Sahay, Jagat Narain Lal, Jagjivan Ram, Jaipal Singh Munda, Kameshwar Singh of Darbhanga, Kamaleshwari Prasad Yadav, Mahesh Prasad Sinha, Krishna Ballabh Sahay, Raghunandan Prasad, Rajendra Prasad, Rameshwar Prasad Sinha, Ramnarayan Singh, Sachchidananda Sinha, Sarangdhar Sinha, Satyanarayan Sinha, Binodanand Jha, P. K. Sen, Sri Krishna Sinha, Sri Narayan Mahtha, Syamanandan Sahaya, Hussain Imam, Syed Jafar Imam, Latifur Rahman, Mohammad Tahir, Tajamul Hussain, Choudhry Abid Hussain. Pt Hargovind Mishra

text: Central Provinces and Berar: Ambica Charan Shukla, Raghu Vira, Rajkumari Amrit Kaur, B.A. Mandloi, Brijlal Nandlal Biyani, Thakur Cheedilal, Seth Govind Das, Hari Singh Gour, Hari Vishnu Kamath, Hemchandra Jagobaji Khandekar, Ghanshyam Singh Gupta, Lakshman Shrawan Bhatkar, Panjabrao Shamrao Deshmukh, Ravi Shankar Shukla, R. K. Sidhva, Shankar Trimbak Dharmadhikari, Frank Anthony, Kazi Syed Karimuddin, Ganpatrao Dani

text: Assam: Nibaran Chandra Laskar, Dharanidhar Basu-Matari, Gopinath Bardoloi, J. J. M. Nichols-Roy, Kuladhar Chaliha, Rohini Kumar Chaudhury, Muhammad Saadulla, Abdur Rouf

text: Orissa: Biswanath Das, Krishna Chandra Gajapati Narayana Dev, Harekrushna Mahatab, Laxminarayan Sahu Lokanath Mishra, Nandkishore Das, Rajkrishna Bose, Santanu Kumar Das, Yudhishir Mishra

text: Delhi: Deshbhandhu Gupta

text: Ajmer-Merwara: Mukut Bihari Lal Bhargava

text: Coorg: C. M. Poonacha

text: Mysore: K.C. Reddy, T. Siddalingaiya, H. R. Guruv Reddy, S. V. Krishnamurthy Rao, K. Hanumanthaiya, H. Siddaveerappa, T. Channiah

text: Jammu and Kashmir: Sheikh Muhammad Abdullah, Motiram Baigra, Mirza Mohammad Afzal Beg, Maulana Mohammad Sayeed Masoodi

text: Travancore-Cochin: Pattom A. Thanu Pillai, R. Sankar, P. T. Chacko, Panampilly Govinda Menon, Annie Mascarene, P.S.Nataraja Pillai, K.A. Mohamed

text: Madhya Bharat: Vinayak Sitaram Sarwate, Brijraj Narain, Gopikrishna Vijayavargiya, Ram Sahai, Kusum Kant Jain, Radhavallabh Vijayavargiya, Sitaram S. Jajoo

text: Saurashtra: Balwant Rai Gopalji Mehta, Jaisukhlal Hathi, Amritlal Vithaldas Thakkar, Chimanlal Chakubhai Shah, Samaldas Laxmidas Gandhi

text: Rajasthan: V. T. Krishnamachari, Hiralal Shastri, Sardar Singhjhi of Khetri, Jaswant Singhji, Raj Bhadur, Manikya Lal Varma, Gokul Lal Asava, Ramchandra Upadhyaya, Balwant Sinha Mehta, Dalel Singh, Jainarain Vyas

text: Patiala and East Punjab States Union: Ranjit Singh, Sochet Singh, Bhagwant Roy

text: Bombay States: Vinayakrao Balshankar Vaidya, B. N. Munavalli, Gokulbhai Daulatram Bhatt, Jivraj Narayan Mehta, Gopaldas A. Desai, Paranlal Thakurlal Munshi, B. H. Khardekar, Ratnappa Bharamappa Kumbhar

text: Orissa States: Lal Mohan Pati, N. Madhava Rau, Raj Kunwar, Sarangadhar Das, Yudhishthir Mishra

text: Central Provinces States: R. L. Malaviya, Kishorimohan Tripathi, Ramprasad Potai

text: United Provinces States: B. H. Zaidi, Krishna Singh

text: Madras States: V. Ramaiah, Ramakrishna Ranga Rao

text: Vindhya Pradesh: Avdesh Pratap Singh, Shambu Nath Shukla, Ram Sahai Tiwari, Mannulalji Dwidedi

text: Cooch Behar: Himmat Singh K. Maheshwari

text: Tripura and Manipur: Girja Shankar Guha

text: Bhopal: Lal Singh

text: Kutch: Bhawani Arjun Khimji

text: Himachal Pradesh: Yashwant Singh Parmar

text: Members who later withdrew after partition[edit]

text: East Bengal: Abdullah al Mahmood, Maulana Mohd Abdullah el Baqui, Abdul Hamid, Abdul Kasem Khan, Mohammad Akram Khan, A. Hamid, Azizuddin Ahmad, Muhammad Habibullah Bahar, Prem Hari Barma, Raj Kumar Chakraverty, Sris Chandra Chattopadhyaya, Abdul Matin Chaudhary, Murtaza Raza Choudhry, Hamidul Haq Chowdhury, Akhay Kumar Das, Dhirendra Nath Datta, Bhupendra Kumar Datta, Ebrahim Khan, Fazlul Huq, Fazlur Rahman, Ghayasuddin Pathan, Begum Shaista Suhrawardy Ikramullah, Liaquat Ali Khan, Mafizuddin Ahmad, Mahmud Hussain, Jnanendra Chandra Majumdar, A. M. Malik, Birat Chandra Mandal, Jogendra Nath Mandal, Mohammed Ali, Khwaja Nazimuddin, M.A.B.L. Nur Ahmed, Nurul Amin, Ishtiaq Hussain Qureshi, Sri Dhananjoy M.A. B.L. Roy, Maudi Bhakesh Chanda, B.L. Serajul Islam, Maulana Shabbir Ahmad Osmani, Shahabudin Khwaja, H.S. Suhrawardy, Harendra Kumar Sur, Tamizuddin Khan, Kawivi Kerwar Datta, Ghulam Mohammed

text: West Punjab: Mian Mumtaz Mohammad Khan Daultana, Ganga Saran, Zafarullah Khan, Iftikhar Hussain Khan, Mian Muhammad Iftikharuddin, Muhammad Ali Jinnah, Sheikh Karamat Ali, Nazir Ahmad Khan, Sardar Abdur Rab Nistar, Feroz Khan Noon, Omar Hayat Malik, Shah Nawaz Begum Jahan Ara, Sardar Shaukat Hyat Khan,

text: Northwest Frontier Province: Khan Abdul Ghafar Khan, Khan Sardar Bahadur Khan, Sardar Asad Ullah Jan Khan

text: Sindh: Abdus Sattar Abdur Rahman, Alhajj Muhammad Hashim Gazder, M.A. Khuhro

text: Balochistan: S. B. Nawab Mohammad Khan Jogezai

text: Gallery[edit]

text:
Jawaharlal Nehru and other members taking pledge during the midnight session of the Constituent Assembly of India held on 14 and 15 August 1947.

Dr. Babasaheb Ambedkar Chairman, Drafting Committee of the Indian Constitution with other members on Aug. 29, 1947.

Dr. Babasaheb Ambedkar, chairman of the Drafting Committee, presenting the final draft of the Indian Constitution to Dr. Rajendra Prasad on 25 November, 1949.

B. R. Ambedkar in Constituent Assembly of India.

Jawaharlal Nehru addressing the constituent assembly in 1946.


document_title: Pirates of the Caribbean: At World's End (soundtrack)

question_text: pirates of the caribbean at world's end love theme

question_tokens: pirates of the caribbean at world 's end love theme

text: Track listing[edit]

text:
#

Title

Description

Length

1.

Hoist the Colours

Hoist the Colours, "main theme" of At World's End, in addition to representing the pirates and their ideology for freedom, tells the story of how Calypso was imprisoned in a human body by the Pirate King. In its opening rendition, it is sung by a young boy and eventually by a larger chorus. A lengthy suite arrangement of the theme also makes up the end credits in the film, which is not featured on the soundtrack, but an altered version was released on the Soundtrack Treasures Collection CD on a track called Hoist the Colours Suite.

1:31

2.

Singapore

Singapore is a suite starting with Sao Feng's theme, played by varying Asian instruments, notably the erhu. The middle portion of this track is the first variation of the new Cutler Beckett and the East India Trading Company theme, used for the opening battle sequence in the Singapore bathhouse, followed by a plucked variation of Sao Feng's theme. At the very end, we hear Jack Sparrow's easily recognizable arrival theme, presented almost identically to its appearances in the other two films.

3:40

3.

At Wit's End

At Wit's End, a lengthy suite, begins with the first appearance of the second main theme of the movie, commonly referred to as the "love theme." (Zimmer himself stated that, even though this is popularly considered a "love theme," it is in fact "a theme for the whole movie," as inspired by traditional swashbuckling scores.)  Only the A and B sections of the theme are stated here, the A section on horn and the B section in a grand orchestral statement at 3:10. This is followed by a statement of Davy Jones' theme, first on music box (with Love Theme A playing over the top), then explosively on organ. The last few minutes of the cue are action material for when the ship falls off the edge of the world, again featuring the A and B sections, and ending with a new theme for the concept of "world's end".

8:05

4.

Multiple Jacks

Multiple Jacks is a synthesized and electronic piece played during Jack Sparrow's imprisonment in Davy Jones' Locker. It features an off-kilter version of Jack's theme from Dead Man's Chest, and several unique instruments such as a mouth harp.

3:51

5.

Up Is Down

Up is Down is a fast-paced, uplifting track featuring a Celtic-inspired fiddle theme in 12/8 that accompanies statements of the A and B sections of the love theme, and ends with the world's end theme. It accompanies the scene where the Black Pearl is tipped upside-down to escape Davy Jones' Locker (though chronologically it comes after the following track, I See Dead People in Boats.

2:42

6.

I See Dead People in Boats

I See Dead People in Boats is a suite of cues from various points in the movie. Beginning with the A love theme on solo oboe, it is most prominently featured when the Black Pearl observes the souls of the dead who are journeying to the other side – and Elizabeth discovers that her father is among the travelers. The last third of this track is devoted to the action sequence later in the film when Norrington is helping Elizabeth and her Singapore crew escape from the Flying Dutchman back to The Empress, and features a short statement of the C section of the love theme.

7:09

7.

The Brethren Court

The Brethren Court starts off with another off-kilter use of the Dead Man's Chest Jack Sparrow theme (purported to represent the character of Captain Teague (Keeper Of The Code), which is then followed by variations of the Hoist the Colours theme for the meeting of the pirate lords.

2:21

8.

Parlay

Parlay, a tribute to Ennio Morricone's Man with a Harmonica theme (from Sergio Leone's 1968 Western Once Upon a Time in the West), is used during the parlay scene. Jack, Elizabeth and Barbossa go to meet Beckett, Jones and Will, who attempts final negotiations before war. The A love theme is played by director Gore Verbinski on a distorted electric guitar, while the strings accompany with the ostinato of Cutler Beckett's theme.

2:10

9.

Calypso

Calypso heavily uses Tia Dalma's theme from Dead Man's Chest, as it accompanies the scene where she is transformed into Calypso with choral chanting.

3:02

10.

What Shall We Die For

What Shall We Die For is a powerful choral and orchestral variation of Hoist the Colours, where Elizabeth gives her war-rally speech before the final battle begins.

2:02

11.

I Don't Think Now Is the Best Time

I Don't Think Now Is the Best Time is the film's major action piece, devoted entirely to the climatic final battle between the pirates and the EITC. As Zimmer himself had confirmed, the first half of this track is actually the final part of the massive battle, during the destruction of the Endeavour – Cutler Beckett's theme is given a massive statement here as cannons tear his ship to bits. The second half serves as the middle portion of the battle, with the duel between Jack and Davy Jones for the Dead Man's Chest and the rather impromptu wedding ceremony. Many themes from all three films are interwoven here, all interconnected by a moving eight note line, including Jack Sparrow's theme, the love themes and He's a Pirate. Towards the end, the track moves to a full statement of the powerful C love theme, ending with action material from Curse of the Black Pearl.

10:45

12.

One Day

One Day is the aftermath of the battle, where the pirates have won over the East India Trading Company, and are celebrating their hard-earned victory. Jack's arrival theme is played powerfully, with an underlying eighth-note rhythm, before segueing into a full statement of all three love themes, A, B and C as Elizabeth and Will share their farewell.

4:01

13.

Drink Up Me Hearties

Drink Up Me Hearties – Starting with Jack's arrival cue played on accordion, this cue details the final minutes of the film, ending with Jack's arrival cue one last time as he sails over the horizon. He's a Pirate is then played, as in the other two films, as the end credits begin to roll, before moving into another lengthy statement of all three love themes, using the Up is Down fiddle theme as an accompaniment.

4:31

text: Production[edit]

text: Composer Hans Zimmer estimated that he composed "over five hours of music" because he thought that it might be "a nice idea to throw out everything and start from scratch".[verification needed]

text: Critical reception[edit]

text: Critical response to the soundtrack differed greatly, though the album was generally well received by fans. On Amazon.com, it holds a 4.7/5 stars, the highest of any Pirates of the Caribbean score. A review by Mike Brennan on soundtrack.net, for example, praised the score as having "a level of thematic complexity that rivals most other franchises", praising its move from heavily synthetic in the Curse of the Black Pearl score to mostly orchestral, as well as its swashbuckling flavor that was missing from the first two entries. His overall rating for the score was 4.5 stars out of 5.[2]

text: Not all critics were impressed, however. Christian Clemmensen, on Filmtracks.com, though he grudgingly admitted the score was "an intelligent merging of thematic ideas from all three films" and employed a "far wider orchestral and choral palette", feels that the score still did not live up to its swashbuckling cohorts, comparing it unfavorably to John Debney's effort for Cutthroat Island. He also complained about the anthem-like statements of the love theme in One Day and Drink Up Me Hearties, saying, "...there is no style to that music. Only power". In the end, his score was two stars out of five, a rating that several visitors to the site were incensed by on the review's comments page.[3]

text: Credits[edit]

text:
Music composed by Hans Zimmer
Score produced by: Hans Zimmer, Bob Badami & Melissa Muik
Executive Soundtrack Album Producers: Jerry Bruckheimer & Gore Verbinski
Executive in Charge of Music and Soundtracks for Walt Disney Pictures and the Buena Vista Music Group: Mitchell Leib
Music Supervisor: Bob Badami
Executive in Charge of Music Production for the Buena Vista Motion Pictures Group: Monica Zierhut
Music Creative/Marketing for the Buena Vista Motion Pictures Group: Glen Lajeski
Music Business and Legal Affairs: Scott Holtzman and Sylvia Krask
Director of Soundtracks for the Buena Vista Music Group: Desiree Craig-Ramos
Supervising Technical Music Coordinator: Thomas Broderick
Additional Music by: Lorne Balfe, Tom Gire, Nick Glennie-Smith, Henry Jackman, Atli Orvarsson, John Sponsler, Geoff Zanelli
Supervising Music Editor: Melissa Muik
Music Editors: Katie Greathouse, Barbara McDermott
Supervising Orchestrator: Bruce Fowler
Orchestrators: Walt Fowler, Elizabeth Finch, Ken Kugler, Suzette Moriary, Steve Bartek
Music Preparation: Booker White
Score Recorded by: Alan Meyerson, Slamm Andres
Album Mixed by: Alan Meyerson, Big Al Clay
Additional Recording by: Jeff Biggers, Big Al Clay, Greg Vines, Matt Ward
Featured Musicians:
Phil Ayling – Oboe
Chris Bleth – Duduk
Pedro Eustache – Ethnic Woods
Karen Han – Erhu
Lili Haydn – Fiddle
Frank Marocco – Accordion
Heitor Pereira – Banjo
Simon Phillips – Drums
Tom Raney – Cimbalom
Martin Tillman – Cello
Gore Verbinski – Guitar
Featured Vocalist: Delores Clay
Principal Musicians:
Endre Granat – Concertmaster
Julie Gigante – Principal 2nd Violin
Brian Dembow – Viola
Steve Erdody – Cello
Nico Abondolo – Bass
Jim Walker, Geri Rotella – Flutes
Phil Ayling – Oboe
Jim Kanter – Clarinet
Michael O'Donnovan – Bassoon
Jim Thatcher – Horn
Malcolm McNab – Trumpet
Charlie Loper – Trombone
Doug Tornquist – Tuba
Orchestra conducted by: Blake Neely, Nick Glennie-Smith
Featured Musician Soloists co-produced by: Jimmy Levine, Nick Glennie-Smith
Orchestra contractors: Sandy DeCrescent, Peter Rotter
Technical Music Assistants: Pete Oso Snell, Kevin Globerman, Jacob Shea, Bobby Tahouri, Dan Zimmerman
Digital Instrument Design by: Mark Wherry
Production Coordinator for Hans Zimmer: Andrew Zack
Sample Development: Claudius Bruese
Sample Development Assistants: Zain Effendi, Mark McCormick
Score recorded at:
Todd AO Scoring Stage, Studio City, CA
Fox Scoring Stage, Century City, CA
Sony Scoring Stage, Culver City, CA
Choir Recorded by: Geoff Foster
Choir Contractor: Isobel Griffiths
Choir Master: Jenny O'Grady
Choir: Metro Voices
Soprano: Hila Plitmann
Choir conducted by: Matthew Dunkel
UK Music preparation: Jill Streater
UK Music Coordinator: Nyree Pinder
Choir recorded at: Air Lyndhurst Studios, London and Abbey Road Studios, London
Score mixed at: Remote Control Productions, Santa Monica, CA
Music Production Services: Steven Kofsky
Studio Coordinator: Czarina Russell
Music Production Intern: Seth Glennie-Smith
Scoring stage crew: Chris Barrett, Alison Burton, Bryan Clementes, Andrew Dudman, Mark Eshelman, Dominic Gonzales, Tom Hardisty, Sam Jones, Tim Lauber, Adam Michalak, Francesco Perlangelli, Denis St. Amand, Jay Selvester, Tom Steel, Chelley Sydow
Mastered by: Patricia Sullivan at Bernie Grundman Manstering, Hollywood CA
Creative Direction: Steve Gerdes
Album Design: Sean Tejaratchi
"Hoist the Colours"
Cabin Boy Vocals by Brendyn Bell
Singing Gallows Pirates: Chris Allport, Lawrence Cummings, Jim Raycroft, Robert Hovencamp, Geoffrey Alch, Ned Werimer, Samuela Beasom, Jessica-Elisabeth
Lyrics by Ted Elliot and Terry Rossio
Music by Hans Zimmer and Gore Verbinski