text:
Printing press
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the historical device. For the modern technology of printing, see printing.
Recreated Gutenberg press at the International Printing Museum, Carson, California
Part of a series on the
History of printing
Woodblock printing
200
Movable type
1040
Printing press
c. 1440
Etching
c. 1515
Mezzotint
1642
Aquatint
1772
Lithography
1796
Chromolithography
1837
Rotary press
1843
Hectograph
1869
Offset printing
1875
Hot metal typesetting
1884
Mimeograph
1886
Photostat and rectigraph
1907
Screen printing
1911
Spirit duplicator
1923
Dot matrix printing
1925
Xerography
1938
Phototypesetting
1949
Inkjet printing
1951
Dye-sublimation
1957
Laser printing
1969
Thermal printing
c. 1972
3D printing
1981
Solid Ink printing
1986
Digital printing
1991
v
t
e
A printing press is a device for applying pressure to an inked surface resting upon a print medium (such as paper or cloth), thereby transferring the ink. This was a dramatic improvement on earlier printing methods in which the cloth, paper or other medium was brushed or rubbed repeatedly to achieve the transfer of ink, and accelerated the process. Typically used for texts, the invention and spread of the printing press was one of the most influential events in the second millennium.[1][2]
The printing press was invented in the Holy Roman Empire by the German Johannes Gutenberg around 1440, based on existing screw presses. Gutenberg, a goldsmith by profession, developed a printing system, by adapting existing technologies to printing purposes, as well as making inventions of his own. His newly devised hand mould made possible the precise and rapid creation of metal movable type in large quantities. Movable type had been hitherto unknown in Europe. In East Asia, where it was invented, the usefulness of movable type was limited by the complexity of the writing system and, without the hand mould, the production of sorts (individual letters of type) was slow. In Europe, the two inventions, the hand mould and the printing press, together drastically reduced the cost of printing books and other documents, particularly in short print runs.
The printing press spread within several decades to over two hundred cities in a dozen European countries.[3] By 1500, printing presses in operation throughout Western Europe had already produced more than twenty million volumes.[3] In the 16th century, with presses spreading further afield, their output rose tenfold to an estimated 150 to 200 million copies.[3] The operation of a press became synonymous with the enterprise of printing, and lent its name to a new branch of media, "the press".[4]
In Renaissance Europe, the arrival of mechanical movable type printing introduced the era of mass communication, which permanently altered the structure of society. The relatively unrestricted circulation of information and (revolutionary) ideas transcended borders, captured the masses in the Reformation and threatened the power of political and religious authorities. The sharp increase in literacy broke the monopoly of the literate elite on education and learning and bolstered the emerging middle class. Across Europe, the increasing cultural self-awareness of its peoples led to the rise of proto-nationalism, and accelerated by the development of European vernacular languages, to the detriment of Latin's status as lingua franca.[5] In the 19th century, the replacement of the hand-operated Gutenberg-style press by steam-powered rotary presses allowed printing on an industrial scale.[6]
Contents
[hide]
1 History
1.1 Economic conditions and intellectual climate
1.2 Technological factors
2 Function and approach
3 Gutenberg's press
4 The Printing Revolution
4.1 Mass production and spread of printed books
4.2 Circulation of information and ideas
5 Book printing as art form
6 Industrial printing presses
6.1 Rotary press
7 Gallery
8 See also
9 Notes
10 References
11 External links
History
Main article: History of printing
Economic conditions and intellectual climate
See also: History of capitalism and Medieval university
Medieval university class (1350s)
The rapid economic and socio-cultural development of late medieval society in Europe created favorable intellectual and technological conditions for Gutenberg's invention: the entrepreneurial spirit of emerging capitalism increasingly made its impact on medieval modes of production, fostering economic thinking and improving the efficiency of traditional work-processes. The sharp rise of medieval learning and literacy amongst the middle class led to an increased demand for books which the time-consuming hand-copying method fell far short of accommodating.[7]
Technological factors
See also: History of Western typography and Medieval technology
Technologies preceding the press that led to the press's invention included: manufacturing of paper, development of ink, woodblock printing, and distribution of eye-glasses.[8] At the same time, a number of medieval products and technological processes had reached a level of maturity which allowed their potential use for printing purposes. Gutenberg took up these far-flung strands, combined them into one complete and functioning system, and perfected the printing process through all its stages by adding a number of inventions and innovations of his own:
Early modern wine press. Such screw presses were applied in Europe to a wide range of uses and provided Gutenberg with the model for his printing press.
The screw press which allowed direct pressure to be applied on flat-plane was already of great antiquity in Gutenberg's time and was used for a wide range of tasks.[9] Introduced in the 1st century AD by the Romans, it was commonly employed in agricultural production for pressing wine grapes and (olive) oil fruit, both of which formed an integral part of the mediterranean and medieval diet.[10] The device was also used from very early on in urban contexts as a cloth press for printing patterns.[11] Gutenberg may have also been inspired by the paper presses which had spread through the German lands since the late 14th century and which worked on the same mechanical principles.[12]
Gutenberg adopted the basic design, thereby mechanizing the printing process.[13] Printing, however, put a demand on the machine quite different from pressing. Gutenberg adapted the construction so that the pressing power exerted by the platen on the paper was now applied both evenly and with the required sudden elasticity. To speed up the printing process, he introduced a movable undertable with a plane surface on which the sheets could be swiftly changed.[14]
Movable type sorted in a letter case and loaded in a composing stick on top
The concept of movable type was not new in the 15th century; movable type printing had been invented in China during the Song dynasty, and was later used in Korea during the Goryeo Dynasty, where metal movable-type printing technology was developed in 1234.[15][16] In Europe, sporadic evidence that the typographical principle, the idea of creating a text by reusing individual characters, was well understood and employed in pre-Gutenberg Europe had been cropping up since the 12th century and possibly before. The known examples range from Germany (Prüfening inscription) to England (letter tiles) to Italy.[17] However, the various techniques employed (imprinting, punching and assembling individual letters) did not have the refinement and efficiency needed to become widely accepted.
Gutenberg greatly improved the process by treating typesetting and printing as two separate work steps. A goldsmith by profession, he created his type pieces from a lead-based alloy which suited printing purposes so well that it is still used today.[18] The mass production of metal letters was achieved by his key invention of a special hand mould, the matrix.[19] The Latin alphabet proved to be an enormous advantage in the process because, in contrast to logographic writing systems, it allowed the type-setter to represent any text with a theoretical minimum of only around two dozen different letters.[20]
Another factor conducive to printing arose from the book existing in the format of the codex, which had originated in the Roman period.[21] Considered the most important advance in the history of the book prior to printing itself, the codex had completely replaced the ancient scroll at the onset of the Middle Ages (500 AD).[22] The codex holds considerable practical advantages over the scroll format; it is more convenient to read (by turning pages), is more compact, less costly, and, in particular, unlike the scroll, both recto and verso could be used for writing − and printing.[23]
A paper codex of the acclaimed 42-line Bible, Gutenberg's major work
A fourth development was the early success of medieval papermakers at mechanizing paper manufacture. The introduction of water-powered paper mills, the first certain evidence of which dates to 1282,[24] allowed for a massive expansion of production and replaced the laborious handcraft characteristic of both Chinese[25] and Muslim papermaking.[26] Papermaking centres began to multiply in the late 13th century in Italy, reducing the price of paper to one sixth of parchment and then falling further; papermaking centers reached Germany a century later.[27]
Despite this it appears that the final breakthrough of paper depended just as much on the rapid spread of movable-type printing.[28] It is notable that codices of parchment, which in terms of quality is superior to any other writing material,[29] still had a substantial share in Gutenberg's edition of the 42-line Bible.[30] After much experimentation, Gutenberg managed to overcome the difficulties which traditional water-based inks caused by soaking the paper, and found the formula for an oil-based ink suitable for high-quality printing with metal type.[31]
Function and approach
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2015) (Learn how and when to remove this template message)
This woodcut from 1568 shows the left printer removing a page from the press while the one at right inks the text-blocks. Such a duo could reach 14,000 hand movements per working day, printing around 3,600 pages in the process.[32]
A printing press, in its classical form, is a standing mechanism, ranging from 5 to 7 feet (1.5 to 2.1 m) long, 3 feet (0.91 m) wide, and 7 feet (2.1 m) tall. Type, small metal letters that have a raised letter on one end, is arranged into pages and placed in a frame to make a forme, which itself is placed onto a flat stone, 'bed,' or 'coffin.' The text is inked using two balls, pads mounted on handles. The balls were made of dog skin leather, because it has no pores[33], and stuffed with sheep's wool and were inked. This ink was then applied to the text evenly. One damp piece of paper was then taken from a heap of paper and placed on the tympan. The paper was damp as this lets the type 'bite' into the paper better. Small pins hold the paper in place. The paper is now held between a frisket and tympan (two frames covered with paper or parchment).
These are folded down, so that the paper lies on the surface of the inked type. The bed is rolled under the platen, using a windlass mechanism. A small rotating handle is used called the 'rounce' to do this, and the impression is made with a screw that transmits pressure through the platen. To turn the screw the long handle attached to it is turned. This is known as the bar or 'Devil's Tail.' In a well-set-up press, the springiness of the paper, frisket, and tympan caused the bar to spring back and raise the platen, the windlass turned again to move the bed back to its original position, the tympan and frisket raised and opened, and the printed sheet removed. Such presses were always worked by hand. After around 1800, iron presses were developed, some of which could be operated by steam power.
Gutenberg's press
See also: Letterpress printing
Johannes Gutenberg's work on the printing press began in approximately 1436 when he partnered with Andreas Dritzehn—a man who had previously instructed in gem-cutting—and Andreas Heilmann, owner of a paper mill.[34] However, it was not until a 1439 lawsuit against Gutenberg that an official record existed; witnesses' testimony discussed Gutenberg's types, an inventory of metals (including lead), and his type molds.[34]
Having previously worked as a professional goldsmith, Gutenberg made skillful use of the knowledge of metals he had learned as a craftsman. He was the first to make type from an alloy of lead, tin, and antimony, which was critical for producing durable type that produced high-quality printed books and proved to be much better suited for printing than all other known materials. To create these lead types, Gutenberg used what is considered one of his most ingenious inventions,[34] a special matrix enabling the quick and precise molding of new type blocks from a uniform template. His type case is estimated to have contained around 290 separate letter boxes, most of which were required for special characters, ligatures, punctuation marks, and so forth.[35]
Gutenberg is also credited with the introduction of an oil-based ink which was more durable than the previously used water-based inks. As printing material he used both paper and vellum (high-quality parchment). In the Gutenberg Bible, Gutenberg made a trial of coloured printing for a few of the page headings, present only in some copies.[36] A later work, the Mainz Psalter of 1453, presumably designed by Gutenberg but published under the imprint of his successors Johann Fust and Peter Schöffer, had elaborate red and blue printed initials.[37]
The Printing Revolution
The Printing Revolution occurred when the spread of the printing press facilitated the wide circulation of information and ideas, acting as an "agent of change" through the societies that it reached. (Eisenstein (1980))
Mass production and spread of printed books
See also: Global spread of the printing press and List of early modern newspapers
Spread of printing in the 15th century from Mainz, Germany
The European book output rose from a few million to around one billion copies within a span of less than four centuries.[38]
The invention of mechanical movable type printing led to a huge increase of printing activities across Europe within only a few decades. From a single print shop in Mainz, Germany, printing had spread to no less than around 270 cities in Central, Western and Eastern Europe by the end of the 15th century.[39] As early as 1480, there were printers active in 110 different places in Germany, Italy, France, Spain, the Netherlands, Belgium, Switzerland, England, Bohemia and Poland.[3] From that time on, it is assumed that "the printed book was in universal use in Europe".[3]
In Italy, a center of early printing, print shops had been established in 77 cities and towns by 1500. At the end of the following century, 151 locations in Italy had seen at one time printing activities, with a total of nearly three thousand printers known to be active. Despite this proliferation, printing centres soon emerged; thus, one third of the Italian printers published in Venice.[40]
By 1500, the printing presses in operation throughout Western Europe had already produced more than twenty million copies.[3] In the following century, their output rose tenfold to an estimated 150 to 200 million copies.[3]
European printing presses of around 1600 were capable of producing about 1,500 impressions per workday.[41] By comparison, book printing in East Asia, did not use presses and was solely done by block printing.[42]
Of Erasmus's work, at least 750,000 copies were sold during his lifetime alone (1469–1536).[43] In the early days of the Reformation, the revolutionary potential of bulk printing took princes and papacy alike by surprise. In the period from 1518 to 1524, the publication of books in Germany alone skyrocketed sevenfold; between 1518 and 1520, Luther's tracts were distributed in 300,000 printed copies.[44]
The rapidity of typographical text production, as well as the sharp fall in unit costs, led to the issuing of the first newspapers (see Relation) which opened up an entirely new field for conveying up-to-date information to the public.[45]
Incunable are surviving pre-16th century print works which are collected by many of the libraries in Europe and North America.[46]
Circulation of information and ideas
See also: The Gutenberg Galaxy
"Modern Book Printing" sculpture, commemorating Gutenberg's invention on the occasion of the 2006 World Cup in Germany
The printing press was also a factor in the establishment of a community of scientists who could easily communicate their discoveries through the establishment of widely disseminated scholarly journals, helping to bring on the scientific revolution.[citation needed] Because of the printing press, authorship became more meaningful and profitable. It was suddenly important who had said or written what, and what the precise formulation and time of composition was. This allowed the exact citing of references, producing the rule, "One Author, one work (title), one piece of information" (Giesecke, 1989; 325). Before, the author was less important, since a copy of Aristotle made in Paris would not be exactly identical to one made in Bologna. For many works prior to the printing press, the name of the author has been entirely lost.[citation needed]
Because the printing process ensured that the same information fell on the same pages, page numbering, tables of contents, and indices became common, though they previously had not been unknown.[citation needed] The process of reading also changed, gradually moving over several centuries from oral readings to silent, private reading.[citation needed] Over the next 200 years, the wider availability of printed materials led to a dramatic rise in the adult literacy rate throughout Europe.[47]
The printing press was an important step towards the democratization of knowledge.[48][49] Within 50 or 60 years of the invention of the printing press, the entire classical canon had been reprinted and widely promulgated throughout Europe (Eisenstein, 1969; 52). Now that more people had access to knowledge both new and old, more people could discuss these works. Furthermore, now that book production was a more commercial enterprise, the first copyright laws were passed to protect what we now would call intellectual property rights.[citation needed] On the other hand, the printing press was criticized for allowing the dissemination of information which may have been incorrect.[50][51]
A second outgrowth of this popularization of knowledge was the decline of Latin as the language of most published works, to be replaced by the vernacular language of each area, increasing the variety of published works. The printed word also helped to unify and standardize the spelling and syntax of these vernaculars, in effect 'decreasing' their variability. This rise in importance of national languages as opposed to pan-European Latin is cited[who?] as one of the causes of the rise of nationalism in Europe.
A third consequence of popularization of printing was on the economy. Printing press was associated with higher levels of city growth.[52] Publication of trade related manuals and books teaching techniques like double-entry bookkeeping, increased reliability of trade and led to decline of merchant guilds and rise of individual traders.[53]
Book printing as art form
Page-setting room (ca. 1920)
For years, book printing was considered a true art form. Typesetting, or the placement of the characters on the page, including the use of ligatures, was passed down from master to apprentice. In Germany, the art of typesetting was termed the "black art", in allusion to the ink-covered printers. It has largely been replaced by computer typesetting programs, which make it easy to get similar results more quickly and with less physical labor. Some practitioners continue to print books the way Gutenberg did. For example, there is a yearly convention of traditional book printers in Mainz, Germany.
Some theorists, such as McLuhan, Eisenstein, Kittler, and Giesecke, see an "alphabetic monopoly" as having developed from printing, removing the role of the image from society. Other authors stress that printed works themselves are a visual medium. Certainly, modern developments in printing have revitalized the role of illustrations.
Industrial printing presses
At the dawn of the Industrial Revolution, the mechanics of the hand-operated Gutenberg-style press were still essentially unchanged, although new materials in its construction, amongst other innovations, had gradually improved its printing efficiency. By 1800, Lord Stanhope had built a press completely from cast iron which reduced the force required by 90%, while doubling the size of the printed area.[54] With a capacity of 480 pages per hour, it doubled the output of the old style press.[55] Nonetheless, the limitations inherent to the traditional method of printing became obvious.
Koenig's 1814 steam-powered printing press
Two ideas altered the design of the printing press radically: First, the use of steam power for running the machinery, and second the replacement of the printing flatbed with the rotary motion of cylinders. Both elements were for the first time successfully implemented by the German printer Friedrich Koenig in a series of press designs devised between 1802 and 1818.[56] Having moved to London in 1804, Koenig soon met Thomas Bensley and secured financial support for his project in 1807.[54] Patented in 1810, Koenig had designed a steam press "much like a hand press connected to a steam engine."[54] The first production trial of this model occurred in April 1811. He produced his machine with assistance from German engineer Andreas Friedrich Bauer.
Koenig and Bauer sold two of their first models to The Times in London in 1814, capable of 1,100 impressions per hour. The first edition so printed was on 28 November 1814. They went on to perfect the early model so that it could print on both sides of a sheet at once. This began the long process of making newspapers available to a mass audience (which in turn helped spread literacy), and from the 1820s changed the nature of book production, forcing a greater standardization in titles and other metadata. Their company Koenig & Bauer AG is still one of the world's largest manufacturers of printing presses today.
Rotary press
The steam powered rotary printing press, invented in 1843 in the United States by Richard M. Hoe,[57] allowed millions of copies of a page in a single day. Mass production of printed works flourished after the transition to rolled paper, as continuous feed allowed the presses to run at a much faster pace.
By the late 1930s or early 1940s, rotary presses had increased substantially in efficiency: a model by Platen Printing Press was capable of performing 2,500 to 3,000 impressions per hour.[citation needed]
Also, in the middle of the 19th century, there was a separate development of jobbing presses, small presses capable of printing small-format pieces such as billheads, letterheads, business cards, and envelopes. Jobbing presses were capable of quick set-up (average setup time for a small job was under 15 minutes) and quick production (even on treadle-powered jobbing presses it was considered normal to get 1,000 impressions per hour [iph] with one pressman, with speeds of 1,500 iph often attained on simple envelope work).[citation needed] Job printing emerged as a reasonably cost-effective duplicating solution for commerce at this time.
Gallery
Model of the Common Press, used from 1650 to 1850
Printing press from 1811
Stanhope press from 1842
Imprenta Press V John Sherwin from 1860
See also
General
Imprimatur
Printing
Typography
Printing presses
Adana Printing Presses
Albion press
Columbian Printing Press
Flexography
Vertical print press
Other inventions
Color printing
Lithography
Offset printing
Desktop publishing
Electronic publishing
Computer printer
Composing stick
Notes
Jump up ^ For example, in 1999, the A&E Network ranked Gutenberg no. 1 on their "People of the Millennium" countdown. In 1997, Time–Life magazine picked Gutenberg's invention as the most important of the second millennium; the same did four prominent US journalists in their 1998 resume 1,000 Years, 1,000 People: Ranking The Men and Women Who Shaped The Millennium. The Johann Gutenberg entry of the Catholic Encyclopedia describes his invention as having made a practically unparalleled cultural impact in the Christian era.
Jump up ^ McLuhan 1962; Eisenstein 1980; Febvre & Martin 1997; Man 2002
^ Jump up to: a b c d e f g Febvre, Lucien; Martin, Henri-Jean (1976): "The Coming of the Book: The Impact of Printing 1450-1800", London: New Left Books, quoted in: Anderson, Benedict: "Comunidades Imaginadas. Reflexiones sobre el origen y la difusión del nacionalismo", Fondo de cultura económica, Mexico 1993, ISBN 978-968-16-3867-2, pp. 58f.
Jump up ^ Weber 2006, p. 387:
At the same time, then, as the printing press in the physical, technological sense was invented, 'the press' in the extended sense of the word also entered the historical stage. The phenomenon of publishing was born.
Jump up ^ Anderson, Benedict: "Comunidades Imaginadas. Reflexiones sobre el origen y la difusión del nacionalismo", Fondo de cultura económica, Mexico 1993, ISBN 978-968-16-3867-2, pp.63–76
Jump up ^ Gerhardt 1978, p. 217
Jump up ^ Eisenstein 1980; Febvre & Martin 1997; Man 2002
Jump up ^ Jones, Colin. The Cambridge Illustrated History of France (1st ed.). Cambridge University Press. p. 133. ISBN 0-521-43294-4.
Jump up ^ Wolf 1974, pp. 21–35
Jump up ^ Onken 2009; White 1984, pp. 31f.; Schneider 2007, pp. 156–159
Jump up ^ Schneider 2007, p. 158
Jump up ^ Schulte 1939, p. 56
Jump up ^ Wolf 1974, pp. 39f.
Jump up ^ Wolf 1974, pp. 39–46
Jump up ^ Tsien Tsuen-Hsuin; Joseph Needham (1985). Paper and Printing. Science and Civilisation in China. 5 part 1. Cambridge University Press. p. 158,201.
Jump up ^ Briggs, Asa and Burke, Peter (2002) A Social History of the Media: from Gutenberg to the Internet, Polity, Cambridge, pp.15-23, 61-73.
Jump up ^ Germany: Brekle 1995, pp. 23–26; Brekle 1997, p. 62; Brekle 2005, p. 25; England: Lehmann-Haupt 1940, pp. 93–97; Brekle 1997, p. 62; Italy: Lipinsky 1986, pp. 75–80; Koch 1994, p. 213. Lipinsky surmises that this typographical technique was known in Constantinople from the 10th to 12th century and that the Venetians received it from there (p. 78).
Jump up ^ Encyclopædia Britannica 2006: "Printing", retrieved 27 November 2006
Jump up ^ Childress 2008, pp. 51–55
Jump up ^ Childress 2008, pp. 51–55; Hellinga 2007, p. 208:
Gutenberg's invention took full advantage of the degree of abstraction in representing language forms that was offered by the alphabet and by the Western forms of script that were current in the fifteenth century.
Jump up ^ Roberts & Skeat 1983, pp. 24–30
Jump up ^ Roberts & Skeat 1983, pp. 1, 38–67, 75:
The most momentous development in the history of the book until the invention of printing was the replacement of the roll by the codex; this we may define as a collection of sheets of any material, folded double and fastened together at the back or spine, and usually protected by covers. (p. 1)
Jump up ^ Roberts & Skeat 1983, pp. 45–53. Technically speaking, a scroll could be written on its back side, too, but the very few ancient specimen found indicate that this was never considered a viable option. (p. 46)
Jump up ^ Burns 1996, p. 418
Jump up ^ Thompson 1978, p. 169; Tsien 1985, p. 68−73; Lucas 2005, p. 28, fn. 70
Jump up ^ Thompson 1978, p. 169; Burns 1996, pp. 414–417
Jump up ^ Burns 1996, p. 417
Jump up ^ Febvre & Martin 1997, pp. 41–44; Burns 1996, p. 419:
In the West, the only inhibiting expense in the production of writings for an increasingly literate market was the manual labor of the scribe himself. With his mechanization by movable-type printing in the 1440s, the manufacture of paper, until then relatively confined, began to spread very widely. The Paper Revolution of the thirteenth century thus entered a new era.
Jump up ^ Roberts & Skeat 1983, pp. 7f.:
Despite all that has been said above, even the strongest supporters of papyrus would not deny that parchment of good quality is the finest writing material ever devised by man. It is immensely strong, remains flexible indefinitely under normal conditions, does not deteriorate with age, and possesses a smooth, even surface which is both pleasant to the eye and provides unlimited scope for the finest writing and illumination.
Jump up ^ The ratio between paper and parchment copies is estimated at around 150 to 30 (Hanebutt-Benz 2000, pp. 158–189).
Jump up ^ Childress 2008, p. 60
Jump up ^ Wolf 1974, pp. 67f.:
From old price tables it can be deduced that the capacity of a printing press around 1600, assuming a fifteen-hour workday, was between 3,200 and 3,600 impressions per day.
Jump up ^ [1] RIND Survey (The Press Institute of India- Research Institute for Newspaper Development) June 2015, p14
^ Jump up to: a b c Meggs, Philip B. A History of Graphic Design. John Wiley & Sons, Inc. 1998. (pp 58–69) ISBN 0-471-29198-6
Jump up ^ Mahnke 2009, p. 290
Jump up ^ Kapr 1996, p. 172
Jump up ^ Kapr 1996, p. 203
Jump up ^ Buringh & van Zanden 2009, p. 417, table 2
Jump up ^ "Incunabula Short Title Catalogue". British Library. Retrieved 2 March 2011.
Jump up ^ Borsa 1976, p. 314; Borsa 1977, p. 166−169
Jump up ^ Pollak, Michael (1972). "The performance of the wooden printing press". The library quarterly. 42 (2): 218–264. Retrieved 10 May 2017.
Jump up ^ Needham 1965, p. 211:
The outstanding difference between the two ends of the Old World was the absence of screw-presses from China, but this is only another manifestation of the fact that this basic mechanism was foreign to that culture.
Widmann 1974, p. 34, fn. 14:
In East Asia, both woodblock and movable type printing were manual reproduction techniques, that is hand printing.
Duchesne 2006, p. 83; Man 2002, pp. 112–115:
Chinese paper was suitable only for calligraphy or block-printing; there were no screw-based presses in the east, because they were not wine-drinkers, didn’t have olives, and used other means to dry their paper.
Jump up ^ Issawi 1980, pp. 492
Jump up ^ Duchesne 2006, p. 83
Jump up ^ Weber 2006, pp. 387f.
Jump up ^ The British Library Incunabula Short Title Catalogue gives 29,777 separate editions (not copies) as of 8 January 2008, which however includes some print items from the 16th century (retrieved 11 March 2010). According to Bettina Wagner: "Das Second-Life der Wiegendrucke. Die Inkunabelsammlung der Bayerischen Staatsbibliothek", in: Griebel, Rolf; Ceynowa, Klaus (eds.): "Information, Innovation, Inspiration. 450 Jahre Bayerische Staatsbibliothek", K G Saur, München 2008, ISBN 978-3-598-11772-5, pp. 207–224 (207f.), the Incunabula Short Title Catalogue lists 28,107 editions published before 1501.
Jump up ^ Peck, Josh. “The State of Publishing: Literacy Rates.” McSweeney’s Internet Tendency. McSweeney, 5 July 2011. Web. 28 August 2014.
Jump up ^ Malte Herwig, "Google's Total Library", Spiegel Online International, Mar. 28, 2007.
Jump up ^ Howard Rheingold, "Moblogs Seen as a Crystal Ball for a New Era in Online Journalism", Online Journalism Review, Jul. 9, 2009.
Jump up ^ Julia C. Crick; Alexandra Walsham (2004). The uses of script and print, 1300–1700. Cambridge University Press. p. 20. ISBN 978-0-521-81063-0. Retrieved 25 March 2011.
Jump up ^ Nick Bilton (14 September 2010). I Live in the Future & Here's How It Works: Why Your World, Work, and Brain Are Being Creatively Disrupted. Random House Digital, Inc. p. 53. ISBN 978-0-307-59111-1. Retrieved 25 March 2011.
Jump up ^ Jeremiah Dittmar. "Information technology and economic change: The impact of the printing press". VoxEU. Retrieved 3 August 2017.
Jump up ^ Prateek Raj. "How the Postal System and the Printing Press Transformed European Markets". Evonomics. Retrieved 3 August 2017.
^ Jump up to: a b c Meggs, Philip B. A History of Graphic Design. John Wiley & Sons, Inc. 1998. (pp 130–133) ISBN 0-471-29198-6
Jump up ^ Bolza 1967, p. 80
Jump up ^ Bolza 1967, p. 88
Jump up ^ Meggs, Philip B. (1998). A History of Graphic Design (Third ed.). John Wiley & Sons, Inc. p. 147. ISBN 978-0-471-29198-5.
References
On the effects of the printing press
Boruchoff, David A. (2012), "The Three Greatest Inventions of Modern Times: An Idea and Its Public", in Klaus Hock; Gesa Mackenthun, Entangled Knowledge: Scientific Discourses and Cultural Difference, Münster: Waxmann, pp. 133–163, ISBN 978-3-8309-2729-7
Buringh, Eltjo; van Zanden, Jan Luiten (2009), "Charting the "Rise of the West": Manuscripts and Printed Books in Europe, A Long-Term Perspective from the Sixth through Eighteenth Centuries", The Journal of Economic History, 69 (2): 409–445, doi:10.1017/s0022050709000837
Eisenstein, Elizabeth L. (1980), The Printing Press as an Agent of Change, Cambridge University Press, ISBN 0-521-29955-1
Eisenstein, Elizabeth L. (2005), The Printing Revolution in Early Modern Europe (2nd, rev. ed.), Cambridge University Press, ISBN 0-521-60774-4 [More recent, abridged version]
Febvre, Lucien; Martin, Henri-Jean (1997), The Coming of the Book: The Impact of Printing 1450–1800, London: Verso, ISBN 1-85984-108-2
Man, John (2002), The Gutenberg Revolution: The Story of a Genius and an Invention that Changed the World, London: Headline Review, ISBN 978-0-7472-4504-9
McLuhan, Marshall (1962), The Gutenberg Galaxy: The Making of Typographic Man (1st ed.), University of Toronto Press, ISBN 978-0-8020-6041-9
Technology of printing
Bechtel, G. (1992), Gutenberg et l'invention de l'imprimerie, Paris: Fayard, ISBN 2-213-02865-6
Bolza, Hans (1967), "Friedrich Koenig und die Erfindung der Druckmaschine", Technikgeschichte, 34 (1): 79–89
Borsa, Gedeon (1976), "Druckorte in Italien vor 1601", Gutenberg-Jahrbuch: 311–314
Borsa, Gedeon (1977), "Drucker in Italien vor 1601", Gutenberg-Jahrbuch: 166–169
Brekle, Herbert E. (1995), "Eine weitere Spur einer typographischen Werkstatt beim Kloster Prüfening im 12. Jahrhundert", Gutenberg-Jahrbuch, 70: 23–26
Brekle, Herbert E. (1997), "Das typographische Prinzip. Versuch einer Begriffsklärung", Gutenberg-Jahrbuch, 72: 58–63
Brekle, Herbert E. (2005), Die Prüfeninger Weihinschrift von 1119. Eine paläographisch-typographische Untersuchung (brief summary), Regensburg: Scriptorium Verlag für Kultur und Wissenschaft, ISBN 3-937527-06-0
Burns, Robert I. (1996), "Paper comes to the West, 800–1400", in Lindgren, Uta, Europäische Technik im Mittelalter. 800 bis 1400. Tradition und Innovation (4th ed.), Berlin: Gebr. Mann Verlag, pp. 413–422, ISBN 3-7861-1748-9
Childress, Diana (2008), Johannes Gutenberg and the Printing Press, Minneapolis: Twenty-First Century Books, ISBN 978-0-7613-4024-9
Ch'on Hye-bong: "Typography in Korea", Koreana, Vol. 7, No. 2 (1993), pp. 10–19
Stearns, Peter N (ed.). Encyclopedia of World History (6 ed.). The Houghton Mifflin Company/ Bartleby.com. Citation
Crompton, Samuel Willard (2004), The Printing Press. Transforming Power of Technology, Philadelphia: Chelsea House Publishers, ISBN 0-7910-7451-X
Duchesne, Ricardo (2006), "Asia First?", The Journal of the Historical Society, 6 (1): 69–91, doi:10.1111/j.1540-5923.2006.00168.x
Fontaine, Jean-Paul (1999), L'aventure du livre: Du manuscrit medieval a nos jours, Paris: Bibliothèque de l'image
Gerhardt, Claus W. (1971), "Warum wurde die Gutenberg-Presse erst nach über 350 Jahren durch ein besseres System abgelöst?", Gutenberg-Jahrbuch: 43–57
Gerhardt, Claus W. (1978), "Besitzt Gutenbergs Erfindung heute noch einen Wert?", Gutenberg-Jahrbuch: 212–217
Hanebutt-Benz, Eva-Maria (2000), "Gutenbergs Erfindungen", Gutenberg. Aventur und Kunst: Vom Geheimunternehmen zur ersten Medienrevolution, Mainz: Stadt Mainz, pp. 158–189
Hellinga, Lotte (2007), "The Gutenberg Revolutions", in Eliot, Simon; Rose, Jonathan, A Companion to the History of the Book, Blackwell Publishing, pp. 207–220, ISBN 978-1-4051-2765-3
Hind, Arthur M., An Introduction to a History of Woodcut, Houghton Mifflin Co. 1935 (in USA), reprinted Dover Publications, 1963 ISBN 0-486-20952-0
Issawi, Charles (1980), "Europe, the Middle East and the Shift in Power: Reflections on a Theme by Marshall Hodgson", Comparative Studies in Society and History, 22 (4): 487–504, doi:10.1017/s001041750000949x
Kapr, Albert (1996), Johannes Gutenberg. The Man and his Invention, Aldershot: Scolar, ISBN 1-85928-114-1
Koch, Walter (1994), Literaturbericht zur mittelalterlichen und neuzeitlichen Epigraphik (1985–1991), Monumenta Germaniae Historica: Hilfsmittel, 14, München, p. 213, ISBN 978-3-88612-114-4
Lehmann-Haupt, Hellmut (1940), "Englische Holzstempelalphabete des XIII. Jahrhunderts", Gutenberg-Jahrbuch: 93–97
Lipinsky, Angelo (1986), "La pala argentea del Patriarca Pellegrino nella Collegiata di Cividale e le sue iscrizioni con caratteri mobili", Ateneo Veneto, 24: 75–80
Lucas, Adam Robert (2005), "Industrial Milling in the Ancient and Medieval Worlds. A Survey of the Evidence for an Industrial Revolution in Medieval Europe", Technology and Culture, 46 (1): 1–30, doi:10.1353/tech.2005.0026
Mahnke, Helmut (2009), Der kunstreiche Johannes Gutenberg und die Frühzeit der Druckkunst, Norderstedt: Books on Demand, ISBN 978-3-8370-5041-7
Needham, Joseph: "Science and Civilisation in China", Physics and Physical Technology (Vol. 4), Mechanical Engineering (Part 2), Cambridge University Press, 1965
Onken, Björn (2009), "Presses", in Cancik, Hubert; Schneider, Helmuth, Brill's New Pauly
Encyclopædia Britannica 2006: "Printing". Retrieved 27 November 2006
Roberts, Colin H.; Skeat, T. C. (1983), The Birth of the Codex, London: Oxford University Press, ISBN 0-19-726024-1
Schneider, Helmuth (2007), "Technology", in Scheidel, Walter; Morris, Ian; Saller, Richard, The Cambridge Economic History of the Greco-Roman World, Cambridge University Press, pp. 144–171, ISBN 978-0-521-78053-7
Schulte, Alfred (1939), "Papierpresse, Druckerpresse und Kelter", Gutenberg-Jahrbuch: 52–56
Thompson, Susan (1978), "Paper Manufacturing and Early Books", Annals of the New York Academy of Sciences, 314: 167–176, doi:10.1111/j.1749-6632.1978.tb47791.x
Tsien, Tsuen-Hsuin (1985), Paper and Printing, Science and Civilisation in China, Chemistry and Chemical Technology (Vol. 5, Part 1), Cambridge University Press
Weber, Johannes (2006), "Strassburg, 1605: The Origins of the Newspaper in Europe", German History, 24 (3): 387–412, doi:10.1191/0266355406gh380oa
White, K. D. (1984), Greek and Roman Technology, London: Thames and Hudson
Widmann, Hans (1974), "Der koreanische Buchdruck und Gutenbergs Erfindung", Gutenberg-Jahrbuch: 32–34
Wolf, Hans-Jürgen (1974), Geschichte der Druckpressen (1st ed.), Frankfurt/Main: Interprint
External links
Wikimedia Commons has media related to Printing press.
Centre for the History of the Book
Gutenberg printing − Photos of Incunabula and the Gutenberg Bible (1455)
Internet Archive: Printing (1947) − a film from the Prelinger Archives explaining the printing industry
[hide]
v
t
e
Letterpress printing
History of printing
Printer
Ways to make
impressions
Movable type
Type casting
Type metal
Punchcutter
Matrix
Blocks and plates
Stereotype
Logographic printing
Wood engraving
Electrotype
Zinc etching
Typesetting
Manual typesetting
Type case
Composing stick
Sort
Slug
Strut
Reglet
Furniture
Leading
Quoin
Chase
Forme
Hellbox
Hot metal typesetting
Linotype machine
Monotype System
Ludlow Typograph
Intertype Machine
Paige Compositor
Printing press
Parts of a press
Platen
Frisket
Tympan
Bed
Inking
Offset ink
Ink ball
Composition roller
Types of presses
Hand press
Stanhope
Columbian
Albion
Jobbing press
Golding & Company
Chandler & Price
Colt's Armory
Cylinder press
Rotary press
Other equipment
Folding machine
Paper cutter
Addressograph
Related arts
Typography
Bookbinding
Printmaking
Papermaking
Authority control
GND: 4523304-4
Retrieved from "https://en.wikipedia.org/w/index.php?title=Printing_press&oldid=804471745"
Categories:
Printing
Johannes Gutenberg
1445 introductions
Textual scholarship
Hidden categories:
Wikipedia indefinitely semi-protected pages
Use dmy dates from August 2017
Articles needing additional references from April 2015
All articles needing additional references
All articles with unsourced statements
Articles with unsourced statements from November 2009
Articles with unsourced statements from May 2010
All articles with specifically marked weasel-worded phrases
Articles with specifically marked weasel-worded phrases from March 2015
Wikipedia articles with GND identifiers
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
View source
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikimedia Commons
Languages
Afrikaans
العربية
Aragonés
Asturianu
Azərbaycanca
বাংলা
Беларуская (тарашкевіца)
Български
Bosanski
Català
Čeština
Cymraeg
Dansk
Deutsch
Eesti
Español
Esperanto
Euskara
فارسی
Français
Frysk
Galego
贛語
한국어
Հայերեն
हिन्दी
Hrvatski
Ido
Bahasa Indonesia
Íslenska
Italiano
עברית
ಕನ್ನಡ
Latina
Magyar
मराठी
Nederlands
Norsk
Occitan
ਪੰਜਾਬੀ
Papiamentu
Patois
Polski
Português
Русский
Scots
Shqip
Sicilianu
Simple English
Српски / srpski
Srpskohrvatski / српскохрватски
Suomi
Svenska
தமிழ்
తెలుగు
Türkçe
Українська
اردو
Tiếng Việt
Winaray
粵語
中文
Edit links
This page was last edited on 9 October 2017, at 06:26.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

attrs: class id

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

attrs: role class

values:
note
hatnote navigation-not-searchable

values:
/wiki/Solid_Ink_printing
mw-redirect
Solid Ink printing

values: width:22em;border-collapse:collapse; border-spacing:0px; border:none; width:100%; margin:0px; font-size:100%; clear:none; float:none

values: float:right;clear:right;width:22.0em;margin:0 0 1.0em 1.0em;background:#f9f9f9;border:1px solid #aaa;padding:0.2em;border-spacing:0.4em 0;text-align:center;line-height:1.4em;font-size:88%

values:
/wiki/Spread_of_the_printing_press
mw-redirect
Spread of the printing press

values:
/wiki/Sorts
mw-redirect mw-disambig
Sorts

values:
/wiki/Protestant_Reformation
mw-redirect
Protestant Reformation

values:
/wiki/Vernacular_language
mw-redirect
Vernacular language

values:
/wiki/Rotary_press
mw-redirect
Rotary press

values:
/wiki/Industrial_age
mw-redirect
Industrial age

values: History of science and technology in China

values:
/wiki/Goryeo_Dynasty
mw-redirect
Goryeo Dynasty

values:
/wiki/Typographical_principle
mw-redirect
Typographical principle

values:
/wiki/Letter_tiles
mw-redirect
Letter tiles

values:
/wiki/Classical_Antiquity
mw-redirect
Classical Antiquity

values:
/wiki/42-line_Bible
mw-redirect
42-line Bible

values: Help:Introduction to referencing with Wiki Markup/1

values: plainlinks metadata ambox ambox-content ambox-Unreferenced

values:
/wiki/Elizabeth_L._Eisenstein
mw-redirect
Elizabeth L. Eisenstein

values:
/wiki/List_of_early_modern_newspapers
mw-redirect
List of early modern newspapers

values:
/wiki/Block_printing
mw-redirect
Block printing

values:
/wiki/Relation_(journal)
mw-redirect
Relation (journal)

values:
/wiki/2006_World_Cup
mw-redirect
2006 World Cup

values: This claim needs references to reliable sources. (November 2009)

values:
noprint Inline-Template Template-Fact
white-space:nowrap;

values: This claim needs references to reliable sources. (May 2010)

values: The material near this tag possibly uses too-vague attribution or weasel words. (March 2015)

values: Wikipedia:Manual of Style/Words to watch

values:
/wiki/Double-entry_bookkeeping
mw-redirect
Double-entry bookkeeping

values:
/wiki/Ligature_(typography)
mw-redirect
Ligature (typography)

values:
/wiki/Metadata_(computing)
mw-redirect
Metadata (computing)

values:
/wiki/Koenig_%26_Bauer_AG
mw-redirect
Koenig & Bauer AG

values:
/wiki/Richard_M._Hoe
mw-redirect
Richard M. Hoe

values:
/wiki/Jobbing_presses
mw-redirect
Jobbing presses

values:
/wiki/Columbian_Printing_Press
mw-redirect
Columbian Printing Press

values:
/wiki/Computer_printer
mw-redirect
Computer printer

values:
/wiki/A%26E_Network
mw-redirect
A&E Network

values:
nofollow
external text
http://www.mainz.de/gutenberg/g2000.htm

values:
/wiki/Christian_era
mw-redirect
Christian era

values:
/wiki/Tsien_Tsuen-Hsuin
mw-redirect
Tsien Tsuen-Hsuin

values:
nofollow
external text
http://www.jstor.org/stable/4306163

values: -moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;

values:
nofollow
external text
http://www.typeforum.de/news_332.htm

values:
nofollow
external text
http://www.typeforum.de/news_308.htm

values:
nofollow
external text
http://www.bartleby.com/67/index.html

values:
nofollow
external text
//doi.org/10.1017%2Fs001041750000949x

values:
nofollow
external text
//doi.org/10.1353%2Ftech.2005.0026

values:
/wiki/Brill%27s_New_Pauly
mw-redirect
Brill's New Pauly

values:
nofollow
external text
//doi.org/10.1191%2F0266355406gh380oa

values:
nofollow
http://www.chb.hss.ed.ac.uk/
external text

values:
/wiki/Zinc_etching
mw-redirect
Zinc etching

values:
navbox-image
4
width:1px;padding:0px 0px 0px 2px

values:
/wiki/Stanhope_press
mw-redirect
Stanhope press

values:
/wiki/Colt%27s_Armory_Press
mw-redirect
Colt's Armory Press

values:
/wiki/Cylinder_press
mw-redirect
Cylinder press

values: nowraplinks hlist collapsible autocollapse navbox-inner

values:
nofollow
external text
http://d-nb.info/gnd/4523304-4

values: Category:Wikipedia indefinitely semi-protected pages

values: Category:Articles needing additional references from April 2015

values: Category:All articles needing additional references

values: Category:All articles with unsourced statements

values: Category:Articles with unsourced statements from November 2009

values: Category:Articles with unsourced statements from May 2010

values: Category:All articles with specifically marked weasel-worded phrases

values: Category:Articles with specifically marked weasel-worded phrases from March 2015

values: Category:Wikipedia articles with GND identifiers

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values:
/wiki/Printing_press
View the content page [ctrl-alt-c]
c

values:
This page is protected.
You can view its source [ctrl-alt-e]

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

values:
uls-settings-trigger
Language settings
0
button
true

values:
https://af.wikipedia.org/wiki/Drukpers
Drukpers – Afrikaans
af
af
interlanguage-link-target

values: آلة الطباعة – Arabic

values:
https://an.wikipedia.org/wiki/Imprenta
Imprenta – Aragonese
an
an
interlanguage-link-target

values:
https://ast.wikipedia.org/wiki/Imprenta
Imprenta – Asturian
ast
ast
interlanguage-link-target

values: ছাপাখানা – Bangla

values: Друкарскі варштат – Belarusian (Taraškievica orthography)

values: Печатна преса – Bulgarian

values:
https://ca.wikipedia.org/wiki/Impremta
Impremta – Catalan
ca
ca
interlanguage-link-target

values:
https://es.wikipedia.org/wiki/Imprenta
Imprenta – Spanish
es
es
interlanguage-link-target

values: چاپ فشاری – Persian

values:
https://fy.wikipedia.org/wiki/Drukparse
Drukparse – Western Frisian
fy
fy
interlanguage-link-target

values:
https://gl.wikipedia.org/wiki/Imprenta
Imprenta – Galician
gl
gl
interlanguage-link-target

values: Տպագրահաստոց – Armenian

values: मुद्रणालय – Hindi

values: מכונת דפוס – Hebrew

values: ಮುದ್ರಣ ಯಂತ್ರ – Kannada

values: छापखाना – Marathi

values:
https://nl.wikipedia.org/wiki/Drukpers
Drukpers – Dutch
nl
nl
interlanguage-link-target

values: ਛਾਪਾਖ਼ਾਨਾ – Punjabi

values:
https://pap.wikipedia.org/wiki/Imprenta
Imprenta – Papiamento
pap
pap
interlanguage-link-target

values: Ручной типографский станок – Russian

values:
https://scn.wikipedia.org/wiki/Stampa
Stampa – Sicilian
scn
scn
interlanguage-link-target

values: Штампарска машина – Serbian

values:
https://fi.wikipedia.org/wiki/Painokone
Painokone – Finnish
fi
fi
interlanguage-link-target

values: அச்சு இயந்திரம் – Tamil

values: ముద్రణా యంత్రం – Telugu

values: Друкарський верстат – Ukrainian

values: مطبعہ – Urdu

values:
https://war.wikipedia.org/wiki/Imprenta
Imprenta – Waray
war
war
interlanguage-link-target

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Printing_press rootpage-Printing_press vector-experimental-print-styles vector-nav-directionality skin-vector action-view


text:
Ain't We Got Fun
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the 1937 Merrie Melodies cartoon, see Ain't We Got Fun (film).
Ain't We Got Fun
by Richard A. Whiting
Cover page to the sheet music
Genre
Popular
Form
foxtrot
Text
by Raymond B. Egan and Gus Kahn
Melody
by Richard A. Whiting
Performed
1920 (1920)
Published
1921
Ain't We Got Fun?
Recorded by Billy Jones in 1921 for Edison Records.
Problems playing this file? See media help.
Wikisource has full lyrics and sheet music:
Ain't We Got Fun
"Ain't We Got Fun" is a popular foxtrot published in 1921 with music by Richard A. Whiting, lyrics by Raymond B. Egan and Gus Kahn.
It was first performed in 1920 in the Fanchon and Marco revue Satires of 1920, then moved into vaudeville and recordings. "Ain't We Got Fun?" and its jaunty response to poverty and its promise of fun ("Every morning / Every evening," and "In the meantime, / In between time") have become symbolic of the Roaring Twenties, and it appears in some of the major literature of the decade, including The Great Gatsby by F. Scott Fitzgerald and in Dorothy Parker's award-winning short story of 1929, "Big Blonde." The song also contains variations on the phrase "The rich get richer and the poor get poorer" (substituting, e.g., "children" for "poorer"); though this phrase predates the song, its use increased with the song's popularity.
Contents
[hide]
1 Composition
2 Reception and performance history
3 Notable recordings
4 In popular culture
5 References
Composition[edit]
"Ain't We Got Fun" follows the structure of a foxtrot.[1] The melody uses mainly quarter notes, and has an unsyncopated refrain made up largely of variations on a repeated four-note phrase.[2][3][4] The Tin Pan Alley Song Encyclopedia describes it as a "Roaring Twenties favourite" and praises its vibrancy, "zesty music," and comic lyrics.[5]
Philip Furia, connecting Kahn's lyrics to the song's music, writes that:
Not only does Kahn use abrupt, colloquial—even ungrammatical—phrases, he abandons syntax for the telegraphic connections of conversation. Truncated phrases like not much money are the verbal equivalent of syncopated musical fragments.[6]
—  Philip Furia, The Poets of Tin Pan Alley: A History of America's Great Lyricists
Critical appraisals vary regarding what view of poverty the song's lyrics take. Nicholas E. Tawa summarizes the refrain "Ain't we got fun" as a "satirical and jaunty rejoinder" toward hard times.[2] Diane Holloway and Bob Cheney, authors of American History in Song: Lyrics from 1900 to 1945, concur, and describe the black humor in the couple's relief that their poverty shields them from worrying about damage to their nonexistent Pierce Arrow luxury automobile.[7]
Yet George Orwell highlights the lyrics of "Ain't We Got Fun" as an example of working class unrest:
All through the war and for a little time afterwards there had been high wages and abundant employment; things were now returning to something worse than normal, and naturally the working class resisted. The men who had fought had been lured into the army by gaudy promises, and they were coming home to a world where there were no jobs and not even any houses. Moreover, they had been at war and were coming home with a soldier's attitude to life, which is fundamentally, in spite of discipline, a lawless attitude. There was a turbulent feeling in the air.[8]
—  George Orwell, The Road to Wigan Pier
After quoting a few of the song's lines Orwell refers to the era as a time when "people had not yet settled down to a lifetime of unemployment mitigated by endless cups of tea," a turn of phrase which the later writer Larry Portis contests.[8][9]
He [Orwell] could just as easily have concluded that the song revealed a certain fatalism, a resignation and even capitulation to forces beyond the control of working people. Indeed, it might be only a small step from saying, "Ain't we got fun" in the midst of hardship to the idea that the poor are happier than the rich—because, as the Beatles intoned, "Money can't buy me love." It is possible that "Aint We Got Fun," a product of the music industry (as opposed to "working-class culture") was part of a complex resolution of crisis in capitalist society. Far from revealing the indomitable spirit of working people, it figured into the means with which they were controlled. It is a problem of interpretation laying at the heart of popular music, one which emerged with particular clarity at the time of the English Industrial Revolution. [9]
—  Larry Portis, Soul Trains
However, others concentrate on the fun that they got. Stephen J. Whitfield, citing lyrics such as "Every morning / Every evening / Ain't we got fun," writes that the song "set the mood which is indelibly associated with the Roaring Twenties," a decade when pleasure was sought and found constantly, morning, evening, and "In the meantime / In between time."[10] Philip Furia and Michael Lasser see implicit references to sexual intercourse in lyrics such as "the happy chappy, and his bride of only a year."[11] Looked at in the context of the 1920s, an era of increasing sexual freedom, they point out that, while here presented within the context of marriage (in other songs it is not), the sexuality is notably closer to the surface than in previous eras and is presented as a delightful, youthful pleasure.[11][12]
There are several variations on the lyrics. For example, American History in Song[7] quotes the lyrics:
They won't smash up our Pierce Arrow,
We ain't got none
They've cut my wages
But my income tax will be so much smaller
When I'm paid off,
I'll be laid off
Ain't we got fun?
The sheet music published in 1921 by Jerome K. Remick and Co. leaves this chorus out completely,[13] whereas a recording for Edison Records by Billy Jones keeps the reference to the Pierce Arrow, but then continues as in the sheet music: "There's nothing surer / The rich get rich and the poor get laid off / In the meantime,/ In between time/ Ain't we got fun?"[14]
Reception and performance history[edit]
It premièred in the Fanchon and Marco show Satires of 1920, where it was sung by Arthur West, then entered the vaudeville repertoire of Ruth Roye.[15] A hit recording by Van and Schenck increased its popularity,[15] and grew into a popular standard.
The song appears in the F. Scott Fitzgerald novel The Great Gatsby, when Daisy Buchanan and Gatsby meet again after many years, and the latter insists Klipspringer, his apparently permanent "guest," to play it for them.[10][16] It also appears in Dorothy Parker's 1929 short story, "Big Blonde."[17] Warner Brothers used the song in two musicals during the early 1950s: The Gus Kahn biopic I'll See You in My Dreams and The Eddie Cantor Story.[15] Woody Allen used the song in his 1983 film Zelig.[18]
Notable recordings[edit]
Van and Schenk (1921)
Benson Orchestra of Chicago (1921)
Billy Jones (1922).[19]
Bob Hope and Margaret Whiting (1949) (Margaret_Whiting#Singles)
Doris Day for her album By the Light of the Silvery Moon (1953)
Gordon MacRae and June Hutton - for the Capitol Records EP By the Light of the Silvery Moon (1953).[20]
Alma Cogan - for her album I Love to Sing (1958)
Peggy Lee for her album Jump for Joy (1959)
Bing Crosby and Rosemary Clooney - recorded the song for their radio show in 1960 and it was subsequently released on CD.[21]
Renee Olstead for the Kit Kittredge: An American Girl soundtrack (2008)
Charlie Hunter for his album Public Domain (2010)
In popular culture[edit]
The song was sung by an off-screen chorus during the title sequence and concluding scene in the 1950 comedy, The Jackpot starring James Stewart.
The instrumental tune is heard at a party during a sequence set in the 1920s in the 1942 biopic, The Pride of the Yankees. Actress Teresa Wright sings part of the song's actual lyrics as well.
The song was featured in the film By the Light of the Silvery Moon (1953), and performed by Doris Day and Gordon MacRae. Day and MacRae also dance to it in On Moonlight Bay (1951)—anachronistically, since the movie is set during the First World War, before the song was written.
British emo/post-hardcore band Baby Harp Seal's song "Eric Arthur Blair" incorporates lyrics from "Ain't We Got Fun?" as well as numerous references to George Orwell and The Road to Wigan Pier.
It was used as a late 1970s commercial jingle for Little Friskies Cat Food.
It appears in the film adaptation of the novel from 1974, The Great Gatsby, directed by Jack Clayton.
"Ain't We Got Fun?" was used in season 3 of True Blood as Eric Northman's ring tone.
Trixie Trotter sings the song in Episode 2 of Back to the Future: The Game.
In "Surrender Benson," season 15, episode 1 of Law & Order: SVU, serial rapist/murderer William Lewis can be seen/heard singing along with the song as he drives down the road with a kidnapped Detective Olivia Benson in a drugged/alcoholic stupor on the floor of the back seat.[22]
The song was featured in the 1937 Merrie Melodies cartoon Ain't We Got Fun.
The new Play-Doh Town commercials have a jingle set to this tune.
The song was used and covered by actors in the independent film "Suffering Cassandra ".
In season 2 of Jessica Jones, Jessica's mother Alisa plays the song on her grand piano until the crying of her neighbor's infant causes her to destroy the piano in a fit of rage. Jessica later finds sheet music for the song on a tablet when she finds the house.
References[edit]
Jump up ^ Fixing the Blame for Jazz by Edward C. Barroll From The Metronome of September 1922. Republished in Karl Koenig, ed. (2002). Jazz in Print (1856-1929): An Anthology of Selected Early Readings in Jazz History. Pendragon Press. pp. 205–206. Retrieved 2008-10-03.
^ Jump up to: a b Nicholas E. Tawa (2005). Supremely American: Popular Song in the 20th Century: Styles and Singers and What They Said About America. Scarecrow Press. p. 33. Retrieved 2008-09-30.
Jump up ^ Philip Furia (1992). The Poets of Tin Pan Alley: A History of America's Great Lyricists. Oxford University Press Press. ISBN 0-19-507473-4. , page 76.
Jump up ^ Simon Frith (2004). Popular Music: Critical Concepts in Media and Cultural Studies. Routledge. p. 149. Retrieved 2008-10-03.
Jump up ^ Thomas S. Hischak (2002), The Tin Pan Alley Song Encyclopedia, Greenwood Press, ISBN 0-313-31992-8, page 8.
Jump up ^ Philip Furia (1990). The Poets of Tin Pan Alley: A History of America's Great Lyricists. Oxford University Press US. p. 76. Retrieved 2008-09-29.
^ Jump up to: a b Diane Holloway and Bob Cheney (2001). American History in Song: Lyrics from 1900 to 1945. iUniverse.com. pp. 203–204. Retrieved 2008-09-30.
^ Jump up to: a b George Orwell (1958). The Road to Wigan Pier. Taylor & Francis. pp. 140–141. Retrieved 2008-09-30.
^ Jump up to: a b Larry Portis (2002). Soul Trains. Virtualbookworm Publishing. pp. 145–146. Retrieved 2008-09-30.
^ Jump up to: a b Stephen J. Whitfield (2001). In Search of American Jewish Culture. UPNE. pp. 94–95. Retrieved 2008-09-30.
^ Jump up to: a b Philip Furia, Michael Lasser (2006). America's Songs: The Stories Behind the Songs of Broadway, Hollywood, and Tin Pan Alley. CRC Press. p. 56. Retrieved 2008-09-30.
Jump up ^ Catherine Gourley (2007). Flappers and the New American Woman: Perceptions of Women from 1918 Through the 1920s. Twenty-First Century Books. p. 60. Retrieved 2008-09-30.
Jump up ^ Richard A. Whiting, Raymond B. Egan and Gus Kahn, (1921) Ain't We Got Fun, Jerome K. Remick and Co., New York
Jump up ^ Billy Jones (1921), performing "Ain't We Got Fun" by Richard A. Whiting, Raymond B. Egan and Gus Kahn, Edison Records Edison Blue Amberol #4309.
^ Jump up to: a b c David A. Jasen (2002). A Century of American Popular Music: 2000 Best-loved and Remembered Songs (1899-1999). Taylor & Francis. pp. 203–204. Retrieved 2008-09-30.
Jump up ^ F. Scott Fitzgerald, (1925) The Great Gatsby, Project Gutenberg. (Chapter 5)
Jump up ^ Dorothy Parker's "The Big Blonde," in The Vicious Circle: Mystery and Crime Stories by Members of the Algonquin Round Table (2007), edited by Otto Penzler, published by Pegasus Books, ISBN 1-933648-67-8. p. 115.
Jump up ^ George Orwell (1995). Woody Allen on Woody Allen: In Conversation With Stig Bjorkman. Woody Allen, Stig Bjorkman. p. 273. Retrieved 2008-09-30.
Jump up ^ Whitburn, Joel (1986). Joel Whitburn's Pop Memories 1890-1954. Wisconsin, USA: Record Research Inc. p. 468. ISBN 0-89820-083-0.
Jump up ^ "Discogs.com". Discogs.com. Retrieved October 30, 2017.
Jump up ^ "A Bing Crosby Discography". BING magazine. International Club Crosby. Retrieved October 30, 2017.
Jump up ^ Zimmer, Chris. "Law & Order SVU "Surrender Benson—Imprisoned Lives" Recap & Review". All Things Law & Order. Retrieved 26 September 2013.
[hide]
v
t
e
Doris Day
Solo albums
You're My Thrill (1949)
Young Man with a Horn (1950)
Tea for Two (1950)
Lullaby of Broadway (1951)
On Moonlight Bay (1951)
I'll See You in My Dreams (1951)
By the Light of the Silvery Moon (1953)
Calamity Jane (1953)
Young at Heart (1954)
Love Me or Leave Me (1955)
Day Dreams (1955)
Day by Day (1956)
The Pajama Game (1957)
Day by Night (1957)
Hooray for Hollywood (1958; 1959)
Cuttin' Capers (1959)
What Every Girl Should Know (1960)
Show Time (1960)
Bright and Shiny (1961)
I Have Dreamed (1961)
Duet (1962)
You'll Never Walk Alone (1962)
Billy Rose's Jumbo (1962)
Annie Get Your Gun (1963)
Love Him (1963)
The Doris Day Christmas Album (1964)
With a Smile and a Song (1964)
Latin for Lovers (1965)
Doris Day's Sentimental Journey (1965)
The Love Album (1994)
My Heart (2011)
Singles
"Again"
"Ain't We Got Fun"
"Any Way the Wind Blows"
"By the Light of the Silvery Moon"
"Confess"
"The Deadwood Stage (Whip-Crack-Away!)"
"Everybody Loves a Lover"
"If I Give My Heart to You"
"If You Were the Only Girl (In the World)"
"It's Magic"
"Love Somebody"
"Lullaby of Broadway"
"Move Over Darling"
"My Darling, My Darling"
"My Dreams Are Getting Better All the Time"
"My Love and Devotion"
"Que Sera, Sera (Whatever Will Be, Will Be)"
"Secret Love"
"Sentimental Journey"
"Thoughtless"
"(Why Did I Tell You I Was Going To) Shanghai"
"Sugar Bush"
"You Should Have Told Me"
Related articles
Discography
Filmography
Awards and nominations
Doris Day Animal League
The Doris Day Show
episodes
George Weidler (second husband)
Martin Melcher (third husband)
Terry Melcher (son)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Ain%27t_We_Got_Fun&oldid=832879835"
Categories:
1921 songs
Foxtrots
Songs with lyrics by Raymond B. Egan
Songs with lyrics by Gus Kahn
Doris Day songs
Songs with music by Richard A. Whiting
Hidden categories:
Articles with hAudio microformats
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Français
Edit links
This page was last edited on 28 March 2018, at 13:52.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

key: html

type: local

value: div

attrs: id class

values: mw-page-base noprint

values: mw-head-base noprint

value: a

attrs: id class lang

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

attrs: href title

values:
note
hatnote navigation-not-searchable

value: th

attrs: colspan class style

value: tr

value: td

attrs: colspan style

value: img

attrs: alt src width height srcset data-file-width data-file-height

attrs: href class

values: position: absolute; top: 0px; left: 110px; right: 0px; bottom: 0px; height: 0px; width: 0px;

values: left: 50%; top: 50%; margin-left: -35px; margin-top: -27.5px;

values: width:220px width: 220px; position: relative;

values:
/wiki/Billy_Jones_(singer)
mw-redirect
Billy Jones (singer)

values:
/wiki/Wikipedia:Media_help
mw-redirect
Wikipedia:Media help

attrs: alt src width height class srcset data-file-width data-file-height

values:
/wiki/Black_humor
mw-redirect
Black humor

values:
/wiki/Pierce_Arrow
mw-redirect
Pierce Arrow

values: Edit section: Reception and performance history

values:
/wiki/Pop_standard
mw-redirect
Pop standard

values:
/wiki/Warner_Brothers
mw-redirect
Warner Brothers

values:
/wiki/Van_and_Schenk
mw-redirect
Van and Schenk

values: By the Light of the Silvery Moon (album)

values: Kit Kittredge: An American Girl (soundtrack)

values:
/wiki/True_Blood_(TV_series)
mw-redirect
True Blood (TV series)

values: -moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;

values:
Doris_Day
fn
font-size:114%;margin:0 4em

values:
row
navbox-group
width:1%;background: #EEEEEE;

values: Young at Heart (Doris Day and Frank Sinatra album)

values: You'll Never Walk Alone (Doris Day album)

values: Annie Get Your Gun (Doris Day and Robert Goulet album)

values: List of awards and nominations received by Doris Day

values: nowraplinks vcard collapsible autocollapse navbox-inner

values: Category:Songs with lyrics by Raymond B. Egan

values: Category:Songs with music by Richard A. Whiting

values: Category:Articles with hAudio microformats

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Ain%27t_We_Got_Fun
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Ain_t_We_Got_Fun rootpage-Ain_t_We_Got_Fun skin-vector action-view


text:
Victoria & Abdul
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Victoria & Abdul
British release poster
Directed by
Stephen Frears
Produced by
Tim Bevan
Eric Fellner
Beeban Kidron
Tracey Seaward
Screenplay by
Lee Hall
Based on
Victoria & Abdul
by Shrabani Basu
Starring
Judi Dench
Ali Fazal
Eddie Izzard
Adeel Akhtar
Paul Higgins
Michael Gambon
Music by
Thomas Newman
Cinematography
Danny Cohen
Edited by
Melanie Ann Oliver
Production
company
BBC Films
Perfect World Pictures
Working Title Films
Cross Street Films
Distributed by
Universal Pictures (UK)
Release date
September 3, 2017 (2017-09-03) (Venice)
September 15, 2017 (2017-09-15) (United Kingdom)
Running time
111 minutes[1]
Country
United Kingdom
Language
English
Box office
$65.4 million[2]
Victoria & Abdul is a 2017 British biographical comedy-drama film directed by Stephen Frears and written by Lee Hall. The film is based on the book of same name by Shrabani Basu, about the real-life relationship between Queen Victoria of the United Kingdom and her Indian Muslim servant Abdul Karim. It stars Judi Dench, Ali Fazal, Michael Gambon, Eddie Izzard, Tim Pigott-Smith and Adeel Akhtar. The film had its world premiere at the 74th Venice Film Festival, and was theatrically released on 15 September 2017 in the United Kingdom. It has grossed over $65 million worldwide.[2]
The film was nominated for Best Costume Design and Best Makeup and Hairstyling at the 90th Academy Awards, and Best Actress in a Motion Picture – Musical or Comedy (for Dench) at the 75th Golden Globe Awards.
Contents
[hide]
1 Plot
2 Cast
3 Production
4 Release
5 Reception
6 Accolades
7 References
8 External links
Plot[edit]
Abdul Karim, a young prison clerk from Agra, India, is instructed to travel to England for Queen Victoria's Golden Jubilee in 1887 to present her with a mohur, a gold coin which has been minted as a token of appreciation from British-ruled India.
The Queen, who is lonely and tired of her fawning courtiers, develops an interest in and later a friendship with Abdul. She spends time with him alone, and promotes him to become her Munshi. She asks him to teach her Urdu and the Qur'an. When Victoria discovers that he is married, she invites his wife and mother-in-law to join him to England. They arrive wearing black Burqas, to the consternation of the household.
While Victoria treats Abdul as a son, his preferment is resented by her household and inner circle, including her son Bertie and the Prime Minister. The household plots to undermine their relationship, hoping that Abdul will be sent home. When Victoria embarrasses herself by recounting to the court the one-sided account of the Indian Mutiny that Abdul had told her, Victoria's faith and trust in him are shaken and she decides he must go home. But the following day she changes her mind and asks him to stay. She gives Abdul a bejewelled locket with her photograph.
Victoria's interest in India grows, and at her Isle of Wight home of Osborne House, she has the Durbar Room built for state functions, elaborately decorated with carvings by Bhai Ram Singh in an intricate style, and with a carpet from Agra. She hangs portraits of Indians in the House. She tells the household that she intends to give Abdul a knighthood.
The Prime Minister is adamant that the royal household must find a way to get rid of Abdul. They research his family background in India, and present Victoria with a dossier to show that his family is more ordinary and poor than Abdul has told her. When Victoria insists her doctor examine Abdul to find out why his wife has not fallen pregnant, he discovers that Abdul has gonorrhea, and rushes to tell the Queen, expecting her to dismiss him in disgust. However, Victoria remains loyal to Abdul and admonishes her courtiers for plotting against him.
Eventually the household decides that, if Victoria does not break with Abdul, they will all resign. They also threaten to certify Victoria as insane. When Victoria is told, she angrily summons the entire household to the Durbar Room and demands that anyone who wants to resign step forward. When none do so, she tells them she has decided not to make Abdul a knight, but to include him in her next honours list as a Commander of the Royal Victorian Order.
When Victoria falls ill, she urges Abdul to return to India, while she can still provide him with protection. She warns him that when she dies, the court will turn on him, but Abdul insists that he will stay with Victoria until the end of her life. In 1901, Victoria dies, and her son Bertie, now Edward VII, rejects Abdul, burning all the gifts and papers he has received from the Queen, and sending him and his family back to India. Abdul's wife manages to save the locket for him. It is revealed that Abdul lived in India until his death eight years later in 1909. The film ends with Abdul kneeling at a large statue of the Queen close to the Taj Mahal, talking to it and kissing its feet in respect.
Cast[edit]
Judi Dench as Queen Victoria
Ali Fazal as Abdul Karim
Eddie Izzard as Bertie, Prince of Wales
Adeel Akhtar as Mohammed
Tim Pigott-Smith as Sir Henry Ponsonby
Olivia Williams as Jane Spencer, Baroness Churchill
Fenella Woolgar as Miss Phipps
Paul Higgins as Sir James Reid, Physician to the Queen
Robin Soans as Arthur Bigge
Julian Wadham as Alick Yorke
Simon Callow as Mr. Puccini
Michael Gambon as Lord Salisbury
Production[edit]
On 17 June 2016, it was reported that Judi Dench would play Queen Victoria in Victoria & Abdul, a film based on the book of the same name by Shrabani Basu. Stephen Frears was set to direct.[3] Dench had also portrayed Victoria in the 1997 film Mrs Brown.[3] On 5 August 2016, it was announced that Ali Fazal would play Victoria's confidant Abdul Karim, while the film would be co-produced by Working Title Films and BBC Films, and co-financed by BBC and Focus Features.[4] Focus also handles U.S. distribution rights, while Universal Pictures International handles all other countries. The script was written by Lee Hall, and the producers are Beeban Kidron, Tracey Seaward, Tim Bevan, and Eric Fellner, while the other cast includes Eddie Izzard, Michael Gambon, Tim Pigott-Smith, and Adeel Akhtar.[4]
Principal photography on the film began on 15 September 2016, at Victoria's former royal residence Osborne House on the Isle of Wight in the United Kingdom.[5][6]
Costumes from the production were on display at Osborne House, from 24 July until 30 September 2017.[7] To capitalise on the renewed interest in Victoria arising from both the film and the concurrent second season of ITV's Victoria television series, the Isle of Wight Tourist Board has created a 'Victoria's Island Trail' encouraging tourists to visit the key locations on the island that have connections to the Queen.[8]
The production also filmed at The Chatham Historic Dockyard, Kent on The HMS Gannet and the quayside adjacent to the ship.[9]
Release[edit]
Victoria & Abdul was released for audiences in the United Kingdom on 15 September 2017.
Reception[edit]
On review aggregator website Rotten Tomatoes, the film has an approval rating of 66% based on 175 reviews, with an average rating of 6.2/10. The site’s critical consensus reads, "Victoria & Abdul reunites Dame Judi Dench with the role of Queen Victoria — which is all this period drama needs to overcome its imbalanced narrative."[10] On Metacritic, the film has a weighted average score of 58 out of 100, based on 34 critics, indicating "mixed or average reviews".[11]
In the Women's Voices for Change, Alexandra MacAaron, who rated the movie eight out of ten, wrote that "Judi Dench's Oscar-worthy second turn as Queen Victoria is a poignant portrait of fading power and human connection."[12] Christopher Orr's response from The Atlantic was positive, and he wrote "Victoria & Abdul is worth seeing for Dench's magisterial performance and for Frears's light but sure directorial touch. Just don't mistake it for actual history."[13]
Writing for The Independent, Amrou Al-Kadhi was highly critical: "Films like Victoria & Abdul seek to absolve our barbaric behaviour in colonised countries." He criticised the white-washing of the British Raj and the "offensive two-dimensionality" of Abdul's character, who is shown kissing the feet of Queen Victoria and expressing gratitude for being among the "glorious people" of the British Empire.[14]
In the Daily Express, critic Andy Lea rated the film two out of five, describing Abdul's character as "disappointingly servile" and criticising the plot as "decent material for a knockabout farce", but praising Dench as "predictably brilliant".[15] In his 4-out-of-4-rated review, Rex Reed in the New York Observer wrote: "Judi Dench gives a touching, majestic performance" and, complimenting the script and direction, he said that "every scene is gorgeous to look at, every shot magnificently detailed and richly framed. And the exemplary performances are as good as it gets in movies today."[16]
Accolades[edit]
Year
Award/Festival
Category
Nominee(s)
Result
2017 26th Heartland Film Festival Truly Moving Picture Award Stephen Frears Won
21st Hollywood Film Awards Hollywood Film Composer Award Thomas Newman Won
2018 14th North Texas Film Critics Association Best Actress Judi Dench Nominated
7th AACTA International Awards Best Actress Nominated
75th Golden Globe Awards Best Actress in a Motion Picture – Musical or Comedy Nominated
24th Screen Actors Guild Awards Outstanding Performance by a Female Actor in a Leading Role Nominated
38th London Film Critics Circle Awards British/Irish Actress of the Year Nominated
17th AARP Movies for Grownups Awards Best Actress Nominated
22nd Satellite Awards Best Actress Nominated
Best Adapted Screenplay Lee Hall Nominated
Best Costume Design Consolata Boyle Nominated
71st British Academy Film Awards Best Makeup and Hair Daniel Phillips and Lou Sheppard Nominated
90th Academy Awards Best Makeup and Hairstyling Nominated
Best Costume Design Consolata Boyle Nominated
References[edit]
Jump up ^ "VICTORIA AND ABDUL (PG)". Universal Pictures Int (UK) . British Board of Film Classification. Retrieved August 22, 2017.
^ Jump up to: a b "Victoria and Abdul (2017)". Box Office Mojo. Retrieved January 22, 2017.
^ Jump up to: a b Ritman, Alex (June 17, 2016). "Judi Dench to play Queen Victoria in Stephen Frears' 'Victoria and Abdul'". The Hollywood Reporter. Retrieved June 18, 2016.
^ Jump up to: a b Jaafar, Ali (August 5, 2016). "Stephen Frears' 'Victoria and Abdul' Adds Ali Fazal And Eddie Izzard; Working Title-BBC Co-Pro, Focus Co-Fi And Distributing". Deadline.com. Retrieved August 8, 2016.
Jump up ^ Cooley, Isobel (September 15, 2016). "'Victoria and Abdul' filming starts today at Osborne House". On The Wight. Retrieved September 16, 2016.
Jump up ^ Moreno, Jon (September 15, 2016). "Dame Judi Dench filming at Osborne House for new Queen Victoria movie". Isle of Wight County Press. Retrieved September 16, 2016.
Jump up ^ "Iconic Judi Dench film costumes to go on display at Queen Victoria's former home". The Daily Mirror. Retrieved 23 July 2017.
Jump up ^ "Victoria initiative to increase Isle of Wight tourism". Isle of Wight County Press. Isle of Wight Country Press. Retrieved 21 October 2017.
Jump up ^ Kent Film Office. "Kent Film Office Victoria and Abdul Article".
Jump up ^ "Victoria & Abdul (2017)". Rotten Tomatoes. Retrieved 21 February 2018.
Jump up ^ "Victoria & Abdul reviews". Metacritic. Retrieved 21 February 2018.
Jump up ^ ""Long Live the Queen!" Judi Dench Rules in Victoria and Abdul".
Jump up ^ Orr, Christopher. "The Lightweight Appeal of 'Victoria & Abdul'".
Jump up ^ Al-Kadhi, Amrou. "Victoria and Abdul is another dangerous example of British filmmakers whitewashing colonialism". The Independent. Retrieved 18 September 2017.
Jump up ^ Lea, Andy. "Victoria and Abdul review: An interesting true story that feels like a cop-out". Daily Express. Retrieved 18 September 2017.
Jump up ^ Reed, Rex. "Victoria and Abdul review: Judi Dench Gives a Touching, Majestic Performance in 'Victoria and Abdul'". New York Observer. Retrieved 20 October 2017.
External links[edit]
Official website
Victoria & Abdul on IMDb
[show]
v
t
e
Stephen Frears filmography
Feature films
Gumshoe (1971)
The Hit (1984)
My Beautiful Laundrette (1985)
Prick Up Your Ears (1987)
Sammy and Rosie Get Laid (1987)
Dangerous Liaisons (1988)
The Grifters (1990)
Hero (1992)
Mary Reilly (1996)
The Van (1996)
The Hi-Lo Country (1998)
High Fidelity (2000)
Liam (2000)
Dirty Pretty Things (2002)
Mrs Henderson Presents (2005)
The Queen (2006)
Chéri (2009)
Tamara Drewe (2010)
Lay the Favorite (2012)
Philomena (2013)
The Program (2015)
Florence Foster Jenkins (2016)
Victoria & Abdul (2017)
Television
Three Men in a Boat (1975)
Me! I'm Afraid of Virginia Woolf (1978)
Afternoon Off (1979)
Bloody Kids (1979)
Walter (1982)
Walter and June (1983)
Saigon: Year of the Cat (1983)
December Flower (1984)
The Bullshitters: Roll Out The Gunbarrel (1984)
Mr. Jolly Lives Next Door (1987)
The Snapper (1993)
Fail Safe (2000)
The Deal (2003)
Muhammad Ali's Greatest Fight (2013)
A Very English Scandal (2018)
[show]
v
t
e
Works by Lee Hall
Films
Billy Elliot (2000)
Gabriel & Me (2001)
Pride & Prejudice (2005)
The Wind in the Willows (2006)
Toast (2010)
War Horse (2011)
Victoria & Abdul (2017)
Musicals / opera
Billy Elliot the Musical (2005)
Beached (2011)
Plays
I Luv You Jimmy Spud (1995)
The Love Letters of Ragie Patel (1997)
The Sorrows of Sandra Saint (1997)
Spoonface Steinberg (1997)
Cooking with Elvis (1999)
NE1 (2000)
The Chain Play (2001)
Child of the Snow (2005)
Two's Company (2005)
The Pitmen Painters (2007)
Shakespeare in Love (2014)
Our Ladies of Perpetual Succour (2015)
Network (2017)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Victoria_%26_Abdul&oldid=837852906"
Categories:
2017 films
English-language films
British films
British biographical films
American drama films
British drama films
BBC Films films
Cultural depictions of Queen Victoria on film
Drama films based on actual events
Films scored by Thomas Newman
Films about old age
Films based on non-fiction books
Films directed by Stephen Frears
Films produced by Tim Bevan
Films produced by Eric Fellner
Films set in the Victorian era
Films set in 1887
Films set in 1901
Films set in England
Films set in Florence
Films set in India
Films set in London
Films set in Scotland
Films shot in Agra
Films shot in Delhi
Films shot in Hertfordshire
Films shot in London
Films shot in Scotland
Films shot in Surrey
Films shot in Yorkshire
Working Title Films films
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikimedia Commons
Languages
Български
Dansk
Deutsch
Español
فارسی
Français
한국어
Հայերեն
Bahasa Indonesia
Italiano
עברית
Nederlands
Norsk
Polski
Português
Русский
Türkçe
Українська
اردو
Tiếng Việt
中文
12 more
Edit links
This page was last edited on 23 April 2018, at 12:35.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

value: i

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

attrs: alt src width height class data-file-width data-file-height

attrs: scope style

value: li

values:
/wiki/74th_Venice_Film_Festival
mw-redirect
74th Venice Film Festival

values: Academy Award for Best Makeup and Hairstyling

values: Golden Globe Award for Best Actress – Motion Picture Comedy or Musical

values: Robert Gascoyne-Cecil, 3rd Marquess of Salisbury

values:
/wiki/Bhai_Ram_Singh
mw-redirect
Bhai Ram Singh

values:
/wiki/Arthur_Bigge
mw-redirect
Arthur Bigge

values:
/wiki/Universal_Pictures_International
mw-redirect
Universal Pictures International

values: Women's Voices for Change (page does not exist)

values:
headerSort
0
columnheader button
Sort ascending

values: background: #99FF99; color: black; vertical-align: middle; text-align: center;

values: background: #FDD; color: black; vertical-align: middle; text-align: center;

values: AACTA International Award for Best Actress

values: Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Leading Role

values: Satellite Award for Best Actress – Motion Picture

values: Satellite Award for Best Adapted Screenplay

values: Universal Pictures Int (UK) (page does not exist)

values:
/wiki/The_Daily_Mirror
mw-redirect
The Daily Mirror

values:
nofollow
https://www.imdb.com/title/tt5816682/
external text

values:
/wiki/Walter_(film)
mw-redirect
Walter (film)

values: nowraplinks collapsible autocollapse navbox-inner

values: Category:Cultural depictions of Queen Victoria on film

values: Category:Drama films based on actual events

values: Category:Films based on non-fiction books

values: Category:Films directed by Stephen Frears

values:
catlinks mw-normal-catlinks
catlinks mw-normal-catlinks
interface

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Victoria_%26_Abdul
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

values: Довереникът на кралицата – Bulgarian

values:
interlanguage-link interwiki-bg
display: none;

values:
interlanguage-link interwiki-da
display: none;

values: ویکتوریا و عبدل – Persian

values:
interlanguage-link interwiki-fa
display: none;

values: 빅토리아 & 압둘 – Korean

values: Վիկտորիան և Աբդուլը – Armenian

values:
interlanguage-link interwiki-hy
display: none;

values:
interlanguage-link interwiki-it
display: none;

values: להעיר את המלכה – Hebrew

values:
interlanguage-link interwiki-he
display: none;

values:
interlanguage-link interwiki-nl
display: none;

values:
interlanguage-link interwiki-no
display: none;

values:
interlanguage-link interwiki-pl
display: none;

values: Виктория и Абдул – Russian

values:
interlanguage-link interwiki-tr
display: none;

values: Вікторія та Абдул – Ukrainian

values:
interlanguage-link interwiki-uk
display: none;

values: وکٹوریا اینڈ عبدل – Urdu

values: Victoria & Abdul: Nữ hoàng & tri kỷ – Vietnamese

values:
interlanguage-link interwiki-vi
display: none;

values: 维多利亚与阿卜杜勒 – Chinese

values: All languages (initial selection from common choices by you and others)

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Victoria_Abdul rootpage-Victoria_Abdul skin-vector action-view