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Rape and revenge films are a subgenre of exploitation film that was particularly popular in the 1970s, but attracted controversy as a target of extreme cinema.
Explanation of the subgenre
Rape and revenge films generally follow the same three-act structure:[citation needed]
- Act I: The character is (violently) raped and maybe further abused, tortured or left for dead.
- Act II: The character survives and may rehabilitate themselves.
- Act III: The character exacts revenge and/or kills their rapist(s).
In Gaspar Noé's 2002 film Irréversible, the structure was reversed, with the first act depicting the revenge before tracing back the events which led to that point. Roger Ebert argues that, by using this structure as well as a false revenge, Irréversible cannot be classified as an exploitation film, as no exploitation of the subject matter takes place.[1]
In popular culture
- The genre has attracted critical attention.[2][3][4][5] Much of this critical attention comes from feminist critics examining the complex politics involved in the genre and its impact on cinema more generally. More recently, a broad analysis of the rape-revenge genre and concept was published in Rape-Revenge Films: A Critical Study, by Alexandra Heller-Nicholas. The book argues against a simplistic notion of the term "rape-revenge" and suggests a film-specific approach in order to avoid generalizing films which may "diverge not over the treatment of sexual assault as much as they do in regard to the morality of the revenge act."[6]
- In addition to American and French films, rape/revenge films have been made in Japan (e.g., Takashi Ishii's Freeze Me), Finland,[7] Russia (The Voroshilov Sharpshooter), Argentina (e.g., I'll Never Die Alone; [2008]; original title: No Moriré Sola), Norway (e.g., The Whore [2009]; original title: Hora, and Sweden (e.g., The Virgin Spring [1960]; original title: Jungfrukällan which also won the Oscar for best foreign film at the 33rd Academy Awards.))
See also
References
- Makela, Anna. "Political rape, private revenge. The story of sexual violence in Finnish Film and Television". Archived from the original on September 7, 2004. Retrieved 2010-01-25.
https://en.wikipedia.org/wiki/Rape_and_revenge_film
Category:Exploitation films
 | Pages in this category should be moved to subcategories where applicable. This category may require frequent maintenance to avoid becoming too large. It should directly contain very few, if any, pages and should mainly contain subcategories. |
Subcategories
This category has the following 19 subcategories, out of 19 total.
- Exploitation films by decade (11 C)
A
B
- Bruceploitation (3 C, 8 P)
C
- Canadian exploitation films (1 C, 5 P)
F
- French exploitation films (8 P)
H
- Hong Kong exploitation films (1 P)
I
- Italian exploitation films (1 C, 21 P)
J
- Japanese exploitation films (1 P)
M
- Mondo films (30 P)
N
- Nazi exploitation films (18 P)
O
- Outlaw biker films (72 P)
R
- Redsploitation (9 P)
S
- Spaghetti Western (5 C, 2 P)
T
- Teensploitation (1 C, 98 P)
Σ
- Exploitation film stubs (140 P)
Pages in category "Exploitation films"
The following 30 pages are in this category, out of 30 total. This list may not reflect recent changes.
https://en.wikipedia.org/wiki/Category:Exploitation_films
 Poster of the iconic Blaxploitation film Sweet Sweetback's Baadasssss Song (1971) | |
| Years active | 1970s |
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| Country | United States |
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Blaxploitation is an ethnic subgenre of the exploitation film that emerged in the United States during the early 1970s. The term, a portmanteau of the words "black" and "exploitation", was coined in August 1972 by Junius Griffin, the president of the Beverly Hills–Hollywood NAACP branch. He claimed the genre was "proliferating offenses" to the black community in its perpetuation of stereotypes often involved in crime.[1] The genre does rank among the first after the race films in the 1940s and 1960s in which black characters and communities are the protagonists and subjects of film and television, rather than sidekicks, antagonists or victims of brutality.[2] The genre's inception coincides with the rethinking of race relations in the 1970s.
Blaxploitation films were originally aimed at an urban African-American audience but the genre's audience appeal soon broadened across racial and ethnic lines.[3] Hollywood realized the potential profit of expanding the audiences of blaxploitation films.
Variety credited Sweet Sweetback's Baadasssss Song and the less radical Hollywood-financed film Shaft (both released in 1971) with the invention of the blaxploitation genre, although Cotton Comes to Harlem was released the prior year.[4] Blaxploitation films were also the first to feature soundtracks of funk and soul music.[5]
Description
General themes
[S]upercharged, bad-talking, highly romanticized melodramas about Harlem superstuds, the pimps, the private eyes and the pushers who more or less singlehandedly make whitey's corrupt world safe for black pimping, black private-eyeing and black pushing.
Blaxploitation films set in the Northeast or West Coast mainly take place in poor urban neighborhoods. Pejorative terms for white characters, such as "cracker" and "honky," are commonly used. Blaxploitation films set in the South often deal with slavery and miscegenation.[7][8] The genre's films are often bold in their statements and use violence, sex, drug trafficking and other shocking qualities to provoke the audience.[2] The films usually portray black protagonists overcoming "The Man" or emblems of the white majority that oppresses the black community.
Blaxploitation includes several subtypes, including crime (Foxy Brown), action/martial arts (Three the Hard Way), westerns (Boss Nigger), horror (Abby, Blacula), prison (Penitentiary), comedy (Uptown Saturday Night), nostalgia (Five on the Black Hand Side), coming-of-age (Cooley High/Cornbread, Earl and Me), and musical (Sparkle).
Following the example set by Sweet Sweetback's Baadasssss Song, many blaxploitation films feature funk and soul jazz soundtracks with heavy bass, funky beats and wah-wah guitars. These soundtracks are notable for complexity that was not common to the radio-friendly funk tracks of the 1970s. They also often feature a rich orchestration which included flutes and violins.[9]
Following the popularity of these films in the 1970s, movies within other genres began to feature black characters with stereotypical blaxploitation characteristics, such as the Harlem underworld characters in the James Bond film Live and Let Die (1973), Jim Kelly's character in Enter the Dragon (1973) and Fred Williamson's character in The Inglorious Bastards (1978).
Black Power
Afeni Shakur claimed that every aspect of culture (including cinema) in the 1960s and 1970s was influenced by the Black Power movement. Sweet Sweetback's Baadasssss Song was one of the first films to incorporate black power ideology and permit black actors to be the stars of their own narratives, rather than being relegated to the typical roles available to them (such as the "mammy" figure and other low-status characters).[10][11] Films such as Shaft brought the black experience to film in a new way, allowing black political and social issues that had been ignored in cinema to be explored. Shaft and its protagonist, John Shaft, brought African American culture to the mainstream world.[11] Sweetback and Shaft were both influenced by the black power movement, containing Marxist themes, solidarity and social consciousness alongside the genre-typical images of sex and violence.
Knowing that film could bring about social and cultural change, the Black Power movement seized the genre to highlight black socioeconomic struggles in the 1970s; many such films contained black heroes who were able to overcome the institutional oppression of African American culture and history.[2] Later films such as Super Fly softened the rhetoric of black power, encouraging resistance within the capitalist system rather than a radical transformation of society. Super Fly still embraced the black nationalist movement in its argument that black and white authority cannot coexist easily.
Stereotypes
The genre's role in exploring and shaping race relations in the United States has been controversial. Some held that the blaxploitation trend was a token of black empowerment but others accused the movies of perpetuating common white stereotypes about black people.[12] As a result, many called for the end of the genre. The NAACP, Southern Christian Leadership Conference and National Urban League joined to form the Coalition Against Blaxploitation. Their influence in the late 1970s contributed to the genre's demise. Literary critic Addison Gayle wrote in 1974, "The best example of this kind of nihilism / irresponsibility are the Black films; here is freedom pushed to its most ridiculous limits; here are writers and actors who claim that freedom for the artist entails exploitation of the very people to whom they owe their artistic existence."[13]
Films such as Super Fly and The Mack received intense criticism not only for the stereotype of the protagonist (generalizing pimps as representative of all African-American men, in this case) but for portraying all black communities as hotbeds for drugs and crime.[citation needed]
Blaxploitation films such as Mandingo (1975) provided mainstream Hollywood producers, in this case Dino De Laurentiis, a cinematic way to depict plantation slavery with all of its brutal, historical and racial contradictions and controversies, including sex, miscegenation, rebellion. The story world also depicts the plantation as one of the main origins of boxing as a sport in the U.S.
In the late 1980s and early 1990s, a new wave of acclaimed black film makers, particularly Spike Lee (Do the Right Thing), John Singleton (Boyz n the Hood), and Allen and Albert Hughes (Menace II Society) focused on black urban life in their movies. These directors made use of blaxploitation elements while incorporating implicit criticism of the genre's glorification of stereotypical "criminal" behavior.
Alongside accusations of exploiting stereotypes, the NAACP also criticized the blaxploitation genre of exploiting the black community and culture of America, by creating films for a profit that those communities would never see, despite being the vastly misrepresented main focus of many blaxploitation film plots. Many film professionals still believe that there is no truly equal "Black Hollywood" as evidenced by the "Oscars So White" scandal in 2015 that caused uproar when no black actors were nominated for "Best Actor" Oscar Awards.[11]
Slavesploitation
Slavesploitation, a subgenre of blaxploitation in literature and film, flourished briefly in the late 1960s and 1970s.[14][15] As its name suggests, the genre is characterized by sensationalistic depictions of slavery.
Abrams, arguing that Quentin Tarantino's Django Unchained (2012) finds its historical roots in the slavesploitation genre, observes that slavesploitation films are characterized by "crassly exploitative representations of oppressed slave protagonists".[16]
One early antecedent of the genre is Slaves (1969), which Gaines notes was "not 'slavesploitation' in the vein of later films", but which nonetheless featured graphic depictions of beatings and sexual violence against slaves.[17] Novotny argues that Blacula (1972), although it does not depict slavery directly, is historically linked to the slavesploitation subgenre.[18]
By far the best-known and best-studied exemplar of slavesploitation is Mandingo, a 1957 novel which was adapted into a 1961 play and a 1975 film. Indeed, Mandingo was so well known that a contemporary reviewer of Die the Long Day, a 1972 novel by Orlando Patterson, called it an example of the "Mandingo genre".[19] The film, panned on its release, has been subject to widely divergent critical assessments.[20] Robin Wood, for instance, argued in 1998 that it is the "greatest film about race ever made in Hollywood, certainly prior to Spike Lee and in some respects still".[21]
Legacy
Influence
Blaxploitation films have had an enormous and complicated influence on American cinema. Filmmaker and exploitation film fan Quentin Tarantino, for example, has made numerous references to the blaxploitation genre in his films. An early blaxploitation tribute can be seen in the character of "Lite," played by Sy Richardson, in Repo Man (1984).[citation needed] Richardson later wrote Posse (1993), which is a kind of blaxploitation Western.
Some of the later, blaxploitation-influenced movies such as Jackie Brown (1997), Undercover Brother (2002), Austin Powers in Goldmember (2002), Kill Bill Vol. 1 (2003), and Django Unchained (2012) feature pop culture nods to the genre. The parody Undercover Brother, for example, stars Eddie Griffin as an afro-topped agent for a clandestine organization satirically known as the "B.R.O.T.H.E.R.H.O.O.D.". Likewise, Austin Powers in Goldmember co-stars Beyoncé Knowles as the Tamara Dobson/Pam Grier-inspired heroine, Foxxy Cleopatra. In the 1977 parody film The Kentucky Fried Movie, a mock trailer for Cleopatra Schwartz depicts another Grier-like action star married to a rabbi. In a famous scene in Reservoir Dogs, the protagonists discuss Get Christie Love!, a mid-1970s blaxploitation television series. In the catalytic scene of True Romance, the characters watch the movie The Mack.
John Singleton's Shaft (2000), starring Samuel L. Jackson, is a modern-day interpretation of a classic blaxploitation film. The 1997 film Hoodlum starring Laurence Fishburne portrays a fictional account of black mobster Ellsworth "Bumpy" Johnson and recasts gangster blaxploitation with a 1930s twist. In 2004, Mario Van Peebles released Baadasssss!, about the making of his father Melvin's movie (with Mario playing Melvin). 2007's American Gangster, based on the true story of heroin dealer Frank Lucas, takes place in the early 1970s in Harlem and has many elements similar in style to blaxploitation films, specifically its prominent featuring of the song "Across 110th Street".
Blaxploitation films have profoundly impacted contemporary hip-hop culture. Several prominent hip hop artists, including Snoop Dogg, Big Daddy Kane, Ice-T, Slick Rick, and Too Short, have adopted the no-nonsense pimp persona popularized first by ex-pimp Iceberg Slim's 1967 book Pimp and subsequently by films such as Super Fly, The Mack, and Willie Dynamite. In fact, many hip-hop artists have paid tribute to pimping within their lyrics (most notably 50 Cent's hit single "P.I.M.P.") and have openly embraced the pimp image in their music videos, which include entourages of scantily-clad women, flashy jewelry (known as "bling"), and luxury Cadillacs (referred to as "pimpmobiles"). The most famous scene of The Mack, featuring the "Annual Players Ball", has become an often-referenced pop culture icon—most recently by Chappelle's Show, where it was parodied as the "Playa Hater's Ball". The genre's overseas influence extends to artists such as Norway's hip-hop duo Madcon.[22]
In Michael Chabon's novel Telegraph Avenue, set in 2004, two characters are former blaxploitation stars.[23]
In 1980, opera director Peter Sellars (not to be confused with actor Peter Sellers) produced and directed a staging of Mozart's opera Don Giovanni in the manner of a blaxploitation film, set in contemporary Spanish Harlem, with African-American singers portraying the anti-heroes as street-thugs, killing by gunshot rather than with a sword, using recreational drugs, and partying almost naked.[24] It was later released on commercial video and can be seen on YouTube.[25]
A 2016 video game, Mafia III, is set in the year 1968 and revolves around Lincoln Clay, a mixed-race African American orphan raised by "black mob".[26] After the murder of his surrogate family at the hands of the Italian mafia, Lincoln Clay seeks vengeance on those who took away the only thing that mattered to him.
Cultural references
The notoriety of the blaxploitation genre has led to many parodies.[27] The earliest attempts to mock the genre, Ralph Bakshi's Coonskin and Rudy Ray Moore's Dolemite, date back to the genre's heyday in 1975.
Coonskin was intended to deconstruct racial stereotypes, from early minstrel show stereotypes to more recent stereotypes found in blaxploitation film itself. The work stimulated great controversy even before its release when the Congress of Racial Equality challenged it. Even though distribution was handed to a smaller distributor who advertised it as an exploitation film, it soon developed a cult following with black viewers.[4]
Dolemite, less serious in tone and produced as a spoof, centers around a sexually active black pimp played by Rudy Ray Moore, who based the film on his stand-up comedy act. A sequel, The Human Tornado, followed.
Later spoofs parodying the blaxploitation genre include I'm Gonna Git You Sucka, Pootie Tang, Undercover Brother, Black Dynamite, and The Hebrew Hammer, which featured a Jewish protagonist and was jokingly referred to by its director as a "Jewsploitation" film.
Robert Townsend's comedy Hollywood Shuffle features a young black actor who is tempted to take part in a white-produced blaxploitation film.
The satirical book Our Dumb Century features an article from the 1970s entitled "Congress Passes Anti-Blaxploitation Act: Pimps, Players Subject to Heavy Fines".
FOX's network television comedy, "MADtv", has frequently spoofed the Rudy Ray Moore-created franchise Dolemite, with a series of sketches performed by comic actor Aries Spears, in the role of "The Son of Dolemite". Other sketches include the characters "Funkenstein", "Dr. Funkenstein" and more recently Condoleezza Rice as a blaxploitation superhero. A recurring theme in these sketches is the inexperience of the cast and crew in the blaxploitation era, with emphasis on ridiculous scripting and shoddy acting, sets, costumes, and editing. The sketches are testaments to the poor production quality of the films, with obvious boom mike appearances and intentionally poor cuts and continuity.
Another of FOX's network television comedies, "Martin" starring Martin Lawrence, frequently references the blaxploitation genre. In the Season Three episode "All The Players Came", when Martin organizes a "Player's Ball" charity event to save a local theater, several stars of the blaxploitation era, such as Rudy Ray Moore, Antonio Fargas, Dick Anthony Williams and Pam Grier all make cameo appearances. In one scene, Martin, in character as aging pimp "Jerome", refers to Pam Grier as "Sheba, Baby" in reference to her 1975 blaxploitation feature film of the same name.
In the movie Leprechaun in the Hood, a character played by Ice-T pulls a baseball bat from his Afro. This scene alludes to a similar scene in Foxy Brown, in which Pam Grier hides a small semi-automatic pistol in her Afro.
Adult Swim's Aqua Teen Hunger Force series has a recurring character called "Boxy Brown" - a play on Foxy Brown. An imaginary friend of Meatwad, Boxy Brown is a cardboard box with a crudely drawn face with a French cut that dons an afro. Whenever Boxy speaks, '70s funk music, typical of blaxploitation films, plays in the background. The cardboard box also has a confrontational attitude and dialect similar to many heroes of this film genre.
Some of the TVs found in the action video game Max Payne 2: The Fall of Max Payne feature a Blaxploitation-themed parody of the original Max Payne game called Dick Justice, after its main character. Dick behaves much like the original Max Payne (down to the "constipated" grimace and metaphorical speech) but wears an afro and mustache and speaks in Ebonics.
Duck King, a fictional character created for the video game series Fatal Fury, is a prime example of foreign black stereotypes.
The sub-cult movie short Gayniggers from Outer Space is a blaxploitation-like science fiction oddity directed by Danish filmmaker, DJ, and singer Morten Lindberg.
Jefferson Twilight, a character in The Venture Bros., is a parody of the comic-book character Blade (a black, half human, half-vampire vampire hunter), as well as a blaxploitation reference. He has an afro, sideburns, and a mustache. He carries swords, dresses in stylish 1970s clothing, and says that he hunts "Blaculas". He looks and sounds like Samuel L. Jackson.[citation needed]
A scene from the Season 9 episode of The Simpsons, Simpson Tide", shows Homer Simpson watching "Exploitation Theatre." A voice-over announces the fake movie titles such as "The Blunch Black of Blotre Blame."
Martha Southgate's 2005 novel Third Girl from the Left is set in Hollywood during the era of blaxploitation films and references many blaxploitation films and stars such as Pam Grier and Coffy.
Notable blaxploitation films
1968
- Uptight (film) a 1968 American drama film directed by Jules Dassin. It was intended as an updated version of John Ford's 1935 film The Informer, based on the book of the same name by Liam O'Flaherty, but the setting was transposed from Dublin to Cleveland. The soundtrack was performed by Booker T. & the MG's. This movie follows the story of a Black nationalist organization in Cleveland (largely based in the Hough and Glenville neighborhoods) who becomes disillusioned with non-violence after the assassination of Martin Luther King Jr and prepares for urban guerilla warfare.
1970
- The Black Angels is about a black motorcycle gang and is part of the outlaw biker film genre.
- They Call Me MISTER Tibbs! A sequel to In the Heat of the Night, it is a pre-Shaft blaxploitation, and stylistically different from the original film.
- Carter's Army is a television film about a unit of black soldiers in World War II.
- Cotton Comes to Harlem (dir. Ossie Davis) is based on a novel by Chester Himes. Features two black NYPD detectives, Coffin Ed Johnson (Raymond St. Jacques) and Gravedigger Jones (Godfrey Cambridge), on the hunt for a money-filled cotton bale stolen by a corrupt reverend named Deke O'Malley.
1971
- Sweet Sweetback's Baadasssss Song is written, produced, scored, directed by and stars Melvin Van Peebles. The hero, named Sweetback because of his sexual powers, is an apolitical sex worker. His pimp, Beadle, makes a deal with a couple of police officers to let them take Sweetback into the station so it looks like the cops are picking up suspects. While Sweetback is in custody, the police arrest a young black militant and take him to a rural area to torture him. Sweetback steps in and beats the police unconscious. With the police chasing him, Sweetback comes to understand the power of the black community sticking together. He uses his ingenuity and survival skills to outwit the police and escape to Mexico.[28] Music by Earth Wind & Fire.
- Shaft (dir. Gordon Parks) features Richard Roundtree as detective John Shaft. The soundtrack features contributions from Isaac Hayes, whose recording of the titular song won several awards, including an Academy Award. Shaft was deemed culturally relevant by the Library of Congress, and it spawned two sequels, Shaft's Big Score (1972) and Shaft in Africa (1973), as well as a short-lived TV series starring Roundtree.[29] The concept was revived in 2000 with an all-new sequel starring Samuel L. Jackson as the nephew of the original John Shaft, with Roundtree reprising his role as the original Shaft. A direct sequel to the 2000 film was released in 2019, also titled Shaft.
- The Bus Is Coming is a 1971 American drama film about a young black soldier who returns home to Los Angeles from combat in Vietnam to find out that his brother had been killed by a gang of racist cops. He struggles between maintaining his beliefs surrounding liberalism and centrism, or being radicalized from his brothers death, and possibly joining the Black nationalist organization the Black Fist. This movie was directed by Wendell James Franklin and starred Mike B. Simms and, Burl Bullock.
1972
- Come Back, Charleston Blue, starring Godfrey Cambridge and Raymond St. Jacques, loosely based on Chester Himes' novel The Heat's On. It is a sequel to the 1970 film Cotton Comes to Harlem. All tracks written by Donny Hathaway except "Little Ghetto Boy"
- Hit Man (dir. George Armitage) is the story of an Oakland hit man, played by former NFL player Bernie Casey, who comes to Los Angeles after his brother is murdered. He learns that his niece has been forced into pornography. She is eventually murdered. He sets out to murder everyone directly involved, from a porn star (Pam Grier), to a theater owner (Ed Cambridge), to a man he looked up to as a child (Rudy Challenger), and a mobster (Don Diamond).
- Super Fly (dir. Gordon Parks Jr.) features a soundtrack by Curtis Mayfield. Super Fly is one of the most controversial, profitable and popular classics of the genre.[30]
- The Legend of Nigger Charley (dir. Martin Goldman) is written by, co-produced by and stars Fred Williamson. It was followed by the sequel The Soul of Nigger Charley (1973).
- Hammer (dir. Bruce D. Clark) stars Fred Williamson as B.J. Hammer, a boxer who gets mixed up with a crooked manager who wants him to throw a fight for the Mafia.
- Across 110th Street (dir. Barry Shear) is a crime thriller about two detectives (played by Anthony Quinn and Yaphet Kotto) who try to catch a group of robbers who stole $300,000 from the Mob before the Mob catches up with them. The title track by Bobby Womack reached #19 on the Billboard Black Singles Chart.
- Black Mama, White Mama is a women in prison film partly inspired by The Defiant Ones (1958) starring Pam Grier and Margaret Markov in the roles originated by Sidney Poitier and Tony Curtis.
- Blacula is a take on Dracula which features an African prince (played by William H. Marshall) who is bitten and imprisoned by Count Dracula. Once freed from his coffin, he spreads terror in modern-day Los Angeles.
- Melinda (dir. Hugh Robertson) features music by Jerry Peters and Jerry Butler.[31]
- Slaughter stars Jim Brown as an ex-Green Beret who seeks revenge against a crime syndicate for the murder of his parents. It spawned the sequel, Slaughter's Big Rip-Off (1973).
- Trouble Man stars Robert Hooks as "Mr. T.", a hard-edged private detective who tends to take justice into his own hands. Although the film itself was unsuccessful, it did enjoy a successful soundtrack written, produced and performed by Motown artist Marvin Gaye.
- The Final Comedown (dir. Oscar Williams) features music by Grant Green and Wade Marcus, and stars Billy Dee Williams. The film is an examination of racism in the United States and depicts a shootout between a radical black nationalist group and the police, with the backstory leading up to the shootout told through flashbacks.
- Black Gunn is a 1972 American neo-noir crime thriller film, directed by Robert Hartford-Davis and starring Jim Brown, Martin Landau, Brenda Sykes, Herbert Jefferson Jr. and Luciana Paluzzi. The film is considered an entry blaxploitation sub-genre, but is unique to the genre in several different ways. The film is set in Los Angeles where a nighttime robbery of an illegal mafia bookmaking operation is carried out by the militant African-American organization BAG (Black Action Group). Though successful, several of the bookmakers and one of the burglars are killed. The mastermind behind the robbery, a Vietnam veteran named Scott, is the brother of a prominent nightclub owner, Gunn. Seeking safe haven, Scott hides out at his brother's mansion after a brief reunion.
1973
- Black Caesar, Tommy Gibbs (Fred Williamson) is a street-smart hoodlum who has worked his way up to being the crime boss of Harlem. Music by James Brown.
- Blackenstein is a parody of Frankenstein and features a black Frankenstein's monster.
- Cleopatra Jones (1973) and its sequel, Cleopatra Jones and the Casino of Gold (1975), star Tamara Dobson as a karate-chopping government agent, with the mutual support of the Black Nationalist B&S (Brothers & Sisters) House. The first film marks the beginning of a subgenre of blaxploitation films focusing on strong female leads taking an active role in shootouts and fights. Some of these films include Coffy, Black Belt Jones, Foxy Brown and T.N.T. Jackson.
- Coffy, Pam Grier stars as Coffy, a nurse turned vigilante who takes revenge on all those who hooked her 11-year-old sister on heroin. Coffy marks Grier's biggest hit and was re-worked for Foxy Brown, Friday Foster and Sheba Baby.
- Detroit 9000 is set in Detroit, MI and features street-smart white detective Danny Bassett (Alex Rocco) who teams with educated black detective Sgt. Jesse Williams (Hari Rhodes) to investigate the theft of $400,000 at a fund-raiser for Representative Aubrey Hale Clayton (Rudy Challenger). Championed by Quentin Tarantino, it was released on video by Miramax in April 1999.
- Gordon's War stars Paul Winfield as a Vietnam vet who recruits ex-Army buddies to fight the Harlem drug dealers and pimps responsible for the heroin-fueled death of his wife.
- Live and Let Die, a James Bond movie directed by Guy Hamilton and starring Roger Moore. Many of the villains and allies are based on stock blaxploitation characters.
- The Mack is a film starring Max Julien and Richard Pryor.[32] It was produced during the era of such Blaxploitations as Dolemite. It is not considered by its makers a true blaxploitation picture. It is more a social commentary according to Mackin' Ain't Easy, a documentary about the making of The Mack, which can be found on the DVD edition of the film. The movie tells the story of the life of John Mickens (a.k.a. Goldie), a former drug dealer recently released from prison who becomes a big-time pimp. Standing in his way is another pimp: Pretty Tony. Two corrupt white cops, a local crime lord, and his own brother (a black nationalist), all try to force him out of the business. Set in Oakland, California, it was the highest grossing blaxploitation of its time. Its soundtrack was recorded by Motown artist Willie Hutch.
- Scream Blacula Scream is the sequel to Blacula. William H. Marshall reprises his role as Blacula/Mamuwalde.
- The Spook Who Sat By the Door is adapted from Sam Greenlee's novel and directed by Ivan Dixon with music by Herbie Hancock. A token black CIA employee, who is secretly a black nationalist, leaves his position to train a street gang in CIA tactics and guerilla warfare to become an army of "freedom fighters". The film was reportedly pulled from distribution because of its politically controversial message and depictions of an American race war. Until its 2004 DVD release, it was hard to find, save for infrequent bootleg VHS copies. In 2012, the film was included in the USA Library of Congress National Film Registry.[33]
- Superfly TNT (dir. Ron O'Neil)
- That Man Bolt, starring Fred Williamson, is the first spy film in this genre, combining elements of James Bond with martial arts action in an international setting.
- Trick Baby is based on the book of the same name by ex-pimp Iceberg Slim.
- Hell Up in Harlem is the sequel to Black Caesar and stars Fred Williamson and Gloria Hendry, with a soundtrack by Motown singer Edwin Starr.
1974
- Abby is a version of The Exorcist and stars Carol Speed as a virtuous young woman possessed by a demon. Ms. Speed also sings the title song. William H. Marshall (of Blacula fame) conducts the exorcism of Abby on the floor of a discotheque. A hit in its time, it was later pulled from the theaters after Warner Bros. successfully sued AIP over copyright issues.
- Black Belt Jones, Jim Kelly, who is better known for his role as "Mister Williams" in the Bruce Lee film Enter the Dragon, is given a leading role. He plays Black Belt Jones, a federal agent/martial arts expert who takes on the mob as he avenges the murder of a karate school owner.
- Black Eye is an action-mystery starring Fred Williamson as a private detective investigating murders connected with a drug ring.
- The Black Godfather stars Rod Perry as a man rising to underworld power based on The Godfather.
- The Black Six is about a black motorcycle gang seeking revenge. It combines blaxploitation and outlaw biker film.
- Foxy Brown is largely a remake of the hit film Coffy. Pam Grier once again plays a nurse on a vendetta against a drug ring, who seeks help from the Black Panthers.[34] Originally written as a sequel to Coffy, the film's working title was Burn, Coffy, Burn!. The soundtrack was recorded by Willie Hutch.
- Claudine (film): Music by Curtis Mayfield and Gladys Knight & the Pips. Cast/Diahann Carroll.[35]
- Get Christie Love! is a TV movie later released to some theaters. This police drama, starring an attractive young black woman (Teresa Graves) as an undercover cop, was later made into a short-lived TV series.
- Johnny Tough stars Dion Gossett and Renny Roker.
- Space Is the Place is a psychedelically themed blaxploitation film featuring Sun Ra & His Intergalactic Solar Arkestra.
- Sugar Hill is set in Houston and features a female fashion photographer (played by Marki Bey) who wreaks revenge on the local crime Mafia that murdered her fiancé with the use of voodoo magic.
- Three the Hard Way features three black men (Fred Williamson, Jim Kelly, and Jim Brown) who must stop a white supremacist plot to eliminate all blacks with a serum in the water supply. Directed by Gordon Parks Jr.
- Three Tough Guys stars Isaac Hayes and music by Isaac Hayes.
- TNT Jackson stars Jean Bell (one of the first black Playboy playmates) and is partly set in Hong Kong. It is notable for blending blaxploitation with the then-popular "chop-socky" martial arts genre.
- Together Brothers is set in Galveston, Texas, where a street gang solves the murder of a Galveston, TX police officer (played by Ed Bernard who has been a mentor to the gang leader). This was the first blaxploitation film to feature a transgender character as the villain. Galveston, TX native Barry White composed the score. The soundtrack features music by the Love Unlimited Orchestra.
- Truck Turner (dir. Jonathan Kaplan) stars Isaac Hayes, Yaphet Kotto and Nichelle Nichols. A former football player turned bounty hunter is pitted against a powerful prostitution crime syndicate in Los Angeles. Music by Isaac Hayes.[36]
- Willie Dynamite, Roscoe Orman (Gordon from Sesame Street fame) plays a pimp. As in many blaxploitation films, the lead character drives a customized Cadillac Eldorado Coupe (the same car was used in Magnum Force).
1975
- Sheba, Baby, a female private eye (Pam Grier) tries to help her father save his loan business from a gang of thugs.
- The Black Gestapo, Rod Perry plays General Ahmed, who has started an inner-city People's Army to try to relieve the misery of the citizens of Watts, Los Angeles. When the Mafia moves in, they establish a military-style squad.
- Boss Nigger, along with his friend Amos (D'Urville Martin), Boss Nigger (Fred Williamson) takes over the vacated position of Sheriff in a small western town in this Western blaxploitation film. Because of its controversial title, it was released in some markets as The Boss, The Black Bounty Killer or The Black Bounty Hunter.
- Coonskin (dir. Ralph Bakshi) is a controversial animated/live-action film about Br'er Fox, Br'er Rabbit and Br'er Bear in a blaxploitation parody of Disney's Song of the South. It features the voice of Barry White as Br'er Bear.
- Darktown Strutters (dir. William Witney) is a farce produced by Roger Corman's brother, Gene. A Colonel Sanders-type figure with a chain of urban fried chicken restaurants is trying to wipe out the black race by making them impotent through his drugged fried chicken.
- Dr. Black, Mr. Hyde is the retelling of the Jekyll and Hyde tale, starring Bernie Casey.
- Dolemite is also the name of its principal character, played by Rudy Ray Moore, who co-wrote the script. Moore had developed the alter-ego as a stand-up comedian and released several comedy albums using this persona. The film was directed by D'Urville Martin, who appears as the villain Willie Green. The film has attained cult status, earning it a following and making it more well-known than many of its counterparts. A sequel, The Human Tornado, was released in 1976.
- Mandingo is based on a series of lurid Civil War novels and focuses on the abuses of slavery and the sexual relations between slaves and slave owners. It features Richard Ward and Ken Norton. It was followed by a sequel, Drum (1976) starring Pam Grier.
- The Candy Tangerine Man opens with pageantry pimp Baron (John Daniels) driving his customized two-tone red and yellow Rolls-Royce around downtown L.A at night. His ladies have been coming up short lately and he wants to know why. It turns out that two L.A.P.D. cops - Dempsey and Gordon, who have been after Baron for some time now, have resorted to rousting his girls every chance they get. Indeed, in the next scene they have set Baron up with a cop in drag to entrap him with procurement of prostitutes.
- Lady Cocoa (dir. Matt Cimber) stars Lola Falana.
- Let's Do It Again, Music: Composed by Curtis Mayfield.
- Welcome Home Brother Charles. After being released from prison, a wrongfully imprisoned black man takes vengeance on those who previously crossed him by strangling them with his penis.
1976
- Black Shampoo is a take-off of the Warren Beatty hit Shampoo.
- Ebony, Ivory & Jade (dir. Cirio Santiago) (also known as She Devils in Chains, American Beauty Hostages, Foxfire, Foxforce), features three female athletes who are kidnapped during an international track meet in Hong Kong and fight their way to freedom. This is another cross-genre blend of blaxploitation and martial arts action films.
- The Muthers is another Cirio Santiago combination of Filipino martial arts action and women-in-prison elements. Jeanne Bell and Jayne Kennedy rescue prisoners held at an evil coffee plantation.
- Passion Plantation (a.k.a. Black Emmanuel, White Emmanuel) is a blend of the Mandingo and Emmanuelle, erotic films with interracial sex and savagery.
- Velvet Smooth, Johnnie Hill is a female private detective hired to infiltrate the criminal underworld.
- The Human Tornado a.k.a. Dolemite II, Rudy Ray Moore reprises his role as Dolemite in the sequel to the 1975 film Dolemite.
- J. D.'s Revenge, a club driver is possessed by a dead gangster who seeks revenge for his murder over 30 years ago.
1977
- Black Fist features a street fighter who goes to work for a white gangster and a corrupt cop. The film is in the public domain. Cast members include Richard Lawson and Dabney Coleman
- Black Samurai (dir. Al Adamson) is based on a novel of the same name by Marc Olden, and stars Jim Kelly. The script is credited to B. Readick, with additional story ideas from Marco Joachim.
- Bare Knuckles stars Robert Viharo, Sherry Jackson and Gloria Hendry. The film is written and directed by Don Edmonds and follows L.A. bounty hunter Zachary Kane (Viharo) on the hunt for a masked serial killer.
- Petey Wheatstraw (a.k.a. Petey Wheatstraw, the Devil's Son-In-Law) is written by Cliff Roquemore and stars popular blaxploitation genre comedian Rudy Ray Moore along with Jimmy Lynch, Leroy Daniels, Ernest Mayhand and Ebony Wright. It is typical of Moore's other films of the era, Dolemite and The Human Tornado, in that it features Moore's rhyming dialogue.
1978
- Death Dimension is a martial arts film directed by Al Adamson and starring Jim Kelly, Harold Sakata, George Lazenby, Terry Moore, and Aldo Ray. The film also goes by the names Death Dimensions, Freeze Bomb, Icy Death, The Kill Factor and Black Eliminator. A scientist, Professor Mason, invents a powerful freezing bomb for a gangster leader nicknamed "The Pig" (Sakata).
1979
- Disco Godfather, also known as The Avenging Disco Godfather, is an action film starring Rudy Ray Moore and Carol Speed. Moore's character, a retired cop, owns and operates a disco and tries to shut down the local angel dust dealer after his nephew becomes hooked on the drug.
- Penitentiary (dir. Jamaa Franklin) follows the travails of Martel "Too Sweet" Gordone (Leon Isaac Kennedy) after his wrongful imprisonment. Set in a prison, the film exploits all of the tropes of the genre, including violence, sexuality and the eventual triumph of the lead character.
Post-1970s Blaxploitation films
- The Last Dragon (1985) is a martial arts action film with blaxploitation elements.
- I'm Gonna Git You Sucka (1988) is a comedic spoof of classic 1970s blaxploitation and features many of its stars: Jim Brown, Bernie Casey, Antonio Fargas and Isaac Hayes.
- Action Jackson (1988) is a film where the protagonist Jericho Jackson (Carl Weathers), uses catchphrases to taunt his opponents. Craig T. Nelson, Sharon Stone and Vanity also star.
- Tales from the Hood (1995, dir. Rusty Cundiff) is a Comedy horror anthology film with Urban themes.
- Original Gangstas (1996) brings together 1970s blaxploitation stars Pam Grier, Richard Roundtree, Fred Williamson and Jim Brown.
- Jackie Brown (1997, dir. Quentin Tarantino) stars Pam Grier and Samuel L. Jackson in an homage to the blaxploitation genre. Based on the Elmore Leonard novel Rum Punch, Tarantino's title change, casting of Grier and 1970s-style poster art, are all references to Grier's 1974 film Foxy Brown.
- Pootie Tang (2001) incorporates many blaxploitation elements comedically.
- The Return of Dolemite (2002), the third chapter to the Dolemite series, later retitled as The Dolemite Explosion for the DVD release.
- Undercover Brother (2002) stars Eddie Griffin as a blaxploitation-style secret agent.
- Full Clip (2004) is made in the graphic novel style.
- Hookers In Revolt (2008, dir. Sean Weathers). With its prevalence of pimps and prostitutes, it is an inventive throwback to early 1970s blaxploitation.[37]
- Black Dynamite (2009) stars Michael Jai White and spoofs blaxploitation films.
- Proud Mary (2018) is an action thriller starring Taraji P. Henson and Danny Glover.[38]
- Get Christie Love! (2018), a made-for-TV remake of the 1974 film starring Kylie Bunbury which, unlike the original, was never picked up for a TV series.
- Superfly (2018) is a remake of the 1972 film, starring Trevor Jackson and Jason Mitchell.
- Undercover Brother 2 (2019), a sequel to the 2002 film starring Michael Jai White.
- The Harder They Fall (2021) is a Netflix Western film starring Jonathan Majors and Idris Elba.
Other
- Baadasssss! (2003), a biopic about the making of Sweet Sweetback's Baadasssss Song, starring Mario Van Peebles.
- Dolemite Is My Name (2019), a biopic about the making of Dolemite, starring Eddie Murphy as Rudy Ray Moore.
See also
- Hood film
- Race film
- Race record
- List of blaxploitation films
- List of topics related to Black and African people#Cinema and theater
- Stereotypes of African Americans#Film and television
- Post-civil rights era African-American history
References
- "Five Pam Grier Classics to Stream After 'Proud Mary'". ScreenCrush.
Further reading
- Blaxploitation Films by Mikel J. Koven, 2010, Kamera Books, ISBN 978-1-903047-58-3
- "The Rise and Fall of Blaxploitation" by Ed Guerrero, in The Wiley-Blackwell History of American Film, eds. Cynthia Lucia, Roy Grundmann, Art Simon, (New York, 2012): Vol 3, pp. 435–469, ISBN 978-1-4051-7984-3.
- What It Is ... What It Was!; The Black Film Explosion of the '70s in Words and Pictures by Andres Chavez, Denise Chavez, Gerald Martinez ISBN 0-7868-8377-4
- "The So Called Fall of Blaxploitation" by Ed Guerrero, The Velvet Light Trap #64 Fall 2009
- "Black Outlaws and the Struggle for Empowerment in Blaxploitation Cinema," by Joshua K. Wright, Spectrum: A Journal on Black Men, Vol. 2, No. 2 (Spring 2014), pp. 63–86 (24 pages), Indiana University Press on JStor.
External links
https://en.wikipedia.org/wiki/Blaxploitation
A grindhouse or action house[1] is an American term for a theatre that mainly shows low-budget horror, splatter, and exploitation films for adults. According to historian David Church, this theater type was named after the "grind policy", a film-programming strategy dating back to the early 1920s which continuously showed films at cut-rate ticket prices that typically rose over the course of each day. This exhibition practice was markedly different from the era's more common practice of fewer shows per day and graduated pricing for different seating sections in large urban theatres, which were typically studio-owned.
History
Due to these theaters' proximity to controversially sexualized forms of entertainment like burlesque, the term "grindhouse" has often been erroneously associated with burlesque theaters in urban entertainment areas such as 42nd Street in New York City,[2][3] where bump and grind dancing and striptease were featured.[4] In the film Lady of Burlesque (1943) one of the characters refers to one such burlesque theatre on 42nd Street as a "grindhouse," but Church points out the primary definition in the Oxford English Dictionary is for a movie theater distinguished by three criteria:[2]
- Shows a variety of films, in continuous succession
- Low admission fees
- Films screened are frequently of poor quality or low (artistic) merit
Church states the first use of the term "grind house" was in a 1923 Variety article,[5] which may have adopted the contemporary slang usage of "grind" to refer to the actions of barkers exhorting potential patrons to enter the venue.[2]
Double, triple, and "all night" bills on a single admission charge often encouraged patrons to spend long periods of time in the theaters.[6] The milieu was largely and faithfully captured at the time by the magazine Sleazoid Express.
Because grindhouse theaters were associated with a lower class audience, grindhouse theaters gradually became perceived as disreputable places that showed disreputable films, regardless of the variety of films – including subsequent-run Hollywood films – that were actually screened.[7] Similar second-run screenings are held at discount theaters and neighborhood theatres; the distinguishing characteristics of the "grindhouse" are its typical urban setting and the programming of first-run films of low merit, not predominantly second-run films which had received wide releases.
Television pressure
The introduction of television greatly eroded the audience for local and single-screen movie theaters, many of which were built during the cinema boom of the 1930s. In combination with urban decay after white flight out of older city areas in the mid to late 1960s, changing economics forced these theaters to either close or offer something that television could not. In the 1970s, many of these theaters became venues for exploitation films,[4] such as adult pornography and sleaze, or slasher horror, and dubbed martial arts films from Hong Kong.[8]
Content
Films shot for and screened at grindhouses characteristically contain large amounts of sex, violence, or bizarre subject matter. One featured genre were "roughies" or sexploitation films, a mix of sex, violence and sadism. Quality varied, but low budget production values and poor print quality were common. Critical opinions varied regarding typical grindhouse fare, but many films acquired cult following and critical praise.
Decline
By the mid 1980s, home video and cable movie channels threatened to render the grindhouse obsolete. By the end of the decade, these theaters had vanished from Los Angeles's Broadway and Hollywood Boulevard, New York City's Times Square and San Francisco's Market Street. Another example was the Jolar Theater in Nashville, Tennessee, on lower Broadway, which was active until it burned down on April 14, 1978.[9]
By the mid-1990s, these particular theaters had all but disappeared from the United States; very few exist today.[when?]
Homage
The Robert Rodriguez film Planet Terror and the Quentin Tarantino film Death Proof, which were released together as Grindhouse in 2007, were created as an homage to the cinematic genre. A movie with a mock-trailer in Grindhouse, Machete (also by Rodriguez), was subsequently made into its own feature-length film, with care to include the scene from the Grindhouse trailer (originally filmed as a trailer of a movie that did not/would never exist). The Canadian release of Grindhouse included one additional faux-trailer, Hobo With a Shotgun, that was also subsequently made into a feature-length film. Similar films such as Chillerama, Drive Angry and Sign Gene have appeared since. S. Craig Zahler's film Brawl in Cell Block 99 is a modern example of the genre, along with his 2018 noir film Dragged Across Concrete.
Manhunt, Red Dead Revolver, The House of the Dead: Overkill, Wet, Shank, RAGE and Shadows of the Damned are several examples of video games that serve as homages to the grindhouse movies.
The author Jacques Boyreau released the book Portable Grindhouse: The Lost Art of the VHS Box in 2009 about the history of the genre.[10] The field is also the focus of the 2010 documentary American Grindhouse. Additionally, authors Bill Landis and Michelle Clifford released Sleazoid Express, both an homage to the various grindhouses within Times Square, but also a history of the various genres that each theater featured.
The Syfy TV show Blood Drive takes inspiration from grindhouse, with each episode featuring a different theme.
The novel Our Lady of the Inferno is both written as an homage to grindhouse films and features several chapters that take place in a grindhouse theater.[11]
The animated series, Seis Manos has a similar premise as grindhouse films of a kung fu story taking place in 1970's Mexico and is shown with a similar grainy film filter and simulated projection miscues.
Ti West's slasher film X (2022) pays homage to grindhouse.[12]
Gallery
Grindhouse marquees along 42nd St (New York City, 1973)
Million Dollar Theater in Los Angeles (2012), marquee advertising Mickey One and Blast of Silence
Theaters in San Francisco (1956)
Portage Theatre in Chicago (2007)
See also
References
I spent my first night in San Diego sleeping in the back row of the Cabrillo Theater.
In that pre-Gaslamp, pre-multiplex downtown of 1978 or so, half a dozen wonderfully eclectic – if mildly disreputable – late night movie houses operated within a few blocks of each other. Each grindhouses was a colorful oasis, plopped down in the middle of a seedy urban sprawl perfectly suited to the sailors on shore leave and porn aficionados that comprised much of its foot traffic.
A couple of bucks got you a double or triple bill, screened 'round the clock in cavernous single-screen movie theaters harkening back to Hollywood's golden age, rich in cinematic history and replete with big wide aisles and accommodating balconies. Horton Plaza had the Carbillo [sic] and the Plaza Theater, both operated by Walnut Properties, whose owner Vince Miranda maintained a suite at the Hotel San Diego (which he also owned).
Because grindhouse theaters were nasty places, full of nasty people, and most of us wouldn't be caught dead in one. The few folks who were there for the actual movies were either poverty tourists or cinephiles who didn't notice anything except the flickering screen, and, in many cases, their cinephilia had burned out their sense of discrimination, because a lot of the movies that showed in grindhouses were bad.
- "X review – back-to-basics slasher pits porn stars against elderly killers". The Guardian. March 16, 2022.
Bibliography
- Church, David (2015). Grindhouse Nostalgia: Memory, home video and exploitation film fandom. Edinburgh: Edinburgh University Press. ISBN 978-0-7486-9910-0. Retrieved March 24, 2017.
- Fisher, Austin; Walker, Johnny, eds. (2016). Grindhouse—Cultural Exchange on 42nd Street, and Beyond. New York City: Bloomsbury Academic. ISBN 978-1-6289-2747-4. Retrieved March 24, 2017.
External links
- Grindhouse Cinema Database
- The Grindhouse Schoolhouse: Exploring Classic Adult Cinema
- A review of Grindhouse: The Forbidden World of "Adults Only" Cinema, by Eddie Muller and Daniel Faris.
- Grindhouse.com
- "The Original Grindhouse Theatres. Located On 42nd Street, New York". Grindhouse Therapy. Retrieved March 24, 2017.
https://en.wikipedia.org/wiki/Grindhouse
| Years active | 1970s-current |
|---|---|
| Country | China, Japan, United States |
| Major figures | |
| Influences | |
| Influenced |
Bruceploitation (a portmanteau of "Bruce Lee" and "exploitation") is an exploitation film subgenre that emerged after the death of martial arts film star Bruce Lee in 1973, during which time filmmakers from Hong Kong, Taiwan and South Korea cast Bruce Lee look-alike actors ("Lee-alikes") to star in imitation martial arts films, in order to exploit Lee's sudden international popularity.[1] Bruce Lee look-alike characters also commonly appear in other media, including anime, comic books, manga, and video games.
History
When martial arts film star Bruce Lee died on July 20, 1973, he was Hong Kong's most famous martial arts actor. When Enter the Dragon became a box office success worldwide, many Hong Kong studios feared that a movie without their most famous star in it would not be financially successful and decided to play on Lee's sudden international fame by making movies that sounded like Bruce Lee starring vehicles. They cast actors who looked like Lee and changed their screen names to variations of Lee's name, such as Bruce Li and Bruce Le.[2]
Actors
After Bruce Lee's death, many actors assumed Lee-like stage names. Bruce Li (黎小龍 from his real name Ho Chung Tao 何宗道), Bruce Chen, Bruce Lai (real name Chang Yi-Tao), Bruce Le (呂小龍 from his real name Wong Kin Lung, 黃建龍), Bruce Lie, Bruce Leung, Saro Lee, Bruce Ly, Bruce Thai, Brute Lee, Myron Bruce Lee, Lee Bruce, and Bruce Lei / Dragon Lee (real name Moon Kyoung-seok) were hired by studios to play Lee-styled roles.[3] Bruce Li appeared in Bruce Lee Against Supermen, in which he stars as Kato, assistant of the Green Hornet, a role originally played by the real Bruce Lee.[4]
Additionally, when some Japanese karate and Korean taekwondo films were dubbed into English for U.S. release, the protagonists were given new Lee-like stage names. Such was the case with Jun Chong (credited as Bruce K. L. Lea in the altered and English-dubbed Bruce Lee Fights Back from the Grave) and Tadashi Yamashita (credited as Bronson Lee in the altered English-dubbed Bronson Lee, Champion).
Jackie Chan, who started his movie career as an extra and stunt artist in some of Bruce Lee's movies, was also given roles where he was promoted as the next Bruce Lee as Chan Yuen Lung (with Yuen Lung's stage name borrowed from his fellow Fortunes actor Sammo Hung), such as New Fist of Fury (1976). Only when he made some comedy-themed movies for another studio was he able to attain box-office success.[citation needed]
In 2001, actor Danny Chan Kwok-kwan sported Lee's look in the Cantonese comedy film Shaolin Soccer. The role landed him to play Lee in the biographical television series The Legend of Bruce Lee.[citation needed]
Film and television
Some of the films, such as Re-Enter the Dragon, Enter Three Dragons, Return of Bruce, Enter Another Dragon, Return of the Fists of Fury, or Enter the Game of Death, were rehashes of Bruce Lee's classics. Others told Lee's life story and explored his mysteries, such as Bruce Lee's Secret (a farcical rehash starring Bruce-clone Bruce Li in San Francisco defending Chinese immigrants from thugs), Exit the Dragon, Enter the Tiger (where Bruce Li is asked by Bruce Lee to replace him after his death), and Bruce's Fist of Vengeance.
Other films used his death as a plot element such as The Clones of Bruce Lee (where clones of Bruce Lee portrayed by some of the above actors are created by scientists) or The Dragon Lives Again (where Bruce Lee fights fictional characters such as James Bond, Clint Eastwood and Dracula in Hell and finds allies amongst others such as Popeye and Kwai Chang Caine). Others, such as Bruce Lee Fights Back from the Grave, featured Lee imitators but with a plot having nothing to do with Bruce Lee.
One of Lee's fight choreographers, actor-director Sammo Hung, famously satirised the phenomenon of Bruceploitation in his 1978 film, Enter the Fat Dragon. Elliott Hong's They Call Me Bruce? satirised the tendency for all male Asian actors (and by extension, male Asians in general) to have to sell themselves as Bruce Lee-types to succeed.
One notable film is Fist of Fear, Touch of Death released in 1980. While the real Lee does appear in the movie, it is only through dubbed stock footage.[5] The movie passes itself off as non-fiction but is fictional. The plot involves a martial arts tournament where the prize is recognition as Lee's successor. This is intertwined with what the movie passes off as the life story of Bruce Lee. The film says that Lee's parents did not want him be a martial artist, and he ran away from home to become an actor. In real life, they encouraged his careers.[5] The film conflates China and Japan by stating Lee's martial art was Karate (a Japanese art) instead of Kung Fu (a Chinese art) and that his great-grandfather was a samurai (impossible as samurai are found in Japan, not China).[6]
Partial list of films
- The Pig Boss (Philippines, 1972), starring Ramon Zamora
- Shadow of the Dragon (Philippines, 1973), starring Ramon Zamora
- The Game of Death! (Philippines, 1974), starring Ramon Zamora
- Bruce Lee: A Dragon Story (Hong Kong, 1974), starring Bruce Li
- Goodbye Bruce Lee: His Last Game of Death (Taiwan, 1975), starring Bruce Li
- Exit the Dragon, Enter the Tiger (Taiwan/Hong Kong, 1976), starring Bruce Li
- Bruce Lee Fights Back from the Grave (South Korea, 1976), starring Jun Chong
- New Fist of Fury (Hong Kong, 1976), a sequel to Fist of Fury starring Jackie Chan
- The Dragon Lives (Taiwan/Hong Kong, 1976), starring Bruce Li
- Bruce Lee: The Man, The Myth (Hong Kong, 1976), starring Bruce Li
- The Dragon Lives Again (Hong Kong, 1977), starring Bruce Leung
- Fist of Fury II (Hong Kong, 1977), a sequel to Fist of Fury starring Bruce Li; unrelated to New Fist of Fury
- Return of the Tiger (Hong Kong, 1978), starring Bruce Li
- The Image of Bruce Lee (Hong Kong, 1978), starring Bruce Li
- Fists of Bruce Lee (Hong Kong, 1978), starring Bruce Li
- Enter the Game of Death (South Korea/Hong Kong, 1978), starring Bruce Le
- Fist of Fury III (Hong Kong, 1979), starring Bruce Li
- They Call Him Bruce Lee (Philippines, 1979), starring Jack Lee and Rey Malonzo
- Kungfu Fever (South Korea/Taiwan, 1979), starring Dragon Lee
- Fist of Fear, Touch of Death (United States, 1980), starring Bruce Lee (archival footage) and Fred Williamson
- The Clones of Bruce Lee (South Korea/Hong Kong, 1980), starring Bruce Le, Dragon Lee, Bruce Lai, and Bruce Thai
- Bruce's Fist of Vengeance (Philippines, 1980), starring Bruce Le
- Katilon Ke Kaatil (India, 1981), Hindi film featuring Bruce Le in several scenes[7]
- Jackie and Bruce to the Rescue (Hong Kong, 1982), starring Tong Lung
End of a trend
Bruceploitation ended when Jackie Chan made a name for himself with the success of the kung fu comedies Snake in the Eagle's Shadow and Drunken Master. These films established him as the "new king" of Hong Kong martial arts cinema. Another factor in the end of Bruceploitation was the beginning of the Shaw Brothers film era in the late 1970s, which started with movies such as Five Deadly Venoms which featured new martial arts stars in the Venom Mob. Since the end of the trend, Bruce Lee's influence on Hong Kong action cinema remained strong, but the actors began establishing their own personalities, and the films began to take on a more comedic approach.[8][9]
Documentary
In 2017, Michael Worth began an effort to shine more light on the subject, producing what would become Enter the Clones of Bruce (2023), the first official documentary on the subject with Severin Films. The documentary interviews many of the key players of the Bruceploitation movement, including Ho Chung-tao (Bruce Li), Huang Jianlong (Bruce Le), Ryong Keo (Dragon Lee), and Leung Choi-sang (Bruce Liang). The film will have its world premiere at the 2023 Tribeca Film Festival.[10]
Rebirth
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Bruceploitation has continued in the United States in a muted form since the 1970s. Films such as Force: Five, No Retreat, No Surrender, and The Last Dragon used Bruce Lee as a marketing hook, and the genre continues to be a source of exploration for fans of the late Little Dragon and his doppelgangers. Fist of Fear, Touch of Death told a fictional life story of the star.
In May 2010, Carl Jones published the book Here Come the Kung Fu Clones. It focuses on a particular Lee-a-like, Ho Chung Tao, but it also explores the best and worst actors and films that the genre has to offer.[11]
In the third season of the 2012 Teenage Mutant Ninja Turtles animated series, the character of Hun (originally a muscle-bound Caucasian from the 2003 cartoon series) makes his debut, with his appearance and behaviour closely patterned after Bruce Lee.[12]
The first Spanish book on the genre by Ivan E. Fernandez Fojón, Bruceploitation. Los clones de Bruce Lee was published by Applehead Team Creaciones in November 2017.
Stewart Home’s book Re-Enter The Dragon: Genre Theory, Brucesploitation & the Sleazy Joys of Lowbrow Cinema (Ledatape Organisation, Melbourne 2018) "is cleaning up the territory and sharpening the contours of the category of Bruceploitation which as he sees it has not been worked out rigorously enough by early pioneers."[13] This book appeared after Home made and exhibited an art film meditation on the subject of Bruceploitation for Glasgow International in 2016.[14]
The Legend of Bruce Lee (2008), a Chinese television drama series based on the life of Bruce Lee, has been watched by over 400 million viewers in China through CCTV, making it the most-watched Chinese television drama series of all time, as of 2017.[15][16] It has also been aired in other parts of the world: United States (KTSF), Italy (RAI 4), Canada (FTV), Brazil (Rede CNT; Band), Vietnam (HTV2; DN1-RTV), South Korea (SBS), Japan (NTV), Hong Kong (ATV Home), Philippines (Q), Taiwan (TTV), Iran (IRIB), Venezuela (Televen), United Kingdom (Netflix) and Indonesia (Hi Indo).
Comics and animation
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The comic book medium also gave birth to several characters inspired by Bruce Lee, most notably in Japanese comics or manga.
Bruce Lee had an influence on several American comic book writers, notably Marvel Comics founder Stan Lee,[17] who considered Bruce Lee to be a superhero without a costume.[18] Shortly after his death, Lee inspired the Marvel character Iron Fist (debuted 1974) and the comic book series The Deadly Hands of Kung Fu (debuted 1974). According to Stan Lee, any character that is a martial artist since then owes their origin to Bruce Lee in some form.[18] Paul Gulacy was inspired by Bruce Lee when he drew the Marvel character Shang-Chi.[19]
Manga and anime
In Tetsuo Hara and Buronson’s influential shōnen manga and anime series Hokuto no Ken, known to Western audiences as Fist of the North Star, the main character Kenshiro was deliberately created by them based on Bruce Lee, combined with influences from the film Mad Max.[20] Kenshiro’s appearance resembles that of Lee, as well as mannerisms inspired by Lee, such as his fighting style and battle cries. Additionally, in Hokuto no Ken’s prequel Souten no Ken, the main character is Kenshiro’s uncle, named Kenshiro Kasumi, who is also modelled after Lee’s physique and mannerisms in the same way as his nephew.
Akira Toriyama's influential shonen manga and anime series Dragon Ball was also inspired by Bruce Lee films, such as Enter the Dragon (1973).[21][22] The title Dragon Ball was inspired by Enter the Dragon as well as later Bruceploitation knockoff kung fu movies which frequently had the word "Dragon" in the title.[21] Later, when Toriyama created the Super Saiyan transformation during the Freeza arc, he gave Goku piercing eyes based on Bruce Lee's paralysing glare.[23]
In Masashi Kishimoto’s Naruto manga, the characters Might Guy and Rock Lee were modelled by him after Bruce Lee.
Video games
Bruce Lee films such as Game of Death and Enter the Dragon were the foundation for video game genres such as beat 'em up action games and fighting games.[24][25][26] Kung-Fu Master (1984), considered the first beat 'em up game, is based on Lee's Game of Death, with the five-level Devil's Temple reflecting the movie's setting of a five-level pagoda with a martial arts master in each level.[27] Kung-Fu Master in turn served as the prototype for most subsequent martial arts action games in the late 1980s.[28] Datasoft Inc. also released the game Bruce Lee in 1984.
The fighting game Yie Ar Kung-Fu (1985) was also inspired by Bruce Lee films, with the main player character Oolong modelled after Lee (like Bruceploitation films). In turn, Yie Ar Kung-Fu established the template for subsequent fighting games.[29] The Street Fighter video game franchise (1987 debut) was inspired by Enter the Dragon, with the gameplay centered around an international fighting tournament, and each character having a unique combination of ethnicity, nationality and fighting style; Street Fighter went on to set the template for all fighting games that followed.[30]
Since then, numerous fighting games have featured Bruce Lee look-alike characters, starting with World Heroes which introduced Kim Dragon in 1992.[24] Super Street Fighter II character Fei Long was designed as a homage to Bruce Lee as well. The character Liu Kang in the Mortal Kombat franchise was also modelled after Bruce Lee.[31] The Tekken franchise followed suit with Marshall Law, and just once had him substituted by introducing his son Forest Law. EA Sports UFC includes Bruce Lee as an unlockable character, though it came with the approval of his daughter Shannon.
Another notable game that features Bruce Lee is The Dragon, released in 1995 by Ramar International (also called Rinco) and Tony Tech in Taiwan.[32] The game is for the Famicom (better known as the Nintendo Entertainment System (NES) in the west) but is not licensed by Nintendo or the Bruce Lee estate. The game's plot is loosely based on the plots of Lee's films and most levels are given titles from them.[32] The game mixes fighting parts with platforming parts and is also noted for stealing graphics from Mortal Kombat (including using Liu Kang to represent Lee), being one of the few Famicom/NES games to have two languages (English and Arabic) available in game and one of the few in Arabic at all.[32] The game's official Arabic title as shown on the title screen is التنين ("Al-Tinneen") and the box also gives the game the Chinese title of 李小龍 ("Lǐ Xiǎolóng", Bruce Lee's name in Chinese) and the alternate title of Lee Dragon.[32]
Many other video games have characters based on Lee, although he is rarely credited. Video game characters synonymous with Lee are usually spotted by fighting techniques and signature "jumping stance", physical appearances, clothing, and iconic battle cries and yells similar to those of Lee. Examples include fighting game characters such as Maxi in the Soulcalibur series and Jann Lee in the Dead or Alive series.
Commercials
Though Bruce Lee did not appear in commercials during his lifetime, his likeness and image has since appeared in hundreds of commercials around the world.[18]
Nokia launched an Internet-based campaign in 2008 with staged "documentary-looking" footage of Bruce Lee playing ping-pong with his nunchaku and also igniting matches as they are thrown toward him. The videos went viral on YouTube, creating confusion as some people believed them to be authentic footage.[33]
Merchandise
The clothing apparel company Bow & Arrow released the "Gung Fu Scratch" t-shirt, featuring an image of Bruce Lee photoshopped to make it look like he is DJing. The t-shirt has been worn by celebrities such as Justin Bieber, Will Smith, Nas, Snoop Dogg and Ne-Yo.[34] The image became more popular following its appearance in the Marvel Cinematic Universe superhero film Avengers: Age of Ultron (2015), in which Tony Stark (Robert Downey Jr.) wears it. Sales of the t-shirt increased substantially following the film's release.[35]
See also
- Media about Bruce Lee
- Bruce Lee (comics)
- Bruce Lee filmography
- Bruce Lee Library
- List of awards and honors received by Bruce Lee
- Jeet Kune Do
References
- Guerrasio, Jason. "Sales for this Bruce Lee DJing shirt in 'Avengers: Age of Ultron' are through the roof". Business Insider. Retrieved May 16, 2022.
External links
- Bruceploitation by Keith Dixon
- Brucesploitation @ The Deuce: Grindhouse Cinema Database
- Clones of Bruce Lee
- Here Come the Kung Fu Clones by Carl Jones
https://en.wikipedia.org/wiki/Bruceploitation
Cannibal films, alternatively known as the cannibal genre or the cannibal boom, are a subgenre of horror films made predominantly by Italian filmmakers during the 1970s and 1980s. This subgenre is a collection of graphically violent movies that usually depict cannibalism by primitive, Stone Age natives deep within the Asian or South American rainforests. While cannibalism is the uniting feature of these films, the general emphasis focuses on various forms of shocking, realistic and graphic violence, typically including torture, rape and genuine cruelty to animals. This subject matter was often used as the main advertising draw of cannibal films in combination with exaggerated or sensational claims regarding the films' reputations.
The genre evolved in the early 1970s from a similar subgenre known as mondo films, exploitation documentaries which claimed to present genuine taboo behaviors from around the world. Umberto Lenzi is often cited as originating the cannibal genre with his 1972 film Man from Deep River, while Antonio Climati's Natura contro from 1988 is similarly regarded to have brought the trend to a close.[1] Ruggero Deodato's Cannibal Holocaust, released in 1980,[2] is often considered to be the best-known film of the genre due to the significant controversy surrounding its release, and is one of the few films of the genre to garner mainstream attention. In recent years, the genre has experienced a cult following and revival, as new productions influenced by the original wave of films have been released.
Due to their graphic content, the films of this subgenre are often the center of controversy, and many have been censored or banned in countries around the world. The animal cruelty featured in many of the films is often the focal point of the controversy, and these scenes have been targeted by certain countries' film boards. Several cannibal films also appeared on the video nasty list released by the Director of Public Prosecutions in 1983 in the United Kingdom. Nonetheless, the genre has occasionally fallen under favorable or more positive critical interpretation, and certain cannibal films have been noted for containing themes of anti-imperialism and critiques or commentary on Third World oppression and exploitation.
Characteristics
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The plots of cannibal films usually involved Western characters entering the Amazon or South East Asian rainforests on an expedition, only to encounter hostile natives on the way to their destination. Other films that are sometimes associated with the genre, such as Cannibal Apocalypse and We're Going to Eat You, do not follow this plotline. The films are known for their lurid content, such as sex, nudity and various forms of graphic violence. Sexual assault, torture, and the on-screen depiction of cannibalism are also common, and these acts are performed by both the Westerners and the natives.
The films' advertising focused on the presentation of this content rather than any critical acclaim. This form of advertising was sometimes accompanied by claims regarding the film's notoriety. For instance, the posters for Cannibal Ferox claimed that the film was banned in 31 countries, while the British home video cover for Eaten Alive! similarly noted that the film was previously banned in the country.
History
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Films containing elements similar to cannibal films existed before the genre's inception. Rainforest adventure films were often found popular in cinema (such as with the Tarzan movies of the 1930s and 1940s starring Johnny Weissmuller). Some of these films even included primitive, and in some cases, alleged cannibal tribes, and could be seen as the prototype for the modern cannibal film. One movie that can almost be definitively linked as the predecessor to the cannibal genre is Cornel Wilde's 1965 film The Naked Prey, which involved a white man being chased by a tribe of natives because his safari group offended their chief.
Another influential film on this genre was the 1970 Richard Harris western A Man Called Horse which, although it involved non-cannibalistic Native Americans, was about a civilized white man being captured by, and forced to live with, a tribe of savages, during which time he comes to respect, and strives to join, his captors. The basic plot of Man from Deep River is an almost scene-for-scene swipe from that film, merely substituting rainforest cannibals for the Native Americans. This film, created to imitate the famous 1970 Richard Harris western, would wind up becoming the template for what would later become the Italian cannibal film genre.
The subgenre as it is known today is usually regarded to have started with Italian director Umberto Lenzi's 1972 film Man from Deep River. It was released in New York City as Sacrifice!, and was a 42nd Street hit.[3] This film inspired several other similar films to be made during the late 1970s, a period identified by genre fans as the "cannibal boom".[4] Included in these films are Ruggero Deodato's 1977 film Ultimo mondo cannibale (a.k.a. Last Cannibal World, a.k.a. Jungle Holocaust), Sergio Martino's 1978 film The Mountain of the Cannibal God and a few films by Joe D'Amato starring Laura Gemser. However, Deodato also claims to be the forefather of the subgenre, with his film Ultimo mondo cannibale. Lenzi said in an interview for Calum Waddell's documentary Eaten Alive! The Rise and Fall of the Italian Cannibal Film:
Well, Mr. Ruggero Deodato, my "dear friend", says that he invented this genre. He says that I copied him because he had done Last Cannibal World and then Cannibal Holocaust. However, it is actually down to me that he did those films. It was down to me because after I filmed Man from Deep River, which was called Mondo Cannibale in Germany and did very well, the producer then signed another contract with the German distributors. It gave them an 80% guarantee based on another cannibal film directed by Umberto Lenzi and starring Me Me Lai and Ivan Rassimov. The producer signed this contract and he was at my house for dinner expecting me to do another film like the one we had just done and telling me how he had sold it to the Germans. I said okay, fine, but as the film did so well, I want to be paid exactly double of what I was given before. He refused, saying it was too much and so on. I said okay, good luck to you. Plus I was already signed up with Dania Film to do Almost Human. So what the producer did, so as not to void the contract with the Germans, was to change directors, stating I was ill or something. But he kept Me Me Lai and Ivan Rassimov. But Rassimov had a smaller part now. Nevertheless, both of them remained as part of this contract. So it was down to me that he [Deodato] got to do Last Cannibal World. It was me that said no. So he did it instead. However, if I had accepted it, like the contract stated, maybe he would never have done a cannibal film.[5]
In response, Deodato, being interviewed for the same film, stated:
I think the forefather of the cannibal genre was me. I had not seen Umberto Lenzi's movie Man from Deep River. So my film, Last Cannibal World, really originated, and was written to start this whole cannibal trend. I studied a lot of books on the subject and documented some of it from National Geographic magazine as well. I also looked closely at the ritualism of cannibalism and I don't believe Lenzi did that with his film. Maybe Lenzi did it after I made Last Cannibal World. You know, when he went on to do Cannibal Ferox [in 1981]. He didn't do it first, that's for sure. When I finally saw his film, it was more of a copy of A Man Called Horse.[5]
A large number of cannibal films were made in 1980, making it the most successful year for the genre. In February 1980, Ruggero Deodato released Cannibal Holocaust, probably the best-known of all the cannibal films. Luigi Cozzi has said: "to me, the real beginning of the cannibal genre is Cannibal Holocaust. It was a legitimate success at the box office, but not in Italy as it was banned, blocked and withheld. They distributed it at a later date, but it was dead by then. However, it did astonishing business abroad."[5] Its graphic and unrelenting violence and exploitation brought it significant attention. Despite this (or perhaps because of this), Cannibal Holocaust was an enormous success; it is sometimes claimed to have accumulated a $200,000,000 USD worldwide box-office gross, though this has not been verified and the true gross may never be known.[6][7] Umberto Lenzi would also contribute to the genre in 1980 with Eaten Alive!, and again in 1981 with the notorious Cannibal Ferox, but by then, however, the genre was beginning to fade, and only a few other obscurities were made until Mondo film director Antonio Climati was considered to have put an end to the genre in 1988 with the film Natura contro, which was also released as an unofficial sequel to Cannibal Holocaust (it has an alternative title of Cannibal Holocaust II). Other similar films were made with a direct-to-video release afterward, most notably the films by horror director Bruno Mattei.
The genre is heavily indebted to mondo cinema, which similarly aimed to shock audiences with exotic customs and graphic violence. A common premise of the cannibal films is that mondo filmmakers (as in Cannibal Holocaust) or anthropologists (as in Cannibal Ferox) from a "civilized" country enter a jungle and run afoul of cannibalistic natives. Ironically, many have an anti-imperialist slant to them, as in the films, the "civilized" Westerners are the first to perpetrate extreme cruelty and violence upon the natives. The cannibals, in turn, reap revenge by inflicting the same form of barbarism on the Westerners. A few are set in modern urban centers with cannibalism practiced secretly, as in Emanuelle and the Last Cannibals and Zombie Holocaust (which was the first film to mix the cannibal genre with the then-popular "zombie film").
Directors
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Several directors of different nationalities have contributed to the genre, but most of them did not make more than one cannibal film each. The major directors to the genre are:
- Ruggero Deodato, with the films Ultimo mondo cannibale and Cannibal Holocaust.
- Umberto Lenzi, with the films Man from Deep River, Eaten Alive!, and Cannibal Ferox.
- Jesús Franco, with the films Mondo Cannibale, Devil Hunter, and Diamonds of Kilimandjaro.
- Joe D'Amato, with the films Emanuelle and the Last Cannibals, Papaya, Love Goddess of the Cannibals, Porno Holocaust and Orgasmo Nero.
Actors
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Like directors, few actors are cannibal genre regulars. The three actors who appeared in the most cannibal films were:
- Robert Kerman in Cannibal Holocaust, Eaten Alive!, and Cannibal Ferox.
- Ivan Rassimov in Man from Deep River, Ultimo mondo cannibale, and Eaten Alive!.
- Me Me Lai in Man from Deep River, Ultimo mondo cannibale, and Eaten Alive!.
Other popular cannibal genre actors include: Laura Gemser, an Indonesian model-turned-actress in Italy; Perry Pirkanen, who played Jack Anders in Cannibal Holocaust and an uncredited role in Cannibal Ferox; Carl Gabriel Yorke, who played Alan Yates in Cannibal Holocaust; Giovanni Lombardo Radice, a mainstream Italian actor whose stage name is John Morghen; and Luigina Rocchi, who played one of the natives who painted Ursula Andress' body in The Mountain of the Cannibal God and an undetermined role in Cannibal Holocaust.
Films by year
| Film | Director | Year | Also known as |
|---|---|---|---|
| Man from Deep River | Umberto Lenzi | 1972 | Il paese del sesso selvaggio / The Country of Savage Sex; Deep River Savages; The Man From Deep River; Sacrifice! |
| Ultimo mondo cannibale | Ruggero Deodato | 1977 | Last Cannibal World; Jungle Holocaust |
| Emanuelle and the Last Cannibals | Joe D'Amato | 1977 | Emanuelle e gli Ultimi Cannibali; Trap Them and Kill Them |
| The Mountain of the Cannibal God | Sergio Martino | 1978 | La montagna del dio cannibale; Slave of the Cannibal God; Prisoner of the Cannibal God |
| Papaya, Love Goddess of the Cannibals | Joe D'Amato | 1978 | Papaya dei Caraibi |
| The Primitive | Sisworo Gautama Putra | 1978 | Primitives; Savage Terror |
| Cannibal Holocaust | Ruggero Deodato | 1980 | Holocausto Canibal |
| Eaten Alive! | Umberto Lenzi | 1980 | Mangiati vivi! |
| Zombie Holocaust | Marino Girolami | 1980 | Zombi Holocaust; Zombie 3; Zombi 3; Queen of the Cannibals; Doctor Butcher, M.D. (Medical Deviate) |
| We're Going to Eat You | Tsui Hark | 1980 | Diyu wu Men |
| Orgasmo Nero | Joe D'Amato | 1980 | Black Orgasm |
| Devil Hunter | Jesus Franco | 1980 | Il cacciatore di uomini / The Man Hunter; Mandingo Manhunter |
| Mondo Cannibale | Jesus Franco | 1980 | Cannibal World; The Cannibals; Cannibals; White Cannibal Queen; Die Blonde Gottin / The Blonde Goddess; A Woman for the Cannibals; Barbarian Goddess |
| Cannibal Terror | Alain Deruelle | 1981 | Terreur Caníbal (contains stock footage from Jesus Franco's Mondo Cannibale) |
| Cannibal Ferox | Umberto Lenzi | 1981 | Make Them Die Slowly; Woman from Deep River |
| Diamonds of Kilamandjaro | Jesus Franco | 1982 | Treasure of the White Goddess |
| Cannibal Love | Joe D'Amato | 1982 |
|
| White Slave | Mario Gariazzo | 1984 | Schiave Bianche: Violenza in Amazzonia / White Slave: Violence in Amazonia; Amazonia: The Catherine Miles Story; Cannibal Holocaust 2: The Catherine Miles Story |
| Cut and Run | Ruggero Deodato | 1985 | Inferno in diretta / Hell...Live!; Amazonia |
| Massacre in Dinosaur Valley | Michele Massimo Tarantini | 1985 | Nudo e Selvaggio / Naked and Savage; Cannibal Ferox 2 |
| Natura contro | Antonio Climati | 1988 | Against Nature; The Green Inferno; Cannibal Holocaust II |
| Ravenous | Antonia Bird | 1999 |
|
| Nella terra dei cannibali | Bruno Mattei | 2004 | In the Land of the Cannibals; Cannibal Ferox 3; Land of Death |
| Mondo cannibale | Bruno Mattei | 2004 | Cannibal World; Cannibal Holocaust 2 |
| Welcome to the Jungle | Jonathan Hensleigh | 2007 | Cannibals |
| Butcher Boys | Duane Graves and Justin Meeks | 2012 | Boneboys |
| The Green Inferno | Eli Roth | 2013 |
|
| Bone Tomahawk[8] | S. Craig Zahler | 2015 |
|
Censorship
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Because of the content, the cannibal genre is one of the most controversial genres of film. Many of the films were once banned in the U.K. and Australia and most were forced to be edited before public display.[citation needed] Several are still banned in countries all around the world.[citation needed] Only three films of the genre (Schiave Bianche: Violenza in Amazzonia, Ultimo mondo cannibale and Zombie Holocaust) have been rated R by the MPAA for the edited version (the R rating for Zombie Holocaust has since been surrendered, and the film is now unrated in the United States).[9][10]
The most controversial aspects of the genre include the real killing of animals and graphic scenes of rape and other sexual violence being present in many cannibal films.
Cannibal Holocaust
The most controversial and most infamous movie of the genre was Cannibal Holocaust. Ten days after the premiere in Milan, the film was seized by Italian authorities and director Ruggero Deodato was arrested on the belief that his film was a real snuff film. Facing life in prison, Deodato was able to bring all the actors onto a television show and demonstrated in court how some of the special effects were accomplished. The charges were dropped, but because of the still extremely explicit content, the courts still banned the film because of the real cruelty towards animals. Deodato was ultimately held on charges of obscenity and animal violence. Four years later, in 1984, Deodato was able to overturn the courts' rulings and the film was unbanned.[11][12] Ironically, that same year, the United Kingdom, Norway, Finland, and Australia banned Cannibal Holocaust; all four have since repealed the ban, though the U.K. version has several minutes of edits.[12] It is sometimes claimed that Cannibal Holocaust is still banned in over 50 countries worldwide, though this can only be verified for a handful of nations. In 2006, Cannibal Holocaust made Entertainment Weekly's Top 25 Most Controversial Movies of All-Time list, landing at number 20.[13]
Video nasty
Several of the films landed on the U.K.'s infamous video nasty list. They are:
- Man from Deep River (1972)[14]
- The Mountain of the Cannibal God (1978) [14]
- Cannibal Holocaust (1980)[14]
- Devil Hunter (1980) [15]
- Cannibal Ferox (1981)[14]
- Cannibal Terror (1981)[16]
See also
References
Citations
- No longer banned in the U.K. and can be shown unedited.
Sources
- Book (French) Les mondes cannibales du cinéma italien ... d'Umberto Lenzi à Ruggero Deodato, Daniel Bastié, ed. Ménadès, 2019. ISBN 978-2960226218
https://en.wikipedia.org/wiki/Cannibal_film
Polygamy (from Late Greek πολυγαμία (polugamía) "state of marriage to many spouses")[1][2][3][4] is the practice of marrying multiple spouses. When a man is married to more than one wife at the same time, sociologists call this polygyny. When a woman is married to more than one husband at a time, it is called polyandry.
https://en.wikipedia.org/wiki/Polygamy
In contrast to polygamy, monogamy is marriage consisting of only two parties. Like "monogamy", the term "polygamy" is often used in a de facto sense, applied regardless of whether a state recognizes the relationship.[note 1] In sociobiology and zoology, researchers use polygamy in a broad sense to mean any form of multiple mating.
https://en.wikipedia.org/wiki/Polygamy
https://en.wikipedia.org/wiki/Comparison
https://en.wikipedia.org/wiki/Difference
| Part of a series on |
| Heraldic achievement |
|---|
| External devices in addition to the central coat of arms |
 Heraldry portal |
In heraldry, cadency is any systematic way to distinguish arms displayed by descendants of the holder of a coat of arms when those family members have not been granted arms in their own right. Cadency is necessary in heraldic systems in which a given design may be owned by only one person at any time, generally the head of the senior line of a particular family.
As an armiger's arms may be used 'by courtesy', either by children or spouses, while they are still living, some form of differencing may be required so as not to confuse them with the original undifferenced or "plain coat" arms. Historically, arms were only heritable by males, and therefore cadency marks had no relevance to daughters; in the modern era, Canadian and Irish heraldry include daughters in cadency.[citation needed]
These differences are formed by adding to the arms small and inconspicuous marks called brisures, similar to charges but smaller. They are typically placed on the fess point (the centre of the field), or in chief (the upper part of the field) in the case of the label.[1] Brisures are generally exempt from the rule of tincture. One of the best examples of usage from the medieval period is shown on the seven Beauchamp cadets in the stained-glass windows of St Mary's Church, Warwick.[1]
https://en.wikipedia.org/wiki/Cadency
| Grindhouse | |
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| Distributed by | Dimension Films |
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Running time | 191 minutes[1] |
| Country | United States |
| Language | English |
| Budget | $53–67 million[2][3][4][5] |
| Box office | $25.4 million[6][a] |
Grindhouse is a 2007 American film written and directed by Robert Rodriguez and Quentin Tarantino. Presented as a double feature, it combines Rodriguez's Planet Terror, a action horror about a group of survivors who battle zombie-like creatures, and Tarantino's Death Proof, a black comedy action thriller about a murderous stuntman who kills young women with modified vehicles.[7][8] The former stars Rose McGowan, Freddy Rodriguez, Michael Biehn, Jeff Fahey, Josh Brolin, and Marley Shelton; the latter stars Kurt Russell, Rosario Dawson, Vanessa Ferlito, Jordan Ladd, Sydney Tamiia Poitier, Tracie Thoms, Mary Elizabeth Winstead, and Zoë Bell. Grindhouse pays homage to exploitation films of the 1970s, with its title deriving from the now-defunct theaters that would show such films. As part of its theatrical presentation, Grindhouse also features fictitious exploitation trailers directed by Rodriguez, Rob Zombie, Edgar Wright, Eli Roth, and Jason Eisener.
The film was released theatrically on April 6, 2007, to positive reviews for its tone, thrills, and tribute to exploitation cinema. However, Grindhouse was a commercial failure, grossing $25.4 million on a $53–67 million budget. Due to underperforming at the domestic box office, Planet Terror and Death Proof were released separately in other countries. Initial home media releases also separated Planet Terror and Death Proof; the theatrical version with both films and the fictitious trailers did not appear on home media until 2010. Despite the box office failure, Rodriguez and Tarantino have expressed interest in a possible sequel due to Grindhouse's positive reviews and successful home media sales. The fake trailers directed by Rodriguez, Eisener, and Roth later became the basis for their feature films Machete, Hobo with a Shotgun, Machete Kills, and Thanksgiving.
Planet Terror
An ordinary evening in a small Texas town becomes a grisly nightmare when a horde of flesh-eating zombies goes on the prowl. Cherry, a go-go dancer, and Wray, her ex-lover, band together with other survivors in a no-holds barred effort to escape the carnage. The odds become a bit more even when Cherry, who lost her leg to a hungry ghoul, gets a machine-gun appendage and lets the bullets fly.
- Cast
- Rose McGowan as Cherry Darling
- Freddy Rodriguez as "El Wray"
- Josh Brolin as Dr. William Block
- Marley Shelton as Dr. Dakota Block
- Jeff Fahey as J.T. Hague
- Michael Biehn as Sheriff Hague
- Rebel Rodriguez as Tony Block
- Bruce Willis as Lieutenant Muldoon
- Naveen Andrews as Dr. John "Abby" Abbington
- Fergie as Tammy Visan
- Tom Savini as Deputy Tolo
- Julio Oscar Mechoso as Romy
- Nicky Katt as Joe
- Michael Parks as Earl McGraw
- Quentin Tarantino as Lewis, Rapist #1
Death Proof
Stuntman Mike is a professional body double who likes to take unsuspecting women for deadly drives in his free time. He has doctored his car for maximum impact; when Mike purposely causes wrecks, the bodies pile up while he walks away with barely a scratch. The insane Mike may be in over his head, though, when he targets a tough group of female friends, including real-life stuntwoman Zoë Bell, who plays herself.
- Cast
- Kurt Russell as Mike "Stuntman Mike" McKay
- Zoë Bell as herself
- Rosario Dawson as Abernathy "Abbie" Ross
- Vanessa Ferlito as Arlene "Butterfly"
- Sydney Tamiia Poitier as Julia "Jungle Julia" Lucai
- Tracie Thoms as Kim Mathis
- Rose McGowan as Pam
- Jordan Ladd as Shanna "Banana"
- Mary Elizabeth Winstead as Lee Montgomery
- Quentin Tarantino as Warren, The Bartender
- Michael Parks as Ranger Earl McGraw
- James Parks as Ranger Edgar McGraw
- Jonathan Loughran as Jasper
Fictitious trailers
Before each segment, trailers advertising fake films are shown, as well as vintage theater snipes and an ad for a fictional restaurant called Acuña Boys. According to Rodriguez, Tarantino had the idea to film fake trailers for Grindhouse. "I didn't even know about it until I read it in the trades. It said something like 'Rodriguez and Tarantino doing a double feature and Tarantino says there's gonna be fake trailers.' And I thought, 'There are?'"[9] Rodriguez and Tarantino had originally planned to make all of the film's fake trailers themselves. According to Rodriguez, "We had so many ideas for trailers. I made Machete. I shot lobby cards and the poster and cut the trailer and sent it to Quentin, and he just flipped out because it looked so vintage and so real. He started showing it around to Eli Roth and to Edgar Wright, and they said, 'Can we do a trailer? We have an idea for a trailer!' We were like, 'Hey, let them shoot it. If we don't get around to shooting ours, we'll put theirs in the movie. If theirs come out really great, we'll put it in the movie to have some variety.' Then Rob Zombie came up to me in October at the Scream Awards and said, 'I have a trailer: Werewolf Women of the SS.' I said, 'Say no more. Go shoot it. You got me.'"[10] Each trailer was shot in two days. While Wright and Roth shot only what ended up on screen, Zombie shot enough footage to work into a half-hour film and was particularly pained to edit it down.[11] Some Canadian screening releases included the South by Southwest-winning trailer Hobo with a Shotgun.[12]
Machete
Rodriguez wrote Machete in 1993 as a full feature for Danny Trejo. "I had cast him in Desperado and I remember thinking, 'Wow, this guy should have his own series of Mexploitation movies like Charles Bronson or like Jean-Claude Van Damme.' So I wrote him this idea of a federale from Mexico who gets hired to do hatchet jobs in the U.S. I had heard sometimes FBI or DEA have a really tough job that they don't want to get their own agents killed on, they'll hire an agent from Mexico to come do the job for $25,000. I thought, 'That's Machete. He would come and do a really dangerous job for a lot of money to him, but for everyone else over here it's peanuts.' But I never got around to making it."[9] Trejo had previously portrayed the character in a supporting capacity in the Spy Kids film series, also directed by Rodriguez. The trailer was made into a feature film, which was released in September 2010; a sequel, Machete Kills, followed in 2013.[13][14]
Werewolf Women of the SS
Rob Zombie's contribution, Werewolf Women of the SS, starred Nicolas Cage as Fu Manchu, Udo Kier as Franz Hess, the commandant of Death Camp 13, Zombie's wife, Sheri Moon Zombie, and Sybil Danning as SS officers/sisters Eva and Gretchen Krupp (the She-Devils of Belzac). Professional wrestlers Andrew "Test" Martin and Oleg "Vladimir Kozlov" Prudius also featured, plus Olja Hrustic, Meriah Nelson, and Lorielle New as the Werewolf Women. According to Zombie, "Basically, I had two ideas. It was either going to be a Nazi movie or a women-in-prison film, and I went with the Nazis. There're all those movies, like Ilsa, She Wolf of the SS, Fräulein Devil, and Love Camp 7—I've always found that to be the most bizarre genre."[9] Zombie is also quoted as saying, "I was getting very conceptual in my own mind with it. ... A lot of times these movies would be made like, 'Well, you know, I've got a whole bunch of Nazi uniforms, but I got this Chinese set, too. We'll put 'em together!' They start jamming things in there, so I took that approach."[11]
Don't
Edgar Wright's contribution, Don't, was produced in the style of a 1970s Hammer House of Horror film trailer.[15] The trailer featured appearances from Jason Isaacs, Matthew Macfadyen, singer Katie Melua, Lee Ingleby, Georgina Chapman, Emily Booth, Stuart Wilson, Lucy Punch, Rafe Spall, Wright regulars Simon Pegg and Nick Frost, and a voice-over by Will Arnett.[11][16] Mark Gatiss, MyAnna Buring, Peter Serafinowicz, Michael Smiley, and Nicola Cunningham (who played the zombie "Mary" in Shaun of the Dead), among others, made uncredited cameo appearances. To get the necessary 1970s look, Wright used vintage lenses and old-style graphics. During editing, he scratched some of the film with steel wool and dragged it around a parking lot to make it appear neglected by wayward projectionists.[11] According to Wright, "In the '70s, when American International would release European horror films, they'd give them snazzier titles. And the one that inspired me was this Jorge Grau film: In the UK, it's called The Living Dead at Manchester Morgue. In Spain and in Italy, I think it's called Do Not Speak Ill of the Dead. But in the States, it was called Don't Open the Window. I just loved the fact that there isn't a big window scene in the film—it's all based around the spin and the voiceover not really telling you what the hell is going on in the film."[9] On the Charlie Rose talk show, Quentin Tarantino also pointed out another aspect of American advertising of British films in the 1970s that was being referenced—none of the actors has any dialogue in the trailer, as if the trailer was intentionally edited to prevent American viewers from realizing that the film is British.[17]
Thanksgiving
Eli Roth's contribution is a promotion for the slasher opus Thanksgiving. Produced in the style of holiday-themed slasher films such as the Canadian horror classic Black Christmas, Halloween, Silent Night, Bloody Night, April Fool's Day, and My Bloody Valentine,[11] the trailer starred Jeff Rendell as a killer who stalks victims while dressed as a Pilgrim; Jordan Ladd, Jay Hernandez, and Roth himself as his intended victims; and Michael Biehn as the Sheriff. The design for the titles in Thanksgiving was based on a Mad magazine slasher parody titled Arbor Day.[9] Excerpts of the score from Creepshow were used in the faux trailer.
According to Roth, "My friend Jeff, who plays the killer Pilgrim – we grew up in Massachusetts, we were huge slasher-movie fans and every November we were waiting for the Thanksgiving slasher movie. We had the whole movie worked out: A kid who's in love with a turkey, and then his father killed it, and then he killed his family and went away to a mental institution and came back and took revenge on the town. I called Jeff and said, 'Dude, guess what, we don't have to make the movie, we can just shoot the best parts.'"[9] "Shooting the trailer was so much fun", Roth has stated, "because every shot is a money shot. Every shot is decapitation or nudity. It's so ridiculous, it's absurd. It's just so wrong and sick that it's right."[11]
Roth's fake trailer contained elements that almost earned Grindhouse an NC-17 rating, including a cheerleader simultaneously stripping, bouncing on a trampoline, and getting stabbed in the vulva, and three decapitations; the first victim dressed as a Pilgrim turkey at a parade gets decapitated and his headless body stumbles around in an exaggerated manner, the second occurs as the victim's girlfriend performs fellatio on him, and the last decapitation occurs on a man while he is being kissed by a female victim. According to Roth, "Instead of seeing it spread out in a feature, watching it all jammed together nonstop makes it more shocking. But we had a great discussion with the ratings board. They got it. Once they saw it with all the bad splices and the distress and scratches they were fine with it."[11] Roth confirmed in an interview with Cinema Blend's Eric Eisenberg that he and co-writer Jeff Rendell are working on a possible feature film.[18] Roth announced in January 2023 that he had left reshoots of the upcoming Borderlands film to work on shooting Thanksgiving, though was still involved with the Borderlands project and had given his replacement Tim Miller his blessing to complete the reshoots.[19] In February 2023, it was announced that Addison Rae will play a lead role in the movie.[20]
Hobo with a Shotgun
Some screenings of Grindhouse (mainly in Canada) also featured a fake trailer for a film titled Hobo with a Shotgun.[12] The trailer, created by Dartmouth, Nova Scotia filmmakers Jason Eisener, John Davies, and Rob Cotterill, won Robert Rodriguez's South by Southwest Grindhouse trailers contest.[21] In the trailer, David Brunt plays a vagabond with a 20-gauge shotgun, who becomes a vigilante. In the trailer, he is shown killing numerous persons, ranging from armed robbers to corrupt cops to a pedophilic Santa Claus.[22] The trailer was available in certain selected movie theaters in the United States and Canada.
In 2010, the trailer was made into a full-length feature film starring Rutger Hauer as the hobo, with Brunt playing a dirty cop.[12][23][24] Hobo with a Shotgun was the second of Grindhouse's fake trailers to be turned into a feature film.[25] The film was released March 25, 2011 in Canada,[26] April 1, 2011 on American video on demand, and May 6, 2011, in U.S. theatres.
History and development
The idea for Grindhouse came to Robert Rodriguez and Quentin Tarantino when Tarantino set up screenings of double features in his house, complete with trailers before and in between the films. During one screening in 2003, Rodriguez noticed that he owned the same double-feature movie poster as Tarantino for the 1957 films Dragstrip Girl and Rock All Night.[27] Rodriguez asked Tarantino, "I always wanted to do a double feature. Hey, why don't you direct one and I'll do the other?" Tarantino quickly replied, "And we've got to call it Grindhouse!"[3]
The film's name originates from the American term for theaters that played "all the exploitation genres: kung fu, horror, giallo, sexploitation, the 'good old boy' redneck car-chase movies, blaxploitation, spaghetti Westerns—all those risible genres that were released in the 70s."[9] According to Rodriguez, "The posters were much better than the movies, but we're actually making something that lives up to the posters."[10]
Rodriguez first came up with the idea for Planet Terror during the production of The Faculty: "I remember telling Elijah Wood and Josh Hartnett, all these young actors, that zombie movies were dead and hadn't been around in a while, but that I thought they were going to come back in a big way because they’d been gone for so long. I said, 'We've got to be there first.' I had [a script] I’d started writing. It was about 30 pages, and I said to them, 'There are characters for all of you to play.' We got all excited about it, and then I didn't know where to go with it. The introduction was about as far as I'd gotten, and then I got onto other movies. Sure enough, the zombie [movie] invasion happened and they all came back again, and I was like, 'Ah, I knew that I should've made my zombie film.'" The story was approached again when Tarantino and Rodriguez developed the idea for Grindhouse.[10]
As Planet Terror took shape, Tarantino developed the story for Death Proof, based on his fascination for the way stuntmen would "death-proof" their cars. As long as they were driving, stuntmen could slam their cars headfirst into a brick wall at 60 mph (100 km/h) and survive. This inspired Tarantino to create a slasher film featuring a deranged stuntman who stalks and murders sexy young women with his "death-proof" car.[10] Tarantino remembers, "I realized I couldn't do a straight slasher film, because with the exception of women-in-prison films, there is no other genre quite as rigid. And if you break that up, you aren't really doing it anymore. It's inorganic, so I realized—let me take the structure of a slasher film and just do what I do. My version is going to be fucked up and disjointed, but it seemingly uses the structure of a slasher film, hopefully against you."[9]
According to Rodriguez, "[Tarantino] had an idea and a complete vision for it right away when he first talked about it. He started to tell me the story and said, 'It's got this death-proof car in it.' I said, 'You have to call it Death Proof.' I helped title the movie, but that's it."[10] Of the car chases, Tarantino stated, "CGI for car stunts doesn't make any sense to me—how is that supposed to be impressive? ... I don't think there have been any good car chases since I started making films in '92—to me, the last terrific car chase was in Terminator 2. And Final Destination 2 had a magnificent car action piece. In between that, not a lot. Every time a stunt happens, there's twelve cameras and they use every angle for Avid editing, but I don't feel it in my stomach. It's just action."[9]
Production
Direction
According to actress Marley Shelton, "Rodriguez and Tarantino really co-directed, at least Planet Terror. Quentin was on set a lot. He had notes and adjustments to our performances and he changed lines every once in a while. Of course, he always deferred to Robert on Planet Terror and vice versa for Death Proof. So it's really both of their brainchild."[28] Tarantino has stated, "I can't imagine doing Grindhouse with any other director in the way me and Robert did it because I just had complete faith and trust in him. So much so that we didn't actually see each other's movie completed until three weeks before the film opened. It was as if we worked in little vacuums and cut our movies down, and then put them together and watched it all play, and then made a couple of little changes after that, and pretty much that was it."[27]
Casting
Many of the cast members had previously worked with both directors. Before appearing in Grindhouse, Marley Shelton had auditioned for The Faculty, but Rodriguez chose not to cast her. She was eventually cast in the role of a customer in the opening sequence of Sin City.[28] Bruce Willis had appeared in both Tarantino's Pulp Fiction and Rodriguez's Sin City, in addition to having a cameo appearance in a segment Tarantino directed for the anthology film Four Rooms. Tom Savini had previously acted in From Dusk Till Dawn, which was written by Tarantino and directed by Rodriguez. Michael Parks reprises the role of Texas Ranger Earl McGraw in Planet Terror and Death Proof. Parks first portrayed the role in From Dusk Till Dawn. His son, James, appears in Death Proof as Edgar McGraw, a character that first appeared in From Dusk Till Dawn 2: Texas Blood Money. The first time the two characters appeared together was in Tarantino's Kill Bill. Tarantino himself plays small roles in both segments of Grindhouse, and director Eli Roth, who contributed the fake trailer Thanksgiving and whose film Hostel was produced by Tarantino, has a cameo in Death Proof.
Tarantino attempted to cast both Kal Penn[29] and Sylvester Stallone[30] in Death Proof, but both were unable to work due to prior commitments. In an interview, Tarantino revealed that he decided to cast Kurt Russell as the killer stunt driver because "for people of my generation, he's a true hero ... but now, there's a whole audience out there that doesn't know what Kurt Russell can do. When I open the newspaper and see an ad that says 'Kurt Russell in Dreamer,' or 'Kurt Russell in Miracle,' I'm not disparaging these movies, but I'm thinking: When is Kurt Russell going to be a badass again?"[3]
Rodriguez later revealed that he cast Rose McGowan as Cherry Darling in response to McGowan's blacklisting from the productions of The Weinstein Company (then the parent company of Grindhouse's distributor Dimension Films) following Harvey Weinstein's alleged sexual assault of her.[31]
Cinematography
Rodriguez and Tarantino each acted as cinematographer on their segments. Although Rodriguez had previously worked as the cinematographer on six of his own feature films, Death Proof marked Tarantino's first credit as a cinematographer. The director of photography for Rob Zombie's fake trailer Werewolf Women of the SS was Phil Parmet, with whom Zombie had first worked on The Devil's Rejects. The director of photography for Eli Roth's fake trailer Thanksgiving was Milan Chadima, with whom Roth had previously worked on Hostel.[citation needed]
Special effects
Though set in the modern day, the film uses various unconventional techniques to make the films look like those that were shown in grindhouse theaters in the 1970s. Throughout both feature-length segments and the fake trailers, the film is intentionally damaged to make it look like many of the exploitation films of the 1970s, which were generally shipped around from theater to theater and usually ended up in bad shape. To reproduce the look of damaged film reels in Planet Terror, five of the six 25,000-frame reels were edited with real film damage, plug-ins, and stock footage.[32]
Planet Terror makes heavy use of digital effects throughout the film. Perhaps the most notable effect is Cherry's (Rose McGowan) fake leg. To accomplish the fake leg that Cherry sports after her accident, during post-production, the effects teams digitally removed McGowan's right leg from the shots and replaced it with computer-generated props—first a table leg and then an M16 rifle. During shooting for these scenes, McGowan wore a special cast which restricted her leg movement to give her the correct motion, and helped the effects artists to digitally remove it during post-production.[32]
Editing
During editing, Tarantino and Rodriguez came up with the idea of inserting "missing reels" into the film. "[Quentin] was about to show an Italian crime movie with Oliver Reed", Rodriguez recalls, "and he was saying, 'Oh, it's got a missing reel in it. But it's really interesting because after the missing reel, you don't know if he slept with a girl or he didn't because she says he did and he says that he didn't. It leaves you guessing, and the movie still works with 20 minutes gone out of it.' I thought, 'Oh, my God, that's what we’ve got to do. We've got to have a missing reel!' I'm going to use it in a way where it actually says 'missing reel' for 10 seconds, and then when we come back, you're arriving in the third act. ... The late second acts in movies are usually the most predictable and the most boring, that's where the good guy really turns out to be the bad guy, and the bad guy is really good, and the couple becomes friends. Suddenly, though, in the third act, all bets are off and it's a whole new story anyway."[10]
On the editing of Death Proof, Tarantino stated, "There is half-an-hour's difference between my Death Proof and what is playing in Grindhouse. ... I was like a brutish American exploitation distributor who cut the movie down almost to the point of incoherence. I cut it down to the bone and took all the fat off it to see if it could still exist, and it worked."[27] An extended, 127-minute version of Death Proof was screened in competition for the Palme d'Or at the 60th Cannes Film Festival.[27][33][34] Tarantino is quoted as saying, "It works great as a double feature, but I'm just as excited if not more excited about actually having the world see Death Proof unfiltered. ... It will be the first time everyone sees Death Proof by itself, including me."[27]
Grindhouse is rated R in the United States for "strong graphic bloody violence and gore, pervasive language, some sexuality, nudity, and drug use". On March 15, 2007, The New York Post reported that the film would possibly require heavy and extensive cuts to avoid an NC-17 rating.[35] Shortly after, the film officially received an R-rating from the MPAA. Ain't It Cool News reported that according to Tarantino, only minimal cuts were made which ended up totaling 20 seconds.[36]
Soundtrack influences
The music for Planet Terror was composed by Rodriguez. Inspiration for his score came from John Carpenter, whose music was often played on set.[37] A cover version of the Dead Kennedys' "Too Drunk to Fuck" performed by Nouvelle Vague was also featured. The soundtrack for Death Proof consists entirely of nonoriginal music, including excerpts from the scores of other films. Soundtrack albums for both segments were released on April 3, 2007.
Reception
Box office
Grindhouse performed poorly at the box office,[38] surprising box-office analysts and fans alike given the strong reviews and favorable media buzz.[39] Costing $53 million to produce,[2][3] Grindhouse opened poorly with "a disappointing $11.5 million" in the United States,[38][40] making a per-theater average of $4,417; box office analysts originally predicted an opening weekend total of at least $20–$30 million.[41][42]
The opening weekend box-office total stood below not only the second weekends of Blades of Glory and Meet the Robinsons, but also fell below the opening weekend gross of the poorly reviewed Are We Done Yet?. In an attempt to explain the film's disappointing opening weekend, box-office analyst Brandon Gray suggested that Grindhouse "suffered the usual horror comedy dilemma that afflicted Snakes on a Plane and Slither, among others - too funny to be scary, too scary to be funny."[38] Box-office analyst Lee Tistaert of tracking website Lee's Movie Info compared the result with what may have happened if Tarantino's Kill Bill saga had been released as one film, instead of two separate volumes. "Is it possible that Tarantino got his wish this time as a result of two back-to-back $60 million grosses?" he asked. Others attributed the film's disappointing opening to the timing of Easter weekend, noting that the weekend is more tailored for family-oriented films or light comedy, not exploitative horror films.[43] The film's length—running more than three hours—also hurt, keeping away casual theater-goers and limiting the number of screenings that could be held in a day.
Quentin Tarantino was quoted as saying about the film's box-office results, "It was disappointing, yeah. But the movie worked with the audience. ... People who saw it loved it and applauded. ... I'm proud of my flop."[27] Harvey Weinstein said that he was so "incredibly disappointed" with the film's opening weekend that he was considering re-releasing it as two separate films and possibly adding back the "missing" scenes.[44] The film altogether earned $25,422,088 in ticket sales.[6] Grindhouse was separated and released internationally: Death Proof grossed $30,663,961,[45] while Planet Terror grossed $10,871,224,[46] bringing Grindhouse's total gross to $67 million.
In 2017, Rodriguez told Variety that he thinks Weinstein "buried" the film, due to the director's decision to cast Rose McGowan in Planet Terror. The actress had previously accused Weinstein of raping her.[47]
In 2020, Tarantino said he considers Grindhouse his most misunderstood film:
“With Grindhouse, I think me and Robert just felt that people had a little more of a concept of the history of double features and exploitation movies. No, they didn’t. At all. They had no idea what the fuck they were watching. It meant nothing to them, alright, what we were doing. So that was a case of being a little too cool for school.“[48]
Critical reception
Grindhouse was well-received by critics; review aggregator website Rotten Tomatoes reported that 84% of critics gave the film a positive review based on a sample of 195 reviews, with an average score of 7.38/10. The site's consensus reads, "Grindhouse delivers exhilarating exploitation fare with wit and panache, improving upon its source material with feral intelligence."[49] At the website Metacritic, which utilizes a weighted average rating system, the film earned a favorable rating of 77/100 based on 36 reviews by mainstream critics.[50] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[51]
Entertainment Weekly awarded the film a "B+" rating, praising it as a "crazily funny and exciting tribute to the grimy glory days of 1970s exploitation films" that "will leave you laughing, gasping, thrilled at a movie that knows, at long last, how to put the bad back in badass."[52] Peter Travers of Rolling Stone gave the film a positive review, commenting, "by stooping low without selling out, this babes-and-bullets tour de force gets you high on movies again."[53] Critic James Berardinelli also enjoyed the film, but was not as positive as other critics. Awarding the film three stars (out of four), Berardinelli found the film to be "cinema as an expression of pulp with attitude ... [Rodriguez and Tarantino] are speaking from the hearts ... but that doesn't mean everyone sitting in the theater will get it."[54]
The critics who did not like the film were not amused by the film's graphic and comical violence, with Larry Ratliff of San Antonio Express-News noting, "this ambitious, scratched, and weathered venture never manages a real death grip on the senses."[55] Mick LaSalle of the San Francisco Chronicle awarded the film a high rating, but noted, "the Rodriguez segment is terrific; the Tarantino one long-winded and juvenile."[56] Others considered Death Proof to be a deeper and more noteworthy segment. Critic A. O. Scott of The New York Times noted, "[a]t a certain point in Death Proof, the scratches and bad splices disappear, and you find yourself watching not an arch, clever pastiche of old movies and movie theaters, but an actual movie."[57] Chicago Sun-Times critic Roger Ebert was divided. He gave Grindhouse as a whole two and a half stars out of four, awarding Planet Terror two stars and Death Proof three stars. Ebert also noted the irony of grindhouse films largely being superseded by many big-budget, R-rated, mainstream films that included a great deal of nudity and graphic violence.[58]
Critics generally enjoyed the fake trailers. Geoff Pevere of the Toronto Star wrote that the use of the trailers helps the film establish "its credibility as both mock-artifact and geeky fetish object even before the opening feature."[59] Todd McCarthy of Variety claimed that the trailers were "excellent candidates for exploitation immortality".[60] Jeff Vice of Deseret News, who gave the feature films negative reviews, called the trailers "the strongest aspect of the entire presentation".[61] Maitland McDonagh of TV Guide added, "With the exception of Werewolf Women, which tries a little too hard, they're all spot-on pastiches."[62]
The double feature appeared at number six on Jack Mathews and Owen Gleiberman's respective top-10 lists for New York Daily News and Entertainment Weekly, and at number seven on Stephanie Zacharek's list for Salon. Marc Savlov listed Death Proof at number 10 on his list for The Austin Chronicle.[63]
Release
Theatrical
Outside the US and Canada, Planet Terror and Death Proof were released separately in extended versions, about two months apart.[64] The poster artwork for each film's release in the Netherlands claimed that Death Proof would feature "coming attractions" from Rodriguez, while Planet Terror would feature "coming attractions" from Tarantino. While the separated version of Planet Terror includes the Machete trailer, none of the other fake trailers was included when the features were released individually.[65][66]
In reaction to the possibility of a split in a foreign release, Tarantino stated, "Especially if they were dealing with non-English language countries, they don't really have this tradition ... not only do they not really know what a grindhouse is, they don't even have the double-feature tradition. So you are kind of trying to teach us something else."[67] Many European fans saw the split as an attempt to increase profits by forcing audiences to pay twice for what was shown as a single film in the United States.[68]
In the United Kingdom, Death Proof was released on September 21, 2007.[69] The release of Planet Terror followed on November 9 with an eventual, theatrical, limited run of the entire Grindhouse feature the following year. Death Proof was screened in Europe in the extended version that was presented in competition at the Cannes film festival. The additional material includes scenes that were replaced in the American theatrical release version with a "missing reel" title card, such as the lap dance scene. A total of about 27 minutes was added for this version.[70] In Australia, the edited version of Death Proof was first screened on November 1, 2007, as a separate film. However, from January 17, 2008, Grindhouse had limited screenings.[71] In April 2008, Grindhouse was screened by Dendy Cinemas in one venue at a time across the country, through the use of a traveling 35 mm reel.[72] In South America, Planet Terror was released in January 2010, while Death Proof was released in July 2010 at least in Brazil.[73]
Home media
Death Proof and Planet Terror were released separately on DVD in the United States. The trailers were omitted from Death Proof, with the exception of Machete which was from Planet Terror. Death Proof was released on September 18, 2007, with Planet Terror following on October 16, 2007. Both were two-disc special editions featuring extended versions of the films.[74][75] Robert Rodriguez stated in his 10-Minute Film School that a box set of the two films would be available soon, and that his 10-Minute Cook School would appear on it.[76] This release would also reportedly include Hobo with a Shotgun.[77] A six-DVD edition of the film was released on March 21, 2008, in Japan, featuring the films in both their individual extended versions and in the abridged double feature presentation along with previously-unreleased special features.[78]
Planet Terror and Death Proof were released individually on Blu-ray Disc on December 16, 2008, in North America. The Blu-ray edition of Planet Terror also contained a "scratch-free" version of the film that removed much of the damage effects,[79] while the Blu-ray edition of Death Proof only contained the "damaged" version of the film.[80] The theatrical version of Grindhouse was released on Region 2 DVD and the stand-alone version of Death Proof HD DVD was released in Germany on December 31, 2009.[81]
A two-disc Blu-ray "Special Edition" of Grindhouse was released on October 5, 2010, in the US by Vivendi Entertainment and has exclusive bonus features.[82] This release marked the first time that US viewers could view the full Grindhouse "Double Feature Presentation" experience at home as it was originally released in theaters. The first disc of the 2-disc set contains Death Proof and Planet Terror, along with the faux trailers, including the "trailer" for Machete. The theatrical cut was released on DVD in Canada from Alliance Atlantis. All of the extras from the previous individual DVD releases were included, however none of the extras from the Special Edition Blu-ray were included.
Bill Moseley stated at FanExpo on August 27, 2010, that the Blu-ray would also include a 5-minute version of Werewolf Women of the SS.
Future
In 2010, Rodriguez wrote and co-directed a feature-length adaptation of his fake trailer, Machete. Many of the original actors from the trailer returned to their roles for it, including Danny Trejo in the title role.[83] Machete screened September 1 at the Venice Film Festival and was released across cinemas in the US on September 3, 2010. It proved to be more of a success at the box office than Grindhouse, grossing $44 million internationally against a just-over $10 million budget.[84] Two sequels were announced at the end of the film, which Rodriguez confirmed were scheduled to be filmed. Machete Kills, the second film, was released in 2013, but was unable to match the critical and commercial success of its predecessor. In 2015, Trejo said filming was scheduled to begin on Machete Kills Again... In Space, the planned third film, but no updates on the project have been made since.[85]
A trailer that played in some theaters in the United States and Canada, Hobo with a Shotgun, was also adapted into a feature. Rutger Hauer replaced Dave Brunt as the eponymous character, although Brunt makes a cameo as a corrupt cop.
Many of the other fake-trailer directors have expressed interest in making their trailers into real films, including Edgar Wright and Eli Roth.[86][87]
Both Rodriguez and Tarantino have said that they are interested in making a sequel to Grindhouse.[88] Tarantino said that he wants to shoot an "old-school Kung Fu movie in Mandarin with subtitles in some countries, and release a shorter, dubbed cut in others" for his segment.[89] It has also been reported by Rotten Tomatoes that Edgar Wright may expand Don't into a feature film.[90] According to Eli Roth, Wright and he have discussed the possibility of pairing Don't with Thanksgiving for a Grindhouse sequel. Roth is quoted as saying "We're talking to Dimension about it. I think they're still trying to figure out Grindhouse 1 before we think about Grindhouse 2, but I've already been working on the outline for it and I would do it in a heartbeat."[91]
Electra and Elise Avellan, Rodriguez's nieces, who play the Crazy Babysitter Twins in both films, originally stated their uncle wanted to do a sequel featuring both Machete and The Babysitter Twins, but the latter concept did not materialize with the former's release.[92] "Robert mentioned something about the end of the world and Hollywood action films, where we'd be trained in Mexico to come back here and fight", Electra Avellan told Bloody Disgusting.[93]
In February 2023, it was announced that a feature film based on Roth's Thanksgiving trailer was in the works from Spyglass Media Group, which owns the Weinstein Company library, with Roth directing from a script by Jeff Rendell and Roger Birnbaum and Roth producing. Addison Rae and Patrick Dempsey are currently attached to star in the film.[94][95] In March 2023, TriStar Pictures acquired the film for distribution and joined production as co-producer with Spyglass and Cream Productions.[96]
See also
- Movie Movie (1978)
Notes
- This number only counts the amount grossed when the two films were released collectively as a double bill.
References
{{cite web}}: |last= has generic name (help)
- Kroll, Justin (March 9, 2023). "TriStar Pictures Lands 'Thanksgiving', Inspired By Eli Roth's Legendary Fake 'Grindhouse' Trailer". Deadline Hollywood. Retrieved March 10, 2023.
Further reading
- Church, David. Grindhouse Nostalgia: Memory, Home Video, and Exploitation Film Fandom. Edinburgh University Press, 2015.
- Tarantino, Quentin and Rodriguez, Robert. Grindhouse: The Sleaze-filled Saga of an Exploitation Double Feature. Weinstein Books, 2007. ISBN 1-60286-014-9. The book includes forewords by both directors, interviews, a history of grind houses, and behind-the-scenes information about the production of the film, such as the soundtrack from director John Carpenter. In addition, the book also includes the complete scripts for Planet Terror and the faux trailers Machete and Thanksgiving.
- Tarantino, Quentin. Death Proof: A Screenplay. Weinstein Books, 2007. ISBN 1-60286-009-2.
External links
Media from Commons
Quotations from Wikiquote
Data from Wikidata
- Grindhouse at IMDb
- Grindhouse at AllMovie
- Grindhouse at Box Office Mojo
- Grindhouse at Rotten Tomatoes
- Grindhouse at Metacritic
| Films | |
|---|---|
| Soundtracks | |
| Characters | |
- 2007 films
- Grindhouse (film)
- 2007 horror films
- 2007 action thriller films
- American action thriller films
- 2000s Spanish-language films
- Films about cannibalism
- American action horror films
- American comedy horror films
- American anthology films
- Apocalyptic films
- 2000s chase films
- 2000s serial killer films
- American serial killer films
- Thanksgiving horror films
- American zombie films
- Troublemaker Studios films
- Films scored by Tyler Bates
- Films scored by David Arnold
- Films scored by Graeme Revell
- Films scored by Robert Rodriguez
- Films scored by Nathan Barr
- Films directed by Robert Rodriguez
- Films directed by Eli Roth
- Films directed by Quentin Tarantino
- Films directed by Edgar Wright
- Films directed by Rob Zombie
- Films produced by Elizabeth Avellán
- Films produced by Rob Zombie
- Films produced by Robert Rodriguez
- Films set in Massachusetts
- Films set in Texas
- Films with screenplays by Rob Zombie
- Films with screenplays by Robert Rodriguez
- Films with screenplays by Eli Roth
- Films with screenplays by Quentin Tarantino
- American splatter films
- Dimension Films films
- The Weinstein Company films
- 2000s exploitation films
- Nazi zombie films
- 2000s English-language films
- Films produced by Quentin Tarantino
- 2000s American films
https://en.wikipedia.org/wiki/Grindhouse_(film)
Category:Nazi zombie films
Films about Nazi zombies.These typically have forces of the Axis powers, consisting of undead zombie Nazi soldiers fighting for the Third Reich, or the Fourth Reich.
Pages in category "Nazi zombie films"
The following 36 pages are in this category, out of 36 total. This list may not reflect recent changes.
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https://en.wikipedia.org/wiki/Category:Nazi_zombie_films
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| Directed by | Ken Wiederhorn |
| Screenplay by |
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| Produced by | Reuben Trane[1] |
| Starring |
|
| Cinematography | Reuben Trane[1] |
| Edited by | Norman Gay[1] |
| Music by | Richard Einhorn[1] |
Production companies |
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| Distributed by | Joseph Brenner Associates[1] |
Release date |
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Running time | 86 minutes[1] |
| Country | United States[1] |
| Language | English |
Shock Waves is a 1977 American horror film written and directed by Ken Wiederhorn. The film is about a group of tourists who encounter aquatic Nazi zombies when they become shipwrecked. It stars Peter Cushing as a former SS commander, Brooke Adams as a tourist, and John Carradine as the captain of the tourists' boat.
https://en.wikipedia.org/wiki/Shock_Waves_(film)
| War of the Dead | |
|---|---|
 Pre-release poster as Stone's War | |
| Directed by | Marko Mäkilaakso |
| Starring | Andrew Tiernan Mikko Leppilampi |
| Music by | Neal Acree, Joel Goldsmith |
Release date | Canada
|
Running time | 85 min.[1] |
| Countries | United States Lithuania Italy [1] |
| Language | English |
| Budget | €1.3 million |
War of the Dead (also known as Stone's War) is a 2011 action horror film written and directed by Marko Mäkilaakso and starring Andrew Tiernan, Mikko Leppilampi, Jouko Ahola, Samuli Vauramo, Andreas Wilson, Mark Wingett, and Antti Reini.
https://en.wikipedia.org/wiki/War_of_the_Dead
| Worst Case Scenario | |
|---|---|
 Theatrical poster | |
| Directed by | Richard Raaphorst[1] |
| Written by | Miguel Tejeda Flores[2] Bart Oosterhoorn |
| Produced by | Bart Oosterhoorn[3] Fir Suidema Lars Björck Jack F. Murphy |
| Starring | Jaap van Otterlo Joost Ivangh |
| Narrated by | Brian Yuzna[4] |
| Edited by | Jan Doense |
| Music by | Bong-Ra J.G. Thirlwell |
| Distributed by | Gorehound Canned Film |
Release date | 30 January 2008 (Promo) |
| Country | Netherlands |
| Language | Dutch |
| Budget | €6,000[5][1] |
Worst Case Scenario was a 2009 comedy horror film to be directed by Dutch director Richard Raaphorst.[6] It was never completed.
https://en.wikipedia.org/wiki/Worst_Case_Scenario_(film)
Cannibalism is the act of consuming another individual of the same species as food. Cannibalism is a common ecological interaction in the animal kingdom and has been recorded in more than 1,500 species.[1] Human cannibalism is well documented, both in ancient and in recent times.[2]
The rate of cannibalism increases in nutritionally poor environments as individuals turn to members of their own species as an additional food source.[3] Cannibalism regulates population numbers, whereby resources such as food, shelter and territory become more readily available with the decrease of potential competition. Although it may benefit the individual, it has been shown that the presence of cannibalism decreases the expected survival rate of the whole population and increases the risk of consuming a relative.[3] Other negative effects may include the increased risk of pathogen transmission as the encounter rate of hosts increases.[4] Cannibalism, however, does not—as once believed—occur only as a result of extreme food shortage or of artificial/unnatural conditions, but may also occur under natural conditions in a variety of species.[1][5][6]
Cannibalism is prevalent in aquatic ecosystems, in which up to approximately 90% of the organisms[vague] engage in cannibalistic activity at some point in their life-cycle.[vague][7] Cannibalism is not restricted to carnivorous species: it also occurs in herbivores and in detritivores.[vague][5] Sexual cannibalism normally involves the consumption of the male by the female individual before, during or after copulation.[3] Other forms of cannibalism include size-structured cannibalism and intrauterine cannibalism.
Behavioral, physiological and morphological adaptations have evolved to decrease the rate of cannibalism in individual species.[3]
https://en.wikipedia.org/wiki/Cannibalism
https://en.wikipedia.org/wiki/neoteny
https://en.wikipedia.org/wiki/witch
https://en.wikipedia.org/wiki/which
https://en.wikipedia.org/wiki/morpheus
https://en.wikipedia.org/wiki/levitation
https://en.wikipedia.org/wiki/hag
https://en.wikipedia.org/wiki/vortex_plane
https://en.wikipedia.org/wiki/cloak-mirror
https://en.wikipedia.org/wiki/voice-of-universe
https://en.wikipedia.org/wiki/halloween
https://en.wikipedia.org/wiki/resurrection_undead_spirit
https://en.wikipedia.org/wiki/witch-doctor
https://en.wikipedia.org/wiki/elixir-of-life-pandemic-panacea-afterlife-hell
https://en.wikipedia.org/wiki/sorcery-stone-philosohers-stone-magic-gem
https://en.wikipedia.org/wiki/talisman
https://en.wikipedia.org/wiki/mir-sabre-talan-etc.
Human cannibalism is the act or practice of humans eating the flesh or internal organs of other human beings. A person who practices cannibalism is called a cannibal.
https://en.wikipedia.org/wiki/Human_cannibalism
https://en.wikipedia.org/wiki/fine_arts_famine_etc.
https://en.wikipedia.org/wiki/Alcohol_(chemistry)
https://en.wikipedia.org/wiki/List_of_famines
https://en.wikipedia.org/wiki/Fractional_distillation
| Zombies |
|---|
|
| In media |
A zombie (Haitian French: zombi, Haitian Creole: zonbi) is a mythological undead corporeal revenant created through the reanimation of a corpse. Zombies are most commonly found in horror and fantasy genre works. The term comes from Haitian folklore, in which a zombie is a dead body reanimated through various methods, most commonly magic like voodoo. Modern media depictions of the reanimation of the dead often do not involve magic but rather science fictional methods such as carriers, fungi, radiation, mental diseases, vectors, pathogens, parasites, scientific accidents, etc.[1][2]
The English word "zombie" was first recorded in 1819, in a history of Brazil by the poet Robert Southey, in the form of "zombi".[3] The Oxford English Dictionary gives the word's origin as Central African and compares it to the Kongo words nzambi (god) and zumbi or nzumbi (fetish). Some authors also compare it to the Kongo word vumbi (mvumbi) (ghost, revenant, corpse that still retains the soul), (nvumbi) (body without a soul).[4][5] A Kimbundu-to-Portuguese dictionary from 1903 defines the related word nzumbi as soul,[6]
while a later Kimbundu–Portuguese dictionary defines it as being a
"spirit that is supposed to wander the earth to torment the living".[7] One of the first books to expose Western culture to the concept of the voodoo zombie was W. B. Seabrook's The Magic Island (1929), the account of a narrator who encounters voodoo cults in Haiti and their resurrected thralls.
https://en.wikipedia.org/wiki/Zombie
The "zombie apocalypse" concept, in which the civilized world is brought low by a global zombie infestation, has since become a staple of modern popular art, seen in such media as The Walking Dead franchise.
https://en.wikipedia.org/wiki/Zombie
Military
Biological sensors
Nanotechnology can improve the military’s ability to detect biological agents. By using nanotechnology, the military would be able to create sensor systems that could detect biological agents.[8] The sensor systems are already well developed and will be one of the first forms of nanotechnology that the military will start to use.[9]
Uniform material
Nanoparticles can be injected into the material on soldiers’ uniforms to not only make the material more durable, but also to protect soldiers from many different dangers such as high temperatures, impacts and chemicals.[8] The nanoparticles in the material protect soldiers from these dangers by grouping together when something strikes the armor and stiffening the area of impact. This stiffness helps lessen the impact of whatever hit the armor, whether it was extreme heat or a blunt force. By reducing the force of the impact, the nanoparticles protect the soldier wearing the uniform from any injury the impact could have caused.
Another way nanotechnology can improve soldiers’ uniforms is by creating a better form of camouflage. Mobile pigment nanoparticles injected into the material can produce a better form of camouflage.[10] These mobile pigment particles would be able to change the color of the uniforms depending upon the area that the soldiers are in. There is still much research being done on this self-changing camouflage.
Nanotechnology can improve thermal camouflage. Thermal camouflage helps protect soldiers from people who are using night vision technology. Surfaces of many different military items can be designed in a way that electromagnetic radiation can help lower the infrared signatures of the object that the surface is on.[10] Surfaces of soldiers’ uniforms and surfaces of military vehicle are a few surfaces that can be designed in this way. By lowering the infrared signature of both the soldiers and the military vehicles the soldiers are using, it will provide better protection from infrared guided weapons or infrared surveillance sensors.
Communication method
There is a way to use nanoparticles to create coated polymer threads that can be woven into soldiers’ uniforms.[11] These polymer threads could be used as a form of communication between the soldiers. The system of threads in the uniforms could be set to different light wavelengths, eliminating the ability for anyone else to listen in.[11] This would lower the risk of having anything intercepted by unwanted listeners.
Medical system
A medical surveillance system for soldiers to wear can be made using nanotechnology. This system would be able to watch over their health and stress levels. The systems would be able to react to medical situations by releasing drugs or compressing wounds as necessary.[10] This means that if the system detected an injury that was bleeding, it would be able to compress around the wound until further medical treatment could be received. The system would also be able to release drugs into the soldier’s body for health reasons, such as pain killers for an injury. The system would be able to inform the medics at base of the soldier’s health status at all times that the soldier is wearing the system. The energy needed to communicate this information back to base would be produced through the soldier’s body movements.[10]
Weapons
Nanoweapon is the name given to military technology currently under development which seeks to exploit the power of nanotechnology in the modern battlefield.[12][13][14]
Risks in military
- People such as state agencies, criminals and enterprises could use nano-robots to eavesdrop on conversations held in private.[10]
- Grey goo: an uncontrollable, self-replicating nano-machine or robot.
- Nanoparticles used in different military materials could potentially be a hazard to the soldiers that are wearing the material, if the material is allowed to get worn out. As the uniforms wear down it is possible for nanomaterial to break off and enter the soldiers’ bodies.[15] Having nanoparticles entering the soldiers’ bodies would be very unhealthy and could seriously harm them. There is not a lot of information on what the actual damage to the soldiers would be, but there have been studies on the effect of nanoparticles entering a fish through its skin. The studies showed that the different fish in the study suffered from varying degrees of brain damage. Although brain damage would be a serious negative effect, the studies also say that the results cannot be taken as an accurate example of what would happen to soldiers if nanoparticles entered their bodies.[16] There are very strict regulations on the scientists that manufacture products with nanoparticles. With these strict regulations, they are able to largely decrease the danger of nanoparticles wearing off of materials and entering the soldiers’ systems.[17]
Catalysis
Chemical catalysis benefits especially from nanoparticles, due to the extremely large surface-to-volume ratio. The application potential of nanoparticles in catalysis ranges from fuel cell to catalytic converters and photocatalytic devices. Catalysis is also important for the production of chemicals. For example, nanoparticles with a distinct chemical surrounding (ligands), or specific optical properties.[citation needed]
Platinum nanoparticles are being considered in the next generation of automotive catalytic converters because the very high surface area of nanoparticles could reduce the amount of platinum required.[18] However, some concerns have been raised due to experiments demonstrating that they will spontaneously combust if methane is mixed with the ambient air.[19] Ongoing research at the Centre National de la Recherche Scientifique (CNRS) in France may resolve their true usefulness for catalytic applications.[20] Nanofiltration may come to be an important application, although future research must be careful to investigate possible toxicity.[21]
Construction
Nanotechnology has the potential to make construction faster, cheaper, safer, and more varied. Automation of nanotechnology construction can allow for the creation of structures from advanced homes to massive skyscrapers much more quickly and at much lower cost. In the near future, Nanotechnology can be used to sense cracks in foundations of architecture and can send nanobots to repair them.[22][23]
Nanotechnology is an active research area that encompasses a number of disciplines such as electronics, bio-mechanics and coatings. These disciplines assist in the areas of civil engineering and construction materials.[22] If nanotechnology is implemented in the construction of homes and infrastructure, such structures will be stronger. If buildings are stronger, then fewer of them will require reconstruction and less waste will be produced.
Nanotechnology in construction involves using nanoparticles such as alumina and silica. Manufacturers are also investigating the methods of producing nano-cement. If cement with nano-size particles can be manufactured and processed, it will open up a large number of opportunities in the fields of ceramics, high strength composites and electronic applications. [22]
Nanomaterials still have a high cost relative to conventional materials, meaning that they are not likely to feature in high-volume building materials. The day when this technology slashes the consumption of structural steel has not yet been contemplated.[24]
Cement
Much analysis of concrete is being done at the nano-level in order to understand its structure. Such analysis uses various techniques developed for study at that scale such as Atomic Force Microscopy (AFM), Scanning Electron Microscopy (SEM) and Focused Ion Beam (FIB). This has come about as a side benefit of the development of these instruments to study the nanoscale in general, but the understanding of the structure and behavior of concrete at the fundamental level is an important and very appropriate use of nanotechnology. One of the fundamental aspects of nanotechnology is its interdisciplinary nature and there has already been cross over research between the mechanical modeling of bones for medical engineering to that of concrete which has enabled the study of chloride diffusion in concrete (which causes corrosion of reinforcement). Concrete is, after all, a macro-material strongly influenced by its nano-properties and understanding it at this new level is yielding new avenues for improvement of strength, durability and monitoring as outlined in the following paragraphs
Silica (SiO2) is present in conventional concrete as part of the normal mix. However, one of the advancements made by the study of concrete at the nanoscale is that particle packing in concrete can be improved by using nano-silica which leads to a densifying of the micro and nanostructure resulting in improved mechanical properties. Nano-silica addition to cement based materials can also control the degradation of the fundamental C-S-H (calcium-silicatehydrate) reaction of concrete caused by calcium leaching in water as well as block water penetration and therefore lead to improvements in durability. Related to improved particle packing, high energy milling of ordinary Portland cement (OPC) clinker and standard sand, produces a greater particle size diminution with respect to conventional OPC and, as a result, the compressive strength of the refined material is also 3 to 6 times higher (at different ages).[23]
Steel
Steel is a widely available material that has a major role in the construction industry. The use of nanotechnology in steel helps to improve the physical properties of steel. Fatigue, or the structural failure of steel, is due to cyclic loading. Current steel designs are based on the reduction in the allowable stress, service life or regular inspection regime. This has a significant impact on the life-cycle costs of structures and limits the effective use of resources. Stress risers are responsible for initiating cracks from which fatigue failure results. The addition of copper nanoparticles reduces the surface un-evenness of steel, which then limits the number of stress risers and hence fatigue cracking. Advancements in this technology through the use of nanoparticles would lead to increased safety, less need for regular inspection, and more efficient materials free from fatigue issues for construction.[22]
Steel cables can be strengthened using carbon nanotubes. Stronger cables reduce the costs and period of construction, especially in suspension bridges, as the cables are run from end to end of the span.[22]
The use of vanadium and molybdenum nanoparticles improves the delayed fracture problems associated with high strength bolts. This reduces the effects of hydrogen embrittlement and improves steel micro-structure by reducing the effects of the inter-granular cementite phase.[22]
Welds and the Heat Affected Zone (HAZ) adjacent to welds can be brittle and fail without warning when subjected to sudden dynamic loading. The addition of nanoparticles such as magnesium and calcium makes the HAZ grains finer in plate steel. This nanoparticle addition leads to an increase in weld strength. The increase in strength results in a smaller resource requirement because less material is required in order to keep stresses within allowable limits.[22]
Wood
Nanotechnology represents a major opportunity for the wood industry to develop new products, substantially reduce processing costs, and open new markets for biobased materials.
Wood is also composed of nanotubes or “nanofibrils”; namely, lignocellulosic (woody tissue) elements which are twice as strong as steel. Harvesting these nanofibrils would lead to a new paradigm in sustainable construction as both the production and use would be part of a renewable cycle. Some developers have speculated that building functionality onto lignocellulosic surfaces at the nanoscale could open new opportunities for such things as self-sterilizing surfaces, internal self-repair, and electronic lignocellulosic devices. These non-obtrusive active or passive nanoscale sensors would provide feedback on product performance and environmental conditions during service by monitoring structural loads, temperatures, moisture content, decay fungi, heat losses or gains, and loss of conditioned air. Currently, however, research in these areas appears limited.
Due to its natural origins, wood is leading the way in cross-disciplinary research and modelling techniques. BASF have developed a highly water repellent coating based on the actions of the lotus leaf as a result of the incorporation of silica and alumina nanoparticles and hydrophobic polymers. Mechanical studies of bones have been adapted to model wood, for instance in the drying process.[23]
Glass
Research is being carried out on the application of nanotechnology to glass, another important material in construction. Titanium dioxide (TiO2) nanoparticles are used to coat glazing since it has sterilizing and anti-fouling properties. The particles catalyze powerful reactions that break down organic pollutants, volatile organic compounds and bacterial membranes. TiO2 is hydrophilic (attraction to water), which can attract rain drops that then wash off the dirt particles. Thus the introduction of nanotechnology in the Glass industry, incorporates the self-cleaning property of glass.[22]
Fire-protective glass is another application of nanotechnology. This is achieved by using a clear intumescent layer sandwiched between glass panels (an interlayer) formed of silica nanoparticles (SiO2), which turns into a rigid and opaque fire shield when heated. Most of glass in construction is on the exterior surface of buildings. So the light and heat entering the building through glass has to be prevented. The nanotechnology can provide a better solution to block light and heat coming through windows.[22]
Coatings
Coatings is an important area in construction coatings are extensively use to paint the walls, doors, and windows. Coatings should provide a protective layer bound to the base material to produce a surface of the desired protective or functional properties. The coatings should have self healing capabilities through a process of "self-assembly". Nanotechnology is being applied to paints to obtained the coatings having self healing capabilities and corrosion protection under insulation. Since these coatings are hydrophobic and repels water from the metal pipe and can also protect metal from salt water attack.[22]
Nanoparticle based systems can provide better adhesion and transparency. The TiO2 coating captures and breaks down organic and inorganic air pollutants by a photocatalytic process, which leads to putting roads to good environmental use.[22]
Fire Protection and detection
Fire resistance of steel structures is often provided by a coating produced by a spray-on-cementitious process. The nano-cement has the potential to create a new paradigm in this area of application because the resulting material can be used as a tough, durable, high temperature coating. It provides a good method of increasing fire resistance and this is a cheaper option than conventional insulation.[22]
Risks in construction
In building construction nanomaterials are widely used from self-cleaning windows to flexible solar panels to wi-fi blocking paint. The self-healing concrete, materials to block ultraviolet and infrared radiation, smog-eating coatings and light-emitting walls and ceilings are the new nanomaterials in construction. Nanotechnology is a promise for making the "smart home" a reality. Nanotech-enabled sensors can monitor temperature, humidity, and airborne toxins, which needs nanotech-based improved batteries. The building components will be intelligent and interactive since the sensor uses wireless components, it can collect the wide range of data.[22]
If nanosensors and nanomaterials become an everyday part of the buildings, as with smart homes, what are the consequences of these materials on human beings?[22]
- Effect of nanoparticles on health and environment: Nanoparticles may also enter the body if building water supplies are filtered through commercially available nanofilters. Airborne and waterborne nanoparticles enter from building ventilation and wastewater systems.[22]
- Effect of nanoparticles on societal issues: As sensors become commonplace, a loss of privacy and autonomy may result from users interacting with increasingly intelligent building components.[22]
References
- "Nanotechnology in Construction". Retrieved 23 April 2013.
External links
https://en.wikipedia.org/wiki/Industrial_applications_of_nanotechnology#Military
Zombie apocalypse is a genre of fiction in which society collapses due to overwhelming swarms of zombies. Typically only a few individuals or small bands of survivors are left living. In some versions, the reason the dead rise and attack humans is unknown, in others, a parasite or infection is the cause, framing events much like a plague. Some stories have every corpse rise, regardless of the cause of death, whereas others require exposure to the infection.
The genre originated in the 1968 American horror film Night of the Living Dead, which was directed by George A. Romero, who took inspiration from the 1954 novel I Am Legend by Richard Matheson. Romero's film introduced the concept of the flesh-eating zombie and spawned numerous other fictional works, including films, video games and literature.
The zombie apocalypse has been used as a metaphor for various contemporary fears, such as global contagion, the breakdown of society, and the end of the world. It has repeatedly been referenced in the media and inspired various fan activities such as zombie walks, making it a dominant genre in popular culture.
https://en.wikipedia.org/wiki/Zombie_apocalypse
Story elements
There are several common themes and tropes that appear in films featuring a zombie apocalypse:
- Initial contacts with zombies are extremely traumatic, causing shock, panic, disbelief and possibly denial, hampering survivors' ability to deal with hostile encounters.[citation needed]
- The response of authorities to the threat is slower than its rate of growth, giving the zombie plague time to expand beyond containment. This results in the collapse of society. Zombies take full control while small groups of the living must fight for their survival.[9]
- The plot usually follows a single group of survivors caught up in the sudden rush of the crisis. The narrative generally focuses on the characters' attempts to survive on their own, particularly the way the characters react to the catastrophe and how this affects the safety of the group.[10]
Generally, films have depicted zombies as the slow, lumbering and unintelligent kind first made popular in the 1968 film Night of the Living Dead.[8] Zombies were repeatedly shown in slow-walking groups that demonstrate a herd behavior and are capable of overwhelming victims by the strength of their numbers. In the 2000s, several films featured zombies that are depicted as more agile, vicious, intelligent, and stronger than the traditional zombie. In many cases of these "fast" zombies, the plot involves living humans being infected with a pathogen (as in 28 Days Later, Zombieland, Dying Light, The Last of Us, and Left 4 Dead), instead of re-animated corpses. Improved CGI technology and the rise of first-person shooter video games resulted in the herd behavior being replaced by zombies that are capable of running, jumping and attacking as individuals.[11]
https://en.wikipedia.org/wiki/Zombie_apocalypse
The gargoyle is a fantasy and horror monster inspired by the gargoyle architectural element. While they were believed in mythology to frighten away evil spirits, the idea of such statues physically coming to life is a more recent notion. Like golems, they are usually made of magically animated or transformed stone, but have animal or chimera traits and are often guardians of a place such as a cathedral or castle.[1] They can also be depicted as vessels for demonic possession or as a living species resembling statues.[2]
https://en.wikipedia.org/wiki/Gargoyle_(monster)
https://en.wikipedia.org/wiki/Category:Fictional_species_and_races
Since at least the 18th century (in French and German as well as English), grotesque has come to be used as a general adjective for the strange, mysterious, magnificent, fantastic, hideous, ugly, incongruous, unpleasant, or disgusting, and thus is often used to describe weird shapes and distorted forms such as Halloween masks. In art, performance, and literature, however, grotesque may also refer to something that simultaneously invokes in an audience a feeling of uncomfortable bizarreness as well as sympathetic pity.
The English word first appears in the 1560s as a noun borrowed from French, and comes originally from the Italian grottesca (literally "of a cave" from the Italian grotta, 'cave'; see grotto),[1] an extravagant style of ancient Roman decorative art rediscovered at Rome at the end of the fifteenth century and subsequently imitated. The word was first used of paintings found on the walls of basements of ruins in Rome that were called at that time le Grotte ('the caves'). These 'caves' were in fact rooms and corridors of the Domus Aurea, the unfinished palace complex started by Nero after the Great Fire of Rome in CE 64, which had become overgrown and buried, until they were broken into again, mostly from above. Spreading from Italian to the other European languages, the term was long used largely interchangeably with arabesque and moresque for types of decorative patterns using curving foliage elements.
Rémi Astruc[2] has argued that although there is an immense variety of motifs and figures, the three main tropes of the grotesque are doubleness, hybridity and metamorphosis.[3] Beyond the current understanding of the grotesque as an aesthetic category, he demonstrated how the grotesque functions as a fundamental existential experience. Moreover, Astruc identifies the grotesque as a crucial, and potentially universal, anthropological device that societies have used to conceptualize alterity and change.[not verified in body]
https://en.wikipedia.org/wiki/Grotesque
https://en.wikipedia.org/wiki/Grotesque
| Metamorphoses | |
|---|---|
| by Ovid | |
 Page from the edition of Ovid's Metamorphoses published by Lucantonio Giunti in Venice, 1497 | |
| Original title | Metamorphoses |
| First published in | 8 CE |
| Language | Latin |
| Genre(s) | Narrative poetry, epic, elegy, tragedy, pastoral (see Contents) |
The Metamorphoses (Latin: Metamorphōsēs, from Ancient Greek: μεταμορφώσεις: "Transformations") is a Latin narrative poem from 8 CE by the Roman poet Ovid. It is considered his magnum opus. The poem chronicles the history of the world from its creation to the deification of Julius Caesar in a mythico-historical framework comprising over 250 myths, 15 books, and 11,995 lines.
Although it meets some of the criteria for an epic, the poem defies simple genre classification because of its varying themes and tones. Ovid took inspiration from the genre of metamorphosis poetry and some of the Metamorphoses derives from earlier treatment of the same myths; however, he diverged significantly from all of his models.
One of the most influential works in Western culture, the Metamorphoses has inspired such authors as Dante Alighieri, Giovanni Boccaccio, Geoffrey Chaucer, and William Shakespeare. Numerous episodes from the poem have been depicted in works of sculpture, painting, and music, especially during the Renaissance. There was a resurgence of attention to his work towards the end of the 20th century. Today the Metamorphoses continues to inspire and be retold through various media. Numerous English translations of the work have been made, the first by William Caxton in 1480.[2]
https://en.wikipedia.org/wiki/Metamorphoses
Captivity narratives are usually stories of people captured by enemies whom they consider uncivilized, or whose beliefs and customs they oppose. The best-known captivity narratives in North America are those concerning Europeans and Americans taken as captives and held by the indigenous peoples of North America. These narratives have had an enduring place in literature, history, ethnography, and the study of Native peoples.
They were preceded, among English-speaking peoples, by publication of captivity narratives related to English people taken captive and held by Barbary pirates, or sold for ransom or slavery. Others were taken captive in the Middle East. These accounts established some of the major elements of the form, often putting it within a religious framework, and crediting God or Providence for gaining freedom or salvation. Following the North American experience, additional accounts were written after British people were captured during exploration and settlement in India and East Asia.
Since the late 20th century, captivity narratives have also been studied as accounts of persons leaving, or held in contemporary religious cults or movements, thanks to scholars of religion like David G. Bromley and James R. Lewis.
Traditionally, historians have made limited use of many captivity narratives. They regarded the genre with suspicion because of its ideological underpinnings. As a result of new scholarly approaches since the late 20th century, historians with a more certain grasp of Native American cultures are distinguishing between plausible statements of fact and value-laden judgments in order to study the narratives as rare sources from "inside" Native societies.[1]
In addition, modern historians such as Linda Colley and anthropologists such as Pauline Turner Strong have also found the North American narratives useful in analyzing how the colonists or settlers constructed the "other". They also assess these works for what the narratives reveal about the settlers' sense of themselves and their culture, and the experience of crossing the line to another. Colley has studied the long history of English captivity among other cultures, both the Barbary pirate captives who preceded those in North America, and British captives in cultures such as India or East Asia, which began after the early North American experience.
Certain North American captivity narratives related to being held among Native peoples were published from the 18th through the 19th centuries. They reflected an already well-established genre in English literature, which some colonists would likely have been familiar with. There had already been numerous English accounts of captivity by Barbary pirates.
Other types of captivity narratives, such as those recounted by apostates from religious movements (i.e. "cult survivor" tales), have remained an enduring topic in modern media. They have been published in books, and periodicals, in addition to being the subjects of film and television programs, both fiction and non-fiction.[2]
https://en.wikipedia.org/wiki/Captivity_narrative
Redemption is an essential concept in many religions, including Judaism, Christianity, and Islam. The term implies that something has been paid for or bought back, like a slave who has been set free through the payment of a ransom.
https://en.wikipedia.org/wiki/Redemption_(theology)
In Christianity, salvation (also called deliverance or redemption) is the "saving [of] human beings from sin and its consequences, which include death and separation from God" by Christ's death and resurrection,[1][a] and the justification following this salvation.
While the idea of Jesus' death as an atonement for human sin was recorded in the Christian Bible, and was elaborated in Paul's epistles and in the Gospels, Paul saw the faithful redeemed by participation in Jesus' death and rising. Early Christians regarded themselves as partaking in a new covenant with God, open to both Jews and Gentiles, through the sacrificial death and subsequent exaltation of Jesus Christ. Early Christian beliefs of the person and sacrificial role of Jesus in human salvation were further elaborated by the Church Fathers, medieval writers and modern scholars in various atonement theories, such as the ransom theory, Christus Victor theory, recapitulation theory, satisfaction theory, penal substitution theory and moral influence theory.
Variant views on salvation (soteriology) are among the main fault lines dividing the various Christian denominations, including conflicting definitions of sin and depravity (the sinful nature of mankind), justification (God's means of removing the consequences of sin), and atonement (the forgiving or pardoning of sin through the suffering, death and resurrection of Jesus).
https://en.wikipedia.org/wiki/Salvation_in_Christianity
The word "atonement" often is used in the Old Testament to translate the Hebrew words kippur (כיפור \ כִּפּוּר, kipúr, m.sg.) and kippurim (כיפורים \ כִּפּוּרִים, kipurím, m.pl.), which mean "propitiation" or "expiation";[web 4] The English word atonement is derived from the original meaning of "at-one-ment" (i.e., being "at one" or in harmony, with someone).[24] According to Collins English Dictionary, atonement is used to describe the saving work that God granted (through Christ) to reconcile the world to Himself, and also of the state of a person having been reconciled to God.[25][26] According to The Oxford Dictionary of the Christian Church, atonement in Christian theology is "man's reconciliation with God through the sacrificial death of Christ."[27]
Many Christians believe in unlimited atonement; however, some Christians teach limited atonement to those who are predestined unto salvation, as its primary benefits are not given to all of mankind but rather to believers only.[web 5]
Theories of atonement
A number of metaphors (and Old Testament terms) and references have been used in New Testament writings to understand the person[web 6][28][f] and death of Jesus.[29][30] Starting in the 2nd century CE, various understandings of atonement have been put forth to explain the death and resurrection of Jesus, as well as the metaphors applied by the New Testament to understand his death. Over the centuries, Christians have held different ideas regarding how Jesus saves people, with different views still existing within various Christian denominations. According to the biblical scholar C. Marvin Pate, "…there are three aspects to Christ's atonement according to the early Church: vicarious atonement [substitutionary atonement],[g] the eschatological defeat of Satan [Christ the Victor], and the imitation of Christ [participation in Jesus' death and resurrection]."[32] Pate further notes that these three aspects were intertwined in the earliest Christian writings but that this intertwining was lost since the Patristic times.[33] Because of the influence of Gustaf Aulén's 1931 Christus Victor study, the various theories or paradigms of atonement which developed after the New Testament writings are often grouped under the "classic paradigm," the "objective paradigm," and the "subjective paradigm".[34][35][36][h]
Old Testament
In the Hebrew writings, God is absolutely righteous, and only pure and sinless persons can approach him.[27] Reconciliation is achieved by an act of God, namely by his appointment of the sacrificial system,[i] or, in the prophetic view, "by the future Divine gift of a new covenant to replace the old covenant which sinful Israel has broken."[27] The Old Testament describes three types of vicarious atonement which result in purity or sinlessness: the Paschal Lamb;[38] "the sacrificial system as a whole," with the Day of Atonement as the most essential element;[38][27] and the idea of the suffering servant (Isaiah 42:1–9, 49:1–6, 50:4–11, 52:13–53:12),[38][web 7] "the action of a Divinely sent Servant of the Lord who was 'wounded for our transgressions' and 'bear the sin of many'."[27] The Old Testament Apocrypha adds a fourth idea, namely the righteous martyr (2 Maccabees, 4 Maccabees, Wisdom 2–5).[38][27]
These traditions of atonement offer only temporary forgiveness,[38] and korbanot (offerings) could only be used as a means of atoning for the lightest type of sin, that is sins committed in ignorance that the thing was a sin.[web 8][j][i] In addition, korbanot have no expiating effect unless the person making the offering sincerely repents of their actions before making the offering, and makes restitution to any person who was harmed by the violation.[web 8][27] Marcus Borg notes that animal sacrifice in Second Temple Judaism was not a "payment for sin," but had a basic meaning as "making something sacred by giving it as a gift to God," and included a shared meal with God. Sacrifices had numerous purposes, namely thanksgiving, petition, purification, and reconciliation. None of them was a "payment or substitution or satisfaction," and even "sacrifices of reconciliation were about restoring the relationship."[web 10] James F. McGrath refers to 4 Maccabees 6,[39] "which presents a martyr praying 'Be merciful to your people, and let our punishment suffice for them. Make my blood their purification, and take my life in exchange for theirs' (4 Maccabees 6:28–29). Clearly there were ideas that existed in the Judaism of the time that helped make sense of the death of the righteous in terms of atonement."[web 1
https://en.wikipedia.org/wiki/Salvation_in_Christianity#Atonement
The ransom theory of atonement was a theory in Christian theology as to how the process of Atonement in Christianity had happened. It therefore accounted for the meaning and effect of the death of Jesus Christ. It was one of a number of historical theories, and was mostly popular between the 4th and 11th centuries, with little support in recent times. It originated in the early Church, particularly in the work of Origen. The theory teaches that the death of Christ was a ransom sacrifice, usually said to have been paid to Satan, in satisfaction for the bondage and debt on the souls of humanity as a result of inherited sin.[1]
https://en.wikipedia.org/wiki/Ransom_theory_of_atonement
Penance is any act or a set of actions done out of repentance for sins committed, as well as an alternate name for the Catholic, Lutheran, Eastern Orthodox, and Oriental Orthodox sacrament of Reconciliation or Confession. It also plays a part in confession among Anglicans and Methodists, in which it is a rite,[1][2] as well as among other Protestants. The word penance derives from Old French and Latin paenitentia, both of which derive from the same root meaning repentance, the desire to be forgiven (in English see contrition). Penance and repentance, similar in their derivation and original sense, have come to symbolize conflicting views of the essence of repentance, arising from the controversy as to the respective merits of "faith" and "good works". Word derivations occur in many languages.
According to dictionary definitions, the primary meaning of penance is the deeds done out of penitence, which also focuses more on the external actions than does repentance which refers to the true, interior sorrow for one's hurtful words or actions. Only repentance implies a purpose of amendment which means the resolve to avoid such hurtful behavior in the future. The words "true" and "firm" might be added to all but penance, to specify the depth of change in one's hurtful attitude. Contrition is the state of feeling remorseful, and can describe both the show of regret to the deepest and firmest sorrow for one's wrongdoings.
https://en.wikipedia.org/wiki/Penance
Redemptive suffering is the Christian belief that human suffering, when accepted and offered up in union with the Passion of Jesus, can remit the just punishment for one's sins or for the sins of another, or for the other physical or spiritual needs of oneself or another. In Christianity, it is a tenet of Catholic theology, although it is taught in Reformed doctrine as well.[1]
Pope John Paul II stated, "Each man, in his sufferings, can also become a sharer in the redemptive suffering of Christ".[2] (cf. Colossians 1:24) Like an indulgence, redemptive suffering does not gain the individual forgiveness for their sin; forgiveness results from God's grace, freely given through Christ, which cannot be earned. (see Romans 4:3-5)
https://en.wikipedia.org/wiki/Redemptive_suffering
Mortification of the flesh is an act by which an individual or group seeks to mortify or deaden their sinful nature, as a part of the process of sanctification.[1]
In Christianity, mortification of the flesh is undertaken in order to repent for sins and share in the Passion of Jesus.[2] Common forms of Christian mortification that are practiced to this day include fasting, abstinence, as well as pious kneeling.[3] Also common among Christian religious orders in the past were the wearing of sackcloth, as well as self-flagellation in imitation of Jesus Christ's suffering and death. Christian theology holds that the Holy Spirit helps believers in the "mortification of the sins of the flesh."[4] Verses in the Old Testament (Hebrew Bible) considered to be precursors to Christian ideas of self-mortification include Zechariah 13:6[5] and 1 Kings 18:28–29.[6][7]
Although the term 'mortification of the flesh', which is derived from the King James version of Romans 8:13[8] and Colossians 3:5,[9] is primarily used in a Christian context,[10] other cultures may have analogous concepts of self-denial; secular practices exist as well. Some forms unique to various Asian cultures are carrying heavy loads and immersion in water.[citation needed]
https://en.wikipedia.org/wiki/Mortification_of_the_flesh
Fasting is the abstention from eating and sometimes drinking. From a purely physiological context, "fasting" may refer to the metabolic status of a person who has not eaten overnight (see "Breakfast"), or to the metabolic state achieved after complete digestion and absorption of a meal.[1] Metabolic changes in the fasting state begin after absorption of a meal (typically 3–5 hours after eating).
A diagnostic fast refers to prolonged fasting from 1 to 100 hours (depending on age) conducted under observation to facilitate the investigation of a health complication, usually hypoglycemia. Many people may also fast as part of a medical procedure or a check-up, such as preceding a colonoscopy or surgery, or before certain medical tests. Intermittent fasting is a technique sometimes used for weight loss that incorporates regular fasting into a person's dietary schedule. Fasting may also be part of a religious ritual, often associated with specifically scheduled fast days, as determined by the religion.
https://en.wikipedia.org/wiki/Fasting
Abstinence is a self-enforced restraint from indulging in bodily activities that are widely experienced as giving pleasure. Most frequently, the term refers to sexual abstinence, but it can also mean abstinence from alcohol, drugs, food, etc.
Because the regimen is intended to be a conscious act, freely chosen to enhance life, abstinence is sometimes distinguished from the psychological mechanism of repression. The latter is an unconscious state, having unhealthy consequences.
https://en.wikipedia.org/wiki/Abstinence
Heresy is any belief or theory that is strongly at variance with established beliefs or customs, particularly the accepted beliefs or religious law of a religious organization.[1][2] A heretic is a proponent of heresy.[1]
Heresy in Christianity, Judaism, and Islam has at times been met with censure ranging from excommunication to the death penalty.[3]
Heresy is distinct from apostasy, which is the explicit renunciation of one's religion, principles or cause;[4] and from blasphemy, which is an impious utterance or action concerning God or sacred things.[5] Heresiology is the study of heresy.
https://en.wikipedia.org/wiki/Heresy
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Apostasy (/əˈpɒstəsi/; Greek: ἀποστασία apostasía, 'a defection or revolt') is the formal disaffiliation from, abandonment of, or renunciation of a religion by a person. It can also be defined within the broader context of embracing an opinion that is contrary to one's previous religious beliefs.[1] One who undertakes apostasy is known as an apostate. Undertaking apostasy is called apostatizing (or apostasizing – also spelled apostacizing). The term apostasy is used by sociologists to mean the renunciation and criticism of, or opposition to, a person's former religion, in a technical sense, with no pejorative connotation.
Occasionally, the term is also used metaphorically to refer to the renunciation of a non-religious belief or cause, such as a political party, social movement, or sports team.
Apostasy is generally not a self-definition: few former believers call themselves apostates due to the term's negative connotation.
Many religious groups and some states punish apostates; this may be the official policy of a particular religious group or it may simply be the voluntary action of its members. Such punishments may include shunning, excommunication, verbal abuse, physical violence, or even execution.[2]
https://en.wikipedia.org/wiki/Apostasy
Blasphemy, as defined in some religions or religion-based laws, is an insult that shows contempt, disrespect or lack of reverence concerning a deity, an object considered sacred or something considered inviolable.[1][2][3][4]
Some religions regard blasphemy as a religious crime, especially the Abrahamic religions, including insulting the prophet Muhammad in Islam, speaking the "sacred name" in Judaism,[5] and the "eternal sin" in Christianity.[6]
In the early history of the Church, blasphemy "was considered to show active disrespect to God and to involve the use of profane cursing or mockery of his powers".[7] In the medieval world, those who committed blasphemy were seen as needing discipline.[7] By the 17th century, several historically Christian countries had legislation against blasphemy.[7]
Blasphemy laws were abolished in England and Wales in 2008, and in Ireland in 2020. Scotland repealed its blasphemy laws in 2021. Many other countries have abolished blasphemy laws including Denmark, the Netherlands, Iceland, Norway and New Zealand.[8] As of 2019, 40 percent of the world's countries still had blasphemy laws on the books, including 18 countries in the Middle East and North Africa, or 90% of countries in that region.[9][10][11] Dharmic religions, such as Hinduism, Buddhism and Jainism, have no concept of blasphemy and hence prescribe no punishment.[12][dubious – discuss]
https://en.wikipedia.org/wiki/Blasphemy
In its "Terms & Themes" summary of captivity narratives, the University of Houston at Clear Lake suggests that:
In American literature, captivity narratives often relate particularly to the capture of European-American settlers or explorers by Native American Indians, but the captivity narrative is so inherently powerful that the story proves highly adaptable to new contents from terrorist kidnappings to UFO abductions.
- Anticipates popular fiction, esp. romance narrative: action, blood, suffering, redemption – a page-turner
- Anticipates or prefigures Gothic literature with depictions of Indian "other" as dark, hellish, cunning, unpredictable
- Test of ethnic faith or loyalty: Will captive "go native," crossing to the other side, esp. by intermarriage?[37]
The Oxford Companion to United States History indicates that the wave of Catholic immigration after 1820:
provided a large, visible enemy and intensified fears for American institutions and values. These anxieties inspired vicious anti-Catholic propaganda with pornographic overtones, such as Maria Monk's Awful Disclosures[.][38]
Alexandra Heller-Nicholas (quoted earlier) points to the presence of a "helpless" maiden, and a "hero" who rescues her.
Together, these analyses suggest that some of the common elements we may encounter in different types of captivity narratives include:
- A captor portrayed as quintessentially evil
- A suffering victim, often female
- A romantic or sexual encounter occurring in an "alien" culture
- An heroic rescue, often by a male hero
- An element of propaganda
https://en.wikipedia.org/wiki/Captivity_narrative
Schiltberger's Reisebuch contains not only a record of his own experiences and a sketch of various chapters of contemporary Eastern history, but also an account of countries and their manners and customs, especially of those countries which he had himself visited. First come the lands "this side" of the Danube, where he had travelled; next follow those between the Danube and the sea, which had now fallen under the Turk; after this, the Ottoman dominions in Asia; last come the more distant regions of Schiltberger's world, from Trebizond to Russia and from Egypt to India. In this regional geography the descriptions of Brusa; of various west Caucasian and Armenian regions; of the regions around the Caspian, and the habits of their peoples (especially the Red Tatars); of Siberia; of the Crimea with its great Genoese colony at Kaffa (where he once spent five months); and of Egypt and Arabia, are particularly worth notice. His allusions to the Catholic missions still persisting in Armenia and in other regions beyond the Black Sea, and to (non-Roman ?) Christian communities even in the Great Tatary of the steppes are also remarkable.[1]
Schiltberger is perhaps the first writer of Western Christendom to give the true burial place of Muhammad at Medina: his sketches of Islam and of Eastern Christendom, with all their shortcomings, are of remarkable merit for their time: and he may fairly be reckoned among the authors who contributed to fix Prester John, at the close of the Middle Ages, in Abyssinia. Schiltberger also recorded one of the first European sightings of Przewalski horses. (Manuscript in the Munich Municipal Library, Sign. 1603, Bl. 210). His work, however, contains many inaccuracies; thus in reckoning the years of his service both with Bayezid and with Timur he is off unaccountably in multiples of two.[1]
His account of Timur and his campaigns is misty, often incorrect, and sometimes fabulous: nor can von Hammer's parallel between Marco Polo and Schiltberger be sustained without large reservations.[clarification needed] Four manuscripts of the Reisebuch exist: (i) at Donaueschingen in the Fürstenberg Library, No. 481; (2) at Heidelberg, University Library, 216; (3) at Nuremberg, City Library, 34; (4) at St Gall, Monast. Library, 628 (all of fifteenth century, the last fragmentary).[1]
The work was first edited at Augsburg, about 1460; four other editions appeared in the 15th century, and six in the 16th; in the 19th the best were K. F. Neumann's (Munich, 1859), P. Bruun's (Odessa, 1866, with Russian commentary, in the Records of the Imperial University of New Russia, vol. i.), and V. Langmantel's (Tübingen, 1885); "Hans Schiltbergers Reisebuch," in the 172nd volume of the Bibliothek des literarischen Vereins in Stuttgart. See also the English (Hakluyt Society) version, The Bondage and Travels of Johann Schiltberger ..., trans. by Buchan Telfer with notes by P. Bruun (London, 1879); Joseph von Hammer-Purgstall, "Berechtigung d. orientalischen Namen Schiltbergers," in Denkschriften d. Konigl. Akad. d. Wissenschaften (vol. ix., Munich, 1823–1824); R. Röhricht, Bibliotheca geographica Palaestinae (Berlin, 1890, pp. 103–104); C. R. Beazley, Dawn of Modern Geography, iii. 356–378, 550, 555.[1]
https://en.wikipedia.org/wiki/Johann_Schiltberger
Category:Slave narratives
- Slave narratives — works associated with African-Americans and/or Africans after they escaped from slavery to freedom.
- For works associated with Europeans held captive, see: Category: Captivity narratives .
Subcategories
This category has the following 2 subcategories, out of 2 total.
- People who wrote slave narratives (100 P)
P
- Plays about slavery (29 P)
Pages in category "Slave narratives"
The following 29 pages are in this category, out of 29 total. This list may not reflect recent changes.
A
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https://en.wikipedia.org/wiki/Category:Slave_narratives
The People Could Fly: American Black Folktales is a 1985 collection of twenty-four folktales retold by Virginia Hamilton and illustrated by Leo and Diane Dillon. They encompass animal tales (including tricksters), fairy tales, supernatural tales, and tales of the enslaved Africans (including slave narratives).
https://en.wikipedia.org/wiki/The_People_Could_Fly
The Exodus Narrative in Antebellum America was repeatedly used in early American history. Both slaves and slaveowners used the traditional biblical story to not only form their respective identities but also to define their purpose in America.
The motif of the Exodus was first used in American history in 1630 by John Winthrop, aboard the Arabella in his famous sermon "A Modell for Christian Charity". In this sermon Winthrop introduced the idea that the Puritans, had inherited the divine covenant first given to the Hebrews, making them New Israel. In this conception, the crossing of the Atlantic was equated to the Exodus. From this moment on, early Americans would adopt this narrative as their founding myth.
During the 19th century, slaveowners also used this narrative to explain their situation and give them a purpose. The slaveowners set themselves up as New Israel, the "Redeemer Nation".[1] In this understanding, slaveowners were "to reach the pinnacle of perfection and to carry liberty and the gospel around the globe."[1]
As with slaveowners, slaves also used the Exodus narrative to frame their situation. Although in their version however, slaveowners were cast in the role of Pharaoh, instead of New Israel, and the slaves corresponded to the Israelites.[2] The Exodus narrative not only became an instrument of hope for the enslaved, but also allowed them to make sense of their situation and provided a blueprint for their deliverance. This can be most best seen in their spirituals, such as "Go Down Moses" and "Deep River". By appropriating the narrative of Exodus the slaves did more than simply try to understand their situation and their past; they created for themselves a national identity and, equally importantly, a mythic past.[3]
https://en.wikipedia.org/wiki/Exodus_narrative_in_Antebellum_America
Category:Pre-emancipation African-American history
- Pre–Emancipation African-American history — in the United States.
- From the American Revolution (1765–1783), to the Emancipation Proclamation (1863).
Subcategories
This category has the following 16 subcategories, out of 16 total.
A
B
- Black Patriots (31 P)
F
S
- Slavery in the United States (27 C, 173 P)
U
- Underground Railroad (4 C, 17 P)
Pages in category "Pre-emancipation African-American history"
The following 88 pages are in this category, out of 88 total. This list may not reflect recent changes.
A
- List of abolitionist forerunners
- List of abolitionists
- African Civilization Society
- African Grove
- African Americans in Africa
- Ain't I a Woman?
- American Colonization Society
- American Missionary Association
- New York anti-abolitionist riots (1834)
- Anti-literacy laws in the United States
- Ashworth Act
- Atlantic Creole
B
C
L
M
N
S
- 1733 slave insurrection on St. John
- Set de flo'
- Sexual slavery
- Sierra Leone Company
- Slave breeding in the United States
- Slave markets in the United States
- Slave pen
- Slave quarters in the United States
- Slave rebellion
- Slave Songs of the United States
- Slave Trade Act of 1794
- Slave Trade Act of 1800
- Slaveryinamerica
- Stick dance (African-American)
T
https://en.wikipedia.org/wiki/Category:Pre-emancipation_African-American_history
Peg Leg Joe | |
|---|---|
| Known for | Legendary sailor and abolitionist associated with "Follow the Drinkin' Gourd" |
Peg Leg Joe is a legendary sailor and underground railroad conductor, popularly associated with the song "Follow the Drinkin' Gourd". According to the folklorist H.B. Parks, who collected the song in the 1910s, Peg Leg Joe was an abolitionist who led enslaved people through the Underground Railroad to freedom during the last years of American slavery. In popular history, he is usually connected with an escape route which led from Alabama to the Ohio River. He may have been a real person or composite of people, but there is no reliable historical evidence of his existence.[1] It is also possible that the story of Peg Leg Joe originates in the African mythical figure, Papa Legba. As his name suggests, Peg Leg Joe is depicted as having a prosthesis for his right leg.[2][3]
https://en.wikipedia.org/wiki/Peg_Leg_Joe
Birchtown is a community and National Historic Site in the Canadian province of Nova Scotia, located near Shelburne in the Municipal District of Shelburne County.[2] Founded in 1783, the village was the largest settlement of Black Loyalists and the largest free settlement of ethnic Africans in North America in the eighteenth century. The two other significant Black Loyalist communities established in Nova Scotia were Brindley town and Tracadie. Birchtown was named after British Brigadier General Samuel Birch, an official who helped lead the evacuation of Black Loyalists from New York.[a]
Creation
Birchtown was first settled by Stephen Blucke, who has been referred to as "the true founder of the Afro-Nova Scotian community".[4] Birchtown was the major settlement area of the African Americans known as Black Loyalists who escaped to the British lines during the American War of Independence. These were Africans who escaped from slavery and fought for the British during the war. The majority of Nova Scotian settlers who later immigrated to the new colony of Sierra Leone in 1792 were such African Americans who had lived first in Birchtown. Most Birchtown blacks entered Nova Scotia through the nearby town of Port Roseway, soon renamed Shelburne. Brigadier General Samuel Birch recorded the names of these African-American settlers in the Book of Negroes. They were issued passports which established their freedom; these were signed by General Birch, and became known as General Birch Certificates. The core of the settlement were five companies of the Black Pioneers who were Black Americans who helped the British forces during the American War of Independence. More than two thirds of the Blacks who immigrated to Canada were from the American South.
Birchtown was acknowledged as being the largest settlement of free African Americans in the world by newspapers in New York City and in London. Birchtown's population grew further in July 1784 when free Blacks who lived in Shelburne were attacked by whites in the Shelburne Riots. Many blacks, such as the clergyman David George, fled to Birchtown for safety.
The departure for Sierra Leone
Poor land, inadequate supplies, harsh climate, discrimination and broken promises of assistance led many Birchtown residents ( led by Thomas Peters ) to petition the British Government for a remedy. As a result of these grievances, many Birchtown residents chose to accept Britain's offer and join a 1792 migration to found a free ethnic African settlement in Sierra Leone in West Africa. The majority of blacks who left for Sierra Leone were from Birchtown.[5] Of the blacks who left for Sierra Leone, 600 were from the Birchtown and Digby areas, 220 were from Preston, 200 were from New Brunswick, and 180 were from the Annapolis-Digby area. Fifty-five had been born into slavery in Virginia. The descendants of the settlers form part of the Sierra Leone Creole ethnicity.[6]
Later history
Although the population of Birchtown was greatly reduced by the migration to Sierra Leone, many settlers remained. They formed the ancestral basis of the Black Nova Scotian population of Shelburne County today. Employment opportunities in the nearby town of Shelburne attracted many families to move to Shelburne in later years.
Birchtown stayed as a small rural community of a few hundred based on farming, fishing and forestry. A two-room schoolhouse was built in 1829. A new eight-room school was built in 1959.[7]
Birchtown was declared a National Historic Site in 1997. A seasonal museum complex commemorating the Black Loyalists was opened in that year by the Black Loyalist Heritage Society; it included the historic Birchtown school and church. The offices and archives of the museum were largely destroyed by an arson attack in 2006.[8] The remaining archives were moved to temporary quarters on the site.
A new facility, the Black Loyalist Heritage Centre, opened its doors in June 2015; it tells the story of the Black Loyalists in America, Nova Scotia and Sierra Leone through their staff and interactive digital displays.[9][10]
In literature
The community's history of being given freedom by the British was the subject to British historian Simon Schama's non-fiction book Rough Crossings, which won the National Book Critics Circle Award. Lawrence Hill wrote a novel, The Book of Negroes, whose fictional narrator, Aminata Diallo, resides in Birchtown and describes its founding.
Notable residents
- Stephen Blucke - "founder of Afro-Nova Scotian community"
- David George - African-American Baptist preacher who founded Silver Bluff Baptist Church
- Boston King, first Methodist missionary to African indigenous people
- John Marrant - the first African-American preacher; a Methodist
- Moses Wilkinson - African- American Methodist preacher
See also
Notes
- Also named after the general was a much smaller settlement of Black Loyalists in Guysborough County, Nova Scotia called Birchtown.[3]
References
- "Journey Back to Birchtown". Transcontinental Media. Archived from the original on 28 June 2015. Retrieved 3 July 2015.
External links
- Clarkson, Clarkson's mission to America, 1791–1792, ed. and intro. C. B. Fergusson
- Birchtown, Destination Nova Scotia
- The Black Loyalist Heritage Society
- http://www.newsouthassoc.com/African%20American%20Archaeology%20Newsletters/Summer1994.html
- https://web.archive.org/web/20080511234625/http://www.lawrencehill.com/freedom_bound.pdf
- https://web.archive.org/web/20080311110229/http://nsgna.ednet.ns.ca/shelburne/main/BlackLoyalistHistory.php
- https://web.archive.org/web/20071218192834/http://museum.gov.ns.ca/arch/sites/birch/loyalists.htm
Places adjacent to Birchtown, Nova Scotia |
|---|
https://en.wikipedia.org/wiki/Birchtown,_Nova_Scotia
Black Laws of 1804 and 1807 discouraged African American migration to Ohio. Slavery was not permitted in the 1803 Constitution. The 1804 law forbade black residents in Ohio without a certificate they were free. The 1807 law required a $500 bond for good behavior.
https://en.wikipedia.org/wiki/Black_Laws_of_1804_and_1807
Elephants can be found in various captive facilities such as a zoo, sanctuary, circus, or camp, usually under veterinary supervision. They can be used for educational, entertainment, or work purposes.
The earliest evidence of captive elephants dates to the Indus Valley Civilization about 4,500 years ago. Since then, captive elephants have been used around the world in war, ceremony, and for labor and entertainment.[1] Captive elephants have been kept in animal collections for at least 3,500 years. The first elephant arrived in North America in 1796.[1] London Zoo, the first scientific zoo, housed elephants beginning in 1831.[2]
Before the 1980s, zoos obtained their elephants by capturing them from the wild. Increased restrictions on the capture of wild elephants and dwindling wild populations caused zoos to turn to captive breeding.[3] The first successful captive birth in North America of an Asian elephant occurred at Oregon Zoo in 1962, while the first African elephant captive birth occurred at Knoxville Zoological Gardens in 1978.[3] Today, most zoos obtain their elephants primarily through breeding, though occasionally zoos will obtain elephants from semi-captive work camps in Asia or rescue elephants that would otherwise be culled in Africa.[4][5] Without an increase in birth rates or an influx of wild elephants, practitioners fear that captive elephant populations could become non-viable within 50 years.[6]
In 2006, 286 elephants were kept in American zoos (147 African elephants and 139 Asian elephants).[7] Nearly one in three Asian elephants lives in captivity—about 15,000 in total—mostly in work camps, temples, and ecotourism sites in the countries in which they naturally occur.[8] The International Union for Conservation of Nature (IUCN) estimates the total population of Asian elephants in the wild is 40,000 to 50,000,[9] and that of African elephants in the wild is 400,000 to 600,000.[10]
https://en.wikipedia.org/wiki/Captive_elephants
A captive portal is a web page accessed with a web browser that is displayed to newly connected users of a Wi-Fi or wired network before they are granted broader access to network resources. Captive portals are commonly used to present a landing or log-in page which may require authentication, payment, acceptance of an end-user license agreement, acceptable use policy, survey completion, or other valid credentials that both the host and user agree to adhere by. Captive portals are used for a broad range of mobile and pedestrian broadband services – including cable and commercially provided Wi-Fi and home hotspots. A captive portal can also be used to provide access to enterprise or residential wired networks, such as apartment houses, hotel rooms, and business centers.
The captive portal is presented to the client and is stored either at the gateway or on a web server hosting the web page. Depending on the feature set of the gateway, websites or TCP ports can be white-listed so that the user would not have to interact with the captive portal in order to use them. The MAC address of attached clients can also be used to bypass the login process for specified devices.
WISPr refers to this web browser-based authentication method as the Universal Access Method (UAM).[1]
https://en.wikipedia.org/wiki/Captive_portal
Captive fasteners are an engineered class of fastener designed for a permanent hold (captivation) within a target assembly or housing, including upon servicing. They provide a secure joining, and avoid fastener loss or damage that might be caused by a loose part.
A captive fastener is sometimes made with thread locking, press-fitting, or broaching to accomplish an anchor-hold within a larger assembly housing. However, a captive fastener may also be melded with the material into which it is joined, either through cold forming or welding.[1][2] Captive screws are a type of machine screw which are frequently used for safety reasons, often with a captive washer. They are now required by EU law on equipment such as safety guards so that machinery complies with EU Machine Safety Directive 2006/42/EC.
https://en.wikipedia.org/wiki/Captive_fastener
Cannibal Holocaust is a 1980 Italian cannibal film directed by Ruggero Deodato and written by Gianfranco Clerici. It stars Robert Kerman as Harold Monroe, an anthropologist from New York University who leads a rescue team into the Amazon rainforest to locate a crew of filmmakers. Played by Carl Gabriel Yorke, Francesca Ciardi, Perry Pirkkanen, and Luca Barbareschi, the crew had gone missing while filming a documentary on local cannibal tribes. When the rescue team is only able to recover the crew's lost cans of film, an American television station wishes to broadcast the footage as a sensationalized television special. Upon viewing the reels, Monroe is appalled by the team's actions and objects to the station's intent to air the documentary.
https://en.wikipedia.org/wiki/Cannibal_Holocaust
"Black Museum" is the sixth and final episode of the fourth series of anthology series Black Mirror. It was directed by Colm McCarthy and written by series creator Charlie Brooker, with one part adapted from a story by Penn Jillette. The episode premiered on Netflix, along with the rest of series four, on 29 December 2017. The episode is divided into three stories, told by Rolo Haynes (Douglas Hodge), the owner of a remote Black Museum. He tells the visitor Nish (Letitia Wright) about the backstories of exhibits, which involve his previous employment in experimental technologies.
"Black Museum" was filmed over a month in Spain and Nevada, United States. A horror episode, its themes include race and technology. The set contained a large number of Easter eggs referencing previous works in the series. "Black Museum" was met with mixed critical reception: most reviewers found its storyline and characterisation poor and the final plot twist proved polarising. The episode generally received weak rankings by critics in comparison to other Black Mirror episodes. However, Wright received a Primetime Emmy Award nomination and a Black Reel Award nomination for her acting.
https://en.wikipedia.org/wiki/Black_Museum_(Black_Mirror)
Illegitimi non carborundum is a mock-Latin aphorism, often translated as "Don't let the bastards grind you down". The phrase itself has no meaning in Latin and can only be mock-translated.
https://en.wikipedia.org/wiki/Illegitimi_non_carborundum
 California Theatre c. 1921 | |
 |
| Former names | Miller's California Theatre |
|---|---|
| Address | 810 S. Main Street Los Angeles, California United States |
| Coordinates |  34.0423°N 118.2534°WCoordinates: 34.0423°N 118.2534°W |
| Type | Movie theater |
| Capacity | 2,000 |
| Construction | |
| Opened | December 24, 1918 |
| Closed | 1987 |
| Demolished | 1990 |
| Architect | Alex B. Rosenthal |
The California Theatre was a Beaux-Arts cinema at 810 S. Main Street in Downtown Los Angeles. It opened December 24, 1918 by Fred Miller as Miller's California Theatre. It originally housed 2,000, later capacity was lowered to 1,650. The architect was Alex B. Rosenthal, who also designed the Granada Theatre in Santa Barbara, California. Goldwyn Pictures bought the cinema in 1919 and hired Samuel L. "Roxy" Rothafel to manage it. From 1935 till 1983 it operated as Teatro California, showing Spanish-language films. As the Historic Core district no longer was the shopping and entertainment center of the city after the 1950s, it became more and more difficult to make a profit. After 1983 it operated as a grind house and afterwards showed pornographic films as a branch of the Pussycat Theaters. The theater closed in 1987 and despite objections was demolished in 1990.[1][2]
https://en.wikipedia.org/wiki/California_Theatre_(Los_Angeles)
Pavlov's House (Russian: дом Павлова tr. Dom Pavlova) was a fortified apartment building which Red Army defenders held for 60 days against the Wehrmacht offensive during the Battle of Stalingrad. The siege lasted from 27 September to 25 November 1942 and eventually the Red Army managed to relieve it from the siege.[1]
It gained its popular name from Sergeant Yakov Pavlov, who commanded the platoon that seized the building and defended it during the long battle.[2]
The importance of the building has been contested. The fame of the building might be due to the fact that it was not at the center of the October fighting, which had shifted to the north of Stalingrad. This allowed journalists to visit Pavlov's house more easily than buildings nearer the main German assaults. The first article about "Pavlov's House" appeared on 31 October 1942.[3]
https://en.wikipedia.org/wiki/Pavlov%27s_House
| Part of a series on |
| B movies |
|---|
|
A B movie or B film is a low-budget commercial motion picture. In its original usage, during the Golden Age of Hollywood, the term more precisely identified films intended for distribution as the less-publicized bottom half of a double feature (akin to B-sides for recorded music). However, the US production of films intended as "second features" largely ceased by the end of the 1950s. With the emergence of commercial television at that time, film studio B movie production departments changed into television film production divisions. They created much of the same type of content in low-budget films and series. The term "B movie" continues to be used in its broader sense to this day. In post-Golden Age usage, B movies can range from lurid exploitation films to independent arthouse films.
In either usage, most B movies represent a particular genre—the Western was a Golden Age B movie staple, while low-budget science-fiction and horror films became more popular in the 1950s. Early B movies were often part of series in which the star repeatedly played the same character. Almost always shorter than the top-billed feature films,[1] many had running times of 70 minutes or less. The term connoted a general perception that B movies were inferior to the more lavishly budgeted headliners; individual B films were often ignored by critics.
Latter-day B movies still sometimes inspire multiple sequels, but series are less common. As the average running time of top-of-the-line films increased, so did that of B pictures. In its current usage, the term has somewhat contradictory connotations: it may signal an opinion that a certain movie is (a) a "genre film" with minimal artistic ambitions or (b) a lively, energetic film uninhibited by the constraints imposed on more expensive projects and unburdened by the conventions of putatively serious independent film. The term is also now used loosely to refer to some higher-budget, mainstream films with exploitation-style content, usually in genres traditionally associated with the B movie.
From their beginnings to the present day, B movies have provided opportunities both for those coming up in the profession and others whose careers are waning. Celebrated filmmakers such as Anthony Mann and Jonathan Demme learned their craft in B movies. They are where actors such as John Wayne and Jack Nicholson first became established, and they have provided work for former A movie actors, such as Vincent Price and Karen Black. Some actors, such as Bela Lugosi, Eddie Constantine, Bruce Campbell, and Pam Grier, worked in B movies for most of their careers. The term "B actor" is sometimes used to refer to a performer who finds work primarily or exclusively in B pictures.
https://en.wikipedia.org/wiki/B_movie
.jpg)
The Burnt House Museum (aka Katros House) is a museum presenting an excavated house from the Second Temple period situated 6 m (20 ft) below current street level in the Jewish Quarter of the Old City of Jerusalem.[1]
https://en.wikipedia.org/wiki/Burnt_House
Apprehensive Films was an independent American film production and distribution company in operation from 1997–2016.[3][4] Its main focus was low-budget Grindhouse-inspired films shot in Super 8 mm film and 16 mm film.[1] In 2006, Apprehensive Films became a DVD distributor specializing in cult, horror and exploitation film.[1] In 2009, Apprehensive Films took over the television distribution of the horror hosted television series Cinema Insomnia which led to their re-licensing the show to AMGTV.[5]
https://en.wikipedia.org/wiki/Apprehensive_Films
Stoner–Keller House and Mill | |
 | |
  | |
| Location | 2900 Battlefield Rd., near Strasburg, Virginia |
|---|---|
| Coordinates | 38°59′06″N 78°23′57″WCoordinates: 38°59′06″N 78°23′57″W |
| Area | 2.5 acres (1.0 ha) |
| Built | c. 1772, 1844 |
| Built by | Stoner, Abraham |
| Architectural style | Greek Revival, Victorian |
| NRHP reference No. | 12001269[1] |
| VLR No. | 085-0084 |
| Significant dates | |
| Added to NRHP | February 5, 2013 |
| Designated VLR | December 13, 2012[2] |
The Stoner–Keller House and Mill, also known as the Abraham Stoner House, John H. Keller House, and Stoner Mill, is a historic home and grist mill located near Strasburg, Shenandoah County, Virginia. The main house was built in 1844, and is a two-story, five-bay, gable-roofed, "L"-shaped, vernacular Greek Revival style brick "I-house." It has a frame, one-story, three-bay, hip-roofed front porch with late-Victorian scroll-sawn wood decoration. The Stoner–Keller Mill was built about 1772 and enlarged about 1855. It is a gambrel-roofed, four-story, limestone building with a Fitz steel wheel added about 1895. Also on the property are the contributing tailrace trace (1772), frame tenant house and bank barn (c. 1880), and a dam ruin (c. 1920).[3]
It was listed on the National Register of Historic Places in 2013.[1]
https://en.wikipedia.org/wiki/Stoner%E2%80%93Keller_House_and_Mill
Kutz Mill | |
 Kutz Mill, April 2013 | |
 | |
| Location | Kutz Mill Road at Sacony Creek, Greenwich Township, Pennsylvania |
|---|---|
| Coordinates | 40°32′03″N 75°48′20″WCoordinates: 40°32′03″N 75°48′20″W |
| Area | 2 acres (0.81 ha) |
| Built | c. 1850 |
| MPS | Gristmills in Berks County MPS |
| NRHP reference No. | 90001622[1] |
| Added to NRHP | November 8, 1990 |
The Kutz Mill is an historic, American grist mill complex that is located next to Sacony Creek in Greenwich Township, Berks County, Pennsylvania.
It was listed on the National Register of Historic Places in 1990.[1]
https://en.wikipedia.org/wiki/Kutz_Mill
Bark mills, also known as Catskill's mills, are water, steam, horse, ox or wind-powered edge mills[1] used to process the bark, roots, and branches of various tree species into a fine powder known as tanbark, used for tanning leather. This powdering allowed the tannin to be extracted more efficiently from its woody source material.[2] A barker would strip the bark from trees so that it might be ground in such mills,[3] and the dried bark was often stored in bark houses.[citation needed]
https://en.wikipedia.org/wiki/Bark_mill
 Illustration of a brownie sweeping with a handmade broom by Alice B. Woodward. | |
| Grouping | Legendary creature |
|---|---|
| Sub grouping | |
| Other name(s) |
|
| Country | Scotland and Ireland |
A brownie or broonie (Scots),[1] also known as a brùnaidh or gruagach (Scottish Gaelic), is a household spirit or Hobgoblin from Scottish folklore that is said to come out at night while the owners of the house are asleep and perform various chores and farming tasks. The human owners of the house must leave a bowl of milk or cream or some other offering for the brownie, usually by the hearth. Brownies are described as easily offended and will leave their homes forever if they feel they have been insulted or in any way taken advantage of. Brownies are characteristically mischievous and are often said to punish or pull pranks on lazy servants. If angered, they are sometimes said to turn malicious, like boggarts.
Brownies originated as domestic tutelary spirits, very similar to the Lares of ancient Roman tradition. Descriptions of brownies vary regionally, but they are usually described as ugly, brown-skinned, and covered in hair. In the oldest stories, they are usually human-sized or larger. In more recent times, they have come to be seen as small and wizened. They are often capable of turning invisible and they sometimes appear in the shapes of animals. They are always either naked or dressed in rags. If a person attempts to present a brownie with clothing or if a person attempts to baptize him, he will leave forever.
Although the name brownie originated as a dialectal word used only in the UK, it has since become the standard term for all such creatures throughout the UK and Ireland. Regional variants in England and Scotland include hobs, silkies, and ùruisgs. Variants outside England and Scotland are the Welsh Bwbach and the Manx Fenodyree. Brownies have also appeared outside of folklore, including in John Milton's poem L'Allegro. They became popular in works of children's literature in the late nineteenth century and continue to appear in works of modern fantasy. The Brownies in the Girl Guides are named after a short story by Juliana Horatia Ewing based on brownie folklore.
https://en.wikipedia.org/wiki/Brownie_(folklore)
This article lists the oldest known surviving free-standing buildings constructed in the world, including on each of the continents and within each country.
Criteria
A building is defined as any human-made structure used or interface for supporting or sheltering any use or continuous occupancy. In order to qualify for this list a structure must:
- be a recognisable building;
- incorporate features of building work from the claimed date to at least 1.5 metres (4.9 ft) in height;
- be largely complete or include building work to this height for most of its perimeter.
- contain an enclosed area with at least one entry point.
This deliberately excludes ruins of limited height and statues. The list also excludes:
- dolmens, a type of single-chamber megalithic tomb, usually consisting of three or more upright stones supporting a large flat horizontal capstone. Dolmens were typically covered with earth or smaller stones to form a tumulus (which are included in the list). In many instances, that covering has weathered away, leaving only the stone "skeleton" of the burial mound intact. Neolithic dolmens are extremely numerous, with over 1,000 reported from Mecklenburg-Vorpommern in Germany alone.[1]
- cairns, which are simply large piles of loose stones (as opposed to chambered cairns)
- standing stone rings, such as Stonehenge, also do not count because they are not enclosed and do not have roofs.
Dates for many of the oldest structures have been arrived at by radiocarbon dating and should be considered approximate.
By age
The following are amongst the oldest buildings in the world that have maintained the requirements to be such. Occupation sites with older human made structures such as those in Göbekli Tepe do exist, but the structures are monuments and do not meet the definition of building (which can be seen above). Many of the buildings within the list contain primarily bricks, but most importantly maintain their walls and roof. There are numerous extant structures that survive in the Orkney islands of Scotland, some of the best known of which are part of the Heart of Neolithic Orkney World Heritage Site.[2] The list also contains many large buildings from the Egyptian Age of the Pyramids.
| Building | Image | Country | Continent | First built | Use | Note |
|---|---|---|---|---|---|---|
| Göbekli Tepe | 
|
Turkey | Asia | 10000–7500 BC | Place of worship | Located in southern Turkey. The tell includes two phases of use, believed to be of a social or ritual nature by site discoverer and excavator Klaus Schmidt, dating back to the 10th–8th millennium BC. The structure is 300 m in diameter and 15 m high. |
| Tower of Jericho |  |
West Bank, Palestine | Asia | 8000 BC | Tower | is an 8.5-metre-tall (28 ft) stone structure, constructed of undressed stones, with an internal staircase of twenty-two steps. |
| Çatalhöyük | 
|
Turkey | Asia | 7500–5700 BC | Settlement | very large Neolithic and Chalcolithic proto-city settlement in southern Anatolia |
| Mehrgarh |  |
Pakistan | Asia | 7000 BC | Settlement | A Neolithic archaeological site situated on the Kacchi Plain of Balochistan in Pakistan. It is located near the Bolan Pass, to the west of the Indus River and between the modern-day Pakistani cities of Quetta, Kalat and Sibi. |
| Barnenez | 
|
France | Europe | 4800 BC | Passage grave | Located in northern Finistère and partially restored. According to André Malraux it would have been better named 'The Prehistoric Parthenon'. The structure is 72 m (236 ft) long, 25 m (82 ft) wide and over 8 m (26 ft) high.[3][4] |
| Tumulus of Bougon | 
|
France | Europe | 4800 BC | Tumulus | A complex of tombs with varying dates near Poitiers, the oldest being F0.[3] |
| Saint-Michel tumulus | .jpg)
|
France | Europe | 4500 BC | Tumulus | The tumulus forms what is almost an artificial hillock of more than 30,000 m3 (1,100,000 cu ft) (60 m × 125 m × 10 m (197 ft × 410 ft × 33 ft)).[5][6] |
| Anu ziggurat of Uruk | 
|
Iraq | Asia | 4000–3800 BC | Ziggurat | A massive White Temple was built atop of the ziggurat. Under the northwest edge of the ziggurat a Stone Temple has been discovered. |
| Monte d'Accoddi | 
|
Italy (Sardinia) | Europe | 4000–3650 BC[7][8] | Possibly an open-air temple, or a step pyramid. | A trapezoidal platform on an artificial mound, reached by a sloped causeway. New radiocarbon dating (2011) allow us to date the building of the first monument to 4000–3650 BC, the second shrine dating to 3500–3000 BC."[9] |
| La Hougue Bie | 
|
Jersey | Europe | 4000–3500 BC | Passage grave | An 18.6 m (61 ft) long Neolithic passage grave with 12th century (medieval) chapel above [10] and World War II structures.[11][12] |
| Knap of Howar | 
|
United Kingdom (Scotland) | Europe | 3700 BC | House | Oldest preserved stone house in north west Europe.[13][14][15] |
| Ġgantija | 
|
Malta | Europe | 3700 BC | Temple | Two structures on the island of Gozo. The second was built four centuries after the oldest.[16][17] |
| Dolmen of Menga | 
|
Spain | Europe | 3700 BC | Tomb | A megalithic burial mound called a tumulus, a long barrow form of dolmen |
| West Kennet Long Barrow | 
|
United Kingdom (England) | Europe | 3650 BC | Tomb | Located near Silbury Hill and Avebury stone circle.[18] |
| Listoghil | 
|
Ireland | Europe | 3550 BC | Passage Tomb | At the centre of the Carrowmore passage tomb cluster, a simple box-shaped chamber is surrounded by a kerb c.34 m (112 ft) in diameter and partly covered by a cairn. It has been partly reconstructed.[19] |
| Stoney Littleton Long Barrow | 
|
United Kingdom (England) | Europe | 3550 BC | Tomb | Neolithic chambered tomb with multiple burial chambers, belonging to the Severn-Cotswold group located near Wellow, Somerset, England.[20] |
| Sechin Bajo | 
|
Peru | South America | 3500 BC | Plaza | The oldest known building in the Americas.[21] |
| Dholavira | 
|
India | Asia | 3500 BC | Settlement | A complex of ruins with varying dates at Dholavira.[22][23][24]
It has brick water reservoirs, with steps, circular graves and the ruins of a well planned town. Recent research suggests the beginning of occupation around 3500 BCE (pre-Harappan) and continuity until around 1800 BCE (early part of Late Harappan period).[25] |
| Midhowe Chambered Cairn | 
|
United Kingdom (Scotland) | Europe | 3500 BC | Tomb | A well-preserved chambered cairn of the Orkney-Cromarty type on the island of Rousay.[26] |
| Gavrinis passage tomb | 
|
France | Europe | 3500 BC | Tomb | On a small island, situated in the Gulf of Morbihan.[27] |
| Wayland's Smithy | 
|
United Kingdom (England) | Europe | 3460 BC | Chamber tomb | A barrow constructed on top of an older burial chamber.[28] |
| Unstan Chambered Cairn | 
|
United Kingdom (Scotland) | Europe | 3450 BC | Tomb | Excavated in 1884, when grave goods were found, giving their name to Unstan ware.[29][30][31] |
| Loughcrew | 
|
Ireland | Europe | 3400 BC | Tomb | It is the site of megalithic burial grounds dating back to approximately 3500 and 3300 BC |
| Knowe of Yarso chambered cairn | 
|
United Kingdom (Scotland) | Europe | 3350 BC | Tomb | One of several Rousay tombs. It contained numerous deer skeletons when excavated in the 1930s.[29][32][33] |
| Quanterness chambered cairn | 
|
United Kingdom (Scotland) | Europe | 3250 BC | Tomb | The remains of 157 individuals were found inside when excavated in the 1970s.[29][34][35] |
| Tarxien Temples | 
|
Malta | Europe | 3250 BC | Temples | Part of the Megalithic Temples of Malta World Heritage Site.[16][36] |
| Shahr-e Sukhteh | 
|
Iran | Asia | 3200 BC | Settlement | A rich source of information regarding the emergence of complex societies and contacts between them in the third millennium[37] |
| Newgrange | 
|
Ireland | Europe | 3200 BC[38] | Burial | Partially reconstructed around original passage grave.[39] |
| Knowth | 
|
Ireland | Europe | c. 3200 BC | Passage grave | A Neolithic passage grave and an ancient monument of the World Heritage Site of Brú na Bóinne |
| Dowth | 
|
Ireland | Europe | between 3200 and 2900 BC | Tomb | The cairn is about 85 metres (280 ft) in diameter and 15 metres (50 ft) high. |
| Skara Brae | 
|
United Kingdom (Scotland) | Europe | 3180 BC | Settlement | Northern Europe's best preserved Neolithic village.[40][41] |
| Tomb of the Eagles | 
|
United Kingdom (Scotland) | Europe | 3150 BC | Tomb | In use for 800 years or more. Numerous bird bones were found here, predominantly white-tailed sea eagle.[42][43] |
| Tepe Sialk ziggurat | 
|
Iran | Asia | 3000 BC | Ziggurat | The oldest settlements in Sialk to date to around 6000–5500 BC.[44][45] The Sialk ziggurat was built around 3000 BC. |
| Dolmen de Bagneux | 
|
France | Europe | 3000 BC | Dolmen | This is the largest dolmen in France, and perhaps the world; the overall length of the dolmen is 23 m (75 ft), with the internal chamber at over 18 m (59 ft) in length and at least 3 m (9.8 ft) high.[46][47][48] |
| Grey Cairns of Camster | 
|
United Kingdom (Scotland) | Europe | 3000 BC or older | Tomb | Located near Upper Camster in Caithness.[49][50] |
| Hulbjerg Jættestue | 
|
Denmark | Europe | 3000 BC | Passage grave | The grave is concealed by a round barrow on the southern tip of the island of Langeland. One of the skulls found there showed traces of the world's earliest dentistry work.[51][52][53] |
| Dolmens of North Caucasus | 
|
Russia | Europe | 3000 BC | Tomb | There are numerous tombs, some perhaps originating in the Maikop culture, in the North Caucasus.[54][55] |
| Taversoe Tuick chambered cairn | 
|
United Kingdom (Scotland) | Europe | 3000 BC | Tomb | Unusually, there is an upper and lower chamber.[56] |
| Holm of Papa chambered cairn | 
|
United Kingdom (Scotland) | Europe | 3000 BC | Tomb | The central chamber is over 20 m (66 ft) long.[57][58] |
| Barpa Langass | 
|
United Kingdom (Scotland) | Europe | 3000 BC | Tomb | The best preserved chambered cairn in the Hebrides.[59][60] |
| Cuween Hill Chambered Cairn | 
|
United Kingdom (Scotland) | Europe | 3000 BC | Tomb | Excavated in 1901, when it was found to contain the bones of men, dogs and oxen.[61][62] |
| Quoyness cairn | 
|
United Kingdom (Scotland) | Europe | 2900 BC | Tomb | An arc of Bronze Age mounds surrounds this cairn on the island of Sanday.[63] |
| Maeshowe | 
|
United Kingdom (Scotland) | Europe | 2800 BC | Tomb | The entrance passage is 36 feet (11 m) long and leads to the central chamber measuring about 15 feet (4.6 m) on each side.[64][65] |
| Shunet El Zebib | .jpg)
|
Egypt | Africa | 2700 BC | Mortuary temple | Built as a funerary enclosure, a place where the deceased king was worshipped and memorialised. |
| Pyramid of Djoser | 
|
Egypt | Africa | 2667–2648 BC | Burial | Earliest large-scale cut stone construction.[66] |
| Harappa | 
|
Pakistan | Asia | 2600 BC | Settlement | A Bronze Age fortified city with clay sculptured houses located west of Sahiwal.[67]
The Indus Valley civilization had a possible writing system, urban centers, and diversified social and economic system. |
| Mohenjo Daro | 
|
Pakistan | Asia | 2600 BC | Settlement | An archeological site near Larkana.[68]
The world's earliest settlement with one and two storied brick houses, public baths, assembly halls, central marketplace and covered drains. |
| Caral | 
|
Peru | South America | 2600 BC | Pyramid | Once thought to be the oldest building in South America.[69] |
| Pyramid of Meidum | 
|
Egypt | Africa | c. 2580 BC | Tomb | Fourth Dynasty structure completed by Sneferu. |
| Bent Pyramid | 
|
Egypt | Africa | c. 2580 BC | Tomb | A second structure completed by Sneferu. |
| Red Pyramid | .jpg)
|
Egypt | Africa | c. 2580 BC | Tomb | Third large pyramid completed by Sneferu.[70] |
| Great Pyramid of Giza | 
|
Egypt | Africa | 2560 BC | Tomb | Mausoleum for fourth dynasty Egyptian Pharaoh Khufu.[citation needed] World's tallest man-made structure for over 3800 years, until Lincoln Cathedral in 1311. |
| Megalithic Monuments of Alcalar | 
|
Portugal | Europe | Between 3000 and 2000 BC | Tomb | A group of burial tombs that comprise a Calcolithic necropolis. |
| Capel Garmon | 
|
United Kingdom (Wales) | Europe | c. 2500 BC | Tomb | Burial chamber dating from the 3rd millennium BC that belongs to the Severn-Cotswold Group.[71] |
| Pyramid of Khafre | 
|
Egypt | Africa | c. 2500 BC | Tomb | One of the Pyramids of Giza.[72] |
| Pyramid of Menkaure | 
|
Egypt | Africa | c. 2500 BC | Tomb | Menkaure was probably Khafre's successor. |
| Pyramid of Userkaf | 
|
Egypt | Africa | c. 2480 BC | Tomb | Located close to Pyramid of Djoser.[73] |
| Pyramid of Sahure | 
|
Egypt | Africa | c. 2480 BC | Tomb | Built for Sahure.[74] |
| Pyramid of Neferirkare Kakai | 
|
Egypt | Africa | c. 2460 BC | Tomb | Built for Neferirkare Kakai.[74] |
| Pyramid of Neferefre | 
|
Egypt | Africa | c. 2455 BC | Tomb | Never completed but does contain a tomb.[74] |
| Pyramid of Niuserre | 
|
Egypt | Africa | c. 2425 BC | Tomb | [75] |
| Royal Palace of Ebla | 
|
Syria | Asia | 2400–2300 BC | Palace |
|
| Pyramid of Djedkare-Isesi | 
|
Egypt | Africa | c. 2370 BC | Tomb |
|
| Pyramid of Unas | 
|
Egypt | Africa | c. 2340 BC | Tomb | [76] |
| Pyramid of Teti | 
|
Egypt | Africa | c. 2330 BC | Tomb |
|
| Labbacallee | 
|
Ireland | Europe | c. 2300 BC | Tomb | The largest wedge tomb in Ireland.[77] |
| Shimao |
|
China (Shaanxi) | Asia | 2300–2000 BC | Settlement | Fortified Neolithic site, centered on a large stepped pyramid with a height of 70m.[78] |
| Pyramid of Merenre | 
|
Egypt | Africa | c. 2275 BC | Tomb | Built for Merenre Nemtyemsaf I but not completed. |
| Pyramid of Pepi II Neferkare | 
|
Egypt | Africa | c. 2180 BC | Tomb |
|
| Crantit cairn |
|
United Kingdom (Scotland) | Europe | 2130 BC | Tomb | Discovered in 1998 near Kirkwall.[79][80] |
| Ziggurat of Ur | 
|
Iraq | Asia | 2100 BC | Temple | The Great Ziggurat of Ur was a temple built under King Ur-Nammu in honor of the goddess Nanna. It was partially reconstructed in the 1980s under Saddam Hussein. |
| Dolmen de Viera | 
|
Spain | Europe | 2000 BC | Tomb | The Dolmen de Viera or Dolmen de los Hermanos Viera is a dolmen—a type of single-chamber megalithic tomb[81] |
| Dolmen of Cava dei Servi | .jpg)
|
Italy (Sicily) | Europe | 2000 BC | Tomb | The dolmen of Cava dei Servi is a semi-oval monument formed by four rectangular slabs fixed into the ground. Three slabs are on top, leaning in such a way they reduce the surface and form a false dome.[82] |
| Rubha an Dùnain passage grave | 
|
United Kingdom (Scotland) | Europe | 2000 BC or older | Tomb | [83][84][85] |
| Corrimony chambered cairn | 
|
United Kingdom (Scotland) | Europe | 2000 BC or older | Tomb | A Clava-type passage grave surrounded by a circle of 11 standing stones.[86][87] |
| Bryn Celli Ddu | 
|
United Kingdom (Wales) | Europe | 2000 BC | Tomb | Located on the island of Anglesey.[88] |
| Balnuaran of Clava | 
|
United Kingdom (Scotland) | Europe | 2000 BC | Tomb | The largest of three is the north-east cairn, which was partially reconstructed in the 19th century. The central cairn may have been used as a funeral pyre.[85][89][90] |
| Vinquoy chambered cairn, Eday | 
|
United Kingdom (Scotland) | Europe | 2000 BC | Tomb | [91] |
| Pyramid of Amenemhat I | 
|
Egypt | Africa | c. 1960 BC | Tomb |
|
| Karnak | 
|
Egypt | Africa | 1971–1926 BC | Temple | Actually a temple complex. |
| Pyramid of Senusret I | 
|
Egypt | Africa | c. 1920 BC | Tomb |
|
| Pyramid of Senusret II | 
|
Egypt | Africa | c. 1875 BC | Tomb |
|
| Knossos | 
|
Greece | Europe | 1850–1750 BC | Palace | Minoan structure on a Neolithic site.[92] |
| Pyramid of Senusret III | 
|
Egypt | Africa | c. 1835 BC | Tomb | Built for Senusret III. |
| Black Pyramid | 
|
Egypt | Africa | c. 1820 BC | Tomb | Built for Amenemhat III, it has multiple structural deficits. |
| Hawara | 
|
Egypt | Africa | c. 1810 BC | Tomb | Also built for Amenemhat III. |
| Pyramid of Khendjer | 
|
Egypt | Africa | c. 1760 BC | Tomb | Built for pharaoh Khendjer. |
| Daorson |  |
Bosnia and Herzegovina | Europe | 17–16th century BC | City and citadel | Illyrian settlement and capital of Daorsi tribe. |
| Mortuary Temple of Hatshepsut | 
|
Egypt | Africa | 15th century BC | Temple |
|
| Nuraghe Santu Antine | 
|
Italy (Sardinia) | Europe | 1600 BC | Possibly a fort | The second tallest of these megalithic edifices found in Sardinia and tallest still standing.[93] |
| Sinauli | 
|
India | Asia | 1800 BC | Settlement | The Sinauli excavation site is located in Sinauli, western Uttar Pradesh, India, at the Ganga-Yamuna Doab.[94][95] Major findings from 2018 trial excavations are dated to c. 2000 - 1800 BCE, and ascribed to the Ochre Coloured Pottery culture (OCP)/Copper Hoard Culture. The rituals relating to the Sanauli burials shows close affinity with Vedic rituals.[96] |
| Adichanallur | 
|
India | Asia | 1500 BC | Settlement | In 2004, a number of skeletons were found buried in earthenware urns. Some of these urns contained writing in Tamil Brahmi script. While some of the burial urns contained skeletons.[97] In 2018, research on skeletons remains were dated at Manipur University to around 1500 BC.[98] |
| Su Nuraxi di Barumini | 
|
Italy (Sardinia) | Europe | 1500 BC | Possibly a fort or a palace | The palace of Barumini is formed by a huge quatrefoiled nuraghe, whose central tower is its oldest construction. Originally it was almost 20 m (66 ft) high and divided into three floors.[99][100] |
| Luxor Temple | 
|
Egypt | Africa | c.1400 BC | Temple | Actually a temple complex. |
| Nuraghe La Prisciona | 
|
Italy (Sardinia) | Europe | 1400 BC | Possibly a fort | The monument has a central tower and 2 side towers, the former with an entrance defined by a massive lintel of 3.20 m (10.5 ft). The central chamber has a false dome, which is more than 6 m (20 ft) high.[101] |
| The King's Grave | 
|
Sweden | Europe | 1400 BC | Tomb | Near Kivik is the remains of an unusually grand Nordic Bronze Age double burial.[102] |
| The Ziggurat of Dur-Kurigalzu | 
|
Iraq | Asia | 14th century BC | Probably religious rituals | Built for the Kassite King Kurigalzu I.[103] |
| Treasury of Atreus | 
|
Greece | Europe | 1250 BC | Tomb | The tallest and widest dome in the world for over a thousand years.[104] |
| Chogha Zanbil | 
|
Iran | Asia | 1250 BC | Temple | One of the few extant ziggurats outside of Mesopotamia.[105] |
| Mortuary Temple of Seti I | 
|
Egypt | Africa | 13th century BC | Temple |
|
| Ramesseum | 
|
Egypt | Africa | 13th century BC | Temple | Mortuary temple of Ramses II. |
| Naveta d'Es Tudons | 
|
Spain | Europe | 1200–750 BC | Ossuary | The most famous megalithic chamber tomb in Menorca.[106] |
| Mortuary Temple of Ramesses III | 
|
Egypt | Africa | 1186–1155 BC | Temple |
|
| Dún Aonghasa | 
|
Ireland | Europe | 1100 BC | Fort | Dún Aonghasa, also called Dun Aengus, has been described as one of the most spectacular prehistoric monuments in western Europe. The drystone walled hillfort is made up of 4 widely spaced concentric ramparts.[107][108] |
| Cuicuilco Circular Pyramid | 
|
Mexico | North America | 800–600 BC | Ceremonial center | One of the oldest standing structures of the Mesoamerican cultures. First steps in the creation of a sun based calendar.[109] |
| Van Fortress | 
|
Turkey | Asia | 750 BC | Fortress | Massive Urartean stone fortification overlooking Tushpa. |
| Necropolises of Cerveteri and Tarquinia | 
|
Italy | Europe | 700 BC | Tombs | These Etruscan necropolises contain thousands of tombs, some organized in a city-like plan.[110] |
| Temple of Cyrene | 
|
Libya | Africa | c. 630 BC | Temple | The temple was destroyed and rebuilt around 115 AD and was damaged in the 4th century AD. |
| Keezhadi excavation site | 
|
India | Asia | 580 BC | Settlement | Keezhadi (also as Keeladi) excavation site is a Sangam period settlement that is being excavated by the Archaeological Survey of India and the Tamil Nadu Archaeology Department. |
| Temple of Hera | 
|
Italy | Europe | 550 BC | Temple | Part of a complex of three great temples in Doric style.[111] |
| Tomb of Cyrus | 
|
Iran | Asia | 530 BC | Tomb | Tomb of Cyrus the Great, located in Pasargadae |
| Persepolis | 
|
Iran | Asia | 522 BC | Ceremonial capital | Ceremonial capital of the Achaemenid Empire |
| Yeha Temple | 
|
Ethiopia | Africa | 500 BC | Temple | Temple of the sun and moon. |
| Parthenon | 
|
Greece | Europe | 432–447 BC | Temple | In the Acropolis of Athens |
| Tomb of Seuthes III | 
|
Bulgaria | Europe | 450–400 BC | Tomb | The tomb was originally a monumental temple at Golyama Kosmatka Mound, built in the second half of the 5th century BC. After extended use as a temple, at the later part of the 3rd century BC the Thracian king Seuthes III was buried inside. |
| Thracian Tomb of Kazanlak | 
|
Bulgaria | Europe | 300–400 BC | Tomb | Located near Seutopolis, the capital city of the Thracian king Seuthes III, and part of a large necropolis.[112]
It is one of the most elaborate tombs in the Valley of the Thracian Rulers where the first use of brickwork in Europe was established. |
| Sanchi Stupa | 
|
India | Asia | 300 BC | Buddhist temple | In the village of Sanchi |
| Thracian Tomb of Sveshtari | 
|
Bulgaria | Europe | 300–280 BC | Tomb | Discovered in 1982 in a mound, this 3rd century BC Getic tomb reflects the fundamental structural principles of Thracian cult buildings. The tomb's architectural decor is considered to be unique, with polychrome half-human, half-plant caryatids and painted murals. |
| Dhamek Stupa | 
|
India | Asia | 249 BC rebuilt c. 500 AD | Buddhist Temple | In Sarnath, Varanasi |
| Mausoleum of the First Qin Emperor | 
|
China | Asia | Began construction 246 BC, finished 208 BC | Tomb | Commonly known as the Terracotta Army, this is one of the largest tombs ever built. It does not only contain the entire stone army, but a complex of halls and of the resting place of Qin Shi Huang. |
| Ruwanwelisaya | 
|
Sri Lanka | Asia | 140 BC | Stupa | In Anuradhapura, Sri Lanka |
| Broch of Mousa | 
|
United Kingdom (Scotland) | Europe | 100 BC | Broch | Located in Shetland it is among the best-preserved prehistoric buildings in Europe.[113][114] |
| Dun Carloway | 
|
United Kingdom (Scotland) | Europe | 100 BC | Broch | Built in the first century BC[115] |
| Masada | 
|
Israel | Asia | 37 BC | Fortress | Herod the Great built two palaces for himself on the mountain and fortified Masada between 37 and 31 BCE. |
| Maison Carrée | .jpg)
|
France | Europe | 4–7 AD | Temple | one of the best preserved Roman temples, in Nîmes |
| Lei Cheng Uk Han Tomb Museum | 
|
China (Hong Kong) | Asia | 25 AD | Tomb |
|
| Temple of Garni | 
|
Armenia | Asia | c. 77 AD | Temple | |
| Colosseum | 
|
Italy | Europe | 70–80 AD | Amphitheatre |
|
By continent
The following are amongst the oldest known surviving extant buildings on each of the major continents.
| Building | Image | Country | Continent | First built | Use | Notes |
|---|---|---|---|---|---|---|
| Göbekli Tepe |
|
Turkey | Asia | 10000 – 7500 BC | Unknown, likely temple | Located in southern Turkey. The tell includes two phases of use, believed to be of a social or ritual nature by site discoverer and excavator Klaus Schmidt, dating back to the 10th–8th millennium BCE. The structure is 300 m in diameter and 15 m high. |
| Durankulak (archaeological site) |  |
Bulgaria | Europe | 5500—4100 BC | Settlement | The Durankulak Archaeological Complex unites three sites: Tell Golemija ostrov - the Big Island, Durankulak - the necropolis and Durankulak - the fields. On the Tell Golemija ostrov (Big Island) there are settlements from the Early Eneolithic - Hamandjia III-IV culture, the Late Eneolithic - Varna culture, ritual pits and sacrificial pylons from the Proto-Bronze and Bronze Ages - Chernavoda I and III cultures, fortified Late Bronze Age settlement - Koslogeni culture (Sabatinovka-Noua-Coslogeni "cultural complex"), ancient buildings with a cave temple of the goddess Cybele and an early medieval proto-Bulgarian settlement with several rotundas, which existed from the 9th to the beginning of the 11th century AD. The total thickness of the cultural strata is 3.20 - 3.50 m. The settlement mound has seven stratigraphic horizons. |
| Solnitsata | 
|
Bulgaria | Europe | 5500 BC [116] | Settlement | Believed to be the oldest town in Europe, Solnitsata was the site of a prehistoric fortified (walled) stone settlement (prehistoric city) and salt production facility approximately from the 6th – 5th millennia BC;[117] it flourished ca 4700–4200 BC.[118][119][120] A large collection of the oldest gold objects in the world was found nearby, in the Varna Necropolis[117] |
| Sechin Bajo |
|
Peru | South America | 3500 BC | Plaza | The oldest known building in the Americas.[21][121] |
| Shunet El Zebib |
|
Egypt | Africa | 2700 BC | Mortuary temple | Built as a funerary enclosure, a place where the deceased king was worshipped and memorialised. |
| Cuicuilco Circular Pyramid |
|
Mexico | North America | 800–600 BC | Ceremonial center | One of the oldest standing structures of the Mesoamerican cultures.[109] |
| Wiebbe Hayes Stone Fort | 
|
Australia | Oceania | 1629 AD | Defensive fort | Oldest known European building in Australia, a defensive fort used by the survivors of the Batavia shipwreck on West Wallabi Island.[122]: 37 [123] |
| Cape Adare huts | 
|
Ross Dependency | Antarctica | 1899 AD | Explorers' huts | Wooden buildings constructed by Carsten Borchgrevink in Victoria Land.[124] |
By country
The following are among the oldest buildings in their respective countries.
| Building | Image | Country | Continent | First Built | Use | Notes |
|---|---|---|---|---|---|---|
| Weibbe Hayes Stone Fort | .jpg)
|
Australia | Australia | 1629 AD | Stone Fort | Old stone fort built by the survivors of the Batavia shipwreck. |
| Durankulak (archaeological site) | |
Bulgaria | Europe | 5500—4100 BC | Settlement | The Durankulak Archaeological Complex unites three sites: Tell Golemija ostrov - the Big Island, Durankulak - the necropolis and Durankulak - the fields. On the Tell Golemija ostrov (Big Island) there are settlements from the Early Eneolithic - Hamandjia III-IV culture, the Late Eneolithic - Varna culture, ritual pits and sacrificial pylons from the Proto-Bronze and Bronze Ages - Chernavoda I and III cultures, fortified Late Bronze Age settlement - Koslogeni culture (Sabatinovka-Noua-Coslogeni "cultural complex"), ancient buildings with a cave temple of the goddess Cybele and an early medieval proto-Bulgarian settlement with several rotundas, which existed from the 9th to the beginning of the 11th century AD. The total thickness of the cultural strata is 3.20 - 3.50 m. The settlement mound has seven stratigraphic horizons. |
| Solnitsata |
|
Bulgaria | Europe | 5500 BC [116] | Settlement | Believed to be the oldest town in Europe, Solnitsata was the site of a prehistoric fortified stone settlement and salt production facility approximately six millennia ago;[117] it flourished ca 4700–4200 BC.[118] The settlement was walled to protect the salt, a crucial commodity in antiquity.[119] Although its population has been estimated at only 350,[119] archaeologist Vassil Nikolov argues that it meets established criteria as a prehistoric city.[125] A large collection of the oldest gold objects in the world find nearby, on the site of the Varna Necropolis, has led archaeologists to speculate that this trade resulted in considerable wealth for the town's residents.[117] |
| L'Anse aux Meadows | 
|
Canada | North America | c. 1000 AD | Settlement | Located on the northernmost tip of the island of Newfoundland, the Norse settlement is widely accepted as evidence of pre-Columbian trans-oceanic contact. |
| Shimao |
|
China | Asia | 2300–2000 BC | Settlement | Fortified Neolithic site, centered on a large stepped pyramid with a height of 70m.[78] |
| St. George's Basilica, Prague | .jpg)
|
Czech Republic | Europe | c. 920 AD | Church | Located within Prague Castle in the Czech Republic capital Prague. The building now houses the 19th century Bohemian Art Collection of National Gallery in Prague. |
| Hulbjerg Jættestue |
|
Denmark | Europe | 3000 BC | Passage grave | The Hulbjerg passage grave is concealed by a round barrow on the southern tip of the island of Langeland. One of the skulls found there showed traces of the world's earliest dentistry work.[51] |
| West Kennet Long Barrow |
|
United Kingdom (England) | Europe | 3650 BC | Tomb | Located near Silbury Hill and Avebury stone circle.[18] |
| Yeha Temple |
|
Ethiopia | Africa | 500 BC | Temple | Oldest standing structure in Ethiopia |
| Barnenez |
|
France | Europe | 4850 BC | Passage grave | Located in northern Finistère and partially restored. The structure is 72 m long, 25 m wide and over 8 m high.[3][4] The oldest known building in Eurasia. |
| Porta Nigra | .jpg)
|
Germany | Europe | 180 AD | Roman city gate | It is today the largest Roman city gate north of the Alps.[126] |
| Knossos | 
|
Greece | Europe | 2000–1300 BC | Palace | Minoan structure on a Neolithic site.[92] |
| Dholavira |
|
India | Asia | 3500 BC | Reservoir | A planned urban settlement comprising reservoirs, pottery artifacts, seals, ornaments, vessels, etc. |
| Chogha Zanbil |
|
Iran | Asia | 1250 BC | Temple | One of the few extant ziggurats outside of Mesopotamia.[105] |
| The Ziggurat of Dur-Kurigalzu |
|
Iraq | Asia | 14th century BC | Probably religious rituals | Built by the Kassite King Kurigalzu I.[103] |
| Newgrange |
|
Ireland | Europe | 3200–2900 BC | Burial | Partially reconstructed around original passage grave.[39] |
| Monte d'Accoddi |
|
Italy (Sardinia) | Europe | 4000–3600 BC | Possibly an open-air temple, a ziggurat, or a step pyramid, mastaba. | "A trapezoidal platform on an artificial mound, reached by a sloped causeway."[9] |
| Ġgantija | .jpg)
|
Malta | Europe | 3700 BC | Temple | Two structures on the island of Gozo. The second was built four centuries after the oldest.[16][17] |
| Cuicuilco Circular Pyramid |
|
Mexico | North America | 800–600 BC | Ceremonial center | One of the oldest standing structures of the Mesoamerican cultures.[109] |
| Hunebed (Dolmen) | 
|
Netherlands | Europe | 4000–3000 BC | Burial | Common theory states Hunebedden of dolmen are prehistoric burial chambers. |
| Mission House | 
|
New Zealand |
|
1822 AD | Religious | Built by Māori and missionary carpenters.[127] |
| Mehrgarh |
|
Pakistan | Asia | c. 2600 BC | Mud brick storage structures | A complex of ruins with varying dates near Bolan Pass.[128][129] |
| Sechin Bajo |
|
Peru | South America | 3500 BC | Plaza | The oldest known building in the Americas.[21] |
| Dolmens of North Caucasus |
|
Russia | Europe | 3000 BC | Tomb | There are numerous tombs, some perhaps originating in the Maikop culture, in the North Caucasus.[54][55] |
| Knap of Howar |
|
United Kingdom (Scotland) | Europe | 3700 BC | House | Oldest preserved stone house in north west Europe.[13][14][15] |
| Naveta d'Es Tudons |
|
Spain | Europe | 1200–750 BC | Ossuary | The most famous megalithic chamber tomb in Menorca.[106] |
| The King's Grave |
|
Sweden | Europe | 1000 BC | Tomb | Near Kivik is the remains of an unusually grand Nordic Bronze Age double burial.[130] |
| Hattusa | 
|
Turkey | Asia | c. 1600 BC | Ramparts and ruined buildings | Capital of the Hittite Empire in the late Bronze Age located near modern Boğazkale.[131] |
| Saint Sophia Cathedral, Kyiv | .jpg)
|
Ukraine | Europe | 1037 AD | Cathedral | Orthodox cathedral, partially rebuilt |
| Ancestral Puebloan communities | 
|
United States | North America | 750 AD | Villages | Pueblo construction began in 750 AD and continues to the present day. These buildings have been within the U.S. since 1848, when New Mexico was annexed. |
| Bryn Celli Ddu |
|
United Kingdom (Wales) | Europe | 2000 BC | Tomb | Located on the island of Anglesey.[88] |
| Great Zimbabwe | 
|
Zimbabwe | Africa | 1000 AD | Palace | Capital of the medieval kingdom |
By function, structure and building material
The following are probably the oldest buildings of their type.
| Building | Image | Location | First built | Use | Notes |
|---|---|---|---|---|---|
| Göbekli Tepe |
|
Turkey | 10000–7500 BC | Unknown, likely temple | Located in southern Turkey. The tell includes two phases of use, believed to be of a social or ritual nature by site discoverer and excavator Klaus Schmidt, dating back to the 10th–8th millennium BCE. The structure is 300 m in diameter and 15 m high. |
| Mehrgarh | |
Pakistan | 7000 BC | Settlement | A Neolithic archaeological site situated on the Kacchi Plain of Balochistan in Pakistan. It is located near the Bolan Pass, to the west of the Indus River and between the modern-day Pakistani cities of Quetta, Kalat and Sibi. |
| Durankulak (archaeological site) | |
Bulgarian | 4800–4100 BC | Settlement | Durankulak is located in Bulgaria, on the west coast of the Black Sea, Dbruja district. The earliest stone architecture in continental Europe was discovered here. |
| Pyramid of Djoser |
|
Saqqara, Egypt | 2667–2648 BC | Tomb | Oldest large-scale cut stone construction[66] |
| Luxor Temple | 
|
Luxor, Egypt | 1400 BC | Religious | The oldest standing building partly in use. There is an active mosque within the main structure, visible in the picture, that stands on the ancient pillars of the Egyptian temple. |
| Sanchi Stupa |
|
India | 300 BC | Buddhist temple | In the village of Sanchi |
| Temple of Concordia | 
|
Italy | 440 BC | Temple | The temple of the ancient world completely preserved. |
| Mundeshwari Temple | 
|
Bihar, India | 105–320 AD | Hindu Temple | May be the oldest surviving (non rebuilt) Hindu temple in the world[132][133] An information plaque at the site indicates the dating of the temple at least to 625 CE and Hindu inscriptions dated 635 CE were found in the temple.[134] |
| Pantheon, Rome | 
|
Italy | 125 AD | Religious | Oldest standing building still in regular use.[135] |
| Aula Palatina | 
|
Germany | 306 AD | Palace basilica | Contains the largest extant hall from antiquity.[126] |
| Jokhang | 
|
Lhasa, Tibet, China | c. 639 AD | Buddhist temple | Perhaps the world's oldest timber-frame building.[136] |
| Hōryū-ji | 
|
Nara, Japan | 670 AD | Buddhist Temple | Oldest wooden building still standing.[137] |
| Nanchan Temple | 
|
Wutai, China | 782 AD | Buddhist Temple | Its Great Buddha Hall is currently China's oldest extant timber building. |
| Greensted Church | 
|
United Kingdom (England) | c. 1053 AD | Church | May be the oldest, extant wooden church in the world and the oldest, extant wooden building in Europe.[138][139] |
| Roykstovan in Kirkjubø | .jpg)
|
Faroe Islands | No clear date, middle of 11th century AD | Farmhouse | May be the oldest continuously inhabited wooden building in the world[140] |
| Ditherington Flax Mill | 
|
United Kingdom (England, Shrewsbury) | 1797 AD | Industrial | The oldest iron framed building in the world.[141] |
| Manhattan Building | 
|
Chicago, United States | 1888 AD | Skyscraper | Oldest skyscraper still standing. |
See also
Lists
- List of oldest buildings in Scotland
- List of oldest buildings in the Americas
- List of oldest buildings in the United Kingdom
- List of oldest church buildings
- List of oldest continuously inhabited cities
- List of oldest synagogues
- List of the oldest buildings in the United States
- List of the oldest mosques
Sites
- Los Millares, a Chalcolithic site in Almería, Spain including both ruins and reconstructions
- Antequera Dolmens Site, Antequera Málaga Spain, a cultural heritage ensemble comprising 3 cultural monuments.
References
- Jones, Nigel (2005). Architecture of England, Scotland, and Wales. England: Greenwood Publishing Group. p. 92. ISBN 978-0-313-31850-4. Retrieved 10 July 2012.
|
https://en.wikipedia.org/wiki/List_of_oldest_known_surviving_buildings
| Villains | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | August 25, 2017 | |||
| Recorded | January – March 2017 | |||
| Genre | ||||
| Length | 48:00 | |||
| Label | Matador | |||
| Producer | Mark Ronson | |||
| Queens of the Stone Age chronology | ||||
| ||||
| Alternative cover | ||||
 Cover of limited edition release | ||||
| Singles from Villains | ||||
| ||||
Villains is the seventh studio album by American rock band Queens of the Stone Age, released on August 25, 2017 through Matador. The album was announced on June 14, with a teaser trailer taking the form of a comedy skit featuring the band performing a polygraph test with Liam Lynch. The first single, "The Way You Used to Do", was released the following day along with the announcement of a world tour.[4][5] Villains is the first Queens of the Stone Age album to not feature any special guest musicians, the second to not feature Mark Lanegan, and the first to feature Jon Theodore as full time member of the band.[6]
The album received widely positive reviews and performed well commercially, topping Billboard's Top Alternative Albums and Top Rock Albums charts. At the 2018 Grammy Awards ceremony, it was nominated for Best Rock Album, losing to The War on Drugs' A Deeper Understanding.[7]
https://en.wikipedia.org/wiki/Villains_(Queens_of_the_Stone_Age_album)
| Cotehele | |
|---|---|
| Native name Cornish: Kosheyl | |
 Courtyard of Cotehele House | |
| Type | Country house |
| Location | Calstock |
| Coordinates | 50°29′45″N 4°13′33″WCoordinates: 50°29′45″N 4°13′33″W |
| OS grid reference | SX4224068618 |
| Area | Cornwall |
| Architectural style(s) | Medieval & Tudor |
| Owner | National Trust |
Listed Building – Grade I | |
| Official name | Cotehele House |
| Designated | 21 July 1951 |
| Reference no. | 1140255 |
| Official name | Cotehele |
| Designated | 11 June 1987 |
| Reference no. | 1000648 |
 Location of Cotehele in Cornwall | |
Cotehele (Cornish: Kosheyl)[1] is a medieval house with Tudor additions, situated in the parish of Calstock in the east of Cornwall, England, and now belonging to the National Trust. It is a rambling granite and slate-stone manor house on the banks of the River Tamar that has been little changed over five centuries. It was built by the Edgecumbe family in 1458 after the original Manor House was pulled down. Sir Richard Edgecumbe came into the property after fighting for Henry Tudor in the Battle of Bosworth. He was gifted with money and the original Manor House and estate and then proceeded to build Cotehele.
https://en.wikipedia.org/wiki/Cotehele
 Cover of The House on the Borderland | |
| Author | William Hope Hodgson |
|---|---|
| Country | United Kingdom |
| Language | English |
| Genre | Horror novel |
| Publisher | Chapman and Hall |
Publication date | JAN 01 1908 |
| Media type | Print (hardcover) |
| Pages | 300 pp (1st edition) |
The House on the Borderland (1908) is a supernatural horror novel by British fantasist William Hope Hodgson. The novel is a hallucinatory account of a recluse's stay at a remote house, and his experiences of supernatural creatures and otherworldly dimensions.
On encountering Hodgson's novels in 1934, American horror writer H. P. Lovecraft praised The House on the Borderland and other works by Hodgson at length.[1] Terry Pratchett has called the novel "the Big Bang in my private universe as a science fiction and fantasy reader and, later, writer".[2]
https://en.wikipedia.org/wiki/The_House_on_the_Borderland
| The Grind | |
|---|---|
| Directed by | Joe De Grasse |
| Written by | Ida May Park |
| Starring | Lon Chaney Pauline Bush |
| Distributed by | Universal Pictures |
Release date |
|
Running time | 3 reels (30 minutes) |
| Country | United States |
| Language | Silent with English intertitles |
The Grind is a 1915 American silent drama film directed by Joe De Grasse, written by Ida May Park (De Grasse's wife), and featuring Lon Chaney, Pauline Bush and Queenie Rosson. The film is now considered to be lost.[1] The film was released in England as On The Verge of Sin. A still exists showing Lon Chaney in the role of Henry Leslie.[2]
https://en.wikipedia.org/wiki/The_Grind_(1915_film)
Hadley House and Grist Mill | |
 | |
| Location | Northwest of Pittsboro on SR 2165, Pittsboro, North Carolina |
|---|---|
| Coordinates | 35°42′32″N 79°18′02″WCoordinates: 35°42′32″N 79°18′02″W |
| Area | 46.2 acres (18.7 ha) |
| Built | c. 1858, 1885 |
| Architectural style | Greek Revival |
| NRHP reference No. | 80002807[1] |
| Added to NRHP | November 25, 1980 |
Hadley House and Grist Mill is a historic home and grist mill located near Pittsboro, Chatham County, North Carolina. The house was built about 1858, and is a two-story, three bay by two bay, Greek Revival style frame dwelling. It has a one-story rear ell and one-bay front porch, and sits on a stone foundation. The mill dates to 1885, and is a three-story frame structure on a stone foundation. It has an exterior iron mill wheel measuring 16 feet in diameter. The mill continued in operation until the 1930s. Also on the property are the contributing two-story frame smokehouse, foundation stones for the original detached kitchen and quarters, and archaeological remains.[2]
It was listed on the National Register of Historic Places in 1980.[1]
https://en.wikipedia.org/wiki/Hadley_House_and_Grist_Mill
Faucett Mill and House | |
 Faucett House, March 2007 | |
| |
| Location | Faucette Mill Rd. on the E side of Eno River, near Hillsborough, North Carolina |
|---|---|
| Coordinates | 36°06′04″N 79°08′25″WCoordinates: 36°06′04″N 79°08′25″W |
| Area | 67 acres (27 ha) |
| Built | 1808 |
| Architectural style | Federal |
| NRHP reference No. | 88001175[1] |
| Added to NRHP | August 4, 1988 |
Faucett Mill and House, also known as Coach House and Chatwood, is a historic grist mill, home, and national historic district located near Hillsborough, Orange County, North Carolina. The mill was built before 1792, and is a 2+1⁄2-story, heavy timber frame, weatherboarded building. It is sided alongside a reconstructed mill race and the Eno River. The Faucett House was built about 1808, and is a 2+1⁄2-story, Federal style frame dwelling, with an original one-story rear wing. The house's southwest wing was originally a separate dwelling known as the Naile Johnson House. It was added to the Faucett House about 1938. Also on the property are the contributing mill cottage, barn, and a section of the "Great Road."[2]
It was listed on the National Register of Historic Places in 1988.[1]
https://en.wikipedia.org/wiki/Faucett_Mill_and_House
The Brunswick House, known colloquially as the "Brunny"[1] and sometimes advertised as "Ye Olde Brunswick House", was a well known pub in the Toronto neighbourhood The Annex.
At its closure in 2016, the Brunswick House was one of the oldest such establishments still in operation in Toronto, as it was founded in 1876. Located at Bloor Street and Brunswick, the Brunny served different clientele over the years.[1]
https://en.wikipedia.org/wiki/Brunswick_House_(Toronto)
In Britain, a workhouse (Welsh: tloty[1]) was an institution where those unable to support themselves financially were offered accommodation and employment. (In Scotland, they were usually known as poorhouses.) The earliest known use of the term workhouse is from 1631, in an account by the mayor of Abingdon reporting that "we have erected wthn [sic] our borough a workhouse to set poorer people to work".[2]
The origins of the workhouse can be traced to the Statute of Cambridge 1388, which attempted to address the labour shortages following the Black Death in England by restricting the movement of labourers, and ultimately led to the state becoming responsible for the support of the poor. However, mass unemployment following the end of the Napoleonic Wars in 1815, the introduction of new technology to replace agricultural workers in particular, and a series of bad harvests, meant that by the early 1830s the established system of poor relief was proving to be unsustainable. The New Poor Law of 1834 attempted to reverse the economic trend by discouraging the provision of relief to anyone who refused to enter a workhouse. Some Poor Law authorities hoped to run workhouses at a profit by utilising the free labour of their inmates. Most were employed on tasks such as breaking stones, crushing bones to produce fertiliser, or picking oakum using a large metal nail known as a spike.
As the 19th century wore on, workhouses increasingly became refuges for the elderly, infirm, and sick rather than the able-bodied poor, and in 1929 legislation was passed to allow local authorities to take over workhouse infirmaries as municipal hospitals. Although workhouses were formally abolished by the same legislation in 1930, many continued under their new appellation of Public Assistance Institutions under the control of local authorities. It was not until the introduction of the National Assistance Act 1948 that the last vestiges of the Poor Law finally disappeared, and with them the workhouses.
https://en.wikipedia.org/wiki/Workhouse
John Knauer House and Mill | |
 Knauer Mill, March 2011 | |
| |
| Location | Pennsylvania Route 23 in Knauertown, Warwick Township, Pennsylvania |
|---|---|
| Coordinates | 40°10′14″N 75°43′53″WCoordinates: 40°10′14″N 75°43′53″W |
| Area | 2 acres (0.81 ha) |
| Built | c. 1785-1790 |
| Built by | Knauer, John |
| Architectural style | Georgian |
| NRHP reference No. | 85001173[1] |
| Added to NRHP | May 30, 1985 |
The John Knauer House and Mill, also known as the Knauer Mill, is an historic American grist mill complex that is located in Warwick Township, Chester County, Pennsylvania. The site is situated in the Hopewell Big Woods.
It was added to the National Register of Historic Places in 1985.[1]
https://en.wikipedia.org/wiki/John_Knauer_House_and_Mill
Georgian may refer to:
Common meanings
- Anything related to, or originating from Georgia (country)
- Georgians, an indigenous Caucasian ethnic group
- Georgian language, a Kartvelian language spoken by Georgians
- Georgian scripts, three scripts used to write the language
- Georgian (Unicode block), a Unicode block containing the Mkhedruli and Asomtavruli scripts
- Georgian cuisine, cooking styles and dishes with origins in the nation of Georgia and prepared by Georgian people around the world
- Someone from Georgia (U.S. state)
- Georgian era, a period of British history (1714–1837)
- Georgian architecture, the set of architectural styles current between 1714 and 1837
Places
- Georgian Bay, a bay of Lake Huron
- Georgian Cliff, a cliff on Alexander Island, Antarctica
Airlines
- Georgian Airways, an airline based in Tbilisi, Georgia
- Georgian International Airlines, an airline based in Tbilisi, Georgia
- Air Georgian, an airline based in Ontario, Canada
- Sky Georgia, an airline based in Tbilisi, Georgia
Schools
- Georgian College, in Barrie, Ontario, Canada
- Georgian International Academy, a research and academic institution in Tbilisi, Georgia
- Georgian Technical University, a technical university in Tbilisi, Georgia
Arts and entertainment
- The Georgians (Frank Guarente), an American jazz and dance band of the 1920s
- The Georgians (Nat Gonella), a British jazz band of the 1930s
- Georgian poets, a group of early 20th century English poets
- Georgian Theatre Royal, a theatre and playhouse in Richmond, North Yorkshire, UK
People
- Georgian Păun (born 1985), Romanian footballer
- Georgian Popescu (born 1984), Romanian amateur boxer
- Georgian Tobă (born 1989), Romanian footballer
Other uses
- Atlanta Georgian, a defunct Hearst-owned newspaper
- Augusta Georgians, an American minor league baseball team from 1920 to 1921
- Georgian Mall, a mall in Barrie, Ontario, Canada
- Georgian (train), a Chicago-to-Atlanta passenger train route
See also
- Georgia (disambiguation)
- All pages with titles beginning with Georgian
- All pages with titles containing Georgian
If an internal link led you here, you may wish to change the link to point directly to the intended article.
https://en.wikipedia.org/wiki/Georgian
The Doll with Millions (Russian: Кукла с миллионами, romanized: Kukla s millionami) is a 1928 Soviet silent comedy film starring Igor Ilyinsky.[1]
https://en.wikipedia.org/wiki/The_Doll_with_Millions
Dekulakization (Russian: раскулачивание, raskulachivanie; Ukrainian: розкуркулення, rozkurkulennia) was the Soviet campaign of political repressions, including arrests, deportations, or executions of millions of kulaks (prosperous peasants) and their families. Redistribution of farmland started in 1917 and lasted until 1933, but was most active in the 1929–1932 period of the first five-year plan. To facilitate the expropriations of farmland, the Soviet government announced the "liquidation of the kulaks as a class" on 27 December 1929, portraying kulaks as class enemies of the Soviet Union.
More than 1.8 million peasants were deported in 1930–1931.[3][4][5] The campaign had the stated purpose of fighting counter-revolution and of building socialism in the countryside. This policy, carried out simultaneously with collectivization in the Soviet Union, effectively brought all agriculture and all the labourers in Soviet Russia under state control.
https://en.wikipedia.org/wiki/Dekulakization
Zomebazam[1] produced by Hoechst is a pyrazolodiazepinone derivative drug with anxiolytic properties. It is structurally related to razobazam and zometapine.[2]
https://en.wikipedia.org/wiki/Zomebazam
| Zombies |
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| In media |
A zombie (Haitian French: zombi, Haitian Creole: zonbi) is a mythological undead corporeal revenant created through the reanimation of a corpse. Zombies are most commonly found in horror and fantasy genre works. The term comes from Haitian folklore, in which a zombie is a dead body reanimated through various methods, most commonly magic like voodoo. Modern media depictions of the reanimation of the dead often do not involve magic but rather science fictional methods such as carriers, fungi, radiation, mental diseases, vectors, pathogens, parasites, scientific accidents, etc.[1][2]
https://en.wikipedia.org/wiki/Zombie
The English word "zombie" was first recorded in 1819, in a history of Brazil by the poet Robert Southey, in the form of "zombi".[3] The Oxford English Dictionary gives the word's origin as Central African and compares it to the Kongo words nzambi (god) and zumbi or nzumbi (fetish). Some authors also compare it to the Kongo word vumbi (mvumbi) (ghost, revenant, corpse that still retains the soul), (nvumbi) (body without a soul).[4][5] A Kimbundu-to-Portuguese dictionary from 1903 defines the related word nzumbi as soul,[6] while a later Kimbundu–Portuguese dictionary defines it as being a "spirit that is supposed to wander the earth to torment the living".[7] One of the first books to expose Western culture to the concept of the voodoo zombie was W. B. Seabrook's The Magic Island (1929), the account of a narrator who encounters voodoo cults in Haiti and their resurrected thralls.
https://en.wikipedia.org/wiki/Zombie
The undead are beings in mythology, legend, or fiction that are deceased but behave as if alive. Most commonly the term refers to corporeal forms of formerly alive humans, such as mummies, vampires, and zombies, who have been reanimated by supernatural means, technology, or disease. In some cases (for example in Dungeons & Dragons) the term also includes incorporeal forms of the dead, such as ghosts.
The undead are featured in the belief systems of most cultures, and appear in many works of fantasy and horror fiction. The term is also occasionally used for real-life attempts to resurrect the dead with science and technology, from early experiments like Robert E. Cornish's to future sciences such as "chemical brain preservation" and "cryonics."
https://en.wikipedia.org/wiki/Undead
https://en.wikipedia.org/wiki/Timeline_of_Russian_innovation?wprov=srpw1_0
https://en.wikipedia.org/wiki/Invention_of_radio
Guglielmo Giovanni Maria Marconi, 1st Marquis of Marconi FRSA (Italian: [ɡuʎˈʎɛlmo marˈkoːni]; 25 April 1874 – 20 July 1937) was an Italian[1][2][3][4] inventor and electrical engineer, known for his creation of a practical radio wave-based wireless telegraph system.[5] This led to Marconi being credited as the inventor of radio,[6] and he shared the 1909 Nobel Prize in Physics with Karl Ferdinand Braun "in recognition of their contributions to the development of wireless telegraphy".[7][8][9]
Marconi was also an entrepreneur, businessman, and founder of The Wireless Telegraph & Signal Company in the United Kingdom in 1897 (which became the Marconi Company). In 1929, Marconi was ennobled as a Marchese (marquis) by King Victor Emmanuel III of Italy, and, in 1931, he set up Vatican Radio for Pope Pius XI.
https://en.wikipedia.org/wiki/Guglielmo_Marconi
Nor of Human: An Anthology of Fantastic Creatures is the first short story anthology published by the Canberra Speculative Fiction Guild. Printed in 2001 under ISBN 0-646-41393-7 and edited by Geoffrey Maloney, it contains stories from several Australian speculative fiction authors.
The anthology was one of the first projects the newly founded CSFG embarked on, as a way to provide a focus for members' activities and as a showcase for their work. The theme of "fantastic creatures" was inspired by a guest speaker at one of the Guild meetings, the Australian cryptozoologist known as "Tim the Yowie Man", and two of the anthology stories feature yowies (a creature roughly comparable to the American Bigfoot). The book was launched by SF writer Jack Dann.
The book was shortlisted for four Aurealis Awards: "The Trojan Rocks", "Tales from the True Desert" and "Happy Birthday To Me" were listed for the science fiction, fantasy and horror categories respectively while Geoffrey Maloney was shortlisted for his work in editing the collection. Although the shortlist performance was strong the book did not take out the awards themselves.
The collection is "Dedicated to all the creators of speculative fiction, past, present and future; whether or not of human…" All stories in the collection are illustrated by Les Petersen.
https://en.wikipedia.org/wiki/Nor_of_Human
https://en.wikipedia.org/wiki/List_of_Chopped_episodes_(seasons_1%E2%80%9320)
https://en.wikipedia.org/wiki/Betting_strategy
https://en.wikipedia.org/wiki/Machetazo
https://en.wikipedia.org/wiki/Paranormal_Activity_(film_series)
https://en.wikipedia.org/wiki/List_of_grindcore_bands
https://en.wikipedia.org/wiki/John_Work_House_and_Mill_Site
https://en.wikipedia.org/wiki/Mill_House_(Middleburg,_Virginia)
https://en.wikipedia.org/wiki/Load_(album)
https://en.wikipedia.org/wiki/Borneman_Mill
https://en.wikipedia.org/wiki/Elsewhere_(anthology)
https://en.wikipedia.org/wiki/Mill_at_Lobachsville
https://en.wikipedia.org/wiki/Thomas_Mill_and_Miller%27s_House
Encounters is the fourth short story anthology published by the Canberra Speculative Fiction Guild. Printed in 2004 and edited by Maxine McArthur and Donna Maree Hanson, it contains stories from several Australian speculative fiction authors.
https://en.wikipedia.org/wiki/Encounters_(anthology)
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Attrition warfare is a military strategy consisting of belligerent attempts to win a war by wearing down the enemy to the point of collapse through continuous losses in personnel and materiel.[1] The word attrition comes from the Latin root atterere, meaning "to rub against", similar to the "grinding down" of the opponent's forces in attrition warfare.[2][3]
https://en.wikipedia.org/wiki/Attrition_warfare
https://en.wikipedia.org/wiki/Arknights
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