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Western

Western

The word western is an adjective used to refer to things that are in the West. It also has a number of more specific meanings:

Geography and politics

- The Western world refers to a particular group of countries. See also: Occident
- Western culture refers to the culture that has developed in the Western world.

Entertainment

- The Western is a literary and dramatic genre found in books, films, paintings, and television and radio programs throughout the 20th century. It is characterized by its setting: the Old West of the United States, usually in the era c.1860–1900. For more specific articles, see:
- Western is sometimes synonymous with country music, due to the older name "country and western". This is sometimes used to refer to music with a more "cowboy" style.

Educational institutions

- Western is the nickname of Western Michigan University in Kalamazoo, Michigan.
- Western is a nickname of the University of Western Ontario, in London, Ontario, Canada
- Western is a nickname for Western Canada High School in Calgary, Alberta, Canada
- Western is the shortened form for the Western College Program.

Science

- A Western blot is a method in molecular biology to detect a certain protein in a sample by using antibody specific to that protein.

Adjective

An adjective is a part of speech which modifies a noun, usually describing it or making its meaning more specific. However, adjectives are not a universally recognized word class; in other words, some languages do not have any adjectives. The Chinese languages, for example, have no adjectives; all the words that are translated into English as adjectives are, in fact, stative verbs. The most widely recognized adjectives are those words, such as big, old, and tired that actually describe people, places, or things. These words are able to be modified themselves, with adverbs, as in the phrase very big. Some grammarians also classify possessive pronouns, such as his or her, possessive nouns, such as Mary's, and demonstrative pronouns, such as this or that, as adjectives. The articles a, an, and the are also commonly called adjectives. However, such classification may be specific to one particular language. Other grammarians call such noun modifiers determiners. In some languages, participles are used as adjectives. Examples of participles used as adjectives are lingering in the phrase lingering headache and broken in the phrase broken toys. Nouns which modify other nouns are sometimes called modifying nouns, nouns used ajectivally, or just part of a compound noun (like the word ice in ice cream).

Adjectival phrases

An adjectival phrase is a phrase with an adjective as its head (e.g. full of toys). In English, an adjectival phrase may occur as a postmodifier to a noun (a bin full of toys), or as a predicate to a verb (the bin is full of toys).

Attributive and predicative

In a sentence, an adjective is used in either an attributive or a predicative manner. Words which are classed as adjectives are typically able to fulfill both functions.
- An attributive adjective is one which is part of a noun phrase with the noun which it modifies. In some languages, attributive adjectives precede the noun. This is the case in the Germanic languages, to which the English language belongs. In other languages, e.g. in French, the adjective follows the noun.
- A predicative adjective is one which functions as the predicate; i.e. it is linked with the noun by a verb, often the copula (to be). In English there are a few adjectives which cannot occur in both predicative and attributive position. Some only occur in attributive position, i.e. they can't function as a predicate. Examples include "main" and "former": : This is the main reason. : This reason is main. (ungrammatical) : This is the former president. : This president is former. (ungrammatical) Other adjectives can only be predicative, i.e. they can't occur in attributive position. An example of this is "alone": : This man is alone. : This is an alone man. (ungrammatical)

Nominal use of adjectives and adjectival use of nouns

Adjectives are sometimes used in place of nouns, as in many of the Beatitudes (e.g. "Blessed are the merciful: for they shall obtain mercy"); these are called substantive adjectives. Such usage is very common in the Romance languages. In languages with grammatical genders, such as Latin, the gender of the adjective may indicate the gender of the implied noun; thus malus means the bad man; mala, the bad woman; malum, the bad thing. English is unusual in that it allows nouns to be used attributively, as in a Georgia peach (in other languages, some sort of grammatical functor between the two nouns may be required). These are not classed as adjectives, as they cannot be used predicatively. While ripe has both roles (a ripe peach is similar in meaning to the peach is ripe), a Georgia peach cannot be rephrased as
- the peach is Georgia.

Adjective order

In many languages, adjectives usually occur in an unmarked order. However, some languages do not have this tendency. English is a language with a preferred order of adjectives. Native speakers pick this up as a matter of course; those who are learning it as an adult have to memorize it. Telugu and Hungarian have adjective order preferences similar to English. Other languages may have other sequences. The adjectives which appear nearest the noun may be called phrase-making adjectives, e.g. tree frog. Before this can come color adjectives, e.g. red tree frog, and before that, participial adjectives, e.g. whining red tree frog. The first adjectives are sometimes called absolute adjectives, e.g. nasty whining red tree frog.
- Value/Opinion
- Size
- Age/Temperature
- Shape
- Color
- Origin
- Material

Comparison with adjectives

In many languages that have adjectives, the adjectives may have comparative and superlative forms, as does English. Adjectives which can be compared in this way are called gradable adjectives. Not all languages have comparative and superlative forms. For instance the Chadic language Bole uses verbs meaning "to surpass" and "to be equal to": "I am taller than you" would in Bole be something like "I surpass you concerning height", no comparative needed. As for showing equality, the verbs used mean "to reach", "to suffice" and even "to do": "I am as tall as you" would be "I do you concerning height". In some Romance languages, there are no superlative and comparative forms of adjectives per se, but they are instead constructed with adverbs meaning "more," "most," "less," and "least." So, in literal translation, a French speaker says not "I am taller than you," but "I am more tall than you."

English

Most English adjectives have comparative and superlative forms. These are constructed in one of two ways: either by suffixes (big, bigger, biggest) or by the use of the grammatical particles more and most. Some adjectives have suppletive forms in their comparison, such as good, better, best. Comparative and superlative forms apply only to the base form of the adjective (e.g. lessest is forbidden). Some adjectives – such as male, female, extant and extinct – express "absolute" qualities and do not admit comparisons (one animal cannot be more extinct than another). Similarly in a planktonic organism the adjective planktonic simply means plankton-type; there are no degrees or grades of planktonic. Other cases are more debatable. Grammatical prescriptivists frequently object to phrases such as more perfect on the grounds that something either is perfect or it is not. However, many speakers of English accept the phrase as meaning more nearly perfect. An adjective that causes particular controversy in this respect is unique. The formulations more unique and most unique are guaranteed to raise the hackles of purists. Which English adjectives are compared by -er/-est and which by more/most is a complex matter of English idiom. Generally, shorter adjectives (including most monosyllabic adjectives), Anglo-Saxon words, and shorter, fully domesticated French words (e.g. noble) use the suffixes -er/-est. Adjectives with two syllables tend to vary. Some take either form, and the situation determines the usage. For example, one will see commoner and more common, depending on which sounds better in the context. Two-syllable adjectives that end in the sound , most often spelled with y, generally take -er/-est, e.g., pretty : prettier : prettiest. Longer adjectives, especially those derived from Greek and Latin, and including most adjectives with three or more syllables, require more and most, though the use of -er/-est extends to more longer words in American English than in British English. A fair number of words, especially longer adjectives that end in Anglo-Saxon derivative suffixes like -ly, can take either form. Adjectives which end in ous do not take -er/-est. (Curiouser is a curiosity. It is found in both Websters Third and the Oxford English Dictionary Second Edition, on the strength of a coinage by Lewis Carroll who deliberately used it incorrectly in curiouser and curiouser to produce a particular effect.) A good general rule is to use whatever form sounds natural and gives the desired effect. It should be remembered in particular that the suffix -er has other meanings. For example it is an extremely common way of converting action nouns to the individual who performs the action (e.g. talk, talker). Putting -er on an unfamiliar adjective can easily lead to confusion.

Bibliography

- Dixon, R. M. W. (1977). Where have all the adjectives gone? Studies in Language, 1, 19-80.
- Dixon, R. M. W. (1994). Adjectives. In R. E. Asher (Ed.), The Encyclopedia of language and linguistics (pp. 29-35). Oxford: Pergamon Press. ISBN 0-0803-5943-4. (Republished as Dixon 1999).
- Dixon, R. M. W. (1999). Adjectives. In K. Brown & T. Miller (Eds.), Concise encyclopedia of grammatical categories (pp. 1-8). Amsterdam: Elsevier. ISBN 0-0804-3164-X.
- Warren, Beatrice. (1984). Classifying adjectives. Gothenburg studies in English (No. 56). Göteborg: Acta Universitatis Gothoburgensis. ISBN 9-1734-6133-4.
- Wierzbicka, Anna. (1986). What's in a noun? (or: How do nouns differ in meaning from adjectives?). Studies in Language, 10, 353-389.

External links

- [http://www-users.cs.york.ac.uk/~susan/cyc/a/adj.htm Adjective order in English]
- [http://www.ego4u.com/en/cram-up/grammar/adjectives-adverbs Adjectives and Adverbs]
- [http://www.humnet.ucla.edu/humnet/aflang/Bole/bole_papers.html Downloadable Papers on Bole] Category:Parts of speech ja:形容詞 simple:Adjective th:คำคุณศัพท์

West

:This article refers to the cardinal direction; for other uses see West (disambiguation). West is most commonly a noun, adjective, or adverb indicating direction or geography. West is one of the four cardinal directions or compass points. It is the opposite of east and at right angles to north and south. By convention, the left side of a map is west. To go west using a compass for navigation, set a bearing or azimuth of 270°. West is the direction towards which the sun sets at the equinox, and therefore the direction opposite that of the Earth's rotation. Moving continuously west is following a circle of latitude, which, except in the case of the equator, is not a great circle. The etymology of West can be traced back to the Old High German word westar, and perhaps to the Latin word vesper, meaning "evening", possibly derived from the Greek Hesperos. Category:Orientation ja:西 simple:West

Western culture

:For this article's equivalent regarding the East, see Eastern culture :For the Henry Cow album of the same name, see Western Culture (album) Western Culture (album), for many a symbol of the changes of the Western culture during the Renaissance ]] Western culture refers to the culture that has developed in the Western world. It comprises the heritage of norms, values, customs and sometimes artifacts that the cultures of the Western world share. A Western culture refers to one of many cultures in the Western world.

Brief description

The Western world is a group of countries and cultures of which the composition depends on the definition used. See Western world for an overview of these definitions. The concept of Western culture is generally linked to the classical definition of Western world. In this definition, Western culture is the set of literary, scientific, musical, philosophical and other traditions from Western Europe and countries whose history is strongly marked by Western European immigration or settlement. Much of this set of traditions is collected in the Western canon. The concept of Western culture is better defined than the concept of Western world. The concept of Western world is linked to countries as well as cultures. The concept of Western culture is linked to people. One could argue about the question if South Africa is a Western or Westernised country. Focussing on people, it is clear that part of the South African population is Western and part is not. An increasing number of countries and societies with a predominant Western culture have one or more significant minorities who practice a non-Western culture, either as native people (e.g. Brazil, parts of Australia or the United States) or by immigration (e.g. the US and most of Western Europe).

Foundations

The origins of Western Culture are often cited as ancient Greece, the Roman Empire, and Catholic and Protestant Christianity, and as such, some describe it as "Judeo-Christian culture." However, its source also lies prominently in the Germanic, Slavic and Celtic popular cultures that took part in the formation of the culture of medieval Europe. Western culture has developed a plethora of literary, musical, philosophical, religious, and other traditions. Important traditions were:
- Scholasticism
- Roman Catholicism
- Protestantism
- Humanism
- Renaissance
- Age of Enlightenment
- Secularisation
- Scientific method

Hegemony

It can be said that elements of western culture have had a very influential role on other cultures worldwide. People of many cultures, both Western and non-Western, equate "modernization" with "westernization," but many non-westerners object to the implication that all societies should adopt western ideas and values. Some members of more radical-thinking communities in the non-Western world have suggested that this potential link is a reason why much of "modernity" should be rejected as intrinsically Western and thus incompatible with their vision of their societies. What is generally uncontested, is that much of the technology and social patterns which make up what is typically defined as "modernization" (e.g. steam engines, internal combustion engines, the scientific method, and others) were developed in the Western world. Whether these technological and social forms are instrinsically part of Western culture, is more difficult to answer. Many would argue that the question cannot be answered by a response from positivistic science and instead is a "value" question which must be answered from a value system (e.g. philosophy, religion, political doctrine). Nonetheless, much of anthropology today has shown the close links between the physical environment and daily activities and the formation of a culture (the findings of cultural ecology, among others). Therefore, the impact of "modernization" and "modern" technology may not merely be "scientific" (that is, physical) but may possibly be closely linked with a certain culture, that of the West, such that without such technology, Western culture today would have been dramatically different from how it is known in actual historical and contemporary times.

"Western Civ" as a curriculum

- "Hey, Hey, Ho, Ho! Western Civ has got to go!" The chant of Stanford University students c. 1990's demonstrating against the canon of classic texts required in the basic humanities course because it was dominated by "dead white males" and was "Eurocentric".
- "I think it would be a good idea" - opinion of "Western Civilisation", quotation popularly attributed to Mahatma Gandhi.

Western (genre)

The Western is an American genre in literature and film. Westerns are art works – films, literature, sculpture, television and radio shows, and paintings – devoted to telling stories set in the American West, often portraying it in a romanticized light. While the Western has been popular throughout the history of movies, it has begun to diminish in importance as the United States progresses farther away from the period depicted. romanticized

Definition

romanticized] Westerns, by definition, are set in the American West, almost always in the 19th century, generally between the Antebellum period and the turn of the century. Many incorporate the Civil War into the plot, or into the background, although the west was not touched by the war to the extent the east was. However, their setting may extend further back to the time of the American colonial period or forward to the mid-twentieth century. They may also range geographically from Mexico to Canada. Many westerns involve semi-nomadic characters who wander from town to town, their sole possessions consisting of clothing, a gun, and (optionally) a horse. The high technology of the era – such as the telegraph, printing press, and railroad – may appear, occasionally as a development just arriving, and usually symbolizing the impending end of the frontier lifestyle which will soon give way to the march of civilization. The Western takes these simple elements and uses them to tell morality tales, usually setting them against spectacular American landscapes. In some movies, scenery becomes almost the star of the movie. Westerns often stress the harshness of the wilderness and frequently set the action in a desert-like landscape for example in The Searchers (1956) and Open Range (2003). However, this desert landscape is not as evident in High Noon (1952), which is set in a gritty, dirty western town and shows a juxtaposition between the dirty town and the beautiful landscape. Specific settings include lonely isolated forts, ranch houses, the isolated homestead, the saloon or the jail. Other iconic elements in westerns include Stetsons and Spurs, Colt .45s, prostitutes and the faithful steed. :See also: Frederic Remington, Indian Wars, Continental Expansion of the U.S., Manifest Destiny, The West

Common themes

The western film genre often portrays the conquest of the wilderness and the subordination of nature, in the name of civilization or the confiscation of the territorial rights of the original inhabitants of the frontier. The Western depicts a society organized around codes of honor, rather than the law, in which persons have no social order larger than their immediate peers, family, or perhaps themselves alone. Here, one must cultivate a reputation by acts of violence; or they can be generous, because generosity creates a dependency relationship in the social hierarchy. These themes unite the Western, the gangster movie, and the revenge movie in a single vision. In the Western, these themes are forefronted, to the extent that the arrival of law and "civilization" is often portrayed as regrettable, if inevitable.

Origins of the "Western idea"

civilization]] The idealized version of the "Wild West" can be traced at least as far back as Buffalo Bill's Wild West shows which began in 1883. In literature, Owen Wister's The Virginian, published in 1902, was an American start (though not the first Western published in the United States); but the German writer Karl May was writing Wild West stories as early as 1876. His books were a major influence on the founder of Universal Pictures, the German immigrant Carl Laemmle; and May himself traced ideas at least to the American writer James Fenimore Cooper, who wrote Last of the Mohicans in 1826. Thus, the "western idea" has a long history. The western was a distinct literary genre before the rise of motion pictures; other important writers were Zane Grey, Louis L'Amour and Elmore Leonard. It has been said that there are four principal elements which contributed to the form of the western genre:
- A structure drawn from 19th century melodramatic literature, involving a virtuous hero and a wicked villain who menaces a virginal heroine.
- An action story, composed of violence, chases and crimes appropriate to a place like the American West in the 19th century.
- The introduction of the history of the migration westwards and the opening of the frontier signalled in such films as The Covered Wagon (1924) and The Iron Horse(1924).
- The revenge structure, which was present by the time of Billy The Kid in 1930. These have been claimed for the 'premise' from which westerns were developed and from which all subsequent westerns have emerged.

Western literature

Western fiction got its start in the "penny dreadfuls" and later the "dime novels" that first began to be published in the mid-nineteenth century. These cheaply made books were published to capitalize on the many fanciful yet supposedly true stories that were being told about the mountain men, outlaws, settlers and lawmen who were taming the western frontier. By 1900, the new medium of pulp magazines also helped to relate these adventures to easterners. Meanwhile, non-American authors like the German Karl May picked up the genre, went to full novel length, and made it hugely popular and successful in continental Europe from about 1880 on, though they were generally dismissed as trivial by the literary critics of the day. The western in American Literature began to emerge with the novels of James Fenimore Cooper. although arguably it did not begin to be a separate genre until the publication of The Virginian by Owen Wister in 1902. Popularity grew with the publication of Zane Grey's Riders of the Purple Sage in 1912. When pulp magazines exploded in popularity in the 1920s, western fiction greatly benefited (as did the author Max Brand, who excelled at the western short story). The simultaneous popularity of Western movies in the 1920s also helped the genre. In the 1940s several seminal westerns were published including The Ox-Bow Incident (1940) by Walter van Tilburg Clark, The Big Sky (1947) and The Way West (1949) by A.B. Guthrie, Jr., and Shane (1949) by Jack Schaefer. Many other western authors gained readership in the 1950s, such as Luke Short, Ray Hogan, and Louis L'Amour. The genre peaked around the early 1960s, largely due to the tremendous number of westerns on television (though television did help hasten the demise of western short fiction pulp magazines in the early 1950s). The burnout of the American public on television westerns in the late 1960s seemed to have an affect on the literature as well, and interest in western literature began to wane. In the 1970s, the work of Louis L'Amour began to catch hold of most western readers and he has tended to dominate the western reader lists ever since. Readership as a whole began to drop off in the mid- to late '70s and has reached a new low today, so much so that most bookstores, outside of a few western states, only carry a small number of Western fiction books in comparison to other genres. Western authors have an organization that represents them called the Western Writers of America, who present the annual Golden Spur Awards.

Western films

Weird West, a common setting for westerns]] A genre in which description and dialogue are lean, and the landscape spectacular, is well suited to a visual medium. Early Westerns were mostly filmed in the studio like other early Hollywood movies, but when locations shooting became more common, producers of Westerns used desolate corners of California, Arizona, Utah, Nevada, Colorado or Wyoming, often making the landscape not just a vivid backdrop, but a character in the movie. The Western genre itself has sub-genres, such as the epic Western, the shoot 'em up, singing cowboy Westerns, and a few comedy Westerns. The Western re-invented itself in the revisionist Western. Cowboys and Gunslingers play prominent roles in Western movies. Often fights with Indians are depicted, although "revisionist" Westerns give the natives sympathetic treatment. Other recurring themes of westerns include western treks, and groups of bandits terrorizing small towns such as in The Magnificent Seven.

The Classical Western film

The Magnificent Seven]] The Magnificent Seven The western film traces its roots back to The Great Train Robbery, a silent film directed by Edwin S. Porter and starring Broncho Billy Anderson. Released in 1903, the film's popularity opened the door for Anderson to become the screen's first cowboy star, making several hundred Western movie shorts. So popular was the genre that he soon had competition in the form of William S. Hart. In the United States, the western has had an extremely rich history that spans many genres (comedy, drama, tragedy, parody, musical, etc.). The golden age of the western film is epitomised by the work of two directors: John Ford (who often used John Wayne for lead roles) and Howard Hawks. Ford's 1939 epic, Stagecoach is considered one of the best westerns ever made.

Spaghetti Westerns

Stagecoach, a Spaghetti Western]] :Main article: Spaghetti Western During the 1960s and 1970s, a revival of the Western emerged in Italy with the "Spaghetti Westerns" or "Italo-Westerns". Many of these films are low-budget affairs, shot in locations chosen for their cheapness and for the similarity of their landscapes to those of the Southwestern United States (southern Spain was the most popular choice). Spaghetti Westerns were characterised by the presence of more action and violence than the Hollywood westerns. But the best of the genre, notably the films directed by Sergio Leone, have a parodic dimension (the strange opening scene of Once Upon a Time in the West being a reversal of Fred Zinnemann's High Noon opening scene) which gave them a different tone to the Hollywood westerns. Clint Eastwood became famous by starring in Spaghetti Westerns, although they were also to provide a showcase for other such considerable talents as Lee van Cleef, James Coburn, Klaus Kinski and Henry Fonda.

Revisionist Westerns

Henry Fonda, a Revisionist Western]] Beginning in the 1960s, in part due to the impact of the Spaghetti Westerns, many American filmmakers began to question many traditional themes of westerns. Aside from the portrayal of the Native American as a "savage", such as Major Dundee and Ulzana's Raid, audiences began to question the simple hero versus villain dualism, and the use of violence to test one's character or to prove oneself right. Examples of "revisionist westerns" include Jeremiah Johnson, Little Big Man, Dances With Wolves and Unforgiven. Some "modern" Westerns give women more powerful roles, such as Comes a Horseman, Open Range and The Missing. In 1969, Claudia Cardinale had a starring lead in Once Upon a Time in the West.

Genre studies and Westerns

Once Upon a Time in the West]] In the 1960s academic and critical attention to cinema as a legitimate art form emerged. With the increased attention, film theory was developed to attempt to understand the significance of film. From this environment emerged (in conjunction with the literary movement) a enclave of critical studies called genre studies. This was primarily a semantic and structuralist approach to understanding how similar films convey meaning. Long derided for its simplistic morality, the western film genre became to be seen instead as a series of conventions and codes that acted as a short-hand communication methods with the audience. For example, a white hat represents the good guy, a black hat represents the bad guy; two people facing each other on a deserted street leads to the expectation of a showdown; cattlemen are loners, townsfolk are family and community minded; and so forth. All western films can be read as a series of codes and the variations on those codes. Since the 1970s, the western genre has been unraveled through a series of films that used the codes but primarily as a way of undermining them (Little Big Man and Maverick did this through comedy). Kevin Costner's Dances with Wolves actually resurrects all the original codes and conventions but reverses the polarities (the Native Americans are good, the U.S. Cavalry is bad). Clint Eastwood's Unforgiven uses every one of the original conventions, only reverses the outcomes (instead of dying bravely or stoicly, characters whine, cry, and beg; instead of a good guy saving the day, unredeemable characters execute revenge; etc.) One of the results of genre studies is that some have argued that "Westerns" need not take place in the American West or even in the 19th Century, as the codes can be found in other types of movie. Hud, starring Paul Newman, and Akira Kurosawa's Shichinin no samurai (The Seven Samurai), are possible examples of these. Likewise, it has been pointed out that films set in the old American West, may not necessarily be considered "Westerns."

Influences on and of the Western

During the late 1950s, the Western movie became a template for the Bills, a Congolese youth subculture. subculture]] subculture]] Many westerns after 1960 were heavily influenced by the Japanese samurai films of Akira Kurosawa. For instance The Magnificent Seven was a remake of Kurosawa's Seven Samurai, and both A Fistful of Dollars and Last Man Standing were remakes of Kurosawa's Yojimbo, which itself was reputably inspired by Red Harvest, an American detective novel by Dashiell Hammett. It should also be noted that Kurosawa himself was heavily influenced from American Westerns, especially the works of John Ford. [http://www.sensesofcinema.com/contents/cteq/00/9/kurosawa.html Senses of Cinema] Despite the Cold War, the western was a strong influence on Eastern Bloc cinema, which had its own take on the genre, the so called 'Red Western' or Ostern. Generally these took two forms: either straight westerns shot in the Eastern Bloc, or action films involving the Russian Revolution and civil war and the Basmachi rebellion in which Turkic peoples play a similar role to Mexicans in traditional westerns. An offshoot of the western genre is the "post-apocalyptic" western, in which a future society, struggling to rebuild after a major catastrophe, is portrayed in a manner very similar to the 19th century frontier. Examples include The Postman and the "Mad Max" series, and the computer game Fallout. Many elements of space travel series and films borrow extensively from the conventions of the western genre. Peter Hyams' Outland transferred the plot of High Noon to interstellar space. Gene Roddenberry, the creator of the Star Trek series, once described his vision for the show as "Wagon Train to the stars". More recently, the space opera series Firefly used an explicitly western theme for its portrayal of frontier worlds. Elements of western movies can be found also in some movies belonging essentially to other genres. For example, Kelly's Heroes is a war movie, but action and characters are western-like. The British film Zulu set during the Anglo-Zulu War has sometimes been compared to a Western, even though it is set in South Africa. In addition, the superhero fantasy genre has been described as having been derived from the cowboy hero, only powered up to omnipotence in a primarily urban setting. The western genre has been parodied on a number of occasions, famous examples being Support Your Local Sheriff, Cat Ballou, and Mel Brooks's Blazing Saddles. George Lucas's Star Wars films use many elements of a western, and indeed, Lucas has said he intended for Star Wars to revitalize cinematic mythology, a part the western once held. The Jedi, who take their name from Jidaigeki, are modeled after samurai, showing the influence of Kurosawa. The character Han Solo dressed like an archetypal gunslinger, and the Mos Eisley Cantina is much like an old west saloon.

Television Westerns

The Saturday Afternoon Movie was a pre-TV phenomenon in the US which often featured western series. Audie Murphy, Tom Mix, and Johnny Mack Brown became major idols of a young audience, plus "Singing cowboys" such as Gene Autry, Roy Rogers and Dale Evans, Rex Allen. Each had a co-starring horse such as Rogers' Golden Palomino, Trigger, who became a star in his own right. Other B-movie series were Lash La Rue and the Durango Kid. Herbert Jeffreys, as Bob Blake with his horse Stardust, appeared in a number of movies made for African American audiences in the days of segregated movie theaters. [http://www.cowboydirectory.com/J/J-ea.html]. Bill Pickett, an African American rodeo performer, also appeared in early western films for the same audience [http://www.famoustexans.com/billpickett.htm]. When the popularity of television exploded in the late 1940s and 1950s, westerns quickly became a staple of small-screen entertainment. A great many B-movie Westerns were aired on TV as time fillers, while a number of long-running TV Westerns became classics in their own right. Notable TV Westerns include Gunsmoke, The Lone Ranger, The Rifleman, Have Gun, Will Travel, Bonanza, The Big Valley, Maverick, The High Chaparral and many others. The peak year for television westerns was 1959, with 26 such shows airing during prime-time. The 1970s saw a revision of the western, with the incorporation of many new elements. McCloud, which premiered in 1970, was essentially a fusion of the sheriff-oriented western with the modern big-city crime drama. Hec Ramsey was a western who-dunnit mystery series. Little House on the Prairie was set on the frontier in the time period of the western, but was essentially a family drama. Kung Fu was in the tradition of the itinerant gunfighter westerns, but the main character was a Chinese monk who fought only with his formidable martial art skill. The Life and Times of Grizzly Adams was a family adventure show about a gentle mountain man with an uncanny connection to wildlife who helps others who visit his wilderness refuge. The 1990s saw the networks getting into filming Western movies on their own. Like Louis L'Amour ‘s Conagher, Tony Hillerman’s The Dark Wind, The Last Outlaw, The Jack Bull etc. A few new comedies like The Cisco Kid, The Cherokee Kid, and the gritty TV series Lonesome Dove: The Outlaw Years. This century started off with Louis L'Amour’s Crossfire Trail, Monte Walsh, and Hillerman’s Coyote Waits, & A Thief of Time. DVDs offer a second life to TV series like Peacemakers, and HBO’s Deadwood. Also, in 2002 a show called Firefly (created by Joss Whedon) mixed in a perfect and original way the identity of both western genre with science-fiction. Now, it became a critically successful saga which closure took place in the acclaimed movie Serenity. It is clear that the Western is not dead, but have moved smoothly from the first color TV series The Cisco Kid, through the half hour, shoot-um-ups, The Life and Legend of Wyatt Earp, Have Gun — Will Travel, " of the 1950’s. Later hour long adult westerns, to the slickly packaged made for TV westerns of today. See also: List of TV Westerns

Quote

:"As far as I'm concerned, Americans don't have any original art except Western movies and jazz." :— Clint Eastwood, classic actor in Westerns

External links

- [http://www.imdb.com/Sections/Genres/Western/average-vote/ Top Fifty Westerns]
- [http://www.mptvfund.org/events/gba.htm Golden Boot Awards]
- [http://www.cowboyhalloffame.org/i_perf.html Hall of Great Western Performers] at the National Cowboy & Western Heritage Museum
- [http://empire-movies.tripod.com Steele Review]
- The Western Writers of America website: http://www.westernwriters.org/ Category:Fiction Category:Film genres Category:Western Category:Western ja:西部劇

Genre

A genre is a division of a particular form of art according to criteria particular to that form. In all art forms, genres are vague categories with no fixed boundaries. Genres are formed by sets of conventions, and many works cross into multiple genres by way of borrowing and recombining these conventions.

Overall definition

Genre is originally a French word meaning "kind", "sort" or "type"; in grammatical terminology, it refers to the artificial concept of masculine or feminine grammatical gender (the noun "genre" itself belongs to the masculine gender in French, for example). In general there are three types of genre:
- Those of setting, such as westerns or science fiction;
- Those of mood, such as comedy or horror;
- Those of format, such as musicals or non-fiction. In artforms such as music, painting, and sculpture, genre tends to be determined by format and style. Genres are often divided into sub-genres. In literature, for instance, can be organized according to the "poetic genres" and the "prose genres". Poetry might be subdivided into epic, lyric, and dramatic, while prose might be subdivided into fiction and non-fiction. Further subdivisions of dramatic poetry, for instance, might include comedy, tragedy, melodrama, and so forth. This parsing into subgenres can continue: "comedy" has its own genres, for example, including farce, comedy of manners, burlesque, and satire.

Generic conventions

In every field of art there are conventions that may simply be expectations (paintings are rectangular) and stock devices (a comedy ends with a marriage, but a western can end with the hero riding off into the sunset). These are generic conventions which are very closely tied to a particular artistic genre, and help to define what that genre is. Some of these conventions may develop into clichés.

Genre and audiences

Although most genres are often only vaguely definable, genre considerations are one of the most important factors in determining what a person will see or read. Many genres have built-in audiences and corresponding publications that support them, such as magazines and websites. Books and movies that are difficult to pigeonhole into a genre are often less successful commercially.

"Hierarchy of Genres"

In the field of painting, there exists a "hierarchy of genres" associated with the Académie française which once held a central role in academic art. These genres in hierarchical order are:
- History painting
- Genre painting
- Portrait painting
- Landscape painting
- Still life painting These categories played an important role between the 17th century and the modern era, when painters and critics began to rebel against the many rules of the Académie française, including the Académie's preference for history painting.

Genre in philosophy

The concept of "genre" has played a notable role among philosophers of language, figuring very prominently in the works of philosopher and literary scholar Mikhail Bakhtin. Bakhtin's basic observations were of "speech genres" (the idea of heteroglossia), modes of speaking or writing that people learn to mimic, weave together, and manipulate (such as "formal letter" and "grocery list", or "university lecture" and "personal anecdote"). The work of Georg Lukács also touches on the nature of literary genres, appearing separately but around the same time (1920s–1930s) as Bakhtin.

External links

- [http://www.ericdigests.org/1994/genres.htm Helping Children Understand Literary Genres]
- [http://www.imdb.com/Sections/Genres/ Genres of film] at the Internet Movie Database
- Category:Narratology ja:ジャンル

Books

:This page is about bound sheets of paper. For the graph theory concept, see Book (graph theory). For the musical theater meaning, see Book (musical theater). A book is a collection of leaves of paper, parchment or other material, bound together along one edge within covers. A book is also a literary work or a main division of such a work. A book produced in electronic format is known as an e-book. In library and information science, a book is called a monograph to distinguish it from serial publications such as magazines, journals or newspapers. Publishers may produce low-cost, pre-proof editions known as galleys for promotional purposes, such as generating reviews in advance of publication. Galleys are usually made as cheaply as possible, since they are not intended for sale. A lover of books is usually referred to as a bibliophile, a bibliophilist, or a philobiblist, or, more informally, a bookworm. A book may be studied by students in the form of a book report. It may also be covered by a professional writer as a book review to introduce a new book.
History
book review.]] The oral account (word of mouth, tradition, hearsay) is the oldest carrier of messages and stories. When writing systems were invented in ancient civilizations, clay tablets or parchment scrolls were used as, for example, in the library of Alexandria. Scrolls were later phased out in favor of the codex, a bound book with pages and a spine, the form of most books today. The codex was invented in the first few centuries A.D. or earlier. Some have said that Julius Caesar invented the first codex during the Gallic Wars. He would issue scrolls folded up accordion style and use the "pages" as reference points. Before the invention and adoption of the printing press, almost all books were copied by hand, which made books comparatively expensive and rare. During the early Middle Ages, when only churches, universities, and rich noblemen could typically afford books, they were often chained to a bookshelf or a desk to prevent theft. The first books used parchment or vellum (calf skin) for the pages, which was later replaced with paper. In the mid 15th century books began to be produced by block printing in western Europe (the technique had been known in the East centuries earlier). In block printing, a relief image of an entire page was carved out of wood. It could then be inked and used to reproduce many copies of that page. Creating an entire book, however, was a painstaking process, requiring a hand-carved block for each page. Also, the wood blocks were not terribly durable and could easily wear out or crack. The oldest dated book printed by the method of block printing is The Diamond Sutra. There is a wood block printed copy in the British Library which, although not the earliest example of block printing, is the earliest example which bears an actual date. It was found in 1907 by the archaeologist Sir Marc Aurel Stein in a walled-up cave near Dunhuang, in northwest China. The colophon, at the inner end, reads: Reverently [caused to be] made for universal free distribution by Wang Jie on behalf of his two parents on the 13th of the 4th moon of the 9th year of Xiantong [i.e. 11th May, CE 868 ]. The Chinese inventor Pi Sheng made moveable type of earthenware circa 1045, but we have no surviving examples of his printing. He embedded the characters, face up, in a shallow tray lined with warm wax. He laid a board across them and pressed it down until all the characters were at exactly the same level. When the wax cooled he used his letter tray to print whole pages. It was not until Johann Gutenberg popularized the printing press with metal moveable type in the 15th century that books started to be affordable and widely available. This upset the status quo, leading to remarks such as "The printing press will allow books to get into the hands of people who have no business reading books." It is estimated that in Europe about 1,000 various books were created per year before the invention of the printing press. With the rise of printing in the fifteenth century, books were published in limited numbers and were quite valuable. The need to protect these precious commodities was evident. One of the earliest references to the use of bookmarks was in 1584 when the Queen's Printer, Christopher Barker, presented Queen Elizabeth I with a fringed silk bookmark. Common bookmarks in the eighteenth and nineteenth centuries were narrow silk ribbons bound into the book at the top of the spine and extended below the lower edge of the page. The first detachable bookmarks began appearing in the 1850's and were made from silk or embroidered fabrics. Not until the 1880's, did paper and other materials become more common. The following centuries were spent on improving both the printing press and the conditions for freedom of the press through the gradual relaxation of restrictive censorship laws. See also intellectual property, public domain, copyright. In mid-20th century, Europe book production has risen to over 200,000 titles per year.
Structure of book
Depending of book's purpose or type (i.e. Encyclopedia , Dictionary, Textbook, Monograph) structure could vary, but some common (traditional) structural parts of the book usually are: #Book cover (hard or soft, fancy-looking, with illustration) #Title page (shows title and author, often with small illustration or icon) #Metrics page #(sometimes - dedication page) #Table of contents #Preface #Text of contents of that book #Index (publishing) #Back cover (hard or soft, fancy-looking, with illustration)
Conservation issues
In the mid-19th century, papers made from pulp (cellulose, wood) were introduced because it was cheaper than cloth-based papers (i.e. vellum or parchment). Pulp based paper made cheap novels, cheap school text books and cheap books of all kinds available to the general public. This paved the way for huge leaps in the rate of literacy in industrialised nations and eased the spread of information during the Second Industrial Revolution. However, this pulp paper contained acid that causes a sort of slow fires that eventually destroys the paper from within. Earlier techniques for making paper used limestone rollers which neutralized the acid in the pulp. Libraries today have to consider mass deacidification of their older collections. Books printed from 1850-1950 are at risk; more recent books are often printed on acid-free or alkaline paper. The proper care of books takes into account the possibility of chemical changes to the cover and text. Books are best stored in reduced lighting, definitely out of direct sunlight, at cool temperatures, and at moderate humidity. Books, especially heavy ones, need the support of surrounding volumes to maintain their shape. It is desirable for that reason to group books by size.
Collections of books
alkaline Maintaining a library used to be the privilege of princes, the wealthy, monasteries and other religious institutions, and universities. The growth of a public library system in the United States started in the late 19th century and was much helped by donations from Andrew Carnegie. This reflected classes in a society: The poor or the middle class had to share most books through a public library or by other means while the rich could afford to have a private library built into their homes. The advent of paperback books in the 20th century led to an explosion of popular publishing. Paperback books made owning books affordable for many people. Paperback books often included works from genres that had previously been published mostly in pulp magazines. As a result of the low cost of such books and the spread of bookstores filled with them (in addition to the creation of a smaller market of extremely cheap used paperbacks) owning a private library ceased to be a status symbol for the rich. While a small collection of books, or one to be used by a small number of people, can be stored in any way convenient to the owners, a large or public collection requires a catalogue and some means of consulting it. Often codes or other marks have to be added to the books to speed the process of relating them to the catalogue and their correct shelf position. Where these identify a volume uniquely, they are referred to as "call numbers". In large libraries this call number is usually based on a Library classification system. The call number is placed inside the book and on the spine of the book, normally a short distance before the bottom, in accordance with institutional or national standards such as ANSI/NISO Z39.41 - 1997. This short (7 pages) standard also establishes the correct way to place information (such as the title or the name of the author) on book spines and on "shelvable" book-like objects such as containers for DVDs, video tapes and software. In library and booksellers' catalogues, it is common to include an abbreviation such as "Crown 8vo" to indicate the paper size from which the book is made. When rows of books are lined on a bookshelf, bookends are sometimes needed to keep them from slanting.
Keeping track of books
One of the earliest and most widely known systems of cataloguing books is the Dewey Decimal System. This system has fallen out of use in some places, mainly because of a Eurocentric bias and other difficulties applying the system to modern libraries. However, it is still used by most public libraries in America. Another popular classification system is the Library of Congress system, which is more popular in university libraries. All books of the world are said to constitute the Gutenberg Galaxy, or, to use a term coined by eBook author Rick Sutcliffe in the early 1980s, the Metalibrary. For the entire 20th century most librarians concerned with offering proper library services to the public (or a smaller subset such as students) worried about keeping track of the books being added yearly to the Gutenberg Galaxy. Through a global society called the International Federation of Library Associations (IFLA) they devised a series of tools such as the International Standard Book Description or ISBD. Besides, each book is specified by a International Standard Book Number, or ISBN, which is unique to every book produced by participating publishers, world wide. It is managed by the ISBN Society. It has four parts. The first part is the country code, the second the publisher code, and the third the title code. The last part is a checksum or a check digit and can take values from 0-9 and X (10). The EAN Barcodes numbers for books are derived from the ISBN by prefixing 978, for Bookland and calculating a new check digit. Many government publishers, in industrial countries as well as in developing countries, do not participate fully in the ISBN system. They often produce books which do not have ISBNs. In certain industrialized countries large classes of commercial books, such as novels, textbooks and other non-fiction books, are nearly always given ISBNs by publishers, thus giving the illusion to many customers that the ISBN is an international and complete system, with no exceptions.
Transition to digital format
The term e-book (electronic book) in the broad sense is an amount of information like a conventional book, but in digital form. It is made available through internet, CD-ROM, etc. In the popular press the term eBook sometimes refers to a device such as the Sony Librie EBR-1000EP, which is meant to read the digital form and present it to a human being. Throughout the 20th century, libraries have faced an ever-increasing rate of publishing, sometimes called an information explosion. The advent of electronic publishing and the Internet means that much new information is not printed in paper books, but is made available online e.g. through a digital library, on CD-ROM, or in the form of e-books. On the other hand, though books are nowadays produced using a digital version of the content, for most books such a version is not available to the public (i.e. neither in the library nor on internet), and there is no decline in the rate of paper publishing. There is an effort, however, to convert books that are in the public domain into a digital medium for unlimited redistribution and infinite availability. The effort is spearheaded by Project Gutenberg combined with Distributed Proofreaders. There have also been new developments in the process of publishing books. Technologies such as print on demand have made it easier for less known authors to make their work available to a larger audience.
Related articles and lists

- Author
- Bookbinding
- Bookselling
- List of books by title
- List of books by author
- List of books by genre or type
- List of books by award or notoriety
- List of books by year of publication
- List of banned books
- List of fictional books
- Metasearch engine sites search multiple online bookstore sites. Some require separate searches for new or used books.
- Addall.com
- BookFinder.com
- Online bookstores
- Abebooks
- Alibris
- Amazon.com
- Biblio.com
- BibliOZ
- Barnes & Noble
- Borders
- Powell's City of Books
- Book Sense
- Thriftbooks
Online book databases and lists

- The Internet Book Database of Fiction
- Internet Book List
- ISBNdb.com, books database built from libraries data
External links

- [http://headlesschicken.ca/eng204/ The History & Future of the Book - course syllabus & extensive bibliography]
- [http://www.thebookstandard.com/bookstandard/search/books_authors/index.jsp The Book Standard Books & Authors Database]
- Category:Documents ja:本 simple:Book tokipona:lipu toki

Television

: Television is a telecommunication system for broadcasting and receiving moving pictures and sound over a distance. The term has come to refer to all the aspects of television programming and transmission as well. programming ]]

History

The development of television technology can be partitioned along two lines: those developments that depended upon both mechanical and electronic principles, and those which are purely electronic. From the latter descended all modern televisions, but these would not have been possible without discoveries and insights from the mechanical systems. The word television is a hybrid word, created from both Greek and Latin. Tele- is Greek for "far", while -vision is from the Latin visio, meaning "vision" or "sight". It is often abbreviated as TV or the telly.

Electromechanical television

The German student Paul Gottlieb Nipkow proposed and patented the first electromechanical television system in 1885. Nipkow's spinning disk design is credited with being the first television image rasterizer. However, it wasn't until 1907 that developments in amplification tube technology made the design practical. Meanwhile, Constantin Perskyi had coined the word television in a paper read to the International Electricity Congress at the International World Fair in Paris on August 25, 1900. Perskeyi's paper reviewed the existing electromechanical technologies, mentioning the work of Nipkow and others. 1900 In 1911, Boris Rosing and his student Vladimir Kosma Zworykin achieved a television system that used a mechanical mirror-drum scanner to transmit, in Zworykin's words, "very crude images" over wires to the electronic Braun tube (cathode ray tube) in the receiver. Moving images were not possible because, in the scanner, "the sensitivity was not enough and the selenium cell was very laggy." Zworykin later went to work for RCA to build a purely electronic television, the design of which was eventually found to violate patents by Philo Taylor Farnsworth. On March 25, 1925, Scottish inventor John Logie Baird gave a demonstration of televised silhouette images at Selfridge's Department Store in London. But if television is defined as the transmission of live, moving, half-tone (grayscale) images, and not silhouette or still images, Baird achieved this privately on October 2, 1925, and gave the world's first public demonstration of a working television system to members of the Royal Institution and a newspaper reporter on January 26, 1926 at his laboratory in London. Unlike later electronic systems with several hundred lines of resolution, Baird's vertically scanned image, using a scanning disc embedded with a double spiral of lenses, had only 30 lines, just enough to reproduce a recognizable human face. In 1928 Baird's company (Baird Television Development Company / Cinema Television) broadcast the first transatlantic television signal, between London and New York, and the first shore to ship transmission. He also demonstrated an electromechanical colour, infrared (dubbed "Noctovision"), and stereoscopic television, using additional lenses, disks and filters. In parallel he developed a video disk recording system dubbed "Phonovision"; a number of the Phonovision[http://www.tvdawn.com/tvimage.htm] recordings, dating back to 1927, still exist. In 1929 he became involved in the first experimental electromechanical television service in Germany. In 1931 he made the first live transmission, of the Epsom Derby. In 1932 he demonstrated ultra-short wave television. Baird's electromechanical system reached a peak of 240 lines of resolution on BBC television broadcasts in 1936, before being discontinued in favor of a 405 line all-electronic system. In the U.S., Charles Francis Jenkins was able to demonstrate on June 13, 1925, the transmission of the silhouette image of a toy windmill in motion from a naval radio station to his laboratory in Washington, using a lensed disc scanner with 48 lines per picture, 16 pictures per second. AT&T's Bell Telephone Laboratories transmitted half-tone images of transparencies in May 1925. But Bell Labs gave the most dramatic demonstration of television yet on April 7, 1927, when it field tested reflected-light television systems using small-scale (2 by 2.5 inches) and large-scale (24 by 30 inches) viewing screens over a wire link from Washington to New York City, and over-the-air broadcast from Whippany, New Jersey. The subjects, which included Secretary of Commerce Herbert Hoover, were illuminated by a flying spot beam and scanned by a 50-aperture disc at 16 pictures per second.

Electronic television

Herbert Hoover Although the discoveries of Nipkow, Rosing, Baird and others were extraordinary, little of their technology is used in modern television. By 1934, all electromechanical television systems were outmoded, although electromechanical broadcasts continued on some stations until 1939. A.A. Campbell-Swinton wrote a letter to Nature on the 18 June 1908 describing his concept of electronic television using the cathode ray tube, which had been invented in 1897 by the German physicist and Nobel prize winner Karl Ferdinand Braun. He proposed using an electron beam in both the camera and the receiver, which could be steered electronically to produce moving pictures. He lectured on the subject in 1911 and displayed circuit diagrams, but no one, including Swinton, knew how to realize the design. Although his system was never built, the cathode ray tube did come to be used to display images in almost all television sets and computer monitors until the invention of the LCD panel. A fully electronic system was first achieved by Philo Taylor Farnsworth on September 7, 1927, although the low-resolution, light-insensitive camera tube limited the image to a plate of glass painted black, with a straight line etched across it, rotated in front of a bright carbon arc lamp. Seven years later, on August 25, 1934, at the Franklin Institute in Philadelphia, Farnsworth gave the world's first public demonstration of a working, all-electronic television system, with 220 lines per picture, 30 pictures per second. Over a three week period, vaudeville acts, athletic and sports demonstrations, politicians, and hundreds of ordinary citizens were captured on Farnsworth's cameras in the open air and simultaneously shown on his receiving sets. Farnsworth, a Mormon farm boy from Rigby, Idaho, first envisioned his system at age 14. He discussed the idea with his high school chemistry teacher, who could think of no reason why it would not work (Farnsworth would later credit this teacher, Justin Tolman, as providing key insights into his invention). He continued to pursue the idea at Brigham Young Academy (now Brigham Young University). At age 21, he demonstrated a working system at his own laboratory in San Francisco. His breakthrough freed television from reliance on spinning discs and other mechanical parts. All modern picture tube televisions descend directly from his design. Vladimir Kosma Zworykin is also sometimes cited as the father of electronic television because of his invention of the iconoscope in 1923 and his invention of the kinescope in 1929. His design was one of the first to demonstrate a television system with all the features of modern picture tubes. His previous work with Rosing on electromechanical television gave him key insights into how to produce such a system, but his (and RCA's) claim to being its original inventor was largely invalidated by three facts: a) Zworykin's 1923 patent presented an incomplete design, incapable of working in its given form (it was not until 1933 that Zworykin achieved a working implementation), b) the 1923 patent application was not granted until 1938, and not until it had been seriously revised, and c) courts eventually found that RCA was in violation of the television design patented by Philo Taylor Farnsworth, whose lab Zworykin had visited while working on his designs for RCA. The controversy over whether it was first Farnsworth or Zworykin who invented modern television is still hotly debated today. Some of this debate stems from the fact that while Farnsworth appears to have gotten there first as an inventor, RCA brought television sets to market before Farnsworth, and it was RCA employees who first wrote the history of television. Even though Farnsworth eventually won the legal battle over this issue, he was never able to fully capitalize financially on his invention.

Color television

Most television researchers appreciated the value of color image transmission, with an early patent application in Russia in 1889 for a mechanically-scanned color system showing how early the importance of color was realized. John Logie Baird demonstrated the world's first color transmission on July 3, 1928, using scanning discs at the transmitting and receiving ends with three spirals of apertures, each spiral with filters of a different primary color; and three light sources at the receiving end, with a commutator to alternate their illumination. Color television in the United States had a protracted history due to conflicting technical systems vying for approval by the Federal Communications Commission for commercial use. Mechanically scanned color television was demonstrated by Bell Laboratories in June 1929 using three complete systems of photoelectric cells, amplifiers, glow-tubes, and color filters, with a series of mirrors to superimpose the red, green, and blue images into one full color image. In the electronically scanned era, the first color television demonstration was on February 5, 1940, when RCA privately showed to members of the FCC at the RCA plant in Camden, New Jersey, a television receiver producing images in color by a field sequential color system. CBS began non-broadcast color experiments using film as early as August 28, 1940, and live cameras by November 12. The CBS "field sequential" color system was partly mechanical, with a disc made of red, blue, and green filters spinning inside the television camera at 1,200 rpm, and a similar disc spinning in synchronization in front of the cathode ray tube inside the receiver set. RCA's later "dot sequential" color system had no moving parts, using a series of dichroic mirrors to separate and direct red, green, and blue light from the subject through three separate lenses into three scanning tubes, and electronic switching that allowed the tubes to send their signals in rotation, dot by dot. These signals were sorted by a second switching device in the receiver set and sent to red, green, and blue picture tubes, and combined by a second set of dichroic mirrors into a full color image. The first field test (i.e., broadcast) of color television was by NBC (owned by RCA) on February 20, 1941. CBS began daily color field tests on June 1, 1941. These color systems were not compatible with existing black and white television sets, and as no color television sets were available to the public at this time, viewership of the color field tests was limited to RCA and CBS engineers and the invited press. The War Production Board halted the manufacture of television and radio equipment for civilian use from April 1, 1942 to October 1, 1945, limiting any opportunity to introduce color television to the general public. The post-war development of color television was dominated by three systems competing for approval by the FCC as the U.S. color broadcasting standard: CBS's field sequential system, which was incompatible with existing black and white sets without an adaptor; RCA's dot sequential system, which in 1949 became compatible with existing black and white sets; and CTI's system (also incompatible with existing black and white sets), which used three camera lenses, behind which were color filters that produced red, green, and blue images side by side on a single scanning tube, and a receiver set that used lenses in front of the picture tube (which had sectors treated with different phosphorescent compounds to glow in red, green, or blue) to project these three side by side images into one combined picture on the viewing screen. After a series of hearings beginning in September 1949, the FCC found the RCA and CTI systems fraught with technical problems, inaccurate color reproduction, and expensive equipment, and so formally approved the CBS system as the U.S. color broadcasting standard on October 11 1950. An unsuccessful lawsuit by RCA delayed the world's first network color broadcast until June 25 1951, when a musical variety special titled simply Premiere was shown over a network of five east coast CBS affiliates. Viewership was again extremely limited: the program could not be seen on black and white sets, and Variety estimated that only thirty prototype color receivers were available in the New York area. Regular color broadcasts began that same week with the daytime series The World Is Yours and Modern Homemakers. While the CBS color broadcasting schedule gradually expanded to twelve hours per week (but never into prime time), and the color network expanded to eleven affiliates as far west as Chicago, its commercial success was doomed by the lack of color receivers necessary to watch the programs, the refusal of television manufacturers to create adaptor mechanisms for their existing black and white sets, and the unwillingness of advertisers to sponsor broadcasts seen by almost no one. In desperation, CBS bought a television manufacturer, and on September 20, 1951, production began on the first and only CBS color television model. But it was too little, too late. Only 200 sets had been shipped, and only 100 sold, when CBS pulled the plug on its color television system on October 20, 1951, and bought back all the CBS color sets it could to prevent law suits by disappointed customers. Starting before CBS color even got on the air, the U.S. television industry, represented by the National Television System Committee, worked in 1950-1953 to develop a color system that was compatible with existing black and white sets and would pass FCC quality standards, with RCA developing the hardware elements. When CBS testified before Congress in March 1953 that it had no further plans for its own color system, the path was open for the NTSC to submit its petition for FCC approval in July 1953, which was granted in December. The first publicly announced experimental TV broadcast of a program using the NTSC-RCA "compatible color" system was an episode of NBC's Kukla, Fran and Ollie on August 30, 1953. NBC made the first coast-to-coast color broadcast when it covered the Tournament of Roses Parade on January 1 1954, with public demonstrations given across the United States on prototype color receivers. A few days later Admiral brought out the first commercially made color television set using the RCA standards, followed in March by RCA's own model. Television's first prime time network color series was The Marriage, a situation comedy broadcast live by NBC in the summer of 1954. NBC's anthology series Ford Theatre became the first color filmed series that October. NBC was naturally at the forefront of color programming because its parent company RCA manufactured the most successful line of color sets in the 1950s. CBS and ABC, which were not affiliated with set manufacturers, and were not eager to promote their competitor's product, dragged their feet into color, with ABC delaying its first color series (The Flintstones and The Jetsons) until 1962. The Du Mont network, although it did have a television-manufacturing parent company, was in financial decline by 1954 and was dissolved two years later. Thus the relatively small amount of network color programming, combined with the high cost of color television sets, meant that as late as 1964 only 3.1 percent of television households in the U.S. had a color set. NBC provided the catalyst for rapid color expansion by announcing that its prime time schedule for fall 1965 would be almost entirely in color (the exception being I Dream of Jeannie). All three broadcast networks were airing full color prime time schedules by the 1966–67 broadcast season. But the number of color television sets sold in the U.S. did not exceed black and white sales until 1972, which was also the first year that more than fifty percent of television households in the U.S. had a color set. In Mexico, Guillermo González Camarena (1917–1965), invented the early color television transmission system. He received patents for color television systems in 1940 (U.S. Patent 1942 (2296019), 1960 and 1962. The 1942 patent was for a mechanically scanned color filter adapter for an existing monochrome electronic transmission system. In August 31, 1946 he sent his first color transmission from his lab in the offices of The Mexican League of Radio Experiments in Lucerna St. #1, in Mexico City. The video signal was transmitted at a frequency of 115 MHz. and the audio in the 40 metre band. European color television was developed somewhat later and was hindered by a continuing division on technical standards. Having decided to adopt a higher-definition 625-line system for monochrome transmissions, with a lower frame rate but with a higher overall bandwidth, Europeans could not directly adopt the U.S. color standard, which was widely perceived as wanting anyway, because of its tint control problems. There was also less urgency, since there were fewer commercial motivations, European television broadcasters being predominantly state-owned at the time. As a consequence, although work on various color encoding systems started already in the 1950s, with the first SECAM patent being registered in 1956, many years had passed till the first broadcasts actually started in 1967. Unsatisfied with the performance of NTSC and of initial SECAM implementations, the Germans unveiled PAL (phase alternating line) in 1963, staying closer to NTSC but borrowing some ideas from SECAM. The French continued with SECAM, notably involving Russians in the development. The first regular colour broadcasts in Europe were by BBC2 beginning on July 1, 1967, using PAL. Germans did their first broadcast in September (PAL), while the French in October (SECAM). PAL was eventually adopted by West Germany, the UK, Australia, New Zealand, much of Africa, Asia and South America, and most Western European countries except France. In addition to France and Luxembourg, SECAM was adopted by Soviet Union, much of Eastern Europe, much of Africa and of the Middle East. Both systems broadcast on UHF frequencies, the VHF being used for legacy black and white, 405 lines in UK or 819 lines in France, till the beginning of the eighties. It should be noted that some British television programmes, particularly those made by or for ITC Entertainment, were made in colour before the introduction of colour television to the UK, for the purpose of sales to US networks. The first British show to be made in colour was the drama series The Adventures of Sir Lancelot (1956-57), which was initially made in black and white but later shot in colour for sale to the NBC network in the United States. In Japan, NHK introduced color television in the year 1960.

Broadcast television

NHK The first regularly scheduled television service in the United States began on July 2, 1928. The Federal Radio Commission authorized C.F. Jenkins to broadcast from experimental station W3XK in a suburb of Washington, D.C. But for at least the first eighteen months, only silhouette images from motion picture film were broadcast due to the narrow 10kHz bandwidth allotted by the FRC. General Electric's experimental station in Schenectady, New York, on the air sporadically since January 13, 1928, was able to broadcast reflected-light, 48-line images via shortwave as far as Los Angeles, and by September was making four television broadcasts weekly. CBS's New York City station W2XAB began broadcasting the first regular seven days a week television schedule in the United States on July 21, 1931, with a 60-line electromechanical system. The first broadcast included Mayor Jimmy Walker, the Boswell Sisters, Kate Smith, and George Gershwin. The service ended in February 1933. By 1935, electromechanical television broadcasting had ceased in the United States except for a handful of stations run by public universities that continued to 1939. The Federal Communications Commission saw television in the continual flux of development with no consistent technical standards, hence all such stations in the U.S. were granted only experimental and not commercial licenses, hampering television's economic development. Just as importantly, Philo Farnsworth's 1934 demonstration of an all-electronic system pointed the direction of television's future. On June 15, 1936, Don Lee Broadcasting began a month-long demonstration of all-electronic television in Los Angeles on W6XAO (later KTSL) with a 300-line image from motion picture film. RCA demonstrated in New York City a 343-line electronic television broadcast, with live and film segments, to its licensees on July 7, 1936, and made its first public demonstration to the press on November 6. By April 1939, regularly scheduled 441-line electronic television broadcasts were available in New York City and Los Angeles, and by November on General Electric's station in Schenectady. With the adoption of NTSC television engineering standards in 1941, the FCC saw television ready for commercial licensing, with the first such licenses issued to NBC and CBS owned stations in New York on July 1, 1941, followed by

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