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Bellona (goddess)

Bellona was an ancient Roman goddess of war. Her main attribute is the military helmet worn on her head; she often holds a sword, spear, or shield, and brandishes a torch or whip as she rides into battle in a four-horse chariot. She had many temples throughout the Roman Empire. She is known for her temple outside of Rome being the official decision making centre in regards to war and for her bloodlust and madness in battle. Her iconography was extended by painters and sculptors following the Renaissance.

Etymology
The name of the goddess of war Bellōna stems from an earlier Duellona, itself a derivative of Old Latin duellum ('war, warfare'), which likewise turned into bellum in Classical Latin.

The etymology of duellum remains obscure. Linguist Georges-Jean Pinault has proposed a derivation from *duenelo- ('quite good, quite brave'), a reconstructed diminutive of the word duenos, attested on an eponymous inscription as an early Old Latin antecedent of the word bonus ('good'). According to linguist Michiel de Vaan, the use of *duenelo- "in the context of war (bella acta, bella gesta) could be understood as a euphemism, ultimately yielding a meaning 'action of valour, war' for the noun bellum."

Cult, beliefs, and temples
Bellona was originally an ancient Sabine goddess of war identified with Nerio, the consort of the war god Mars, and later with the Greek war goddess Enyo. Her temple in Rome was dedicated in 296 BCE near the Circus Flaminius by Appius Claudius Caecus, during the war with the Etruscans and Samnites. This temple was the first location to have decorative shields dedicated to mortals hung in a holy place. Appius Claudius hung the shields and dedicated them to his family.

Her festival was celebrated on 3 June, and her priests were known as Bellonarii and used to wound their own arms or legs as a blood sacrifice to her. These rites took place on 24 March, called the day of blood (dies sanguinis), after the ceremony. In consequence of this practice, which approximated to the rites dedicated to Cybele in Asia Minor, both Enyo and Bellona became identified with her Cappadocian aspect, Ma.

The Roman Campus Martius area, in which Bellona’s temple was situated, had extraterritorial status. Ambassadors from foreign states, who were not allowed to enter the city proper, stayed in this complex. Since the area of the temple was outside the pomerium, the Senate met there with ambassadors and received victorious generals prior to their triumphs. Beside the temple was the war column (columna bellica), which represented non-Roman territory. To declare war on a distant state, a javelin was thrown over the column by one of the priests concerned with diplomacy (fetiales) in a modification of the archaic practice, from Roman territory toward the direction of the enemy land and this symbolical attack was considered the opening of war. The first enemy declared in this fashion was Pyrrhus in 280 BC.

There were many people willing to assist in the upkeep and improvement of her temples and shrines. In addition, they were also willing to incur the cost upon themselves. Because she was widely believed to be a volatile goddess, she was rarely worshipped openly and most of her worshippers preferred to quietly assuage her. Despite their subtlety, evidence of her worship can be found throughout Rome. At least seven inscriptions that are affiliated with the worship of Bellona have been found. An early inscription in the Forum of Augustus harkens back to the time of the war with Pyrrhus. Five of the inscriptions are found around the Aedem Bellonae (a shrine of Bellona's) and the other two inscriptions are damaged. The worship of her was not limited to Rome, however. Bellona had a temple as far north as York, England, where the church of St. Peter currently stands.

The worship of Bellona and beliefs about her were often gory or frightening. It was believed that when she went to war, Discordia, Strife, and the Furies would accompany her and terrify her enemies. The belief in her bloodlust and madness in battle is widely accepted and is one of the more prevalent beliefs. According to Ammianus Marcellinus, the Scordici people believed in the violent worship of Bellona. They were brutal and they worshipped both Mars and Bellona with savagery. They would offer up human sacrifices and drink blood from the skulls of their victims.

In the military cult of Bellona, she was associated with Virtus, the personification of valour. She then travelled outside Rome with the imperial legions and her temples have been recorded in France, Germany, Britain, and North Africa.

Poetry
Often in poetry, the name Bellona is used simply as a synonym for war, although in the Thebaid of Statius the goddess appears as a character, representing the destructive and belligerent aspect of war. There she is described as carrying a spear and a flaming torch or riding in a chariot and waving a blood-stained sword. Classical allusions to Bellona later appear in Shakespeare's plays in the appropriate context of warrior characters: Hotspur describes the goddess as "the fire-eyed maid of smoky war", for example, and Macbeth is referred to as "Bellona's bridegroom", that is to say, the equivalent of Mars.

In more modern times, Adam Lindsay Gordon dedicated an energetic Swinburnean evocation of the "false goddess" who leads men astray in his poem "Bellona", published in Australia in 1867. She also figures in Arthur Graeme West's World War I poem "The Traveller". There the poet describes himself as marching toward the front line in the company of Art, the god Pan, and the works of Walter Pater. Meeting Bellona as they approach the fighting, one by one the pleasurable companions are forced to flee before the violence of war, until the goddess rejoices in having him to herself.

Cantata and opera
Bellona appears in the prologue of Rameau's opera, Les Indes Galantes (1735), in which the call of love ultimately triumphs over that of war. In a Bach dramma per musica performed two years before, Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214, the goddess even puts aside her usual ferocity in order to congratulate Maria Josepha of Austria, Princess Elector of Saxony and Queen of Poland, on her birthday on 8 December 1733.

She retains her harsh aspect in "Prometheus Absolved" by Giovanni Ambrogio Migliavacca (1718–1795), however. In this cantata celebrating the birth of the Archduchess Isabella in 1762, the deities sit in judgement on Prometheus, some arguing for clemency, while Bellona and others demand rigour. She also plays her proper part in the 'heroic cantata' created by the composer Francesco Bianchi and the librettist Lorenzo da Ponte, entitled "The Wedding of the Thames and Bellona" (Le nozze del Tamigi e Bellona). This was performed in London to mark the British naval victory over the Spanish at the Battle of Cape St. Vincent (1797).

Painting and sculpture
Bellona is commonly portrayed wearing a plumed helmet and dressed in armour, or at least a breastplate with a skirt beneath. In her hand she carries a spear, shield, or other weapons, and occasionally, she sounds a trumpet for the attack. Anciently, she was associated with the winged Victory, holding a laurel crown in her hand, a statue of whom she sometimes carries; when she appears on war memorials she may hold that attribute.

Examples of such an armoured figure appear in the 1633 painting attributed to Rembrandt in the Metropolitan Museum of Art, and statues by Johann Baptist Straub (1770) and Johann Wilhelm Beyer (1773–80). In the latter, she appears with the god Janus, since both were associated with the Roman ceremonies of declaring war. In the case of Janus, the doors to his temple were left open during the whole period of hostilities.

Straub's statue (below) has a gorgon head on her shield to instil terror in her enemies, as does the Rembrandt painting, although this was added later, probably as a response to other examples of this new iconographical departure. In the bust by Bertram Mackennal she wears a gorgon mounted on her helmet, while in other depictions it is on the breastplate. Jean-Léon Gérôme takes the representation of the horror of war even further in his glazed bust of the goddess (1892). Not only is she wearing a head about her neck, but the fierce demeanour of the screaming face, surmounted by an angular winged helmet, makes her resemble a gorgon herself.

Another common innovation was Bellona’s association with cannons, as in the drawing by Hans Krieg (1590–1645) and the 1700 ceiling fresco at Hammerschloss Schmidmühlen by Hans Georg Asam (1649–1711). An early Dutch engraving in a series of prints depicting Personifications of Industrial and Professional Life suggests that it is this goddess who inspires the invention of war materiels, showing her seated in a factory workshop with all manner of arms at her feet (plate 6, see the Gallery below). In the fresco by Constantino Brumidi in the U.S. Capitol (1855–60), her image is updated. There she is shown standing next to an artillery piece and has the stars and stripes on her shield.

Not all representations of Bellona wear armour. The statues by Alvise Tagliapietra at St. Petersburg (c.1710) and that at the J. Paul Getty Museum by Augustin Pajou (1775/85) are largely naked, although otherwise wearing or carrying some of the other attributes of the goddess. There are Classical references that sanction this, however. In Gaius Valerius Flaccus' Argonautica, for example, appears the description "Bellona with bare flank, her brazen weapons clanging as she moved" (3. 60). A further poetic reference taken up by a painter occurs in Louis Jean François Lagrenée's "Bellona Presenting the Reins of his Horses to Mars" (1766). This illustrates a speech from Claudian's In Ruffinum where Mars requests "Let Bellona bring my helmet and Terror guide the reins" (Fer galleam Bellona mihi, nexusque rotarum tende Pavor). Jan van Mieris’ allegorical painting of "Wisdom restraining Bellona" (1685) is also poetic. There the seated figure of Wisdom clasps the right hand of the helmeted goddess, who is turning to leave, her cloak fluttering behind her and her shield held high in her outstretched left hand.

Public statements
As well as having a decorative function, representations of the goddess had a public function too. Batholomaeus Spranger's "Bellona Leading the Imperial Armies against the Turks" (see above) played its part in Austria's anti-Turkish propaganda during the Long Turkish War. A later phase of the continuing conflict, culminating in victory at the battle of Zenta in 1697, is marked by Jan Cosijn's celebratory doorway in Brussels in what now is known as the Maison de Bellone, at the centre of which presides the helmeted bust of the goddess surrounded by military standards and cannons.

A dynastic political statement is made in "Marie de Medici as Bellona" (1622/5), designed by Peter Paul Rubens for her public rooms in the Luxembourg Palace. He represents her there as a wielder of political power at a time when it, in fact, had waned. She is standing with armour, cannons, and muskets at her feet, and her triumphs are underlined by emblems of victory. She carries a small statue of the winged goddess in her right hand, a smaller winged figure is mounted below the plumes of her helmet, while cupids hover above her, holding a laurel crown. Her portrayal contrasts with Rembrandt's depiction of Bellona with the homely features of an ordinary Dutchwoman. This makes an anti-imperial statement, with the assurance that the new Dutch Republic is ready to defend itself, particularly against Spain, during the Thirty Years' War.

Auguste Rodin's sculpture of a head of Bellona (1879) originally was created for a monument to the French Third Republic and shows even more belligerence. Modelled on his mistress Rose Beuret while in a bad mood, the head is drawn back in proud anger, turning in dynamic movement to look along the line of her right shoulder. Defence in war is the message of Georg Kolbe's Bellona fountain in Wuppertal. Originally commissioned in 1915, it depicted the helmeted goddess carrying a sword in her left hand and inspiring a kneeling young man. The statue was not erected until 1922, by which time it functioned as a war memorial.

The use of Bellona in such structures was well established before this, dating back to her prominent use in Jean Cosyn's doorway. The Temple of Bellona, designed by William Chambers for Kew Gardens in 1760, was projected as a celebration of the Anglo-Hanoverian war effort during the Seven Years' War and eventually housed plaques honouring the regiments that served in it. These, however, related primarily to remembrance of victory rather than of the fallen. It was not until a century afterward that the French-Canadian victims of the Seven Years War were commemorated by a monument at Quebec. Atop a tall column on the site of the battlefield, Bellona looks down, carrying a shield and laurel crown in her right hand. The statue was presented by Jérôme-Napoléon in 1862 as a gesture of reconciliation.

The Australian dead from the Gallipoli Campaign were commemorated by a bronze bust of Bellona by Bertram Mackennal, a former student of Rodin. This he presented to the Australian government in Canberra as a memorial in 1916. As in Rodin's bust, the helmeted head is turned to the right, but the breasts are more in evidence. The fallen generally make their appearance later in such structures where Bellona is present. They accompany the sword-wielding goddess in Douglas Tilden's monument to the California Volunteers during the Spanish–American War of 1898; in the Bialystok memorial to the dead in the Polish–Soviet War in 1920, she stands behind a soldier and holds aloft a laurel crown.

The Bellona on the First World War victory archway at Waterloo station is particularly memorable, however. Beneath the demonic sword-brandishing wraith with her gorgon necklace, cower and mourn, not the dead, but the overlooked living victims of war.

title: Bellona (goddess)


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Flower (Soundgarden song)

"Flower" is a song by American rock band Soundgarden. Featuring lyrics written by frontman Chris Cornell and music written by guitarist Kim Thayil, "Flower" was released in May 1989 as the only single from their debut album, Ultramega OK (1988). The song was included on Soundgarden's 1997 greatest hits album, A-Sides. An alternate BBC version of "Flower" recorded on May 14, 1989, appeared on the Deluxe Edition of the band's 2010 compilation album Telephantasm.

Origin and recording
"Flower" features lyrics written by frontman Chris Cornell and music written by guitarist Kim Thayil. Thayil on the song: "This song marks the first time I ever blew on a guitar. I put the guitar down on the ground near the amp to get a humming feedback, as opposed to a squealy one, and blew across the strings in rhythm with the drums. There's probably some obscure Mississippi blues guitarist like 'Blind Lemon Pledge' who's done that before, but 'Flower' is the first time any rock band had recorded the sound of someone blowing across the strings. It sounds like a sitar."

Composition
Thayil stated, "On the song "Flower" from Ultramega OK, loads of people asked me how I played that so fast—they think I'm playing all these wild barre chords. It's just tuning the bottom E down to D!"

Lyrics
Regarding "Flower", Cornell said "it's about a girl ... who becomes a woman and basically invests everything in vanity and then burns out quick."

Release and reception
"Flower" was released as a single in May 1989 with a previously unreleased B-side titled "Toy Box". The B-side "Head Injury" can be found on the Ultramega OK album. "Toy Box" was recorded during the sessions for their first EP, Screaming Life. "Flower" was the only single released from Ultramega OK. The cover photo of the single was taken by Charles Peterson, a noted photographer of the early Seattle music scene. An alternate BBC version of "Flower" was recorded on May 14, 1989 for John Peel at the Hippodrome in Golders Green, London and appears on the Deluxe Edition of the band's 2010 compilation album Telephantasm.

Music video
Released in late 1988, the black-and-white music video for "Flower", directed by Mark Miremont, features the band performing the song amid scenes of the band members wandering around a city. As Soundgarden's first music video, the video was put into rotation on MTV's underground alternative music show, 120 Minutes, and subsequently helped the burgeoning Seattle grunge scene gain attention and exposure to a somewhat mainstream audience. The video uses the alternate BBC version of the song.

Track listing

 * 1) "Flower" (Chris Cornell; Kim Thayil) – 3:25
 * 2) "Head Injury" (Cornell) – 2:22
 * 3) "Toy Box" (Hiro Yamamoto; Thayil, Yamamoto) – 5:39

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Flower (Soundgarden song)


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Talk:RuneScape weapons

Runes
I'm thinking of moving all the runes details over to RuneScape runes where it belongs. It really doesn't belong as a weapon. I also think that these details are much more useful that the current "level to craft multiple runes" stuff that's there right now. Opinions?? -- Ricky81682 (talk) 01:14, Jun 4, 2005 (UTC)
 * Ive already voiced my opinion on this. I think that all of the information in the RuneScape runes article is redundant, and i think the whole atricle should be deleted. I dont see any reason for moving the runes to a seperate article, as they are the mages weapon. However, you could argue that the spells are the actual weapons... anyway, i guess my opinion was already evident as im the one who wrote the runes info. On a sides note, i realized you switched a bunch of stuff around in the melee weapons, sorry for all the typos. Two things: I was trying to keep a theme with the names... capitalizing the Dragon Weapons the first time they were mentioned... and italicizing... in some format... i dont recall what i was thinking, but ill just go remove all of any of that. Second, you removed the prices for dwarf cannon and dragon halberd while keeping the prices of long sword, scimitar and dagger. Explanation? Curran919 07:23, 5 Jun 2005 (UTC)

 * Made a note there. Please add your opinion there so it's all in one place. -- Ricky81682 (talk) 20:01, July 10, 2005 (UTC)

I've proposed this be merged, along with the RuneScape_runes article, here. Thoughts? Mike 05:59, 3 January 2006 (UTC)

Weapon Prices
I've decided to remove weapon prices from this article, as they seem unnecessary. If anyone thinks they should remain, feel free to revert. Infobacker July 5, 2005 17:43 (UTC)

Armour
Ive seen somebody has incorporated Armour into this Weapons article while ive been gone, and as i will admit that i was going to add an Armour article somehow, I think that if we are to incorporate them, we need to rename the article and reformat the headers. Do you think we should have seperate articles? If not, do you think we should organise them by armour/weapons or by class (melee/mage/range) first?Curran919 04:42, 12 August 2005 (UTC)

Ancient Teleports
I've added in the Ancient Magic teleportation spells, complete with a Wilderness map. I've also tidied up the formatting a bit and added some minor bits of info to the AM section on the whole. Mike 00:17, 2 October 2005 (UTC)

Overhaul
I've given the entire article an overhaul. I've restructured the grammar and reworded some things and added some items that were missing.

I'm not through yet, but the servers are acting up so I'm done for the day. If an admin would care to give it an inspection and see if it's being improved properly or whatnot and would leave his/her comments that'd be swell. Mike 21:41, 9 October 2005 (UTC)

Cleanup Tag removed
I'm removing the cleanup tag for this article, as it appears to be in decent enough shape and nobody else seems interested in improving it any further.

If there was a "needs splitting" tag...
A division between classes or weapons and armour would be better.

Also, some items should be banished - Amulets serve a weapon/armour role, but only the Rings of Recoil or Life are combat related

Prices
Would you people kindly stop adding things like prices to this article? It detracts from the neutrality, as prices are always fluctuating! Mike 17:48, 13 November 2005 (UTC)

Revamping "Weapons"
I've been considering revamping the Weapons article by renaming it to "RuneScape Items", with 4 subcategories: Weapons, Armor, Runes, and Miscellaneous Items.

Any ideas/objections? I'll start on January 2nd 2006 if nobody objects by then.Mike 06:12, 31 December 2005 (UTC)

 * I've gone ahead and created this article. I propose this article redirect to it instead. Mike 01:00, 3 January 2006 (UTC)
 * I went ahead and did it. Darn, I'm bold.  Mike 07:03, 3 January 2006 (UTC)

Keep up the good work! KBi 00:30, 4 January 2006 (UTC)

Redirect to "RuneScape Items"
I've made this into a redirect page for "RuneScape Items". Mike 23:16, 3 January 2006 (UTC)

title: Talk:RuneScape weapons


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Langara College

Langara College (snəw̓eyəɬ leləm̓ in Halkomelem) is a public degree-granting college in Vancouver, British Columbia, Canada which serves more than 19,000 students annually. Langara College started in 1965 as part of Vancouver Community College and in 1970, it opened its West 49th Avenue campus. On April 1, 1994, Langara College was established as an independent public college under the Provincial College and Institute Act. The College is also known as snəw̓eyəɬ leləm̓, house of teachings, a name given to us by the Musqueam First Nation, on whose unceded traditional territory we are located.

Today, Langara is one of BC's leading post-secondary institutions providing University Studies, Career Studies, and Continuing Studies programs and courses. The college takes its name from the neighbourhood in which it is situated, which was named after Spanish Admiral Juan de Lángara.

History
Langara College courses and programs were first offered in 1965 at King Edward Centre as part of Vancouver City College. Since 1970, the current campus on West 49th Avenue has housed Langara's programs over 50 years, celebrating their 49th anniversary in 2019. On April 1, 1994, Langara College was established as an independent public college under the Provincial College and Institute Act. Langara College Continuing Studies was established in 1997. To provide more space, a new classroom and office building was opened in January 1997. The new library/classroom building was opened in September 2007. Langara College began the construction of the Science and Technology Building in 2013 as part of Phase II (of IV) of the Master Plan to upgrade and expand the campus. Construction was officially completed in September 2016.

Name
Musqueam, whose unceded territory Langara currently occupies, gave the traditional name snəw̓eyəɬ leləm̓ meaning 'house of teachings' to the college in January 2016. snəw̓eyəɬ references advice given to children to guide them into adulthood and build their character. This is the first time that a British Columbia First Nation gave an Indigenous name to a public, post-secondary institution.

Programs and courses
Programs and courses at Langara College are delivered in the following subject areas:
 * Arts
 * Business
 * Health
 * Humanities & Social Sciences
 * Science & Technology

University studies
Langara College provides university-level programs and courses and offers a variety of qualifications, including baccalaureate degrees, associate degrees, diplomas, certificates, and citations. The three 4-year degree programs offered by the college are Nursing, Recreation Management, and Business Administration. Langara's wide range of academic programs in more than 60 subject areas are offered over three semesters per year. Langara is a popular choice for university transfer students due to smaller class sizes, excellent support services, and competitive tuition fees. More students transfer to BC universities from Langara College than from any other college in the province.

Career Studies
Langara College offers career programs leading to one-year certificates, two-year diplomas, and four-year bachelor's degrees in fields that lead to careers in business, industry, community services, and the arts. Although some of Langara's career programs require that students complete the program within a specific time period, many of the programs can be completed on a part-time basis.

Continuing Studies
Langara College's Continuing Studies department offers over 700 courses and 35 certificate programs year-round. The department's strategic objective is to provide lifelong learning opportunities to meet the individual needs of students.

Studio 58
Studio 58, Langara College's Theatre Arts Program offers professional theatre training for actors and production personnel. The school auditions hundreds of people across Canada but only sixteen students are accepted per semester. The school has around 72 students for both its three-year acting program, and three-year production program. Studio 58 was led by Anthony Holland from 1965-1985; Kathryn Shaw from 1985-2020; and is currently led by Artistic Director Courtenay Dobbie.

Student Media
Student media includes the newspaper The Voice, operated by the college's Journalism Program.

Transportation
The 49 TransLink bus route runs to Langara; as well as the Langara–49th Avenue SkyTrain station provides rapid transit access to the campus.

Notable alumni

 * Alison Acheson, author
 * Carmen Aguirre, actress
 * Scott Bellis, actor and director
 * Daniel Doheny, actor
 * Ujjal Dosanjh, politician
 * Joey Haywood, basketball player
 * Adrian Holmes, actor
 * Wanda John-Kehewin, author and poet
 * Catherine Kallin, theoretical physicist
 * Gary Mason, journalist
 * Colin Mochrie, actor
 * Kristi Pinderi, LGBT rights activist
 * Gaurav Sharma, author and novelist
 * Sam Sullivan, politician

title: Langara College


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WC (rapper)

William LaShawn Calhoun Jr. (born February 3, 1970), better known by his stage name WC (pronounced "dub-c"), is an American rapper and actor. He originally was a rapper in the group Low Profile and later formed his group WC and the Maad Circle, who first succeeded with the single "Ain't A Damn Thang Changed". He later started a solo career and has released four solo albums. He is also well known for being a member of the rap supergroup Westside Connection with West Coast rappers Ice Cube and Mack 10.

Early life
William Calhoun, Jr. was born in Houston, Texas on February 3, 1970. He moved to South Central, Los Angeles as a child.

Early career
A longtime staple of the West Coast Music scene, WC began his career pairing with DJ Aladdin in the group Low Profile in 1987. The group released one album called We're in This Together in 1989. He later formed his group WC and the Maad Circle, which also included fellow rapper and mentor Big G, Coolio, producer Sir Jinx - Chilly Chill, and DJ Crazy Toones. He released two albums with his group, Ain't a Damn Thang Changed in 1991 and Curb Servin' in 1995.

Solo career
WC's solo debut, The Shadiest One, followed in 1998, landing in the pop Top 20 in its first week of release. "Just Clownin'" and "Better Days" were moderate hits, and his second record, 2002's Ghetto Heisman, entered the pop charts as well. In 2007, he released his third solo album, Guilty by Affiliation on Lench Mob Records. Ice Cube, Snoop Dogg, and The Game all made an appearance on the album. He released his fourth solo album, Revenge of the Barracuda, on March 8, 2011. The album featured guests like Ice Cube, Young Maylay, Daz Dillinger, and Kokane. He is the older brother of DJ Crazy Toones.

Westside Connection
In 1996, WC formed Westside Connection with Ice Cube and Mack 10. The group's debut album, Bow Down, was released in 1996. The album reached the number 2 position on the Billboard 200 and was certified Platinum in 1996. "Bow Down", the single, reached number 21 on the Billboard Hot 100. The group released their second album, Terrorist Threats, in 2003, featuring the lead single "Gangsta Nation", which was produced by Fredwreck and featured Nate Dogg. In 2005, the group disbanded.

Studio albums

 * The Shadiest One (1998)
 * Ghetto Heisman (2002)
 * Guilty by Affiliation (2007)
 * Revenge of the Barracuda (2011)

Collaboration albums

 * We're in This Together with Low Profile (1989)
 * Ain't a Damn Thang Changed with WC and the Maad Circle (1991)
 * Curb Servin' with WC and the Maad Circle (1995)
 * Bow Down with Westside Connection (1996)
 * Terrorist Threats with Westside Connection (2003)
 * West Coast Gangsta Shit with Daz Dillinger (2013)

Filmography

 * 1989: Wiseguy
 * 1995: Friday
 * 1996: Set It Off as Darnell
 * 1997: The Jamie Foxx Show
 * 1998: Sister, Sister
 * 1998: Da Game of Life
 * 1999: The Breaks
 * 1999: Thicker than Water as Trip
 * 1999: Foolish
 * 2000: Moesha
 * 2001: Air Rage
 * 2002: Stranded
 * 2002: White Boy
 * 2003: WC: Bandana Swangin – All That Glitters Ain't Gold
 * 2006: It Ain't Easy
 * 2008: Belly 2: Millionaire Boyz Club
 * 2012: Something from Nothing: The Art of Rap
 * 2015: The Street
 * 2017: Snowfall

Other information
His stage name, WC, is an abbreviation for his initials, not West Coast or his group Westside Connection, which are common misconceptions.

He served as a Los Angeles dialect coach for actor Damson Idris on the FX show Snowfall.

title: WC (rapper)


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Communitas

Communitas is a Latin noun commonly referring either to an unstructured community in which people are equal, or to the very spirit of community. It also has special significance as a loanword in cultural anthropology and the social sciences. Victor Turner, who defined the anthropological usage of communitas, was interested in the interplay between what he called social 'structure' and 'antistructure'; Liminality and Communitas are both components of antistructure.

Communitas refers to an unstructured state in which all members of a community are equal allowing them to share a common experience, usually through a rite of passage. Communitas is characteristic of people experiencing liminality together. This term is used to distinguish the modality of social relationship from an area of common living. There is more than one distinction between structure and communitas. The most familiar is the difference of secular and sacred. Every social position has something sacred about it. This sacred component is acquired during rites of passages, through the changing of positions. Part of this sacredness is achieved through the transient humility learned in these phases, this allows people to reach a higher position.

Victor and Edith Turner
Communitas is an acute point of community. It takes community to the next level and allows the whole of the community to share a common experience, usually through a rite of passage. This brings everyone onto an equal level: even if you are higher in position, you have been lower and you know what that is.

Turner (1969, Pg.132; see also ) distinguishes between:
 * existential or spontaneous communitas, the transient personal experience of togetherness; e.g. that which occurs during a counter-culture happening.
 * normative communitas, which occurs as communitas is transformed from its existential state to being organized into a permanent social system due to the need for social control.
 * ideological communitas, which can be applied to many utopian social models.

Communitas as a concept used by Victor Turner in his study of ritual has been criticized by anthropologists such as John Eade and Michael J. Sallnow's book Contesting the Sacred (1991).

Edith Turner, Victor's widow and anthropologist in her own right, published in 2011 a definitive overview of the anthropology of communitas, outlining the concept in relation to the natural history of joy, including the nature of human experience and its narration, festivals, music and sports, work, disaster, the sacred, revolution and nonviolence, nature and spirit, and ritual and rites of passage.

Paul and Percival Goodman
Communitas is also the title of a book published in 1947 by the 20th-century American thinker and writer Paul Goodman and his brother, Percival Goodman. Their book examines three kinds of possible societies: a society centered on consumption, a society centered on artistic and creative pursuits, and a society which maximizes human liberty. The Goodmans emphasize freedom from both coercion by a government or church and from human necessities by providing these free of cost to all citizens who do a couple of years of conscripted labor as young adults.

Roberto Esposito
In 1998, Italian philosopher Roberto Esposito published a book under the name Communitas challenging the traditional understanding of this concept. It was translated in English in 2010 by Timothy Campbell. In this book, Esposito offers a very different interpretation of the concept of communitas based on a thorough etymological analysis of the word: "Community isn't a property, nor is it a territory to be separated and defended against those who do not belong to it. Rather, it is a void, a debt, a gift to the other that also reminds us of our constitutive alterity with respect to ourselves." He goes on with his "deconstruction" of the concept of communitas: "'From here it emerges that communitas is the totality of persons united not by a 'property' but precisely by an obligation or a debt; not by an 'addition' but by a 'subtraction': by a lack, a limit that is configured as an onus, or even as a defective modality for him who is 'affected', unlike for him who is instead 'exempt' or 'exempted'. Here we find the final and most characteristic of the oppositions associated with (or that dominate) the alternative between public and private, those in other words that contrast communitas to immunitas. If communis is he who is required to carry out the functions of an office ― or to the donation of a grace ― on the contrary, he is called immune who has to perform no office, and for that reason he remains ungrateful. He can completely preserve his own position through a vacatio muneris. Whereas the communitas is bound by the sacrifice of the compensatio, the immunitas implies the beneficiary of the dispensatio.'""'Therefore the community cannot be thought of as a body, as a corporation in which individuals are founded in a larger individual. Neither is community to be interpreted as a mutual, intersubjective 'recognition' in which individuals are reflected in each other so as to confirm their initial identity; as a collective bond that comes at a certain point to connect individuals that before were separate. The community isn't a mode of being, much less a 'making' of the individual subject. It isn't the subject's expansion or multiplication but its exposure to what interrupts the closing and turns it inside out: a dizziness, a syncope, a spasm in the continuity of the subject.'"

Others
For more on this perspective, see also Jean-Luc Nancy's paper "The Confronted Community" as well as his book The Inoperative Community. See also Maurice Blanchot's book The Unavowable Community (1983) which is an answer to Jean-Luc Nancy's Inoperative Community. Giorgio Agamben engages in a similar argument about the concept of community in his 1990 book The Coming Community (translated in English by Michael Hardt in 1993). Rémi Astruc, a French scholar, recently proposed in his essay ''Nous? L'aspiration à la Communauté et les arts (2015), to operate a distinction between Community with a capital C as the longing for communitas'' and communities (plural and small c) to name the numerous actualizations in human societies. Finally, on the American side, see The Community of Those Who Have Nothing in Common by Alphonso Lingis. Christian author Alan Hirsch used the term to describe a more active, tighter-knit community in his book "The Forgotten Ways: Reactivating the Missional Church."

title: Communitas


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User:Petiatil

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Hello, my name is Ian (Born June 24, 1987); aka 'Petiatil', I live in Clearwater, Florida. - Please leave any correspondence on this talk page. Please help me help you if I make an edit on an article you've contributed to. If you have a grievance, please add a new section on my talk page, explain the problem and if able to do so, provide a link to the diff to avoid confusion. I will be glad to explain my rationale, or I'll at least try.

I also patrol recent changes using Twinkle, recently Huggle and Lupin's Anti-vandal tool. Any false positives I have mistakenly reverted, please undo my edit and leave a message on my talk page so I can learn from the mistake.

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User talk:Petiatil/Archive 2

Archive 2

title: User talk:Petiatil/Archive 2


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Nancy Lincoln

Nancy Hanks Lincoln (February 5, 1784 – October 5, 1818) was the mother of U.S. President Abraham Lincoln. Her marriage to Thomas Lincoln also produced a daughter, Sarah, and a son, Thomas Jr. When Nancy and Thomas had been married for just over 10 years, the family moved from Kentucky to western Perry County, Indiana, in 1816. When Spencer County was formed in 1818, the Lincoln Homestead lay within its current boundaries. Nancy Lincoln died from milk sickness or consumption in 1818 at the Little Pigeon Creek Community in Spencer County when Abraham was nine years old.

Early life and education

Nancy's mother, by popular theory among historians and genealogists, and supported by a mtDNA study in 2015, was Lucy Hanks, who later married Henry Sparrow in 1790 in Mercer County, Kentucky.

Abraham Lincoln's law partner William Herndon reported that Lincoln told him that his maternal grandfather was "a well-bred Virginia farmer or planter." According to William E. Barton in The Life of Abraham Lincoln and Michael Burkhimer in 100 Essential Lincoln Books, Nancy was most likely born illegitimate and her family created stories to lead Abraham to believe he was a legitimate member of the Sparrow family.

It is believed that Nancy Hanks' grandparents were Ann and Joseph Hanks and that they raised her from infancy until her grandfather died when she was about nine years old. At the time of Nancy's birth, Joseph and his wife and children were all living on 108 acres near Patterson Creek in then-Hampshire County, Virginia (now Mineral County, West Virginia). In March 1784, Joseph Hanks sold his property via a mortgage and moved his wife, eight children and young granddaughter Nancy to Kentucky.

The family lived on land along Pottinger's Creek, in a settlement called Rolling Fork in Nelson County, Kentucky, until patriarch Joseph's death in 1793. Nancy's grandmother, who was called by the more formal name Ann rather than the common nickname of Nancy, decided to return to her homeland, Farnham parish in Virginia. At that time, Nancy went to live with her mother, now Lucy Hanks Sparrow, having married Henry Sparrow in Harrodsburg, Kentucky two or three years earlier.

After Lucy's sister Elizabeth Hanks married Henry Sparrow's brother Thomas in Mercer County, Kentucky in 1796, Nancy, now about age 12, went to live with the couple, whom she called mother and father. She was known as Nancy Sparrow  and was described as "intelligent, deeply religious, kindly and affectionate." Lucy's sister gave birth to an illegitimate son in 1799 named Dennis Friend Hanks, who was also raised by Elizabeth and Thomas Sparrow.

At the home of Elizabeth and Thomas Sparrow, Nancy would have learned the skills and crafts a woman needed on the frontier to cultivate crops and clothe and feed her family. She learned to read the Bible and became an excellent seamstress, working at the Richard Berry home before her marriage.

Lucy's marriage to Henry Sparrow produced eight children, and Lucy had a reputation as a "fine Christian woman." Two sons were loyal to the Union during the Civil War and were preachers.

Marriage and family
On June 12, 1806, Hanks married Thomas Lincoln at Beechland, the home of Richard Berry, by Reverend Jesse Head. Nancy was brought to the home to work as a seamstress by her friend Polly Ewing Berry, the wife of Richard Berry Jr. since October 10, 1794. Polly was a friend of Nancy's from Mercer County, Kentucky, and Richard Berry Jr. was a good friend of Thomas Lincoln. Lincoln proposed to her in his childhood home at what is now Lincoln Homestead State Park or in the Francis Berry house in front of the fireplace.

Nancy's marriage bond was signed by Richard Berry Jr., who identified himself as her guardian. Per Warren, "The title had no legal significance, Berry having never been so appointed, and Nancy Hanks was then of age. But to him to call himself 'guardian' was a courtesy customary under such circumstances [no father able to sign the marriage bond]." A record of their marriage license is held at the county courthouse.

They had three children:
 * Sarah Lincoln (February 10, 1807 – January 20, 1828)
 * Abraham Lincoln (February 12, 1809 – April 15, 1865)
 * Thomas Lincoln Jr. (died in infancy, 1812)

The young family lived in what was then Hardin County, Kentucky, (now LaRue) on the Knob Creek Farm. Neighbors reported that Nancy Hanks Lincoln was "superior" to her husband, a mild yet strong personality who taught young Abraham his letters as well as the extraordinary sweetness and forbearance for which he was later known. In 1816, the year that Indiana became the 19th state, the Lincoln family moved to Spencer County in southern Indiana and proceeded to homestead at Little Pigeon Creek Settlement (now Lincoln Boyhood National Memorial). Elizabeth and Thomas Sparrow and Dennis Hanks settled at Little Pigeon Creek the following fall, having lived in a shelter in which the Lincolns had lived until they built their cabin. While Abraham was ten years younger than his second cousin Dennis, the boys were good friends.

Description
William Herndon, author of Life of Lincoln, describes Nancy Hanks Lincoln: "She was above the ordinary height in stature, weighed about 130 pounds, was slenderly built, and had much the appearance of one inclined to consumption. Her skin was dark; hair dark brown; eyes gray and small; forehead prominent; face sharp and angular, with a marked expression for melancholy which fixed itself in the memory of all who ever saw or knew her. Though her life was clouded by a spirit of sadness, she was in disposition amiable and generally cheerful."

Nancy was also described as "a bold, reckless, daredevil kind of woman, stepping on to the very verge of propriety."

Abraham Lincoln inherited his mother's appearance and manner. She was "mild, tender, and intellectually inclined."

Death

While living at Little Pigeon Creek Settlement, Nancy Hanks Lincoln died on October 5, 1818, age 34. Her nine-year-old son Abraham assisted his father in the making of her coffin by whittling the wooden pegs that held the planks together. Eleven-year-old Sarah cared for Abraham until their father remarried the next year.

There are two views as to the cause of Nancy Hanks Lincoln's death. One view is that she died of "milk sickness." Several people had died that fall from the illness, including Elizabeth and Thomas Sparrow, who raised her and then lived with her on the Lincolns' property at the Little Pigeon Creek settlement. The Sparrows died in September, weeks before Nancy's death, and Dennis moved in with the Lincolns. The illness was caused by drinking the milk or eating the meat of cows that had eaten white snakeroot. The plant contains the potent toxin tremetol, which is passed through the milk. The migrants from the East were unfamiliar with the Midwestern plant and its effects. In the 19th century before people understood the cause of the illness, thousands in the Midwest died of milk sickness.

The second view is that Nancy died of consumption. In 1870 Lincoln's law partner and biographer, William Herndon, wrote to fellow Lincoln biographer Ward Lamon saying that "Mrs. Lincoln died as said by some with the milk sickness, some with a galloping quick consumption", i.e. a wasting disease or tuberculosis. It has also been theorized that Nancy Lincoln had a marfanoid body habitus (or a marfanoid type of physique) with the same unusual facial features as her son. This theory suggests that she died of cancer (which is a wasting disease) related to multiple endocrine neoplasia type 2b (MEN2B), and that she passed the gene for this syndrome to her son (see Medical and mental health of Abraham Lincoln).

Nancy's grave is located in what has been named the Pioneer Cemetery, also known as the Nancy Hanks Lincoln Cemetery. Her headstone was purchased by Peter Studebaker, an industrialist from South Bend, in 1878. At least 20 unmarked and eight marked graves are at the site; Nancy Lincoln is buried next to Nancy Rusher Brooner, a neighbor who died a week before Nancy from milk sickness. Henry Brooner, Nancy Brooner's son and best childhood friend of Abraham Lincoln, later recalled, "I remember very distinctly that when Mrs. Lincoln's grave was filled, my father, Peter Brooner, extended his hand to Thomas Lincoln and said, 'We are brothers now', meaning that they were brothers in the same kind of sorrow. The bodies of my mother and Mrs. Lincoln were conveyed to their graves on sleds." Her aunt and uncle Elizabeth (Hanks) and Thomas Sparrow, also her childhood caregivers, are buried nearby. The cemetery is located on the grounds of the Lincoln Boyhood National Memorial, a National Historic Landmark District managed by the National Park Service in present-day Lincoln City, Indiana.

Honors

 * In 1941, Katherine K. Davis, who co-wrote the lyrics to "The Little Drummer Boy", wrote the music for the ballad "Nancy Hanks" as a tribute to Lincoln's mother. The song uses as its lyrics the Rosemary Benét poem "Nancy Hanks" (originally published in Stephen Vincent Benét's A Book of Americans). An edited version of the poem was used by John Ford in the beginning of his 1939 movie Young Mr. Lincoln:

 * North Spencer School Corporation, in Spencer County, Indiana, opened the Nancy Hanks Elementary School around 1990.
 * In November 2008, the Mineral County Historical Society and the Mineral County Historic Landmarks Commission officially recognized the researched site of the birthplace of Nancy Hanks in Mineral County, West Virginia, which was first identified in 1929. They had a memorial placed at the site.
 * On February 12, 2009, on the bicentennial of the birth of Abraham Lincoln, the West Virginia House of Delegates passed a resolution recognizing Nancy Hanks Lincoln for her contributions and her birth site in Mineral County.
 * A rest area along Interstate 64 in Dale, Indiana is named for Nancy Hanks. In January 2019, the Indiana Department of Transportation announced plans to shut down the rest area because of low usage. As reported in February 2023, the Hanks rest stations were slated for east-bound closure and west-bound conversion to truck parking in fiscal year 2025.

Notable relatives

 * Nancy Hanks is a second cousin five times removed of actor, producer, writer and director Tom Hanks.
 * Through his mother's Hanks bloodline, George Clooney is related to Nancy Hanks through Lucy Hanks Sparrow and Henry Sparrow's daughter, Mary Ann Sparrow, a half-sister to Nancy Hanks. Mary Ann Sparrow was Clooney's fourth great-grandmother.
 * Camille Cosby, wife of Bill Cosby, was born Camille Olivia Hanks, a distant cousin of Nancy Hanks.

Portrayals
The Hanks–Lincoln wedding was portrayed in a play called Dearly Beloved: The Vows of a Lincoln Legacy to kick off a three-year bicentennial celebration of Abraham Lincoln's life. The play was held at the Lincoln Homestead State Park in Springfield, Kentucky.

Nancy is portrayed by Maria Hill in the Daniel Boone episode "Before the Tall Man."

title: Nancy Lincoln


text:
User talk:Bjgyg~enwiki

You have been banned for mass vandalism. -  BanyanTree 01:17, 4 Jun 2005 (UTC)

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title: User talk:Bjgyg~enwiki


text:
Talk:University railway station (England)

I have changed the statement about this being the only University station in the UK. Firstly, the qualifier "main line" is needed, as there is a University station on the Tyne & Wear Metro. Secondly, there's the matter of there being a University station in Coleraine (NIR) - hence GB not UK. 82.36.26.229 01:19, 4 Jun 2005 (UTC)

I have heard a claim that Birmingham University actually owns the station, but I suspect it may be untrue. Anyone know anything about that? 128.232.250.254 10:52, 13 May 2006 (UTC)

Shop opened in which year?
I just removed the statement that the shop on Platform 1 was opened in 2005. Whilst the brown-coloured coffee shop (is it called Smart or something?) was opened around 2005, there was definitely a cheap-looking shop in the same place before it, which closed in 2004 I think. If anyone knows how long there has been a shop on Platform 1, feel free to add it in. Otherwise, I think it should stay out. GoldenTie 16:37, 5 August 2007 (UTC)


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Talk:Amélie

Plot similarity
A reference to the close similarity to a british short film of 2 years before- 'the photoman', was removed, the reason given that the verification was not reliable. The verification was this link http://ftvdb.bfi.org.uk/sift/title/654709 to the british film institutes website that describes 'the photoman's plot. in what way is this not reliable? could information about a film be any more reliable than from the bfi? thecavster
 * It's original research, so I would say it doesn't merit inclusion.- DMCer ™  22:31, 24 January 2008 (UTC)

Well this is what it says about that:

'Citing sources and avoiding original research are inextricably linked: to demonstrate that you are not presenting original research, you must cite reliable sources that provide information directly related to the topic of the article, and that directly support the information as it is presented'.

The BFI link would seem to cover all that. It directly supports the information presented. —Preceding unsigned comment added by 86.148.141.91 (talk) 10:20, 25 January 2008 (UTC)
 * The point isn't the fact that the BFI link includes the plot of Photoman, it's the action of drawing a link between Photoman and Amélie, without a reliable source that does the same. The BFI link does not, I did a quick search, and I didn't see any either.— DMCer ™  10:33, 25 January 2008 (UTC)
 * The link directly presents the exact same plotline, so you have to consider it fact, and not wait for somebody to opine that the fact is present --84.208.113.245 (talk) 07:56, 30 October 2010 (UTC)
 * Let me put it this way: I wondwer whether Britannica would fail to put something in if they could document that it was fact, for lack of opinion expressing the connection. --84.208.113.245 (talk) 12:52, 30 October 2010 (UTC)

No one can draw a definate link between one artistic work and another except the creator and in this case he isnt going to. Areas like this are never black and white. The absence of a definate link however does not render the suggestion of such a link historically invalid or uninteresting. There are many other suggestions of artistic infuence and inspiration on these pages unconfirmed by the creator of the work, that are there because they are of historical and artistic interest to readers and the pages would be very dry without them. However in this case the similarity is beyond dipute and just because someone doesnt like something doesnt mean its not valid. —Preceding unsigned comment added by 86.148.141.91 (talk) 18:13, 25 January 2008 (UTC)

You destroy your own argument when you say "areas like this are never black and white." Well, this is an encyclopedia, which deals in facts. You can say the similiarity between the British short and Amelie is beyond dispute, but unless you can prove that Amelie was influenced by it, there is no reason to accept that as fact. It is your opinion, and thus matters not at all. And when you throw in petulant little statements like "just because someone doesnt like something doesnt mean its not valid," it really undermines your arguments and shows you have an agenda. It also makes you sound like a insipid pompous little twat, which I'm positive is what you probalby are in real life. —Preceding unsigned comment added by 173.61.244.164 (talk) 19:33, 9 March 2011 (UTC)

 * The garden gnome travelling the world and sending postcards is also nicked from somewhere else, but I can't remember where offhand. It certainly wasn't original to Amelie. 86.133.213.152 (talk) 13:51, 31 August 2010 (UTC)

Orgasm counting
Article says she's imagining how many orgasms there are in the world right now, but I think it's just in Paris, based on

a) Her looking down over the city at the time

b) Number of people born every second is something like 4.4 according to google, so obviously there are many more orgasms than that occuring per second.:-) —The preceding unsigned comment was added by 66.118.97.95 (talk • contribs).

 * As far as I can remember in the movie itself, the narrator says that she counts the number of orgasms happening at that moment - but does not say where. Elizej 17:38, 20 September 2006 (UTC)

 * I've always taken it to mean in Paris. I'll pay more attention to the individual settings and people next time. Of course, this may require single-framing that sequence on the old DVD player ;-) ...

 * Atlant 18:25, 20 September 2006 (UTC)

 * "Time hasn't changed anything. Amélie still shelters in solitude... and asks herself silly questions about the world or about this city. For example, how many couples are having an orgasm right now? -Fifteen..."
 * I guess we will never know since the narrator mentions both. └ VodkaJazz / talk ┐ 20:25, 20 September 2006 (UTC)
 * That's not what it says. The wording is, "She amuses herself with silly questions about the world below, like how many couple's are having an orgasm right now." This hardly merits inclusion in the article, since it's so subjective. If it stays, then it should be Paris, since the "world below" is the city under her vantage point.- DMCer  ™  22:37, 24 January 2008 (UTC)

 * I'd say she's counting the number of orgasms in the city within the boundary of her mind...(Jonarvs 08:45, 25 November 2006 (UTC))

I say, number of orgasms in the city because all the couples look very french to me. There is much more than 15 couples having an orgasm in the whole world in this exact moment.

 * In the original French movie, it is clearly stated that she is counting the number of orgasms being felt throughout *Paris* at one given instant.

 * Is that so? The original French text is as follows:

''Le temps n'a rien changé. Amélie continue à se réfugier dans la solitude. Elle prend plaisir à se poser des questions idiotes sur le monde ou sur cette ville qui s'étend là sous ses yeux. Combien de couples, par exemple, sont-ils en train d'avoir un orgasme à cet instant précis?''
 * Just like in the English translation, it's said that she likes to ask idiotic questions about the world or about the city she's looking at; for example, how many couples are having an orgasm right now?
 * I agree it's implied that it's about Paris, mainly because Paris is mentioned last before the example question, but it's not "clearly stated" at all. It's just as ambiguous in the original French version as in the English translation mentioned above. - Fyrius (talk) 10:41, 28 February 2009 (UTC)

Criticism as racist
Re: Criticism section - You can see Afro-French people in the film. One of the shots in the train station, there are 3 black people walking behind her. On the old man's tv there is black and white footage of a black woman singing, and two of the photos in the scrapbook are of a black man. What is with the criticism of no Afro-French people in it? Lapinmies 19:06, 4 Jun 2005 (UTC)

 * People have to politicize everything nowadays. It's all very sad. If every ethnic group isn't represented in exact proportions to the real-world ones then it's racist. —The preceding unsigned comment was added by 67.186.43.161 (talk • contribs).

 * My wife and I just watched the film again with this criticism in mind, and we've decided that the criticism is hogwash. Aside from the principal players (one of whom is apparently North-African), there are very few other people of any notable ethnicity really visible in the film; there are very few "crowd" scenes. Amelie leading the blind man to Abessess is the one that I recall. The scenes in the train station that show crowds are almost always very far shots. And Amelie appears to live towards the Abessess side of the butte, not the Barbès-Rochechouart side, so that attempt to prop-up this criticism doesn't hold water either.

 * Atlant 13:07, 30 May 2006 (UTC)

 * Calling this film racist is friggen ridiculous! --164.107.92.120 23:44, 5 November 2006 (UTC)

 * We have our own ways of thinking but we're not all citizens of Paris. Maybe they should vote on this.(Jonarvs 08:49, 25 November 2006 (UTC))

If critics begin to criticise films because it doesn't portray a multicultural society, what on earth is happening? Who really cares whether or not there are French-Africans included in each shot. There is nothing racist about that. We have been driven by the media to believe that we must embrace every culture and people to the point where no culture can be seen in isolation. I didn't want to see every facet of Paris through this film. It could also be argued that this film "competely ignored the Eiffel Tower" and therefore did not show what Paris is really like. The problem with a politically correct society like ours today is that there is so much angst about these issues. People become so afraid that if even a film doesn't officially recognise every ethnicity there is, people become afraid as if a brawl is set to commence over such an offence.

 * I think the point is that the film tries to create a fantasy, 'perfect' version of Paris, right? Everyone knows that the real Paris is often cold and rainy, but in this film, everything is lit in golden sunlight. Everyone knows that the real Paris is often dirty, but in this film, all the litter and grafitti has vanished. And everyone knows that there are lots of black people in Paris, especially Montmartre, but in this film all the black people have vanished. I imagine that's why some viewers were offended: airbrushing black people out to create a sense of 'perfection' is perhaps just a little bit racist, isn't it? Cop 633 15:41, 12 April 2007 (UTC)

 * No matter what we think, is this ONE critic's opinion REALLY notable? I don't think it should even be included, considering it has little to do any aspect of the film's production, grossing, release, or reception (apart from that one little-circulated review).  I think it should go. -DMCer 21:21, 20 September 2007 (UTC)

 * No, keep it in! I came looking for information on that aspect because I'd heard the race criticism elsewhere. Allow people to make their own decisions on whether or not they think the film is racist, rather than deleting it and whitewashing over the issue in much the same way Jeunet may have.  —Preceding unsigned comment added by 24.47.108.203 (talk) 17:25, 16 October 2008 (UTC)

When you keep the criticism of one minor critic that the film is racist, you are not really allowing people to make their own decision,as it is providing a PC bias. No one is white-washing things, anbd for you to ask for people to think for themselves, while at the same time pushing for a skew towards a certain opinion is amazingly hypocritical and smug. —Preceding unsigned comment added by 173.61.244.164 (talk) 19:38, 9 March 2011 (UTC)

EMMMM I thought paris was a european country, can we PULLEEEZZEE try and keep our culture without the horrible multi cultural lunatics trying to rip apart everything we are. If a french film has no ethnic minorities then who cares. next youll be spouting OOMAN rights 78.144.165.216 (talk) 17:45, 26 January 2009 (UTC)

For me it wasn't the under representation of afro-french people that seemed off to me. But I just watched the film again and I found the shot where she's running away from three afro-french gentlemen, while they seem to be harassing her after sleeping the night in the metro quite unsettling. — Preceding unsigned comment added by 101.98.210.44 (talk) 05:52, 18 April 2014 (UTC)

I'm not going to charge anyone involved in this beautiful production racist. The only things we, the viewers, should recognize as 'off' is the fact that there are pretty much only three black people shown in the film; and to make matters worse, they appear to actually be harassing Amelie. I'm not saying there should never be that scenario in a film "because it's racist", because it does happen. But come on. I did not notice one single line of dialogue spoken by a black person throughout the entire film. Once again, it's not that society is pressuring total racial 'equality' in terms of a minority's presence within a film, but just SOME representation of that minority would make the film a bit more credible. After all, it is set in Paris, one of the most diverse cities in the world. — Preceding unsigned comment added by Jackshelgren (talk • contribs) 04:25, 12 October 2014 (UTC)

Death
Re: "But while she is looking after others, no one seems to be looking after Amélie, and internally, she recognizes that this unrequited devotion to the other people in her life is going to lead to her eventual death from despair." Could someone, perhaps the author of the above statement, clarify whether Amelie died in this film from despair?

 * I think this refers to a brief clip where Amélie is watching the news and, somewhat surreally, sees an old-fashioned news report of her death, where it praises her achievements in helping people but points out that she died lonely. I do reckon this could be altered a bit, though, as it is a bit confusing.--Joseph Q Publique 07:34, 29 May 2006 (UTC)

 * I think that this movie is about a girl who was helping others trying to fix their lives but she couldn't fix her own. Amelie could have lived and died that way if she did not overcome her own "issue" with life. She's like a fixer and figured that maybe she's going to die that way just trying to fix other people's lives and she had to give up her own when in fact it didn't need to be the case. I think she was just this girl who couldn't get out of her shell and lived vicariously through others by doing what good she tried to do for them. But of course in the end the reverse happened because she was able to allow the man she fancied to step into her world.(Jonarvs 08:54, 25 November 2006 (UTC))

Red colour
This film is one of the best films I have ever seen. I noticed something. Almost every frame have some red article. Even some little thing is red in this film. Interesting... --Pockey 01:09, 19 May 2006 (UTC)

 * Colour was definitely on the director's mind. (I don't recall if our article mentions it, but) you can see that the entire film has an overall greenish tint to it (and the director has stated that this was deliberate), so red would be a very good contrasting colour to draw attention to objects.

 * Atlant 11:50, 19 May 2006 (UTC)

 * I recall hearing (as in a friend telling me) that the director's intention was to make the movie look like a painting come to life. Don't quote me on that, though, as I have nothing accept my friend's assurance that this is case - no direct quotes from the director or anything.--Joseph Q Publique 07:35, 29 May 2006 (UTC)

 * I just watched the film again, and I paid particular note to the colour scheme. Pockey has it correct; the scenes that are green-tinted do almost always have a number of bright-red objects in them. A notable contrast to the entire colour-scheme is Amelie's apartment; themed almost entirely in red, she has an obvious bright blue table lamp and she is often wearing a bright-green dress. Again, very high colour contrast.

 * Atlant 13:02, 30 May 2006 (UTC)

 * Color is a a medium of communication not only in paintings but in all art form. Color always means something. A director does not smack an object into a scene simply because it looks good. Every detail is calculated from the camera angle to lighting. A good director never misses that. If something catches your attention, it's not because it just happened to but because it was intended to.

 * (Jonarvs 09:00, 25 November 2006 (UTC))

 * I like the color in this movie. Blue, green, red are appeared most. The oil painting by Juarez Machado (Brazil) inspired the director. These colors made the whole movie full of happiness. The colors mix with vivacious music, you will get into bright atmosphere soon.
 * lddilu 12:02, 28 October 2009 (UTC)

"DVD" section
should this section be deleted? This is nothing but some kind of trivial fact that seldom relates to an article, so why needing this useless section? --69.232.47.90 08:48, 25 May 2006 (UTC)

 * I'd say yes, delete it.

 * Atlant 13:34, 25 May 2006 (UTC)

Ratings backlash
When this film was released, I recall a major critic (I believe Roger Ebert) making mention of how the film proved the current MPAA ratings system was unrealistic in that it was given an R rating even though the film was virtually devoid of violence and had very little sex in it (indeed except for the orgasm sequence, there's more explictness in your average episode of CSI). I think it might be worth mentioning how this film sparked this discussion, perhaps in the Trivia section, but unfortunately I can't find any online source to back up my memory. Does anyone else recall this debate? 23skidoo 06:50, 30 May 2006 (UTC)

 * In France, it was rated "grand public". This is the most open rating one could get. Disney cartoons also get "grand public" for example.
 * In his review Ebert wrote "It is this innocent sequence, plus an equally harmless childbirth scene, that has caused the MPAA to give the movie an undeserved R rating (in Norway it was approved for everyone over 11)." (Nov 9, 2001). In his "Movies Answer Man" column a reader asked how Amelie got a R rating (Oct 21, 2001) and wrote "the MPAA objected to the chldbirth scene at the beginning, and the montage in which all of Paris seems to have an orgasm."
 * Ebert twice criticized the MPAA for how it rated this film but one critic is not enough to call it a "backlash", more sources would be needed to support stronger wording like that. WP:FILMRATINGS are not normally noteworthy but there is enough to make an exception in this case if someone wanted to add it to the article. [Mention in a listicle about film ratings by The Guardian. Texas Teacher Trouble for showing R Rated film.] -- 109.76.195.59 (talk) 12:18, 31 December 2021 (UTC)

Film clips
Aren't there clips of the TF1 bulletin giving the news of Princess Diana's death (before she finds the box) and a Tour de France (added to the video for Raymond Dufayel). If so, why aren't these in this list? I was going to add, but I was worried they might be deleted. Having watched the French version twice, Im sure I saw this DannyM 10:21, 31 May 2006 (UTC)

 * It isn't from the Tour de France but from Critérium International video here. Anyone know what the tumbler and the dog is from which follows this? (Emperor 00:11, 12 March 2007 (UTC))

 * According to Death_of_Diana,_Princess_of_Wales, “On 31 August 1997, Diana, Princess of Wales, died as a result of injuries sustained in a car crash” so perhaps the statement in the Plot section, “On 30 August 1997, startled by the news of the death of Princess Diana, ...” is a day wrong Jwpat7 (talk) 20:55, 18 May 2017 (UTC)

Capitalization
I do not know if there's some policy on wiki, but French and Italian movie titles are always written devoid of capital letters. If there's no policy it should be changed, together with all the interwiki articles using the French title. └ VodkaJazz / talk ┐ 00:00, 13 June 2006 (UTC)
 * The naming policy on the article title is to use the English title, capitals and all. Like "Le Fabuleux Destin d'Amélie Poulain" becomes "Amélie". And the French Amélie article uses capitals. It seems to me that only Italian films do not use capitals.

Italian film articles: Il favoloso mondo di Amélie, La vita è bella, it:Il dottor Stranamore, ovvero: come imparai a non preoccuparmi e ad amare la bomba. Calicore 01:01, 13 June 2006 (UTC)

 * "Cinema Paradiso" is capitalised, so is "Malena", both are Italian films. They may be uncapitalised in the Italian language but this is the English version of Wikipedia so the titles should stay as they are.Gillean666

 * First letter is obviously capitalized in any language :) And both Cinema Paridiso and Malena are proper names! On IMDb it's written Le fabuleux destin d'Amélie Poulin. Now what I'm asking is about policy not your patriotic views of the English language, since IMO a title should be kept in its original format (as is the case for Se7en). Now if it's policy / practice to use the title released in English speaking countries (which, may I add, was actually Amélie of Montemartre not Amélie) it's another story and I'm not going to go against that. Thing is, the title is already the "English" version, but in the text the original title is given (and is fully capitalized). Now, throwing an argument against myself, the poster actually capitalizes all words.

 * This was more of a general question rather than specific to Amélie, to know how things stand for all other Italian and French movies! └ VodkaJazz / talk ┐ 00:35, 10 July 2006 (UTC)

The habit in French is not to capitise nearly so frequently as in English. For example, in French one could re-write that first sentence: "C'est l'habitude en français de ne pas capitaliser si souvent qu'en anglais." "French" and "English" customarily are graced with capitals, but "français" and "anglais" are not. This is really only a detail: I frequently over-capitalise when writing in French, which native speakers probably find a little odd but nothing more. Howevere, where the French title is being written it would seem reasonable to me to stick to the native language convention. Malkin the Cat 19:53, 18 June 2007 (UTC)

 * Oh yeah?!?? No native French writer would ever not capitalize "français" or "anglais" (unless they were used as adjectives. But as language names, they are, and must be, capitalized).

Yeah. Five seconds on Google suffice to show that native French speakers often write the name of the language "l'anglais" without capital.

wikilinks
i just removed two wikilinks from a completely blue sentence.--trueblood 10:57, 1 July 2006 (UTC)

Copyright violation?
This article is pretty much just the narrative of the story. Doesn't this violate some sort of rule?--WHS 13:21, 8 July 2006 (UTC)
 * I don't think so as the words as written are original to this article (as far as I can tell from a bit of Googling on samples of text). Also, in the Copyright article, it says "Copyright law covers only the particular form or manner in which ideas or information have been manifested, the "form of material expression". It is not designed or intended to cover the actual idea, concepts, facts, styles, or techniques which may be embodied in or represented by the copyright work. Copyright law provides scope for satirical or interpretive works which themselves may be copyrighted." My interpretation is that a "form of material expression" would mean the actual words and sentences used (or ones very close), and doesn't apply if you're doing a freshly-written synopsis. If you were to hawk this synopsis round film studios as an idea for a screenplay, then I reckon that would be different. Anyone else got any views? --A bit iffy 14:05, 8 July 2006 (UTC)
 * By narrative of the story, I meant that the words that the narrator is saying in the story. I apologize on my part for the lack of unclarity. Most of the synopsis, while not quite word for word with the script, follows the lines recited in the narration throughout the movie extremely closely, which I'm pretty sure must qualify as a copyright violation of some kind.--WHS 21:07, 8 July 2006 (UTC)
 * I see no similarity whatsoever, sorry! Anyway, isn't the narration in French?! └ VodkaJazz / talk ┐ 00:33, 10 July 2006 (UTC)
 * I was referring to the subtitled English, at least in my copy of the movie. But if no one else agrees with me then I suppose I'm wrong. Here's a copy of the script, just for reference. --WHS 07:19, 10 July 2006 (UTC)
 * To be honest, I'm not quite sure at what point something becomes a copyright violation, and I wouldn't have a clue how to determine it. So I'm only going on my gut feeling which is that, as I'm sure that the writing of the sysnopsis here is original, then there isn't a copyright violation. I'm sure that the writing here is original because I can see from the history it's been built up gradually. It's possible some contributors have used the script to construct parts of the article, but the texts are quite different in my opinion. The sequence of events described in this article and occurring in the film appear to be the same, but I doubt if reporting a sequence can be construed as violation of copyright. So sorry, WHS, I still don't agree! All the best, --A bit iffy 07:53, 10 July 2006 (UTC)
 * All the same, that was just my initial feeling upon reading the article. Thanks for giving your input. --WHS 08:44, 10 July 2006 (UTC)

Pronunciation
How do you pronunciate Amelie? Is it like "a-meal" or "a-meal-a" or "a-meal-e?", or something different? And perhaps it should be mentioned in the article? Funkadillo 02:05, 30 October 2006 (UTC)

 * Well... you could try watching the movie! But anyway, it's "A-mel-ee", with the "A" pronounced as in "cat" (I've heard a lot of Americans pronouncing "a" as in "father" but that's wrong) Cop 633 02:12, 30 October 2006 (UTC)

 * I disagree a bit: "cat" sounds a bit harsh to my ears. So, in English, I'd recommend "Ah-may-lee". And next time, I'll update this if the Glass Man really does use a "cat"-like pronunciation of that first "A".

 * Atlant 17:28, 30 October 2006 (UTC)

 * I have watched the movie, but its hard to pick up how the characters are pronouncing the name when you're watching it in a foreign language with subtitles. You're more listening to the tones they're using and reading the words than listening to the words they're actually saying.  Funkadillo 22:04, 1 November 2006 (UTC)

 * Funny how you tell others that (1) they should try watching the film and (2) that they mispronounce the name, because you're wrong yourself. I've never heard a Frenchman pronouncing an 'a' like in 'cat'. 'Ah' isn't right either. Correct pronunciation:
 * a (like in Chicago) - may (like in okay) - lee (as in Bruce).
 * Troy 18:48, 26 December 2006 (UTC)

 * Look, I'm sorry, but you're wrong. It is a as in 'cat'. Click here. Listen to the first time her name is spoken (it's when we see the sperms and the narrator says "Amelie Poulain is born". It's much closer to 'cat' than anything else suggested here (although I can't hear any difference between Chicago and father, so maybe we're all talking at cross purposes here...). Cop 633 15:22, 28 December 2006 (UTC)

 * To be very nitpicky, the a in 'cat' is a near-open front unrounded vowel, while the French a (according to French phonology) is an open front unrounded vowel... a huge difference! (not really) :) ugen64 16:34, 16 January 2007 (UTC)]

 * Haha! SO much for a frenchman never pronoucing an a like in 'cat' what about 'Avec' meaning 'with' ?? and if it was like chicago, does that make it pronouced (when spelt phentically) ARRRMELIEEEEE ?

thats surely not right :/? 18:42 March 2007

 * To set the record straight - you can't talk about pronunciation in such scalar terms. To some people, the 'a' in Amélie will sound like the 'a' in cat; that depends on the way you pronounce 'cat'! To others, it will sound different. Huge regional variations exist, and really the only way you can talk about it in objective terms is to use correct terminology. In truth, it's not the 'same' as any sound in English. You're talking about a word from a whole new language, with a whole new phonological system and use of different sounds completely. Will2710 |Talk!  01:09, 3 September 2007 (UTC)

Dwarf
Just want to spark a discussion on the use of an elf. Why not a dwarf? Or an elephant? Or anything else but an elf? (Jonarvs 09:06, 25 November 2006 (UTC))
 * Garden gnomes are popular in France and liberating gnomes is an old prank. - Lapinmies 10:19, 25 November 2006 (UTC)
 * I have an interesting question about the gnome. Was it what inspired the "Roaming Gnome" commercials for Travelocity, or the other way around? I can't remember the timing. Also, I just wanted to comment on the wonderful symbolism of the gnome... that her father is so quirky and antisocial that he spends his time heaping love and attention upon the inanimate object, rather than people; Amelie says she is better than him in that she at least spends time on people... but at the same time, she doesn't come to terms with her own avoidance of emotional investment and has to live vicariously through others until the end.  GREAT movie. --68.239.232.19 20:28, 21 January 2007 (UTC)

According to IMDB, the garden gnome was inspired by similar pranks in the 1990s by the "Front de Libération des Nains de Jardins", and the idea was later used for the advert. Here is the link to the IMDB page. Améliefan 15:57, 25 May 2007 (UTC)

 * Travelocity pumped the idea from the movie. However, the movie got it from a real "club" of Frenchmen who formed the so-called "Liberating Front of Garden Gnomes". They would sporadically shuffle gnomes from garden to garden, usually at night, much to the amazement of the gnomes owners. They'd play many similar pranks involving gnomes (e.g. repainting them, dress them up with accessories, etc...)

Romantic comedy?
It's a light-hearted romance, but is it really a romantic comedy? It doesn't seem to fit the definition given in that article. But perhaps that's just a bad definition (it certainly seems to be overly specific).--Shantavira 18:23, 3 December 2006 (UTC)

 * I think the problem is the romantic comedy article, not this one; that article has a ridiculously narrow definition of the genre. Cop 633 21:56, 3 December 2006 (UTC)

 * Being that I generally hate romantic comedies but LOVED Amelie, I hope it never ends up with that genre label. But that probably has to do with my own ridiculusly narrow definitions. :) --68.239.232.19 20:31, 21 January 2007 (UTC)

Mistakes
Under the mistakes section, it mentions a car model that was not around at the time the film is set, but that the director knows this and left it in on purpose. If the director left it there on purpose, is it really a mistake? Pnkrockr 18:38, 10 December 2006 (UTC)

Princess Di Significance

 * I was just curious what everyone else thought the meaning of the Princess Di subplot had to the story, it's a recurrent theme that gets brought up a lot. I know that the Glass Man hated hearing about her all the time. I thought it was commentary that modern society is superficial (the comparison with Mother Theresa's more overlooked death during that time) and gives undeserved worship to pop iconography rather than to milestones of deeper significance. Maybe there's more to it, and I'm curious what others thought. --68.239.232.19 20:35, 21 January 2007 (UTC)

 * Jeunet mentioned that he mainly included that particular subplot to give the film some kind of temporal location: i.e. to show its setting in 1997. When you think about it, there's little else that would give any clues as to a definite year or era in which it was set. I think that's why it's in there: it was pretty big news in France too, so I think it's also to evoke the kind of 'where were you when this happened' idea and situate it concretely within people's understanding. ghostmoon EVP hauntings  00:42, 25 January 2008 (UTC)

Truffaut Clip
Right now, the text of the page reads "A 'kissing scene' during which a bug, apparently unnoticed by the filmmakers, crawls across the screen behind the two lovers and appears to enter the woman's mouth." I'm not sure it's really fair to say "apparently unnoticed by the filmmakers", because my understanding was that Truffaut noticed this but left it in intentionally.

 * I always understood that it was unnoticed by the maker of the original film, but that it was noticed and pointed out as part of the plot here, as that's one of Amélie's 'quirks'. ghostmoon EVP hauntings  00:44, 25 January 2008 (UTC)

The whole point of the scene is that Amélie likes to notices little details in movies that no one else does - like the bug appearing to enter the women's mouth. In fact, the narrator says as much right as the clip plays, and then Amélie smiles. Not only is this not a mistake in the film, it's *literally the entire point* of the scene. — Preceding unsigned comment added by 71.160.42.77 (talk) 04:37, 10 November 2015 (UTC)

Removed piece of text
I removed the following piece of text, as it made the page much too wide:

("If the director was trying to create an idyllic vision of a perfect Paris, the critic argued, he seemed to think that it was necessary to remove nearly all black people from the scene in order to do so." Jeunet dismissed such criticism by pointing out both that the photo collection contains pictures of many different people from numerous ethnic backgrounds, and that Jamel Debbouze, who plays Lucien, is of North African descent"

Can someone rework this into the article? 82.5.94.8 (talk) 01:20, 6 December 2007 (UTC)
 * I noticed that too, very annoying; however I'm not sure why it changed the width. Simple rewording w/ simplified punctuation should do the trick.-DMCer (talk) 08:07, 6 December 2007 (UTC)

poulain is French for foal.
Is this really relevant ? In France, we don't translate every english name, like for exemple : Eastwood means "Bois de l'est", Baker means "Boulanger", Stone means "Pierre"... Plus, it has no connection with the subject of the movie. —Preceding unsigned comment added by 80.78.0.137 (talk) 09:17, 7 January 2009 (UTC)
 * I was just wondering about that too. To me too it seems completely irrelevant (it's just her last name), and even more so in the introduction paragraph. It would at most make a mildly interesting footnote or trivium somewhere in the text body.
 * For those reasons, I'm going to take it out now. - Fyrius (talk) 21:42, 20 January 2009 (UTC)
 * It might have sense, as a running horse is featured in one of the videos she brings to the Glass Man. By the way, what does have sense, for sure, is her first name Amélie. Amélie has the same origin as améliorer, which means to enhance or to make better in French. Thierry Caro (talk) 04:38, 23 February 2009 (UTC)
 * That may be so, but unless you can verify these names were intended in the way you interpret them, this would count as fan speculation and/or original research, my friend. Therefore, kindly keep it out of the article.
 * From a less obnoxiously vandal-hunting we-have-rules-here-hurr-durr-pragmatist perspective, I think you might be on to something with your interpretation of her first name. I for one hadn't thought of that yet. - Fyrius (talk) 18:04, 23 February 2009 (UTC)

autism?
having just read this article Parallel Play by Tim Page from the new yorker http://www.newyorker.com/reporting/2007/08/20/070820fa_fact_page and watched Amelie it reminded me of the way the two protagonists view the world is different from everyone else. Here is an excerpt from the New Yorker article:

My second-grade teacher never liked me much, and one assignment I turned in annoyed her so extravagantly that the red pencil with which she scrawled “See me!” broke through the lined  paper. Our class had been asked to write about a recent field trip, and, as was so often the case in those days, I had noticed the wrong things: "Well, we went to Boston, Massachusetts through the town of Warrenville, Connecticut on Route 44A. It was very pretty and there was a church that reminded me of pictures of Russia from our book that is published by Time-Life. We arrived in Boston at 9:17. At 11 we went on a big tour of Boston on Gray Line 43, made by the Superior Bus Company like School Bus Six,"...  see what I mean? Alextheblade (talk) 02:26, 4 May 2009 (UTC)Alex

I've also noticed references to autism and schizophrenia through the whole movie, almost all characters could be classified as lightly autistic, and whole movie has strong references to schizophrenic 'stages' (i.e. enlightenment phases, hallucinations, emotional detachment, etc). Also physical characteristics of main character (Amelia) - especiallye earlobes and face, or maybe choice of actress in general seem to be intentional. Personally i find this movie very moving and visualising autistic world in very positive (not treating it only as pathology) manner.

I find it visualising many aspects of positive feelings of schizophrenics, which could nicely illustrate many parts of Antoni_Kępiński's 'schizophrenia' like this one :

Positive feelings

Happiness

Schizophrenic happiness rarely involves things related with life: successes, fulfillment of biological needs etc.

It's usually abstract happiness, not related with facts from life, with activity, pleasure, play.

It's not happiness of mere, ordinary earthly life, but happiness ununsual "extraterestrial"

Usually one can recognize three types of schizophrenic happiness: liberation, enlightenment and devotion

Happiness from liberation by feeling of freedom and dropping of current mask, social bonds, emotional attachments, often false and annoying.

There is lightness of detachment from reality in it. Some attributes of such type of happiness can be found in hebephrenia.

Happiness from enlightment results from seeing new order of things; there is amusement with new world, and new oneself.

Happiness from devotion is related with feeling of mission, in which one can find goal and sense of life.

Similiarly to sadness, schizophrenic happiness differs in the very base from cyclophrenic happiness. It is not manic activity, sinking it swirl of life, which one causes himself, it's not any carnival, but enchantment with world, which appears in new form.

Cyclophrenic happiness is "earthly", while schizophrenic - "extraterestial".

83.18.229.190 (talk) 16:50, 29 September 2009 (UTC)

Long plot "summary"
I've tagged this article as having an overly-long plot "summary". The summary as it stands is more like a screenplay. Rather than just being bold and cutting lumps out of it, I'm inviting comments here on what should stay. 81.159.0.142 (talk) 00:33, 29 May 2009 (UTC)

 * Is it ok, now? It's such an unusually complicated film, it would be interesting to know how it could have been concisely explained to potential producers! 98.210.208.107 (talk) 17:59, 15 April 2011 (UTC)

Barthes reference
The movie's opening narration from the off introducing the main characters echoes Roland Barthes' list of like/don't like; worth adding to "influences" section? --Webmgr (talk) 10:26, 3 December 2009 (UTC)
 * Just because there are similarities between the two, it does not immediately mean that it is an influence. For this to be added to the article, a reliable source explicitly stating that Barthes' work influenced Amelie needs to be provided. Otherwise it is just original research. - kollision (talk) 10:45, 3 December 2009 (UTC)

Godiva chocolates
there is a commercial I just seen involving Godiva chocolates with reference to Amelie. Narration the same and character (amelie the same) if anyone has more on this reference please advise however I am certain that is what the commercial was conveying/illustrating. —Preceding unsigned comment added by Taboooooooooo (talk • contribs) 04:57, 13 November 2010 (UTC)

Confusion about what is related to article topic
I removed material from the Influence section that did not have to do with the film, but a generic object within the film that appears in other work. Unless someone says "I put object/word/concept X in my film because I saw it in Amélie, then it doesn't belong in an encyclopedia. Wikipedia articles can't be cross-references to every use of a object/word/concept in the media, particularly when the creator of the media didn't say they did it intentionally, but it's original research speculation on the part of the editor. 98.210.208.107 (talk) 17:34, 15 April 2011 (UTC)

Russian language film? Really?
The infobox says that among the languages in the film there's Russian, and the article is categorized as a "Russian language film". I don't myself recall when we hear any Russian in the movie, but if there is, surely it's only a few sentences at one forgettable moment. Similarly, there is English in the movie as well (perhaps more than Russian), for example when Amélie tapes a program on TV with a handicapped black man dancing, he's speaking English, or when she's in the cinema watching an old American black and white film. So should we also categorize this film as an "English language film"?--Munin75 (talk) 12:55, 9 June 2012 (UTC)

 * I don't recall either, but it's been a long time since I've seen the film, and IMDB cites the languages as French and Russian. —sroc (talk) 14:08, 22 January 2013 (UTC)

 * I have removed it from the infobox. There's no Russian as far as I can tell, and if there is, it's clearly very brief and not of significance to the film. The infobox guidelines state we should "Insert the language primarily used in the film" and enter more than one "Only in rare cases of clearly bilingual or multilingual films". IMDb is, I think, in error here, and is not considered a reliable source in any case. Jellyman (talk) 10:24, 21 July 2015 (UTC)

 * One of the TV clips is in Russian (it's just after Amélie dissolves into water). — Preceding unsigned comment added by 31.185.192.188 (talk) 22:33, 16 April 2016 (UTC)

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So what is german here ?
I don't see any trace of Germany in this.--Ezzex (talk) 02:07, 5 April 2016 (UTC)
 * I understand where you are coming from E. One of the production companies was German. In this day and age the main way that films like this get made is through multination financing and German company is mentioned in Amélie so the inclusion in the infobox is proper - though I can understand how it seems "not quite right." MarnetteD|Talk 02:23, 5 April 2016 (UTC)

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discussion - removing Kaganski critique planned
I'm not sure why the Kaganski critic is included. The "...bygone French society..." is like saying a superhero film is bad because it is unrealistic or a science fiction movie is bad because we really don't know what the future looks like. I'd hazard a guess that we have a large percentage of unrealistic films such that this isn't a meaningful critique. It seems more like marketing for Kaganski and Les Inrockuptibles. 198.2.81.60 (talk) 22:25, 10 November 2019 (UTC)

North American Box Office
The current article specifically mentions the film's take in the US. However, in the cited source, that number is the Domestic Box Office, which is the US and Canada. Especially considering this film may have had an outsized reception in Canada where there is a large French speaking population, referring to the Domestic (US and Canada) box office as 'In the US' is inaccurate, and should be changed.

03:37, 15 April 2024 (UTC) 47.54.10.185 (talk) 03:37, 15 April 2024 (UTC)

title: Talk:Amélie