The Wrong Box is a 1966 British comedy film produced and directed by Bryan Forbes from a screenplay by Larry Gelbart and Burt Shevelove, based on the 1889 novel The Wrong Box by Robert Louis Stevenson and Lloyd Osbourne. It was made by Salamander Film Productions and distributed by Columbia Pictures.

The cast includes a number of Britain's leading actors and comic actors of the time, including John Mills, Ralph Richardson, Michael Caine, Peter Cook, Dudley Moore, Peter Sellers, Irene Handl, Nanette Newman, Wilfrid Lawson, Cicely Courtneidge, and Tony Hancock. Also included are actors who later became more well-known, including John Le Mesurier, John Junkin, Leonard Rossiter, Nicholas Parsons, Jeremy Lloyd, Graham Stark, Thorley Walters, Norman Rossington, David Lodge, Juliet Mills, and Norman Bird. The Temperance Seven appear as themselves.

Plot
In the early 19th century, a lawyer explains to a group of young boys that a form of tontine has been organised; £1,000 has been invested for each child (£20,000 in total), but only the last survivor will receive all the capital and earned interest. Sixty-three years later, elderly brothers Masterman and Joseph Finsbury, who live next to each other in Victorian London, are the last surviving members of the tontine.

Masterman is attended by his unpromising medical student grandson Michael Finsbury, and, although Masterman has not talked to his despised brother in many years, he sends Michael next door to summon Joseph to see him. Michael is greeted by Julia, Joseph's granddaughter. They see each other often on the street and secretly admire each other. She explains Joseph is in Bournemouth with her cousins. Meanwhile, Julia's cousins, Morris and John, receive a telegram from Michael in their boarding house in Bournemouth, saying that Masterman is dying.

On the train trip to London, Joseph escapes from his grandson minders, entering a compartment and boring the sole occupant with a diatribe of trivial facts about the history of knitting. Joseph goes to smoke a cigarette, leaving behind his coat, which the occupant, "the Bournemouth Strangler", dons. The train then collides with another one. Morris and John find a mangled body wearing their uncle's coat and assume their uncle is dead. To protect their interest in the tontine, they hide the body in the woods. Morris tells John to crate the body up and post it to London. Meanwhile, Joseph wanders away from the accident scene.

In London, Michael gets a telegram telling him to expect a crate containing a statue. Morris arrives and mistakes the elderly butler, Peacock, for Masterman.

Morris decides to try to hide the body long enough for Masterman to die, and then claim Joseph died of a heart attack upon hearing the news. Morris and John plot to ship the body to Joseph's London home where Julia lives. John sends the body in a large barrel. Joseph makes his way to London on his own and visits his brother. Masterman makes several failed attempts to kill his brother, with Joseph oblivious to the attempts. They separate after quarrelling, and as he leaves the barrel containing the body is being delivered to Masterman's house by mistake, and Joseph hurriedly agrees to sign for the barrel for "Mr Finsbury". Minutes later, the crate containing the statue, also addressed to "Mr Finsbury", which Michael is expecting, is mistakenly delivered to Joseph's house and accepted by Julia who believes it is an expected delivery.

Morris, arriving at Joseph's house, sees a delivery wagon just leaving and assumes that his uncle's body has just been delivered. Morris then goes to Dr. Pratt to try to obtain a blank death certificate. Michael helps the delivery men move the crate into Joseph's house. This stirs the passions of both Julia and Michael and they kiss for the first time. Michael draws back and says they cannot do this because they are cousins; then they discover that they were both adopted orphans, thus unrelated by blood.

Michael discovers the body in the barrel and, after learning of the "altercation" between Masterman and Joseph from Peacock, assumes that his grandfather killed his brother. When Julia arrives with some broth for Masterman, Michael hides the body in a piano. That night, Michael hires "undertakers" to dump the corpse into the Thames, but when they arrive, Masterman has just fallen down the staircase, so they take his unconscious body. Seeing this, Morris gleefully assumes Masterman has died.

Morris and John go to claim the tontine, producing the fake death certificate. The lawyer tells them it is now worth £111,000.

Rescued from the river, Masterman is returned home by the Salvation Army, who assume he drowned himself. Julia orders a fancy coffin for him. Morris orders a cheap coffin to remove the mutilated body, but it is delivered to the wrong house, and Michael sells the piano, unaware the body is still in it. The police become involved when that body is discovered. Masterman sits up as the coffin is being taken away.

The cousins make off with the tontine money in a hearse. Michael and Julia chase Morris and John aboard another hearse. They then encounter a real funeral procession. After a confusing crash, Morris and John realise they have a body instead of the money. The tontine money is about to be buried when they grab it and run off. The box bursts open, and money is blown around the cemetery. Joseph pops up from the open grave just as Masterman arrives. The lawyer arrives to say the tontine has yet to be won. The police detective arrives, and Morris is arrested. They ask who put the body in the piano, as there is a £1000 reward for catching the Bournemouth Strangler. A new argument begins.

Cast
 John Mills as Masterman Finsbury
 Ralph Richardson as Joseph Finsbury
 Michael Caine as Michael Finsbury
 Peter Cook as Morris Finsbury
 Dudley Moore as John Finsbury
 Nanette Newman as Julia Finsbury
 Peter Sellers as Dr. Pratt
 Tony Hancock as Detective
 Valentine Dyall as Oliver Pike Harmsworth
 Leonard Rossiter as Vyvyan Alistair Montague (killed in tontine)
 Wilfrid Lawson as Peacock
 Thorley Walters as Lawyer Patience
 Cicely Courtneidge as Major Martha
 Diane Clare as Mercy
 Gerald Sim as First Undertaker
 Irene Handl as Mrs. Hackett
 John Le Mesurier as Dr. Slattery
 Nicholas Parsons as Alan Frazer Scrope
 James Villiers as Sydney Whitcombe Sykes
 Graham Stark as Ian Scott Fife (killed in tontine)
 Jeremy Lloyd as Brian Allen Harvey
 Peter Graves as Military Officer
 John Junkin as 1st Engine Driver
 Timothy Bateson as Official
 Norman Bird as Spiritual
 Norman Rossington as First Hooligan
 Tutte Lemkow as The Bournemouth Strangler

Production

Filming locations
Pinewood Studios, Iver, Buckinghamshire, was the main production base for the studio sets and many exteriors, with the Victorian London crescent exteriors being shot on Bath's historic Royal Crescent, complete with TV aerials on the roofs. The funeral coach and horse chase was filmed in St James's Square, Bath, and on Englefield Green, Surrey, and surrounding lanes.

Release

Reception
Bosley Crowther wrote in The New York Times, "Perhaps the best of the clowning is the little bit Mr. Sellers does as this drink-sodden, absent-minded skip-jack, fumbling foolishly and a little sadly among his cats. But Mr. Richardson is splendid as a scholarly charlatan, and Mr. Mills and Mr. Lawson are capital as a couple of fuddy-duddy crooks. Sure, the whole nutty business is tumbled together haphazardly in the script that has been written—or maybe scrambled—by Larry Gelbert and Burt Shevelove. Some sections and bits are funnier than others. Some are labored and dull. It is that sort of story, that sort of comedy. But it adds up to a lively lark"; while more recently, Dennis Schwartz called it a "Mildly amusing silly black comedy." AllMovie wrote, "By turns wacky and weird, The Wrong Box is a welcome alternative to standard issue film comedies."

In his autobiography What's it All About?, Michael Caine wrote of the movie's reception, that the film "is so British that it met with a gentle success in most places except Britain, where it was a terrible flop. I suppose this was because the film shows us exactly as the world sees us - as eccentric, charming and polite - but the British knew better that they were none of these things, and it embarrassed us."

Awards and nominations

References

External links

1966 films
1966 comedy films
British black comedy films
Films based on British novels
Films based on works by Robert Louis Stevenson
BAFTA winners (films)
Films directed by Bryan Forbes
Films scored by John Barry (composer)
Films with screenplays by Larry Gelbart
Films set in England
Films set in the 1880s
Films shot at Pinewood Studios
Columbia Pictures films
1960s English-language films
1960s British films

The Wrong Box


Kazimierz III of Gniewkowo (ca. 1280/84 – 22 August 1345/13 May 1350), was a Polish prince member of the House of Piast, Duke of Inowrocław during 1287-1314 (under the regency of his mother until 1294 and his brother during 1294–1296), since 1306 vassal of the Kingdom of Poland, Governor of the Duchy of Pomerelia (Gdańsk Pomerania) during 1306-1309 (on behalf of his uncle Władysław I the Elbow-high), after 1314 ruler over Gniewkowo (between 1332 and 1343 deposed by the Teutonic Order).

He was the third and youngest son of Ziemomysł of Inowrocław and Salomea, daughter of Sambor II, Duke of Pomerelia.

Life

After the death of their father in 1287, Kazimierz III and his older brothers Leszek and Przemysł inherited his domains; however, because they are minors, remained under the regency of their mother and paternal half-uncle Władysław I the Elbow-high until 1294, when Leszek, as the oldest brother, attained his majority and assumed the government and the guardianship of his brothers. Kazimierz III attained his majority ca. 1302, but initially ruled jointly with his brothers; two years previously (in 1300) he was forced to paid homage to King Wenceslaus II of Bohemia.

In 1306 he paid homage to his uncle Władysław I, in return for which he was appointed Governor of Gdańsk Pomerania, with his base in Tczew. In 1309, he was forced to abandon his post as a result of the invasion of the Teutonic Order, despite a personal conversation with the Komtur Heinrich von Plötzke, even asked him on his knees to return the cities taken by the Teutonic Knights to his rightful owner, Władysław I, but without success.

Shortly after, Kazimierz III and his brother Przemysł where involved in a financial dispute with Bishop Gerward. In December 1310 both princes looted the district of Raciąż, who belonged to the Bishopric, and in retaliation, on 2 January 1311 the Bishop excommunicated both. In response, the princes imprisoned both the Bishop and his brother Stanisław, Provost of Włocławek. Both parties made an agreement only on 22 November: the Bishop and his brother were released, and the excommunication against the princes was lifted.

In 1314 was made the formal division of the paternal inheritance between Kazimierz III and his brothers; as the youngest son, he received the small district of Gniewkowo. Between 18 and 23 June 1318, he took part in the meeting at Sulejów. As an ally of the Polish King his name also appears on a document dated from 1325, on the occasion of the conclusion of an alliance between Władysław I and Western Pomerania.

In April 1332, during the next stage of the Polish-Teutonic War, the Teutonic Knights besieged Gniewkowo. Kazimierz III, unable to defend his Duchy and not wanting to be captured, decided to escape after burning the main fortress. During the war, all Kujawy was lost, and Casimir III found himself in exile, probably in the court of Władysław I. His fate after the loss of his domains is uncertain, because he only appears during the Second Polish-Teutonic Trial (4 February-15 September 1339), where he testified, and during the Treaty of Kalisz (8 July 1343), where thanks to the provisions arranged there he was able to return to his Duchy.

Kazimierz III died between 22 August 1345 and 13 May 1350. Is unknown where he was buried.

Marriage and issue

Between 1312/18, Kazimierz III married, although the name and origins of his wife are unknown. She certainly died between 19 April 1332/13 July 1343, because at the time of his return to Gniewkowo he was already a widower.

The chronicler Jan of Czarnków mentioned that Kazimierz III had several sons and daughters, but only two survive to adulthood:

Elizabeth (ca. 1315/23  – after 22 August 1345), who married Stephen II, Ban of Bosnia, and was the mother of Elizabeth of Bosnia, Queen consort of Poland and Hungary
Władysław the White (ca. 1327/33 — died on 29 February 1388).

Notes

References

M. Biskup: Wojny Polski z Zakonem Krzyżackim (1308 – 1521), GdańskPeople
W. Długokęcki: Stosunek zakonu krzyżackiego do Tczewa w XIV wieku. Przyczynek do polityki miejskiej Krzyżaków na Pomorzu Gdańskim, "Zapiski Historyczne" 1999, vol. LXIV, pp. 3–4.
E. Długopolski: Władysław Łokietek na tle swoich czasów, Wrocław 1951.
Karol Górski: Zakon Krzyżacki a powstanie państwa pruskiego (2nd edition), Malbork 2003.
M. Grzegorz: Pomorze Gdańskie pod rządami Zakonu krzyżackiego w latach 1308 – 1466, Bydgoszcz 1997.
K. Jasiński: Zajęcie Pomorza Gdańskiego przez Krzyżaków w latach 1308 – 1309, "Zapiski Historyczne" 1966, vol. XXI, p. 3.
K. Jasiński: Zburzenie miasta Gdańska przez zakon krzyżacki w 1308 r., "Zapiski Historyczne" 1976, vol. XLI, p. 3.
H. Kobzianka: Wypadki na Pomorzu po zajęciu Gdańska i Tczewa przez Krzyżaków, "Roczniki Historyczne" 1936, vol. XII, p. 1.
S. Kujot: Czternasty listopada 1308 r. w pomorzu Gdańskiem, "Roczniki Towarzystwa Naukowego w Toruniu" 1908, vol. XV.
S. Kujot: Dzieje Prus Królewskich, cz. 1 do roku 1309, "Roczniki Towarzystwa Naukowego w Toruniu" 1913 – 1918, vol. XX – XXV.
M. Małuszyński: Zabór Pomorza przez Krzyżaków (1308 – 1309), "Rocznik Gdański" 1935, vol. VII – VIII years 1933 – 1934.
T. M. Nowak: Walki z agresją Zakonu krzyżackiego w okresie jednoczenia państwa polskiego, Warsaw 1952.
T. M. Nowak: Władysław Łokietek – polityk i dowódca, Warsaw 1978.
B. Śliwiński: Data zajęcia Gdańska i Tczewa przez Krzyżaków w listopadzie 1308 r., [in:] Drogą historii. Studia ofiarowane profesorowi Józefowi Szymańskiemu w siedemdziesiątą rocznicę urodzin, ed. P. Dymmel, K. Skupieński, B. Trelińska, Lublin 2001.
B. Śliwiński: Pomorze Wschodnie w okresie rządów księcia polskiego Władysława Łokietka w latach 1306 – 1309, Gdańsk 2003.
S. Zajączkowski: Polska a Zakon krzyżacki w ostatnich latach Władysława Łokietka, Lwów 1929.

1280s births
1350 deaths
Year of birth uncertain
Piast dynasty
People temporarily excommunicated by the Catholic Church
13th-century Polish people
14th-century Polish people
People of Byzantine descent
Dukes of Poland

Kazimierz III of Gniewkowo


Spring Exhibition of Leningrad artists of 1965 () opened in the Exhibition Halls of the Leningrad Union of Soviet Artists and became one of the largest Art Exhibitions of the year in the USSR.

History and Organization
For the organization and preparation of the Exhibition, it was specially formed an Exhibition Committee consisting of 14 of the most authoritative art-experts of the epoch. The Exhibition Catalog had been publish and in total, the Exhibition displayed almost 600 works of art by painters, sculptors, graphic artists, theater and cinema professionals, masters of arts and crafts. At whole the Exhibition attended over 350 artists of the Leningrad.

Contributing Artists
In the largest Department of Painting there were exhibited art works of 177 authors. These were Piotr Alberti, Evgenia Antipova, Taisia Afonina, Sergei Babkov, Vsevolod Bazhenov, Yuri Belov, Dmitry Belyaev, Olga Bogaevskaya, Nikolai Brandt, Dmitry Buchkin, Vladimir Gavrilov, Irina Getmanskaya, Vasily Golubev, Irina Dobrekova, Oleg Eremeev, Maria Kleschar-Samokhvalova, Maya Kopitseva, Alexander Koroviakov, Victor Korovin, Mikhail Kozell, Engels Kozlov, Elena Kostenko, Gevork Kotiantz, Vladimir Krantz, Valeria Larina, Boris Lavrenko, Ivan Lavsky, Anatoli Levitin, Oleg Lomakin, Dmitry Maevsky, Gavriil Malish, Boris Maluev, Valentina Monakhova, Nikolai Mukho, Vera Nazina, Mikhail Natarevich, Anatoli Nenartovich, Dmitry Oboznenko, Lev Orekhov, Victor Oreshnikov, Sergei Osipov, Victor Otiev, Yuri Pavlov, Genrikh Pavlovsky, Boris Petrov, Nikolai Pozdneev, Valentina Rakhina, Semion Rotnitsky, Maria Rudnitskaya, Ivan Savenko, Vladimir Sakson, Alexander Semionov, Arseny Semionov, Boris Shamanov, Alexander Shmidt, Nadezhda Shteinmiller, Elena Skuin, Kim Slavin, Alexander Stolbov, Victor Teterin, Nikolai Timkov, Yuri Tulin, Vitaly Tulenev, Boris Ugarov, Ivan Varichev, Anatoli Vasiliev, Igor Veselkin, Rostislav Vovkushevsky, Lazar Yazgur, German Yegoshin, Vecheslav Zagonek, Ruben Zakharian, Elena Zhukova, and other prominent painters of the Leningrad School of Painting.

In the Department of Sculptures it was exhibited the art works of 41 sculptors. The Department of graphics presented a creation of 86 artists.

Contributed Artworks

For the Exhibition it was selected the art works that had been created during 1964-1965, together with some earlier works. All of them were exhibited for the first time. Some of them were subsequently found in the collections of Soviet Art museums, as well as the domestic and foreign galleries and collectors.

Portrait was presented of "Girl in the garden" by Evgenia Antipova, "Eva Ivanova" by Sergei Babkov, "Portrait of Dmitri Shostakovich" by Yuri Belov, "Female portrait" by Olga Bogaevskaya, "Girl with flower" by Maria Kleschar-Samokhvalova, "Kirill Genidze" by Elena Kostenko, "Mashenka. Portrait of daughter" by Engels Kozlov, "Portrait of teacher Lev Uspensky" by Valeria Larina, "Portrait of worker Sayanov", "Portrait of artist Kazanchan", "Portrait of Balashov, Hero of the Soviet Union", "Portrait of artist Leonid Baykov" by Anatoli Levitin, "At Reading", "Kolya, young railwayman" by Dmitry Maevsky, "Katya", "Artist Ivan Varichev", "Artist Yacob Golubev" by Oleg Lomakin, "Portrait of Sasha Akhalin" by Vera Nazina, "Tractor driver" by Genrikh Pavlovsky, "Portrait of wife", "Portrait of journalist Guriev" by Victor Oreshnikov, "Portrait of N. Murina", "Portrait of artist Piotr Buchkin" by Semion Rotnitsky, "Tamara" by Vladimir Sakson, "Girl with a branch of Pussy Willow" by Boris Shamanov, "Portrait of son and daughter" by Rostislav Vovkushevsky, "A Boy in Red Jacket" by German Yegoshin, and others.

Genre painting was presented of "Children" by Piotr Alberti, "Before entering the stage" by Sergei Babkov, "In the Motning" by Oleg Eremeev, "Sunday at the Volkhov River", "Courtyard" by Boris Lavrenko, "At the house" by Oleg Lomakin, "Rain", "Sundy Day", "Boys", "On the Volga River" by Boris Maluev, "Young mothers" by Mikhail Natarevich, "Old woman at the stove" by Yuri Pavlov, "On the farm" by Ivan Savenko, "Overhaul" by Nadezhda Shteinmiller, "On the pier" by Boris Ugarov, "Lights of new buildings" by Igor Veselkin, "On the outskirts of Novgorod" by Rostislav Vovkushevsky, "On the threshing-floor" by Ruben Zakharian, "A Midday on the Neva River" by Elena Zhukova, and others.

Landscape, Seascape and Cityscape were presented of "Spring in the forest", "Early green", "Winter sketch" by Vsevolod Bazhenov, "Saint George Church on the Volkhov River", "Old Ladoga", "A Spring" by Dmitry Belyaev, "The Last Snow", "Small Creek", "Saint George Church on the Volkhov"by Nikolai Brandt, "Izborsk ancient town", "Fishermen boats" by Dmitry Buchkin, "Off the coast of Antarctica" by Vladimir Gavrilov, "Forest river", "Creek", "Spring time", "Troubled Volkhov", "In the village" by Vasily Golubev, "At the walls of the Saint Piotr and Paul Fortress", "Winter Palace", "A Winter",  by Alexander Koroviakov, "Spring Garden", "Ice drift", "Spring puddle", "Spring road" Victor Korovin, "Spring day", "Settlement of Dachnoe" by Mikhail Kozell, "Birches", "On plein air", "On the Volkhov River" by Vladimir Krantz, "Bukhara", "Old Ladoga" by Boris Lavrenko, "Soon Fall", "Imandra", "Over Khibiny" by Ivan Lavsky, "Frosty Day" by Dmitry Maevsky, "Pskov", "Southern landscape" by Gavriil Malish, "Sredny Prospekt of Vasilyevsky Island" by Nikolai Mukho, "A March", "April" by Mikhail Natarevich, "Birches", "Sunny" by Anatoli Nenartovich, "A March", "Grey Day" by Dmitry Oboznenko, "Vineyards" by Lev Orekhov, "Truvor's settlement", "Fortress Tower", "Autumn. Haystack", "Houses", "Fortress in Ancient Izborsk" by Sergei Osipov, "Arable land", "Creek" by Victor Otiev, "Mount Elbrus" by Boris Petrov, "Falling Leaves", "Thaw", "Bullfinches" by Nikolai Pozdneev, "Griboyedov Canal" by Valentina Rakhina, "Ancient Kholuy" by Semion Rotnitsky, "Fishermen boats" by Maria Rudnitskaya, "Pavlovsk town", "Pushkin town" by Alexander Semionov, "Landscape", "Cityscape of Tallinn", "Old Ladoga" by Arseny Semionov, "Old Garden in Yasnaya Polyana" by Alexander Shmidt, "Sergiyev Posad", "Settlement" by Nadezhda Shteinmiller, "Subcarpathian spring", "Truskavets" by Kim Slavin, "A Porch", "At the house" by Alexander Stolbov, "In Spring", "A Road", "A Winter", "In March", "A Fall time" by Nikolai Timkov, "Kamenny Island in Leningrad", "At the Lanskaya railway station" by Yuri Tulin, "Spring carpet" by Vitaly Tulenev, "The end of April" by Boris Ugarov, "Volkhov River", "Courtyard", "March Snow", "A Village of Bybino", "A Village of Izvoz" by Ivan Varichev, "Valley of Selenga River", "Settlement of Listvenichny" by Anatoli Vasiliev, "Spring on the Volkhov River", "Relict of the past in Old Ladoga" by Lazar Yazgur, "Landscape. Losevo village" by German Yegoshin, "Spring", "Bird cherry in the snow", "Meltwater", "Ice has passed", "Volkhov. North wind", "Thaw" by Vecheslav Zagonek, "Armenia" by Ruben Zakharian, "Spring garden", "Early Spring", "On the Bay", "First spring days", "Young apple-tree in autumn" by Elena Zhukova, and others.

Still life paintings were presented of "Still life with Pussy-Willows", "Rosehip" by Taisia Afonina, "Early Breakfast" by Evgenia Antipova, "Still life with Red Tray", "Jasmine", "Still Life with a Mandolin" by Olga Bogaevskaya, "Still life", "Oranges" by Irina Dobrekova-Chegorovskaya, "Still life" by Maria Kleschar-Samokhvalova, "Apples and pomegranate", "Oranges and lemons", "Bananas" by Maya Kopitseva, "Brearfast", "Still life", "Meat. Still life" by Gevork Kotiantz, "Still life with herring" by Engels Kozlov, "Russian victuals. Still life", "Breakfast in the field" by Genrikh Pavlovsky, "Still life", "Shelf", "Cucumbers in a sieve" by Nikolai Pozdneev, "Still life with Coffee pot", "Still life" by Valentina Rakhina, "Antonovsky apples", "Mushrooms" by Maria Rudnitskaya, "Sea fish", "Still life", "Fish-Needle" by Vladimir Sakson, "Violets", "Begonia", "Watering can and roses" by Elena Skuin, "Still life with cucumbers" by Boris Shamanov, "In the Garden. Still life" by Victor Teterin, "Dinner" by Rostislav Vovkushevsky, "A Fish" by German Yegoshin, and others.

Acknowledgment
The Spring Exhibition of Leningrad artists of 1965 was widely covered by the press and in the literature on Soviet fine art.

See also

 Fine Art of Leningrad
 Leningrad School of Painting
 1965 in fine arts of the Soviet Union
 Saint Petersburg Union of Artists
 Socialist realism

References

Sources
 Никифоровская И. У художников весна // Ленинградская правда, 1965, 19 июня.
 Каталог весенней выставки произведений ленинградских художников 1965 года. Л., Художник РСФСР, 1970.
 Справочник членов Ленинградской организации Союза художников РСФСР. Л., Художник РСФСР, 1980.
 Художники народов СССР. Биобиблиографический словарь. Т.1-4. М., Искусство, 1970-1995.
 Справочник членов Союза художников СССР. Т.1-2. М., Советский художник, 1979.
 Хроника узловых событий художественной жизни России 1960-1980-х годов // Time for Change. The Art of 1960-1985 in the Soviet Union. Saint Petersburg, State Russian Museum, 2006.
 Sergei V. Ivanov. Unknown Socialist Realism. The Leningrad School. Saint Petersburg, NP-Print Edition, 2007. P.395, 417, 442. ,
 Юбилейный Справочник выпускников Санкт-Петербургского академического института живописи, скульптуры и архитектуры имени И. Е. Репина Российской Академии художеств. 1915—2005. Санкт Петербург, «Первоцвет», 2007.

External links

Art exhibitions in Russia
1965 works
1965 in the Soviet Union
Socialist realism

Spring exhibition (Leningrad, 1965)


What the Bleep Do We Know!? (stylized as What tнē #$*! D̄ө ωΣ (k)πow!? and What the #$*! Do We Know!?) is a 2004 American pseudo-scientific film that posits a spiritual connection between quantum physics and consciousness. The plot follows the fictional story of a photographer, using documentary-style interviews and computer-animated graphics, as she encounters emotional and existential obstacles in her life and begins to consider the idea that individual and group consciousness can influence the material world. Her experiences are offered by the filmmakers to illustrate the film's scientifically unsupported thesis about quantum physics and consciousness.

Bleep was conceived and its production funded by William Arntz, who co-directed the film along with Betsy Chasse and Mark Vicente; all three were students of Ramtha's School of Enlightenment. A moderately low-budget independent film, it was promoted using viral marketing methods and opened in art-house theaters in the western United States, winning several independent film awards before being picked up by a major distributor and eventually grossing over $10 million. The 2004 theatrical release was succeeded by a substantially changed, extended home media version in 2006.

The film  has been described as an example of quantum mysticism, and has been criticized for both misrepresenting science and containing pseudoscience. While many of its interviewees and subjects are professional scientists in the fields of physics, chemistry, and biology, one of them has noted that the film quotes him out of context.

Synopsis
Filmed in Portland, Oregon, What the Bleep Do We Know!? presents a viewpoint of the physical universe and human life within it, with connections to neuroscience and quantum physics. Some ideas discussed in the film are:
 That the universe is best seen as constructed from thoughts and ideas rather than from matter.
 That "empty space" is not empty.
 That matter is not solid, and electrons are able to pop in and out of existence without it being known where they disappear to.
 That beliefs about who one is and what is real are a direct cause of oneself and of one's own realities.
 That peptides produced by the brain can cause a bodily reaction to emotion.

In the narrative segments of the film, Marlee Matlin portrays Amanda, a photographer who plays the role of everywoman as she experiences her life from startlingly new and different perspectives.

In the documentary segments of the film, interviewees discuss the roots and meaning of Amanda's experiences. The comments focus primarily on a single theme: "We create our own reality." The director, William Arntz, has described What the Bleep as a film for the "metaphysical left".

Cast
 Marlee Matlin as Amanda
 Elaine Hendrix as Jennifer
 Barry Newman as Frank
 Robert Bailey Jr. as Reggie
 John Ross Bowie as Elliot
 Armin Shimerman as Man
 Robert Blanche as Bob
 Larry Brandenburg as Bruno
 Patti B. Collins as Mother of the Bride

Production
Work was split between Toronto-based Mr. X Inc., Lost Boys Studios in Vancouver, and Atomic Visual Effects in Cape Town, South Africa. The visual-effects team, led by Evan Jacobs, worked closely with the other film-makers to create visual metaphors that would capture the essence of the film's technical subjects with attention to aesthetic detail.

Promotion
Lacking the funding and resources of the typical Hollywood film, the filmmakers relied on "guerrilla marketing" first to get the film into theaters, and then to attract audiences. This has led to accusations, both formal and informal, directed towards the film's proponents, of spamming online message boards and forums with many thinly veiled promotional posts. Initially, the film was released in only two theaters: one in Yelm, Washington (the home of the producers, which is also the home of Ramtha), and the other the Bagdad Theater in Portland, Oregon, where it was filmed. Within several weeks, the film had appeared in a dozen or more theaters (mostly in the western United States), and within six months it had made its way into 200 theaters across the US.

Reception
According to Publishers Weekly, the film was one of the sleeper hits of 2004, as "word-of-mouth and strategic marketing kept it in theaters for an entire year." The article states that the domestic gross exceeded $10 million, described as not bad for a low-budget documentary, and that the DVD release attained even more significant success with over a million units shipped in the first six months following its release in March 2005. Foreign gross added another $5 million for a worldwide gross of nearly $16 million.

In the Publishers Weekly article, publicist Linda Rienecker of New Page Books says that she sees the success as part of a wider phenomenon, stating "A large part of the population is seeking spiritual connections, and they have the whole world to choose from now". Author Barrie Dolnick adds that "people don't want to learn how to do one thing. They'll take a little bit of Buddhism, a little bit of veganism, a little bit of astrology... They're coming into the marketplace hungry for direction, but they don't want some person who claims to have all the answers. They want suggestions, not formulas." The same article quotes Bill Pfau, Advertising Manager of Inner Traditions, as saying "More and more ideas from the New Age community have become accepted into the mainstream."

Critics offered mixed reviews as seen on the film review website Rotten Tomatoes, where it scored a "Rotten" 34% score with an average score of 4.6/10, based on 77 reviews. In his review, Dave Kehr of The New York Times described the "transition from quantum mechanics to cognitive therapy" as "plausible", but stated also that "the subsequent leap—from cognitive therapy into large, hazy spiritual beliefs—isn't as effectively executed. Suddenly people who were talking about subatomic particles are alluding to alternate universes and cosmic forces, all of which can be harnessed in the interest of making Ms. Matlin's character feel better about her thighs."

What the Bleep Do We Know!? has been described as "a kind of New Age answer to The Passion of the Christ and other films that adhere to traditional religious teachings." It offers alternative spirituality views characteristic of New Age philosophy, including critiques of the competing claims of stewardship among traditional religions [viz., institutional Judaism, Christianity, and Islam] of universally recognized and accepted moral values.

Academic reaction
Scientists who have reviewed What the Bleep Do We Know!? have described distinct assertions made as pseudoscience. Lisa Randall refers to the film as "the bane of scientists". Amongst the assertions in the film that have been challenged are that water molecules can be influenced by thought (as popularized by Masaru Emoto), that meditation can reduce violent crime rates of a city, and that quantum physics implies that "consciousness is the ground of all being."  The film was also discussed in a letter published in Physics Today that challenges how physics is taught, saying teaching fails to "expose the mysteries physics has encountered [and] reveal the limits of our understanding". In the letter, the authors write: "the movie illustrates the uncertainty principle with a bouncing basketball being in several places at once. There's nothing wrong with that. It's recognized as pedagogical exaggeration. But the movie gradually moves to quantum 'insights' that lead a woman to toss away her antidepressant medication, to the quantum channeling of Ramtha, the 35,000-year-old Lemurian warrior, and on to even greater nonsense." It went on to say that "Most laypeople cannot tell where the quantum physics ends and the quantum nonsense begins, and many are susceptible to being misguided," and that "a physics student may be unable to convincingly confront unjustified extrapolations of quantum mechanics," a shortcoming which the authors attribute to the current teaching of quantum mechanics, in which "we tacitly deny the mysteries physics has encountered".

Richard Dawkins stated that "the authors seem undecided whether their theme is quantum theory or consciousness. Both are indeed mysterious, and their genuine mystery needs none of the hype with which this film relentlessly and noisily belabours us", concluding that the film is "tosh". Professor Clive Greated wrote that "thinking on neurology and addiction are covered in some detail but, unfortunately, early references in the film to quantum physics are not followed through, leading to a confused message". Despite his caveats, he recommends that people see the film, stating: "I hope it develops into a cult movie in the UK as it has in the US. Science and engineering are important for our future, and anything that engages the public can only be a good thing." Simon Singh called it pseudoscience and said the suggestion "that if observing water changes its molecular structure, and if we are 90% water, then by observing ourselves we can change at a fundamental level via the laws of quantum physics" was "ridiculous balderdash". According to João Magueijo, professor in theoretical physics at Imperial College, the film deliberately misquotes science. The American Chemical Society's review criticizes the film as a "pseudoscientific docudrama", saying "Among the more outlandish assertions are that people can travel backward in time, and that matter is actually thought."

Bernie Hobbs, a science writer with ABC Science Online, explains why the film is incorrect about quantum physics and reality: "The observer effect of quantum physics isn't about people or reality. It comes from the Heisenberg Uncertainty Principle, and it's about the limitations of trying to measure the position and momentum of subatomic particles... this only applies to sub-atomic particles—a rock doesn't need you to bump into it to exist. It's there. The sub-atomic particles that make up the atoms that make up the rock are there too." Hobbs also discusses Hagelin's experiment with Transcendental Meditation and the Washington DC rate of violent crime, saying that "the number of murders actually went up". Hobbs further disputed the film's use of the ten percent of the brain myth.

David Albert, a philosopher of physics who appears in the film, has accused the filmmakers of selectively editing his interview to make it appear that he endorses the film's thesis that quantum mechanics is linked with consciousness. He says he is "profoundly unsympathetic to attempts at linking quantum mechanics with consciousness".

In the film, during a discussion of the influence of experience on perception, Candace Pert gives an apocryphal version of the invisible ships myth whereby Native Americans were unable to see Columbus's ships because they were outside the natives' experience. According to an article in Fortean Times by David Hambling, the origins of this story likely involved the voyages of Captain James Cook, not Columbus, and an account related by Robert Hughes which said Cook's ships were "...complex and unfamiliar as to defy the natives' understanding". Hambling says it is likely that both the Hughes account and the story told by Pert were exaggerations of the records left by Captain Cook and the botanist Joseph Banks.

Skeptic James Randi described the film as "a fantasy docudrama" and "[a] rampant example of abuse by charlatans and cults". Eric Scerri in a review for  Committee for Skeptical Inquiry dismisses it as "a hodgepodge of all kinds of crackpot nonsense," where "science [is] distorted and sensationalized". A BBC reviewer described it as "a documentary aimed at the totally gullible".

According to Margaret Wertheim, "History abounds with religious enthusiasts who have read spiritual portent into the arrangement of the planets, the vacuum of space, electromagnetic waves and the big bang. But no scientific discovery has proved so ripe for spiritual projection as the theories of quantum physics, replete with their quixotic qualities of uncertainty, simultaneity and parallelism."  Wertheim continues that the film "abandons itself entirely to the ecstasies of quantum mysticism, finding in this aleatory description of nature the key to spiritual transformation. As one of the film's characters gushes early in the proceedings, 'The moment we acknowledge the quantum self, we say that somebody has become enlightened'.  A moment in which 'the mathematical formalisms of quantum mechanics [...] are stripped of all empirical content and reduced to a set of syrupy nostrums'."

Journalist John Gorenfeld, writing in Salon, notes that the film's three directors are students of Ramtha's School of Enlightenment, which he says has been described as a cult.

Book adaptation and sequel film
In mid-2005, the filmmakers worked with HCI Books to expand on the film's themes in a book titled What the Bleep Do We Know!?—Discovering the Endless Possibilities of Your Everyday Reality. HCI president Peter Vegso stated that in regard to this book, "What the Bleep is the quantum leap in the New Age world," and "by marrying science and spirituality, it is the foundation of future thought."

On August 1, 2006 What the Bleep! Down the Rabbit Hole - Quantum Edition multi-disc DVD set was released, containing two extended versions of What the Bleep Do We Know!?, with over 15 hours of material on three double-sided DVDs.

Featured individuals
The film features interview segments of:
 Dean Radin, Senior Scientist at the Institute of Noetic Sciences (IONS) in Petaluma, California and proponent of paranormal phenomena.
 John Hagelin of Maharishi University of Management, director of MUM's Institute for Science, Technology, and Public Policy, and three-time presidential candidate of the Transcendental Meditation-linked Natural Law Party.
 Stuart Hameroff, anesthesiologist, author, and associate director of the Center for Consciousness Studies at the University of Arizona, who developed with Roger Penrose a quantum hypothesis of consciousness in the books The Emperor's New Mind, and Shadows of the Mind.
 JZ Knight, a spiritual teacher who is identified in interview segments as the spirit "Ramtha" that Knight claims to channel.
 Andrew B. Newberg, assistant professor of radiology at the University of Pennsylvania Hospital, and physician in nuclear medicine, who coauthored the book Why God Won't Go Away: Brain Science & the Biology of Belief ()
 Candace Pert, a neuroscientist, who discovered the cellular bonding site for endorphins in the brain, and in 1997 wrote the book Molecules of Emotion ()
 Fred Alan Wolf, independent physicist, author of Taking the Quantum Leap, winner of the 1982 National Book Award in science, and featured in the documentary film Spirit Space. Wolf has taught at San Diego State University, the University of Paris, the Hebrew University of Jerusalem, the University of London, and Birkbeck College, London.
 David Albert, philosopher of physics and professor at Columbia University, author of Quantum Mechanics and Experience, who according to a Popular Science article was "outraged at the final product" of his interview which he felt misrepresented his views about quantum mechanics and consciousness.
 Micheál Ledwith, author and former professor of theology at St. Patrick's College, Maynooth;
 Daniel Monti, physician and director of the Mind-Body Medicine Program at Thomas Jefferson University;
 Jeffrey Satinover, psychiatrist, author and professor;
 William Tiller, Professor Emeritus of Material Science and Engineering at Stanford University;
Joe Dispenza, former Ramtha School of Enlightenment teacher, chiropractor.

Awards
 Ashland Independent Film Festival – Best Documentary
 DCIFF – DC Independent Film Festival – Grand Jury Documentary Award
 Maui Film Festival – Audience Choice Award – Best Hybrid Documentary
 Sedona International Film Festival – Audience Choice Award, Most Thought-Provoking Film
 Pigasus Award – an annual tongue-in-cheek award, this particular award's category was #3: "to the media outlet that reported as factual the most outrageous supernatural, paranormal or occult claims".

See also
 Mind-body problem
 Hard problem of consciousness
 Law of attraction
 List of films featuring the deaf and hard of hearing

References

Further reading

External links

2004 comedy-drama films
2004 films
American comedy-drama films
Films about spirituality
Films set in Oregon
Films shot in Portland, Oregon
2000s German-language films
2000s Spanish-language films
Roadside Attractions films
Quantum mysticism
Pseudoscience documentary films
Films scored by Christopher Franke
2000s English-language films
2000s American films

What the Bleep Do We Know!?


Maudlow is a small unincorporated community in northern Gallatin County, Montana, United States. The town was a station stop on the transcontinental main line of the Chicago, Milwaukee, St. Paul and Pacific Railroad ("the Milwaukee Road"), and was a community center for a small number of area ranchers and homesteaders. Maudlow was named after a family member of Montana Railroad President R. A. Harlow, Maud Harlow. The first postmaster of the town, George Dodge, shortened the name to Maudlow.

The town is in a narrow valley alongside Sixteen Mile Creek, and near the midpoint of Sixteen Mile Canyon. The canyon, also historically known as "Montana Canyon," was considered a scenic highlight of the Milwaukee Road line.

The population of Maudlow was never large, and by the late 20th century only a handful of residents remained in the area. The railroad through Maudlow was abandoned in 1980, and Maudlow is now nearly a ghost town. It is part of the Bozeman, MT Micropolitan Statistical Area.

Notes

Unincorporated communities in Gallatin County, Montana
Unincorporated communities in Montana
Ghost towns in Montana

Maudlow, Montana


Foggy Notions was an independently published Irish music magazine founded by Leagues O' Toole and Myles Claffey, which focused on the more esoteric elements of electronica, indie, and folk music.

History and profile
Foggy Notions was established in 2004. Artists such as Mark E Smith, Skream, The Flaming Lips, and Joanna Newsom were interviewed by the magazine, and featured on the cover. The magazine was based in Dublin. It ceased publication in 2007.

References

External links

Folk music magazines
Music magazines published in Ireland
Magazines established in 2004
Magazines disestablished in 2007
Defunct magazines published in Ireland

Foggy Notions


Broadwoodwidger is a village and civil parish in the Torridge district of Devon, England. According to the 2001 census it had a population of 548.  The village is just to the north of the A30 road, and is about eight miles east of Launceston in Cornwall, and 13 miles west of Okehampton. Roadford Reservoir, which is also called Roadford Lake, is to the north-east of the village, and the River Wolf passes at the bottom of the hillside on which the village stands.

Broadwoodwidger has a church on top of the hill, with views to Brentor and surrounding countryside. There is a village green, phone box, bus shelter and post box. The parish had a small primary school three miles north of the village at Ivyhouse Cross, but it has now been closed down.

The church is 15th century, with some 13th-century features such as the tower and chancel. There is also a Norman font, and benches with carvings of curious animals. Broadwoodwidger was from 1876 to 1922 in the Diocese of Truro but was then returned to the Diocese of Exeter. Bishop John Grandisson appropriated the church to Frithelstock Priory in 1333. From 1273 the advowson and manor had been held by the Widger family; they were acquired by the priory by the generosity of the Stapeldons. Bishop Fox augmented the vicarage in 1479.

The name derives from broad wood of the Wyger family and is first documented as Brod(e)wode Wyger in 1306. The manor here passed from the Vypund family to the Wygers before 1273. It was earlier known simply as Broad wood, for example it appears as Bradewode in the Domesday Book of 1086.

See also

Broadwoodwidger Rural District

References

External links

broadwoodwidger at GENUKI

Villages in Devon
Torridge District

Broadwoodwidger


Einar Hein (19 May 1875 – 8 August 1931) was a Danish painter who is remembered for his paintings of the landscapes and people of Skagen in the north of Denmark.

Biography
Born in Copenhagen, Hein studied at the Copenhagen Technical School under Holger Grønvold (1850-1923) before attending the Royal Academy from 1892 to 1896. He completed his studies at the Kunsternes Studieskole under P. S. Krøyer. He was undoubtedly influenced by Krøyer in choosing to extend his education at the studio of Alfred Philippe Roll in Paris.

Like Jens Vige, Johannes Wilhjelm and G. F. Clement, Hein belonged to the younger generation of Skagen Painters (Skagensmalerne) who at the beginning of the 20th century developed a new approach to painting the dunes and beaches of Skagen in the far north of Jutland.

One of his most notable works is Legende børn på Skagens strand (Children Playing on Skagen's Beach) from 1910, painted against the light with unusually subdued colours. He also completed several scenes of Skagen's vividly coloured heathland. Hein quickly became part of the Skagen painters' colony, taking his place in the dining room at Brøndums Hotel, becoming a regular summer visitor together with his family. He also produced finely crafted portraits and pictures of children but they failed to attract wide interest.

Gallery

References

1875 births
1931 deaths
19th-century Danish painters
Danish male painters
20th-century Danish painters
Skagen Painters
Painters from Copenhagen
Royal Danish Academy of Fine Arts alumni
19th-century Danish male artists
20th-century Danish male artists

Einar Hein


In Christian tradition the churching of women, also known as thanksgiving for the birth or adoption of a child, is the ceremony wherein a blessing is given to mothers after recovery from childbirth. The ceremony includes thanksgiving for the woman's survival of childbirth, and is performed even when the child is stillborn, or has died unbaptized.

Although the ceremony itself contains no elements of ritual purification, it was related to Jewish practice as noted in , where women were purified after giving birth. In light of the New Testament, the Christian ritual draws on the imagery and symbolism of the presentation of Jesus at the Temple
(). Although some Christian traditions consider Mary to have borne Christ without incurring impurity, she went to the Temple in Jerusalem to fulfil the requirements of the Law of Moses.

The rite is first mentioned in pseudo-Nicene Arabic canon law. The Christian rite for the churching of women continues in Eastern Christianity, the Lutheran Churches, the Anglican Communion and the Methodist Churches; but in the Roman Rite it is found only in the pre-Vatican II form and in Anglican Ordinariate parishes.

History
The custom of blessing a woman after childbirth recalls the Purification of the Blessed Virgin Mary mentioned in Luke 2:22. The Jewish practice was based on Leviticus 12:1-8, which specified the ceremonial rite to be performed in order to restore ritual purity. It was believed that a woman becomes ritually unclean by giving birth owing to the presence of blood and/or other fluids at birth. This was part of ceremonial rather than moral law.

Natalie Knödel noted that the idea that a woman who has recently given birth is to be set apart and then reintroduced into religious and social life by means of a special rite is not a specifically Western, let alone Christian, idea. Such rites are found in a number of cultures. All things having to do with birth and death are understood as somehow sacred. Paul V. Marshall suggests that in an agricultural society this could have been a simple means of protecting a new mother from resuming work too soon after giving birth. Enforced rest after childbirth is known as postpartum confinement. Historically, European women were confined to their beds or their homes for extensive periods after giving birth in a custom called lying-in; care was provided either by her female relatives (mother or mother-in-law) or by a temporary attendant known as a monthly nurse. "Churching" served to mark the end of these weeks of separation and reintegrate the new mother into her community.

The rite became the subject of a good deal of misunderstanding, since many commentators and preachers, in describing its scriptural antecedents, did not explain the concept clearly. Pope Gregory I as early as the 6th century protested against any notion that defilement was incurred by childbirth and recommended that women should never be separated from the church in case it was seen as such. As a blessing given to mothers after recovery from childbirth, "it is not a precept, but a pious and praiseworthy custom, dating from the early Christian ages".  David Cressy points out that the ceremony acknowledged the woman's labours and the perils of childbirth. At the conclusion of a month after childbirth, women looked forward to churching as a social occasion, and a time to celebrate with friends. For men it marked the end of a month during which they had to take care of the domestic affairs, commonly referred to as the "gander month". In thirteenth-century France the rite focused on the woman's role as wife and mother.

The Second Plenary Council of Baltimore, an American Roman-Catholic gathering held in October 1866, noted that churching after childbirth had been generally neglected in the United States and was to be insisted upon, and prohibited the practice of churching in places in which Mass is not celebrated.

In the West

Roman Catholicism
The custom, referred to in many places as the "Churching of Women", was retained in the Church until very recent times, and still is in the old rite. The official title of the Rite was actually Benedictio mulieris post partum (the blessing of a woman after giving birth), and focused on blessing and thanksgiving. The rite largely fell into disuse in the late 1960s following the Second Vatican Council, but a number of traditional Catholic women still undergo the rite. The Book of Blessings published in 1984 contains a "Blessing of a Woman after Childbirth" that is significantly altered from the old rite used before the Council, but fulfills the same liturgical purpose. The current baptismal rite (which also incorporates a blessing of the father) contains a blessing for the mother, but the older rite is a special blessing.

The concluding prayer reads:

The "Order for the Blessing of a Mother after Childbirth" is still used, primarily for those mothers who were unable to attend the baptism, and is not necessarily held in a church. It may be imparted by a priest, deacon or authorized lay minister.

Lutheranism

The churching of women was historically offered to women in the Lutheran Church, taking place after the celebration of Holy Communion in the liturgy.

A prayer "For the Churching of Women" as it appeared in the 1918 liturgy of The Lutheran Church—Missouri Synod, reads as follows:

Anglicanism
The rite of the "Churching of Women" is offered in the Anglican Communion with a liturgy as part of the Book of Common Prayer.

In the US-based Episcopal Church, the "Churching of Women" is a liturgy for the purification or "churching" of women after childbirth, together with the presentation in church of the child. The 1979 Book of Common Prayer, avoiding any hint of ritual impurity, replaces the older rite with "A Thanksgiving for the Birth or Adoption of a Child." The rite is to take place within the Sunday liturgy, after the intercessions, soon after the birth or adoption. In this service, parents and other family members come to the church with the newly born or adopted child "to be welcomed by the congregation and to give thanks to Almighty God" (Book of Common Prayer, p. 439).

Methodism
The rite of the churching of women, officially known as the "An Order of Thanksgiving for the Birth or Adoption of a Child", continues to be offered in Methodist churches. The rubrics concerning the rite state:

Customs

Custom differs, but the usual date of churching was the fortieth day after confinement (or giving birth), in accordance with the Biblical date and Jewish practice. The Purification of Mary and the presentation of Jesus at the Temple are commemorated forty days after Christmas.

The service included in the English Book of Common Prayer dates only from the Middle Ages. While the churching was normally performed by a priest in the parish church there were exceptions of women being churched at home.

Prior to the English Reformation, according to the rubric the woman was to occupy the "convenient place" near the narthex. In the first prayer book of Edward VI of England, she was to be "nigh unto the quire door". In the second of his books, she was to be "nigh unto the place where the Table (or altar) standeth". Bishop Matthew Wren orders for the diocese of Norwich in 1636 were that women to be churched would come and kneel at a side near the communion table outside the rail, being veiled according to custom, and not covered with a hat. In some parishes there was a special pew known as the "churching seat". Conducting the ritual inside the church rather than on the porch is an outward sign that ritual impurity of a childbearing woman was no longer presumed.

Churchings were formerly registered in some parishes. In Herefordshire it was not considered proper for the husband to appear in church at the service, or to sit with his wife in the same pew. The words in the rubric requiring the woman to come "decently apparelled", refer to the times when it was thought unbecoming for a woman to come to the service with the elaborate head-dress then the fashion. A veil was usually worn. In some parishes a special veil was provided by the church, for an inventory of goods belonging to St Benet Gracechurch in 1560 includes "a churching cloth, fringed, white damask."

In pre-Reformation days, it was the custom in Catholic England for women to carry lighted tapers when being churched, an allusion to the Feast of the Purification of the Virgin (February 2), and also celebrated as Candlemas, the day chosen by the Catholic Church for the blessing of the candles for the whole year. At her churching, a woman was expected to make some votive offering to the church, such as the chrisom or alb placed on the child at its christening.

Augustine Schulte described the ceremony in the early twentieth century: The mother, kneels in the vestibule, or within the church, carrying a lighted candle. The priest, vested in surplice and white stole, sprinkles her with holy water in the form of a cross. Having recited Psalm 24, "The earth is the Lord's and the fullness thereof", he offers her the left extremity of the stole and leads her into the church, saying: "Enter thou into the temple of God, adore the Son of the Blessed Virgin Mary who has given thee fruitfulness of offspring." She advances to one of the altars and kneels before it, whilst the priest, turned towards her, recites the appropriate blessing, and then, having sprinkled her again with holy water in the form of the cross, dismisses her, saying: "The peace and blessing of God Almighty, the Father, the Son, and the Holy Ghost, descend upon thee, and remain forever. Amen." According to  commentary provided in a modern Catholic tutorial on the mass, the fact that the priest goes to meet the mother and escort her into the church is in itself a mark of respect for her.

It was formerly regarded as unwise for a woman to leave her house to go out at all after confinement until she went to be churched. In Anglo-Irish folk tradition, new mothers who had yet to be churched were regarded as attractive to the fairies, and so in danger of being kidnapped by them. However, the origin of the church ritual is unrelated to these later local superstitions, which accrued to it.

In the East
In the Eastern Orthodox and Eastern Catholic Churches of the Byzantine Rite, many jurisdictions still observe the tradition of the woman coming to church on the 40th day after childbirth for special blessings. For forty days a new mother remains at home to recuperate and to care for her child. However, if the child has not survived, the woman still remains at home to heal physically and emotionally. During the time of her confinement, the woman does not normally receive the eucharist, unless she is in danger of death. As the service is practiced in the Byzantine Rite, it involves both the blessing of the mother and the presentation of the child to God. The churching should be distinguished from two other brief rites that take place at childbirth: the Prayers on the First Day After Childbirth, and the Naming of the Child on the Eighth Day. These usually take place in the home. In some traditions, it is customary to baptize the child on the eighth day, following the example of the Old Testament rite of bris or circumcision of boys. In that case, the naming of the child would take place in the temple (church building); however, the mother would not attend, the child being presented by its godparents.

Churching of the Woman
On the fortieth day after childbirth, the mother is brought to the temple to be churched; that is to say, to receive a blessing as she begins attending church and receiving the sacraments once again. The child (if it has survived) is brought by the mother, who has already been cleansed and washed, accompanied by the intended sponsors (Godparents) who will stand at the child's baptism. They all stand together in the narthex before the doors of the nave, facing east. The priest blesses them and says prayers for the woman and the child, giving thanks for their wellbeing and asking God's grace and blessings upon them.

Churching of the Child
Then, if the infant has already been baptized, he performs the churching of the child; if not, he does the churching immediately after the baptism.

Taking up the child, the priest lifts it up, making the sign of the cross with the child before the doors of the temple, saying: "The servant of God (Name) is churched, in the Name of the Father, and of the Son, and of the Holy Spirit. Amen."

He then carries the child into the center of the nave, as he says, "I will go into Thy House. I will worship toward Thy Holy Temple in fear of Thee." Stopping in the center, he says, "The servant of God (Name) is churched, in the Name of the Father, and of the Son, and of the Holy Spirit. Amen. In the midst of the congregation I will sing praises unto Thee."

He then walks up to the iconostasis, and stopping in front of the royal doors, he says, "The servant of God (Name) is churched, in the Name of the Father, and of the Son, and of the Holy Spirit. Amen."

He then carries the baby into the sanctuary and around the back of the altar and out again onto the soleas.

He then chants the Nunc dimittis and says a special apolysis (dismissal), after which he blesses the child with the Sign of the Cross on its forehead, mouth and heart, and returns it to its mother.

See also

Ablution in Christianity
Hygiene in Christianity

References

Sources
 A History of Women's Bodies, Edward Shorter, Penguin, New York, 1982

External links
 Churching of Women in Liturgy and Agenda (Lutheran)
 Thanksgiving for the Birth or Adoption of a Child in the 2019 Book of Common Prayer (Anglican)
 An Order of Thanksgiving for the Birth or Adoption of a Child in the Book of Worship (Methodist)
 Prayers for the Churching of a Mother and Child After Forty Days (Greek Orthodox Archdiocese of America)
 The Churching of Women (Roman Catholic)
 1552 Book of Common Prayer "The Thankes Geuing of Women After Childe Birth, Commonly Called the Churchyng Of Women."
 The Thanksgiving of Women after Childbirth historical account

Lutheran sacraments and rites
Catholic liturgy
Byzantine Rite
Anglican liturgy
Methodism
Christianity and women

Churching of women


Walter-Herwig Schuchhardt (8 March 1900 – 14 January 1976) was a German classical archaeologist and art historian born in Hanover. He specialized in ancient Greek art, particularly sculpture and art from the "Parthenon era" (5th century BC).
He was the son of archaeologist Carl Schuchhardt (1859-1943).

Schuchhardt studied archaeology at the Universities of Tübingen, Göttingen and Heidelberg, earning his doctorate in 1923 with a dissertation on Pergamon friezes, titled Die Meister des grossen Frieses von Pergamon.

He received his habilitation in 1929 with the thesis, Die Entstehung des Parthenonfrieses (Emergence of Parthenon friezes), and later taught classes at the University of Giessen (1934–36). From 1936 to 1968, he was a professor at the University of Freiburg. Among his better known literary works are the following:
 Die Sima des alten Athenatempels der Akropolis (The Sima of the ancient Athenian temples of the Acropolis), (1936)
 Die Kunst der Griechen (The art of the Greeks), (1940)
 Archaische Plastik auf der Akropolis (Archaic sculpture of the Acropolis), (1943)
 Die Epochen der griechischen Plastik (The epochs of Greek sculpture), (1959)
 Griechische Kunst (Greek art), (1964)
 Geschichte der griechischen Kunst (History of Greek art), (1971)
 "(Greek art) History Of Art & Architecture" English translation by S. MacCormack: (1990)

References
 Dictionary of Art Historians
 University of Giessen Biographies (translated biography)

Archaeologists from Lower Saxony
Academic staff of the University of Freiburg
1900 births
1976 deaths

Walter-Herwig Schuchhardt


Abraham ben Joseph of Orleans ( ) was an early 12th-century French Tosafist and the son of Joseph Bekhor Shor and the brother of Saadia Bekhor Shor. Some have suggested that he is  identical with Abraham ben Rabbi Joce (the Chief Rabbi of London in 1186). Many of his interpretations of the Talmud are quoted several times in the Tosafot.

Biography
Rabbi Abraham, was born in Orléans, France in about 1140. His father was a famous Tosafist and a leading member of the Orleans Jewish community. In his early years, Rabbi Abraham occupied a similar position. It was also during this time that he became acquainted with Rabbeinu Tam. Sometime after his daughter married Judah ben Isaac Messer Leon, Rabbi Abraham may have moved to London where he served as Chief Rabbi in 1186. Amongst his alleged descendants are Ephraim Zalman Shor, Aaron ben Samuel of Frankfurt, and Joseph Brodsky.

References

12th-century French rabbis
French Tosafists
1140s births

Abraham ben Joseph of Orleans


La Consolación College Manila is a private Catholic basic and higher education institution run by the Augustinian Sisters of Our Lady of Consolation (ASOLC) in the City of Manila, Philippines. It was founded by the Augustinian Sisters in 1902 when the Apostolic Nuncio to the Philippines offered ten Filipino nuns from the Augustinian Sisters of Our Lady of Consolation a house near the Basilica of San Sebastián.

The college is located beside the Centro Escolar University and across College of the Holy Spirit in the city's San Miguel district, where also Malacañang Palace is located.

Campus
La Consolacion College Manila is in Mendiola Street, at the doorstep of Malacañang Palace, and occupying a trapezoidal area of 2.8 hectares enclosed by the streets of Arlegui, San Rafael, C.A. Aguila and Mendiola. Within the vicinity there are other colleges and universities forming the "university belt" of Claro M. Recto Avenue and Legarda Street.

With the completion of the Line 2 with stations at Recto and Legarda, La Consolacion College Manila is only minutes away from areas up north like Pasig, Marikina, and Quezon City. From the south, buses, fxs, and jeepneys find their route to the heart of Mendiola making the college accessible from any part of the metro.

It is one of the Catholic schools administered by the Augustinian Sisters of Our Lady of Consolation (ASOLC). Aside from the Administration building, Mo. Consuelo Barcelo Auditorium, Gregor Mendel Science Center, and classroom buildings — St. Augustine, Sta. Monica, Our Lady of Consolation, Kamalayan (which houses the college library), and the Mother Rita Building (also known as LCCM International Center) — La Residencia 1 and 2 (dormitories), occupy the land area. Today, there are more than 3,500 students, faculty, and staff.

History
La Consolacion College Manila was founded in 1902 when Msgr. Placido Chapelle, the Papal Nuncio, offered the first ten Filipino Augustinian Sisters a house at R. Hidalgo St., Quiapo near the Basilica of San Sebastian. Chapelle convinced the sisters, Agustinas Terciarias, to cease the operation of their asilo-colegio and to establish a defined school for women whose objective was to provide training and instruction to those intending to pass the civil service examination. The school was named Colegio de Nuestra Señora de la Consolacion. Sor Clara del Santissimo Sacramento was the first directress of the colegio.

The Filipino Augustinian Sisters who founded the school were the same group given the order to disband by the Father Provincial of the Augustinian Order in 1899 during the Philippine–American War when the remaining Catalan Sisters, Sor Rita Barcelo y Pages and Sor Consuelo Barcelo y Pages, left for Spain. The Catalan Sisters were founding sisters of the asilo-colegio in Mandaluyong when they arrived in the country in 1883.

After years of steady growth, the school caught fire in 1909 and was destroyed. In 1910, a new building rose in its present location. It was during this period that the school received the American government's recognition and a permit to include secondary course. As the first among private schools recognized in Manila, G.A. O'Reilly, superintendent of private schools, described it as "most proficient". During its 25th year, in 1927, the school started the expansion of its physical facilities. In 1937 the Junior Normal was opened.

During the Second World War, Japanese soldiers occupied the school. Right after the war in 1945, the school played host to the offices of the Catholic Welfare Organization (CWO) and the Catholic Educational Association of the Philippines (CEAP). It also started conducting "abridged classes". A commencement exercise was held in November for the graduates of 1944-45 before the Junior Normal was reopened on December of the same year. 1945 was marked with two developments: It was the year when the school started accepting boys in the elementary level, and the school adopted La Consolacion College as its official name.

The post-war period was characterized by physical and curricular expansion of the school. In 1947, the Junior Normal had its first set of graduates. The Music Department was recognized to confer diplomas and issue certificates in 1948. By 1951, the Secretarial Department and the combined Junior Normal and Home Economics were added. In 1952, the Office of the College Dean was established paving the way for bachelor's degrees. BSEd was offered in 1962 followed by BS in Commerce as well as other courses.

In 1974, the school's board of trustees was instituted. When the school turned 75, the Mother Rita Barcelo Pastoral Formation Center (MRBPFC) was established as a non-formal educational unit geared towards community assistance. Two years after, in 1979, the school adopted the Catholic Schools' System Development (CSSD) while at the same time working on the Philippine Accrediting Association of Schools, Colleges and Universities (PAASCU) accreditation, which was eventually passed in 1981. The following year, Basic Education Scheme was also adopted. Computer Program was introduced to the college and Basic Education Department in 1985 and 1988, respectively.

The 1990s opened the doors of LCCM to foreign academic and professional linkages. On the eve of its centennial, the school opened a dormitory, La Residencia, and the Kamalayan building which houses the college library, the multimedia, business and case rooms, SMART rooms, the school canteen, the offices of the Center for Technology and Curriculum Development (CTCD) and the School of Information Technology & Computer Studies.

The school officially adopted La Consolacion College Manila as its name. In 2004, LCCM inaugurated the Gregor Mendel Science Center where the Research Center, Nursing Review Center, nursing and science laboratories, e-learning laboratories, etc., are to be found. Today, La Consolacion College Manila is composed of its College Department with its six schools — Business and Accountancy, Arts and Sciences, Nursing, HRM and Tourism, Information Technology & Computer Studies, and Music — and the Basic Education Department.

Gallery

See also
La Consolacion College - Baao, Camarines Sur
La Consolacion College - Bacolod, Negros Occidental
La Consolacion College – Biñan, Laguna
La Consolacion College - Daet, Camarines Norte
La Consolacion College - Iriga, Camarines Sur
La Consolacion College – Novaliches - Caloocan, Metro Manila
La Consolacion University Philippines, Malolos, Bulacan

References

External links

Education in San Miguel, Manila
Catholic universities and colleges in Manila
Catholic elementary schools in Manila
Catholic secondary schools in Manila
Universities and colleges in Manila

La Consolacion College Manila


Philoces () was Philip V of Macedon's prefect and commander on the island of Euboea. In 200 BC he was ordered by Philip to ravage Attica with 2,000 infantry and 200 cavalry. According to Polybius the ravaging that Philoces gave Attica was the worst since the Persian War. In 197 BC he tried to relieve the city of Eretria but he was driven off by the Roman army besieging the city. He was then put in charge of a group of 1,500 who went to Achaea and relieved Corinth and had Argos surrendered to them. Philioces later gave Argos to Nabis of Sparta in return for a Spartan alliance with Macedon. Philoces still remained commander of the Macedonian garrison at Argos after the exchange and when Nabis deserted the Macedonians and went over to the Romans, Philoces was offered by the Romans to surrender the city to them. Philoces surrendered the city and was allowed free passage to Macedon. This is the last that is heard about Philoces.

References
Livy. "Rome and the Mediterranean"
Polybius. The Rise of the Roman Empire.

Ancient Greek generals
2nd-century BC Greek people

Philoces


Sir William Bird (1560 or 1561 – 1624) was a lawyer, Member of Parliament for Oxford University and Dean of the Court of Arches but who was accused in Parliament of taking improper fees.

Life
Bird was born in Saffron Walden, Essex and matriculated at All Souls College, Oxford on 28 November 1581 aged 20, having become a Fellow in 1578. He studied civil law, obtaining the degrees of Bachelor of Civil Law (1583) and Doctor of Civil Law (1588) before becoming an advocate of the Court of Arches in 1589 and a member of Doctors' Commons in 1590. He was also acting Vice-Chancellor of Oxford University in 1591 and dean of All Souls College in 1593.  He became more active in the courts, resigning his fellowship in 1604.  In 1608 he became MP for the university in succession to Thomas Crompton.  In 1611 he became a judge of the Prerogative Court of Canterbury along with John Bennet (judge), but became the sole judge in 1622 when Bennet was prosecuted for corruption.  He was knighted in 1617 and became Dean of the Court of Arches in 1618.  He was also a Master in Chancery but was one of four masters accused in the Parliament of 1621 of taking improper fees, although they argued that the statute relied upon by their accusers was not intended to deprive them of their fees.  He was buried on 5 September 1624 in Christ Church, Newgate, London.  He was survived by his wife, but they had no children.

References

1560s births
1624 deaths
Fellows of All Souls College, Oxford
Members of the pre-1707 Parliament of England for the University of Oxford
Alumni of All Souls College, Oxford
People from Saffron Walden
16th-century English lawyers
Members of Doctors' Commons
English MPs 1604–1611
17th-century English judges

William Bird (lawyer)


The genus Legionella is a pathogenic group of Gram-negative bacteria. It includes the species causing a pneumonia-type illness called Legionnaires' disease, and a mild flu-like illness called Pontiac fever.

It may be seen with a silver stain. Legionella is common in many environments, including soil and aquatic systems, with at least 50 species and 70 strains identified.

The side-chains of the cell wall carry the bases responsible for the somatic antigen specificity of these organisms. The chemical composition of these side chains both with respect to components as well as arrangement of the different sugars determines the nature of the somatic or O antigen determinants, which are essential means of serologically classifying many Gram-negative bacteria.

Legionella got its name after a 1976  outbreak of a then-unknown "mystery disease" sickened. 221 people were infected, with 34 deaths. The outbreak was first noticed among people attending a convention of the American Legion—an association of U.S. military veterans.

On January 18, 1977, the cause was identified as a previously unknown bacterium later named Legionella.

Legionnaire's disease and Pontiac fever
Legionnaires' disease is a severe form of pneumonia—lung inflammation usually caused by infection. Legionnaires' disease is caused by a bacterium known as Legionella.

People can't catch Legionnaires' disease from person-to-person contact. Instead, most people get Legionnaires' disease from inhaling the bacteria. Older adults, smokers and people with weakened immune systems are particularly susceptible to Legionnaires' disease.

The Legionella bacterium also causes Pontiac fever, a milder illness resembling the flu. Separately or together, the two illnesses are sometimes called legionellosis. Pontiac fever usually clears on its own, but untreated Legionnaires' disease can be fatal. Although prompt treatment with antibiotics usually cures Legionnaires' disease, some people continue to experience problems after treatment.

Disinfectants help people to avoid catching it.

References

Gram-negative bacteria

Legionella


John Unsworth is the university librarian and dean of libraries at the University of Virginia, a position he has held since June 25, 2016.

Biography

John Unsworth was born in 1958, in Northampton, Massachusetts. He graduated from Northampton High School in 1975, and attended Princeton University and Amherst College as an undergraduate, graduating from Amherst in 1981. He received a master's degree in English from Boston University in 1982 and a Ph.D. in English from the University of Virginia in 1988.

His first faculty appointment was in English, at North Carolina State University, from 1989 to 1993. In 1990, at North Carolina State University, he co-founded the first peer-reviewed electronic journal in the humanities, Postmodern Culture (now published by Johns Hopkins University Press, as part of Project Muse). He also organized, incorporated, and chaired the Text Encoding Initiative Consortium, co-chaired the Modern Language Association's Committee on Scholarly Editions, and served as President of the Association for Computers and the Humanities and later as chair of the steering committee for the Alliance of Digital Humanities Organizations, as well as serving on many other editorial and advisory boards.

From 1993 to 2003, he was a faculty member in the English department at the University of Virginia, where he served as the first director of the Institute for Advanced Technology in the Humanities. From 2003 to 2012 he was the dean of the Graduate School of Library and Information Science at the University of Illinois at Urbana–Champaign and was also on the faculty of the English department. From 2012 to 2016, he was the university librarian, vice provost, and chief information officer at Brandeis University. Unsworth was also a professor of English at Brandeis, teaching courses on the Digital Humanities and on 20th-century American bestsellers.  In August 2013, the White House appointed Unsworth to the National Council on the Humanities, the advisory board of the National Endowment for the Humanities, a post he held through January 26, 2016.

John Unsworth is the university librarian and dean of libraries at the University of Virginia, a position he has held since June 25, 2016.

Bibliography

 Unsworth, J., Susan Schreibman and Ray Siemens (Eds). "A Companion to Digital Humanities" New York: Blackwells (2004).  http://www.digitalhumanities.org/companion/
 'Our Cultural Commonwealth: The Report of the American Council of Learned Societies Commission on Cyberinfrastructure for the Humanities and Social Sciences' (Commission chair). ACLS: New York, 2006. Available: http://www.acls.org/cyberinfrastructure/ourculturalcommonwealth.pdf
 Unsworth, J., Lou Burnard, and Katherine O'Brien O'Keefe (Eds). "Electronic Textual Editing" New York: MLA, 2006.  http://www.tei-c.org/About/Archive_new/ETE/Preview/
 Unsworth, J. "University 2.0" in The Tower and the Cloud. Richard N. Katz, (Ed.). EDUCAUSE, 2008. . http://www.educause.edu/research-and-publications/books/tower-and-cloud
 "Medievalists as Early Adopters of Information Technology" Digital Medievalist 7 (2011).  http://www.digitalmedievalist.org/journal/7/unsworth/
 Video: On May 25, 2012, the BNN Symposium featured Paul Courant and John Unsworth at the MIT Faculty Club in Cambridge speaking on "The Hathi Trust, Google Books, and the Future of Research." "Building (and using) Big Digital Libraries". Video also available from the Boston Library Consortium.

References

Living people
Year of birth missing (living people)
People in digital humanities
American librarians
University of Virginia faculty
University of Illinois Urbana-Champaign faculty
People from Northampton, Massachusetts

John Unsworth


A domain application protocol (DAP) is the set of rules and conventions governing the interactions between participants in a distributed computing application.

DAPs sit atop HTTP and narrow HTTP's broad application protocol to support specific business goals. Services implement DAPs by adding hypermedia links to resource representations. These links highlight other resources with which a consumer can interact to make progress through a business transaction.

References

Software architecture
Hypertext Transfer Protocol
Data interchange standards

Domain Application Protocol


Guadalupe y Calvo is one of the 67 municipalities of Chihuahua, in northern Mexico. The municipal seat lies at Guadalupe y Calvo. The municipality covers an area of 9,165.1 km².

As of 2010, the municipality had a total population of 53,499, up from 51,854 as of 2005.

As of 2010, the town of Guadalupe y Calvo had a population of 5,816. Other than the town of Guadalupe y Calvo, the municipality had 1,416 localities, the largest of which (with 2010 populations in parentheses) were: Baborigame (3,294), classified as urban, and Atascaderos (1,559), Las Yerbitas (Aserradero) (1,200), and Turuachi (1,131), classified as rural.

Geography

Towns and villages
The municipality has 1,086 localities. The largest are:

References

Municipalities of Chihuahua (state)

Guadalupe y Calvo Municipality


Kirr is an island in the Darss-Zingst Bodden Chain south of the Zingst Peninsula on the German Baltic Sea coast. It is separated from the peninsula by the Zingster Strom. The island is a nature reserve within the Western Pomerania Lagoon Area National Park. It was formerly and is sometimes still called Großer Kirr or Große Kirr ("Great Kirr"). This is to distinguish it from the northwestern part of the island, which was still a separate albeit much smaller island in the Zingster Strom in the second half of the 20th century, that used to be called Kleiner Kirr or Kleine Kirr ("Small Kirr").

Geography
The island has a length of 3.5 km, a maximum width of 1.5 km and only rises one metre above sea level. It lies in the lagoon of Barther Bodden on the Baltic Sea coast of north Germany, just a few metres south of the Baltic seaside resort of Zingst. On the east side of the island is the small hamlet of Klein Kirr; in the north are the ruins of an old farmstead.

Flora and fauna
The island is covered by salt marshes and dissected by creeks. It is an ideal breeding ground for numerous birds, especially waders like dunlin, ruff, redshank, black-tailed godwit, oystercatcher, avocet and lapwing as well as the black-headed gull. In autumn the island acts as a resting place for several thousand crane over several weeks as they migrate south. As a consequence of its natural importance, walking on the island or landing boats there without permission is forbidden.

History
Around 1700, the Kirr had three owners, the Amt of Barth (331.6 hectares), the town of Barth (219 hectares) and the Horn family from Divitz (20 hectares). The island was managed by a farmstead and was mainly used by several tenants who grazed cattle and raised crops. They were also allowed to fish around the island. Today the Kirr is still used for cattle pasture. In order to get the cows to their grazing fields there is a cattle ferry to the island from the village of Müggenburg.

External links
 Website of the national park

Zingst
Uninhabited islands of Germany
German islands in the Baltic
Nature reserves in Mecklenburg-Western Pomerania
Darss-Zingst Bodden Chain
Islands of Mecklenburg-Western Pomerania

Kirr


Odeon, stylised as ODEON, is a cinema brand name operating in the United Kingdom, Ireland and Norway, which along with UCI Cinemas and Nordic Cinema Group is part of the Odeon Cinemas Group subsidiary of AMC Theatres. It uses the famous name of the Odeon cinema circuit first introduced in Great Britain in 1930. As of 2016, Odeon is the largest cinema chain in the United Kingdom by market share (although the Irish cinemas were also included within this figure).

The first Odeon cinema was opened by Oscar Deutsch in 1928, in Brierley Hill, Staffordshire (now West Midlands), England, although initially called "Picture House". The first cinema to use the Odeon brand name was Deutsch's cinema at Perry Barr, Birmingham in 1930. The brand's flagship cinema, the Odeon, Leicester Square in London, opened in 1937. Odeon then became part of the Rank Organisation who continued their ownership of the circuit for a further sixty years. Through a number of sales and acquisitions in the early 2000s the company was purchased by Terra Firma, which merged Odeon and UCI Cinemas to form Odeon UCI Cinemas Group. Most UCI cinemas then took the Odeon brand name in 2006. Terra Firma/UCI sold the company to AMC Theatres in November 2016. Ironically, UCI was originally formed through the merger of AMC UK and Cinema International Corporation in 1989.

On 17 March 2020, Odeon temporarily closed its cinemas across the UK and Ireland due to the COVID-19 pandemic.

History

Establishment

Odeon Cinemas was created in 1928 by Oscar Deutsch. Odeon publicists liked to claim that the name of the cinemas was derived from his motto, "Oscar Deutsch Entertains Our Nation", but it had been used for cinemas in France and Italy in the 1920s, and the word is actually Ancient Greek ᾨδεῖον, Ōideion, meaning "a place for singing". The word "Nickelodeon" was coined in 1888 and was widely used to describe small cinemas in the United States starting from 1905.

The first cinema opened by Deutsch was located in Brierley Hill, Staffordshire, England in 1928. The building has long since been demolished, but as of 2006, the former UCI cinema (built in the 1980s as an AMC multiplex) at the Merry Hill Shopping Centre in Brierley Hill was refurbished as an Odeon cinema. However, its style is more functional than that of original Odeon cinemas.

The first cinema that opened under the Odeon brand was in 1930, located in Perry Barr, Birmingham. It was designed by Harry Weedon using maritime-inspired Art Deco architecture. The frontage was remodelled following damage sustained during the Second World War and, having been a bingo hall, has since been converted into a conference venue.

Expansion

In 1932, Deutsch acquired more sites and planned construction of a chain of cinemas; commissioning Weedon to design his future buildings, with five opening in 1933. Each Odeon cinema had a character different from most other cinemas in the UK, often having a unique and spectacular interior.

George Coles was also one of their principal architects, remodelling a partially complete assembly hall in Portslade and designing his first purpose-built cinema in Upper Wickham Lane, Welling, Kent which opened on 22 October 1934 and closed on 22 October 1960. It is currently a bingo club in the Mecca chain. It featured central linear lighting, a feature that became characteristic of his work. 15 other Odeon cinemas opened in 1934.

In 1935, Deutsch commissioned John Maltby (1910–80), a professional photographer, to photograph every cinema in the Odeon chain at that time. The resulting collection, of internal and external photographs, is held in the public archive of English Heritage and can be seen online. 13 more Odeon cinemas opened in 1935. The same year, United Artists took a stake in the company for a nominal sum plus the supply of its films to the chain. UA eventually owned 50% of Odeon Cinema Holdings.

In 1936, 35 more Odeons opened and in 1937, the Odeon Leicester Square opened in Leicester Square, London, which became the chain's flagship cinema. Another 35 Odeons also opened in 1937, with the chain concentrating on bigger cities. They also took over County Cinemas and George Singleton Cinemas in Scotland. Odeon Theatres Limited was formed to consolidate the chain of 250 cinemas into one public company.

In 1938, Deutsch sold an interest in the business to J. Arthur Rank, who was in the process of forming the Rank Organisation. In 1939, they acquired most of the small UK cinema operations of Paramount Pictures, including key sites in Birmingham, Glasgow, Leeds, Liverpool and Newcastle upon Tyne.

By the time of Deutsch's death in December 1941, the chain had 258 cinemas throughout Britain, including 142 specially built. After his death, his wife sold his shares to Rank, giving Rank control of both Odeon and the rival Gaumont-British chain, which the Rank Organisation had acquired earlier in the year. In July 1942, Odeon acquired a second tranche of the Paramount chain, including the Paramount Theatre in Tottenham Court Road, later renamed the Odeon Tottenham Court Road.

In 1948, Rank merged the management and booking operations of Odeon and Gaumont.

In 1953, Odeon brought 3D films, widescreen and CinemaScope to the UK. The Odeon Marble Arch showed Bwana Devil in 3D in March 1953. Later in the year, Odeon showed Tonight We Sing in widescreen at the Odeon Leicester Square and demonstrated CinemaScope at the Odeon Tottenham Court Road to the trade and to the public with The Robe at the Odeon Leicester Square.

In January 1959, Rank restructured its exhibition operation and combined the best Gaumonts and the best Odeons for a new "Rank" release, while the rest of their cinemas were given a new "National" release. With the continuing decline in attendance and cinema numbers, the National release died on its feet and henceforth there were two release patterns, Rank and ABC. There was no reason to perpetuate the Gaumont name, and in towns that lost their Odeon, the Gaumont was usually renamed Odeon within a couple of years of the latter's closure. Even so, the Gaumont name continued to linger until, in January 1987, the last Gaumont, in Doncaster, was renamed Odeon.

A smaller number of Odeon cinemas opened in the post-war years (Odeon Marble Arch and Odeon Elephant & Castle being notable instances), but many single-screen cinemas either closed, sub-divided into smaller screens or were converted into other uses, such as bingo. In 1965, Odeon opened their first multiplex converting their site in Nottingham into a twin-screened cinema. In 1989, they built their first multiplex with an 8-screen site in Stoke-on-Trent.

International expansion
In 1944, Rank acquired a 50% interest in a Canadian chain and built Odeon cinemas there. It partnered with Hoyts in Australia in 1945, and bought chains in Ireland, New Zealand and South Africa in 1946. By 1956, Rank Odeon had expanded to the West Indies, British Malaya and Ceylon and had interest in 585 cinemas overseas. In 1957, they opened a cinema in New York City.

Odeon eventually operated a wholly owned Canadian subsidiary, Odeon Theatres (Canada) Ltd., with more than a hundred cinemas in Canada, coast-to-coast. The head office of Odeon Theatres of Canada was in Toronto, and later, the north Toronto suburb of Willowdale. This business was sold in 1978 to the Canadian Theatres chain and became Canadian Odeon Theatres, then was sold again in 1984 to Cineplex Corporation, forming Cineplex Odeon, then later became known as Loews Cineplex Entertainment.

It also owned fifty percent of an Australian subsidiary, Greater Union Organisation, based in Sydney, with dozens of cinemas across Australia. The Rank Organisation's share of Greater Union Organisation was sold to Amalgamated Holdings Ltd., an Australian company, also in 1984. Greater Union is now known as Event Cinemas.

Present day
Since the turn of the century, Odeon has undergone a series of sales after the Rank Group needed cash injections to reduce their debt, firstly to Cinven which merged Odeon with Cinven's ABC Cinemas. In 2004, the chain was purchased by Terra Firma and merged with United Cinemas International to produce the largest cinema chain in Europe. As a condition of the merger (imposed by the Office of Fair Trading), Odeon's Newcastle upon Tyne, Sutton Coldfield, Poole, Quinton, Hemel Hempstead and Bromley cinemas were sold to Empire Cinemas. Many smaller, older cinemas such as Odeon Grimsby on Freeman Street were closed to keep market-share within legal limits. The remaining UCI cinemas, including Thefilmworks brands, were rebranded as Odeon from 4 November 2005.

UCI cinemas in Ireland have also joined the Odeon chain, and while they initially retained the UCI brand name, evidence of the merger became apparent, for example when booking tickets by credit card, the name "Odeon" appeared. The Odeon in-house film review magazine, Onscreen, was now also distributed in the UCI cinemas, retaining the Odeon logo font throughout. In August 2007, UCI launched a new Irish website with an identical layout to odeon.co.uk. This website stated that the Irish cinemas were sold to an Irish group, Entertainment Enterprises, in September 2006. This transaction went unreported in the Irish media. It also stated that the cinemas remained part of the Odeon chain under a management contract. Rank/Odeon previously ran cinemas in Ireland (including the flagship, the Savoy Cinema in O'Connell Street) until 1982, when they were purchased by Ward Anderson. In April 2008, Entertainment Enterprises announced that it purchased the Irish assets of Storm Cinemas, and as with the existing UCI chain, would be contracting the running of the cinemas to Odeon. On 31 May 2011, Odeon announced that it had bought back the UCI chain in Ireland (including the Storm Cinemas-branded locations) from Entertainment Enterprises. Odeon rebranded all of its Irish cinemas under the Odeon brand during 2012; the first rebranded cinema reopened on 27 March 2012.

In February 2007, the UK became home to Europe's first DCI-compliant fully digital multiplex cinemas with the launch of Odeon Hatfield and Odeon Surrey Quays (in London), with a total of 18 digital screens. In 2007 Odeon acquired ten cinemas in Italy. It is now the largest cinema chain in Europe. In March 2012, the Odeon and UCI Cinemas Group under Terra Firma's control reported a £70 million loss for the year 2011, as posted on Companies House. In 2015, Terra Firma announced that it planned to sell Odeon and UCI Cinemas for around £1 billion. In April 2015, the company agreed to sell its cinemas in Gerrards Cross, Esher, Muswell Hill and Barnet to its smaller rival Everyman Cinemas for £7.1 million.

In July 2016, the company was bought for $921 million by the American company AMC Theatres, which is owned by Chinese conglomerate Wanda Group. The deal received approval from the European Commission on 17 November 2016, and was completed on 30 November 2016. In 2018, AMC Theatres bought Norwegian chain SF Kino and renamed it Odeon Kino.

On 17 March 2020, Odeon closed all of its theatres due to the ongoing COVID-19 pandemic. On 11 December 2020, Odeon revealed they were losing $125 million a month due to the closure, and that the emergency funds that had been provided were running out.

On 5 May 2023 Odeon announced the closure on 5 June of five sites, including two of the dwindling number of original Odeons, Ayr and Weston-Super-Mare and also the 1998 10 screen multiplex in Blackpool. There remain six "Oscar Deutsch" Odeons in operation:- Bristol (totally rebuilt internally), Exeter, Harrogate, London Leicester Square, Swiss Cottage and Worcester.

Ban on Universal Pictures films
On 29 April 2020 Odeon Cinemas announced a ban of all films distributed by Universal Pictures after the latter announced that it would skip releasing some films in cinemas and distribute them directly on streaming and on demand services. Adam Aron, chief executive of AMC Theatres, said that the ban would apply to all 1,000 outlets worldwide after the coronavirus lockdown. The dispute was resolved in July 2020, with AMC agreeing that Universal could stream films 17 days after theatrical release.

Rank Screen Advertising
They also ran their own advertising company, called Rank Screen Advertising, in competition with the UK market leader Pearl & Dean, which it eventually overtook. Rank Screen Advertising was later rebranded as Cinema Media before being taken over by Carlton Communications and became Carlton Screen Advertising. In 2008, Odeon, along with rival chain Cineworld, bought back the company and today it is known as Digital Cinema Media.

Services
The company operates a website and mobile apps for iOS and Android, allowing customers to book tickets in advance of performances. They ceased a telephone booking service in 2014. They run their own Guest Service Centre, based in Stoke-on-Trent, sharing the building with the cinema, but operated separately. The company has a support office in Manchester, and a smaller office in London.

"Limitless" is a nationwide scheme, where, on a twelve-month contract basis, allows members to see regular (not 3D) screenings as often as they want for a monthly fee.

Odeon offers premium services for customers who are 18 years or older. It provides a fine dining experience and formerly a gallery offering (this has since closed in all locations), offering a premium service, at six locations.

Controversies

Refusals to screen certain films
In 2008, Odeon made a controversial move by refusing to screen Rambo on any of its UK screens, blaming it on "commercial differences". In 2010 Odeon proposed a boycott of Tim Burton's Alice in Wonderland at its cinemas in the UK, Ireland and Italy, over a plan by Disney to show the film for a shorter period to allow it to release the film on DVD earlier. Following individual negotiations with Disney; Odeon, Cineworld and Vue reached agreements.

Public customer complaint
On 24 August 2012, a customer named Matt Pledger posted a complaint on Odeon's Facebook wall about his experience with the cinema, citing high ticket prices, high food prices, inattentive staff, sound bleeding through from the cinema next door, and displaying adverts on how piracy was killing film. The complaint eventually went viral, with over 275,000 'Likes' and over 23,000 comments as of 3 September 2012, as well as receiving attention from the national media, including a programme feature on BBC Radio 4.

References

Further reading
 Eyles, Allen (2002) Odeon Cinemas; Vol. 1: "Oscar Deutsch Entertains Our Nation". London : Cinema Theatre Association
 Eyles, Allen (2005) Odeon Cinemas; Vol. 2: From J. Arthur Rank to the Multiplex. London : Cinema Theatre Association

External links

 Official Ireland website
 Odeon Cinemas Group
 1930s Odeon cinema images taken by John Maltby in the Historic England Archive

Cinema chains in the United Kingdom
Cinema chains in the Republic of Ireland
Entertainment companies established in 1928
British companies established in 1928
Private equity portfolio companies
2016 mergers and acquisitions

Odeon Cinemas


Dongmen is a metro station on the Tamsui-Xinyi Line and Zhonghe-Xinlu Line in Taipei, Taiwan. The station code of the Tamsui-Xinyi line station is R07 and the station code of the Zhonghe-Xinlu line station is O06.

Station layout information
Both station platforms are located underground. The Tamsui-Xinyi line platforms are stacked on top of each other, which is the same for the Zhonghe-Xinlu line platforms. This allows you to walk straight ahead to the front platform when transferring without having to walk long distances. Platform 1 is served by the Zhonghe-Xinlu line and is for Luzhou or Huilong. Platform 2 is served by the Tamsui-Xinyi line and is for Tamsui or Beitou. Platform 3 is served by the Zhonghe-Xinlu line and is for Nanshijiao. Platform 4 is served by the Tamsui-Xinyi line and is for Xiangshan or Daan.

Around the station
 Daan Forest Park

Railway stations in Taipei

Dongmen metro station