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The Winds of Winter (Game of Thrones)
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For the forthcoming novel by George R. R. Martin of the same name, see The Winds of Winter.
"The Winds of Winter"
Game of Thrones episode
Daenerys Targaryen sails to Westeros to take the Iron Throne
Episode no.
Season 6
Episode 10
Directed by
Miguel Sapochnik
Written by
David Benioff
D. B. Weiss
Featured music
Ramin Djawadi
Cinematography by
Fabian Wagner
Editing by
Tim Porter
Original air date
June 26, 2016 (2016-06-26)
Running time
68 minutes[1]
Guest appearance(s)
Diana Rigg as Olenna Tyrell
David Bradley as Walder Frey
Julian Glover as Grand Maester Pycelle
Anton Lesser as Qyburn
Joseph Mawle as Benjen Stark
Finn Jones as Loras Tyrell
Ian Gelder as Kevan Lannister
Roger Ashton-Griffiths as Mace Tyrell
Jacob Anderson as Grey Worm
Gemma Whelan as Yara Greyjoy
Ellie Kendrick as Meera Reed
Eugene Simon as Lancel Lannister
Keisha Castle-Hughes as Obara Sand
Rosabell Laurenti Sellers as Tyene Sand
Jessica Henwick as Nymeria Sand
Rupert Vansittart as Yohn Royce
Tim McInnerny as Robett Glover
Hafþór Júlíus Björnsson as Gregor Clegane
Hannah Waddingham as Septa Unella
Daniel Tuite as Lothar Frey
Tim Plester as Walder Rivers
Robert Aramayo as young Ned Stark
Aisling Franciosi as Lyanna Stark
Frank Hvam as Citadel maester
Bella Ramsey as Lyanna Mormont
Josephine Gillan as Marei
Sara Dylan as handmaiden
Sabrina Bartlett as Arya's disguise
Dermot Ward as an attendant
Aron Hegarty as Tommen's servant
Sean Blowers as Wyman Manderly
Tom Varey as Cley Cerwyn
Nathanael Saleh as Arthur
Annette Hannah as Frances
Jesse Magee as a little bird
Lucy Gallagher as a little bird
Fionn Kernan as a little bird
Michael Nevin as a little bird
Iona Clarke as a little bird
Episode chronology
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"Dragonstone"
Game of Thrones (season 6)
List of Game of Thrones episodes
"The Winds of Winter" is the tenth and final episode of the sixth season of HBO's fantasy television series Game of Thrones, and the sixtieth overall. It was written by series co-creators David Benioff and D. B. Weiss, and directed by Miguel Sapochnik.
In King's Landing, Cersei Lannister (Lena Headey) sets off wildfire beneath the Great Sept, killing its occupants, including the High Sparrow (Jonathan Pryce) and Queen Margaery Tyrell (Natalie Dormer), causing the suicide of King Tommen Baratheon (Dean-Charles Chapman). Cersei subsequently claims the Iron Throne. At the Twins, Arya Stark (Maisie Williams) kills Walder Frey (David Bradley). At Winterfell, Jon Snow (Kit Harington) is declared King in the North by the lords of the Northern houses, and beyond the Wall, Bran Stark (Isaac Hempstead-Wright) learns that Jon is the son of Lyanna Stark. In the Reach, Samwell Tarly (John Bradley) arrives at the Citadel, coinciding with their announcement that winter has come. In Essos, Daenerys Targaryen (Emilia Clarke) begins heading to Westeros alongside Tyrion Lannister (Peter Dinklage), her entire army, the Ironborn loyal to Yara Greyjoy, the Tyrells, the Martells, and her three dragons.
"The Winds of Winter" received acclaim from critics, listing it as one of the series' best episodes, with Matt Fowler of IGN calling it "very surprising and satisfying." Critics praised the Great Sept explosion, Lena Headey's performance, Arya's revenge on the Freys, the resolution to the Tower of Joy flashback, and Daenerys going to Westeros as highlights of the episode. In the United States, the episode achieved a viewership of 8.89 million in its initial broadcast, making it the highest rated episode in the series' history at that time. It was nominated for several awards, including Headey for the Emmy for Outstanding Supporting Actress, and won the Emmy for Outstanding Costumes.
Contents
[hide]
1 Plot
1.1 In King's Landing
1.2 At Oldtown
1.3 At Winterfell
1.4 In Dorne
1.5 At the Twins
1.6 Beyond the Wall
1.7 In Meereen
2 Production
2.1 Writing
2.2 Casting
2.3 Filming
2.4 Costuming
2.5 Musical score
3 Reception
3.1 Ratings
3.2 Critical reception
3.3 Accolades
4 References
5 External links
Plot[edit]
In King's Landing[edit]
On the day of Cersei Lannister's and Loras Tyrell's trials, the High Sparrow and the Faith gather in the Great Sept. Loras confesses to his crimes and atones by giving up his name and title, and joins the Faith Militant. In the Red Keep, Cersei remains in her chambers, while Qyburn summons Grand Maester Pycelle to his laboratory, where his child spies stab Pycelle to death.
After Cersei fails to appear, Lancel Lannister is sent to retrieve her. Lancel follows one of Cersei's spies beneath the Sept, and finds a wildfire cache about to explode. He is stabbed before he can disarm the cache. Inside the Sept, Margaery Tyrell, realizing that Cersei has set a trap, warns the crowd to leave, but the High Sparrow prevents anyone from leaving. The wildfire ignites and destroys the Great Sept, killing everyone inside. King Tommen Baratheon witnesses the explosion from the Red Keep and commits suicide by jumping out a window.
As Jaime Lannister and Bronn return from the Riverlands, they view the burning ruins of the Great Sept. Jaime subsequently arrives at the Red Keep to witness Cersei being crowned Queen of the Seven Kingdoms.
At Oldtown[edit]
As Samwell Tarly and Gilly arrive at Oldtown, they witness the Citadel releasing countless white ravens to announce the arrival of winter. They report to the Citadel, and Sam is scheduled to meet the Archmaester. In the meantime, Sam is granted access to the library.
At Winterfell[edit]
Davos Seaworth confronts Melisandre about Shireen's death. Melisandre admits to burning Shireen alive, but points out that she did it for the Lord of Light. Davos rebuts by saying that Stannis was defeated anyway and that Melisandre's actions were all for naught, forcing her to admit that she was wrong. Davos requests permission from Jon Snow to execute Melisandre, but she counters that she will be useful in the coming war against the White Walkers. Jon exiles Melisandre from the North and threatens to execute her if she ever returns. Later, Jon and Sansa Stark discuss who will lead the united Stark forces, with each deferring to the other.
Petyr Baelish, Lord Protector of The Vale, privately meets with Sansa in the godswood. He reveals that his ultimate goal is to sit on the Iron Throne with Sansa at his side. Sansa rejects his offer and leaves.
Later, Jon gathers the various Northern lords, the Knights of the Vale, and the Free Folk to plan for the fight against the White Walkers. Lady Lyanna Mormont, leader of Bear Island, shames the handful of Northern lords that did not come to Jon's aid. The Northern lords, Knights of the Vale, and Free Folk declare a reluctant Jon the new King in the North.
In Dorne[edit]
A grieving Olenna Tyrell meets with Ellaria Sand and the Sand Snakes concerning the possibility of an alliance against Cersei. To Olenna's surprise, Ellaria presents Varys, who offers Olenna vengeance by allying with Daenerys Targaryen.
At the Twins[edit]
Walder Frey celebrates the recapture of Riverrun with the Lannisters. Later, Walder eats dinner alone, wondering why his sons have yet to arrive. His servant reveals that she baked them into the meat pie he has been eating, and then removes her face to reveal that she is actually Arya Stark who then slits Walder's throat.
Beyond the Wall[edit]
Bran Stark, Meera Reed, and Benjen Stark arrive near the Wall. Benjen takes his leave, stating that the Wall's magical protection prevents the dead (and therefore, him) from being able to pass. Meera assists Bran to a weirwood tree and he re-enters the vision of Eddard Stark at the Tower of Joy. Ned finds his sister Lyanna Stark covered in blood from childbirth. With her dying breath, Lyanna pleads with Ned to take care of her son, who is revealed to be Jon Snow.
In Meereen[edit]
Daenerys Targaryen informs Daario Naharis that he will not accompany her to Westeros. Daenerys proclaims Tyrion Lannister the Hand of the Queen, and the two of them, along with their extensive forces from Essos and their new alliances of the Ironborn, Dorne, and Highgarden, depart for Westeros in a massive armada, with her dragons flying above.
Production[edit]
Writing[edit]
The episode was written by series co-creators David Benioff and D. B. Weiss.
"The Winds of Winter" was written by the series' creators David Benioff and D. B. Weiss. It adapts material from the chapter "Samwell V", and dialogue from the chapter "The Princess in the Tower" from A Feast for Crows.[non-primary source needed] It contains some elements that were not shown but hinted at from the chapters "The Prince of Winterfell" and "Epilogue" from A Dance with Dragons, such as the baking of murdered Freys in pies, and the off-page death of Grand Maester Pycelle.[non-primary source needed] The episode was the longest in the show's history, to that point, with a run time of 68 minutes.[2][3][4]
In the "Inside the Episode" segment published by HBO shortly after the airing of the episode, Benioff spoke about the relationship between Sansa Stark and Jon Snow at this point in the season, saying "Over the course of this season they've come to really rely upon each other, but she doesn't really trust him completely. She didn't tell him about the meeting with Littlefinger, she didn't tell him that she summoned the Knights of the Vale, there's definitely a little hint of conflict there. So I think there's a little bit of anger about that and a little bit of jealousy, and that relationship will be crucial to watch."[5] Benioff continued by referencing the declaration of Jon Snow as King of the North, noting "We see the second 'King in the North!' scene with Jon and I think it was important to us that it evoked in that first 'King in the North!' scene. Very different circumstances, different environment. In some ways, the evocation of the first one is meant to be a little worrisome because it was a very triumphant moment when Robb is named King in the North but it didn't go so well for the previous King in the North. So I think we have to be a little worried for Jon and at the same time it's a pretty big reversal and, you know, for a character who was dead at the beginning of the season to be declared king at the end of it. He's done well. He's done well in ten short episodes."[5]
Weiss also noted about the death of King Tommen Baratheon, "Meanwhile, while the explosion is happening, Tommen is alone. This fragile, malleable, devastated child, basically, is sitting there without anybody to comfort him, and if she had been there, he wouldn't have gone out that window. She failed him, and she alone failed him here."[6] Benioff continued about portraying the mindset of Cersei Lannister, saying "I think the idea of Cersei without her children is a pretty terrifying prospect. It was the one thing that really humanized her, you know, her love for her kids. And as much of a monster as she could sometimes be, she was a mother who truly really did love her children, and now those children are gone, and all she's got is power."[6] In a subsequent interview after the episode airing, Weiss stated that Cersei's mindset following the ramifications of this episode will play an important role in the story for the next season.[7]
In an interview with Isaac Hempstead-Wright, who portrays Bran Stark in the series, Wright was asked about the significance of Bran witnessing the scene at the Tower of Joy, saying "I don't think Bran knows why this is significant, but he knows that it is significant because he wouldn't have seen it if it wasn't earth-shattering, because everything we've learned so far during his visions has been pretty big and important, from the creation of the first White Walker to the origins of Hodor. This is clearly another important milestone in the history of Westeros. For Bran, he sat there sitting, 'This isn't my brother. This is my cousin somehow, but who's the dad? And why have I been shown this? If I find out who the dad is and why I need to know who the dad is, then let Jon know quick.'"[8] The scene reveals neither Lyanna Stark's son's name nor his father's, with the transition between the newborn's face and Jon Snow's visually conveying the identity.[9] HBO released an infographic shortly after the episode aired, confirming Ned Stark as Jon's guardian, and Lyanna Stark and Rhaegar Targaryen as his parents.[10]
In regards to Arya Stark's transformation following her time as a disciple of the Many-Faced God, Weiss noted in the "Inside the Episode" featurette, "We all see where she's coming from, she's seen so many atrocities. It's a worrisome narrative; she started as this tough and plucky girl and turned into someone who's capable of slitting a man's throat and smiling as she watches him as he bleeds out."[11]
For the final shot of the season, Benioff felt that the shot of Daenerys making her way to Westeros was a monumental part in the series's history, saying "That shot of Dany's fleet making its way out of the Slaver's Bay towards the Narrow Sea and home is probably the biggest thing to happen on the show thus far, that's the thing we've been waiting for since the pilot episode of the first season."[11] He continued, "It hasn't been a smooth road. That's the shot we're going to leave everyone with; it was a real thrill to see her, with Tyrion by her side, heading west."[11]
Casting[edit]
Dean-Charles Chapman (left), Natalie Dormer (middle), and Jonathan Pryce (right) made their final appearances in the series as main cast members.
"The Winds of Winter" saw the departure of several cast members and recurring guest actors from the series. Notables included Dean-Charles Chapman, whose character, King Tommen Baratheon, committed suicide in the episode. Before appearing in the role of Tommen, which was originally portrayed by actor Callum Wharry,[12] Chapman appeared in the third season of the series as Martyn Lannister, a minor character who was also killed off.[13] Chapman stated that he found out about his character's death the night before the initial table read for the season, saying "I was in my hotel, minding my own business, and I got a phone call. I picked up the phone, and instantly, I knew it was coming. It was David Benioff and Dan Weiss, the two creators of the show, and they stated the facts. But they did it really nice. I couldn't have asked for a better way to have that news broken to me. Them telling me beforehand really helped me out, otherwise I would have been in a state when I read it in the scripts. I probably would have cried."[13]
Actress Natalie Dormer, who was cast to play Queen Margaery Tyrell in the show's second season, also made her final appearance as a main cast member for the series. In contrast to Chapman, Dormer found out about her character's impending death approximately six months before the rest of the cast, saying "I requested while making season 5 that showrunners David Benioff and Dan Weiss release me from working on the show earlier than usual so I could do another project, and they ended up phoning me — and that was The Call. But I got it six months ahead of normal. They were like, 'We weren't going to tell you this for a few more months, but we're not going to release you now, so you can't do that job you really want to do and we're really sorry about that. But on the bright side, we are going to release you proper in the not-so-distant future.' It was good news, bad news — no you can't do this, but don't worry, you're going to have lots more opportunities very soon."[14] Dormer also stated about her departure, "It's the longest time I've ever spent playing a character. I'll always have a little yellow rose after my heart, and I think it was just the right length of time, to be honest. It's time for the Westeros story to move on and it's a perfect time for her to exit."[14]
After appearing as a recurring guest actor in the fifth season, actor Jonathan Pryce was promoted to regular cast member for the sixth season.[15] Prior to being cast as the High Sparrow, Pryce was approached to play another role in one of the previous seasons and refused the part.[16] After being approached with the role of the High Sparrow, Pryce stated that he accepted the role because "If the role hadn't been what it turned out to be for High Sparrow, I probably would not have been involved. I remember starting out and my agent said 'does the character change the situation or is he just a functionary' and this character changes the situation."[17] Pryce added, "Once I started work on Games of Thrones I was incredibly impressed with the organization, the crew and they're really good at their job and story telling so I have become a fan of the show."[17]
Recurring guest actors for the series Eugene Simon, Julian Glover, Roger Ashton-Griffiths, Finn Jones, and Ian Gelder, who portrayed Lancel Lannister, Pycelle, Mace Tyrell, Loras Tyrell, and Kevan Lannister, respectively, also made their final appearance in the series.[18] Finn Jones, who was cast concurrently in the leading role for the upcoming television series Marvel's Iron Fist, spoke about his departure saying, "I had been on Thrones for six years. It was yearly employment. Now I was at a crossroads and I had to think of what the future is. I was very blessed that something like this has come along at the right moment," referring to Iron Fist.[19] Eugene Simon also spoke about his learning of his departure, saying that the showrunners promised a "huge scene" for his character in the season finale, with Simon responding, "for everything that you've done for the last six years, thank you. This is a wonderful way to go. I really, really appreciate it, and I look forward to doing it for you."[20]
For the scene at the Tower of Joy, Lyanna Stark was portrayed by actress Aisling Franciosi.[21] The Danish comedian Frank Hvam portrayed the clerk at the Citadel, although his lines may have been dubbed as he was not a confident English speaker.[22]
Filming[edit]
Miguel Sapochnik served as director for the episode, his fourth episode for the series.
The Cathedral of Saint Mary in Girona, Spain stood in for the exterior shots of the Great Sept, with special effects altering parts of the building.
"The Winds of Winter" was directed by Miguel Sapochnik. He previously directed the fifth season episodes "The Gift" and "Hardhome", and the sixth season episode "Battle of the Bastards".[23] In an interview, Sapochnik spoke about the scenes at the beginning of the episode, which mostly lacked any dialogue, saying "Don't get me wrong, I am a huge fan of smart and witty dialogue. This is something that Game of Thrones is probably quite famous for and rightly so, but I love non-verbal film making more than anything probably."[24] He continued by drawing a comparison to the film Heat starring Robert DeNiro, noting "To me, this is truly wonderful filmmaking. And so any opportunity I can get to try my hand at that I welcome. From that perspective, I really hit the jackpot this year and I'm very grateful."[24]
In another interview, Sapochnik revealed that the wildfire explosion at the Sept of Baelor was originally going to only be seen from the outside, but after storyboarding the sequence with shots of the High Sparrow also being engulfed, Sapochnik was able to convince Benioff and Weiss to make the change for the sequence.[25] Sapochnik also stated about the sequence, "The main chunk of the sequence was essentially a courtroom drama and then lots of little scenes surrounding it shot in many different sets and locations and even countries so it took a long time to get all the pieces into the editing system and start actually editing."[25] He also said that the main goal of the scene was to "bring all these intersecting storylines surrounding King's Landing together and end them,"[25] and that the music in the scene played an important role in reflecting how the scenes played out on screen tonally, praising Ramin Djawadi's opening score.[25] The Girona Cathedral in Girona, Spain stood in for the exterior shots of the Sept of Baelor.[26]
Dean-Charles Chapman, who portrayed King Tommen Baratheon, spoke about filming his death scene, saying "I was jumping onto a crash mat. Height-wise, I think if I was standing on the floor, it was up to my chest. But the crash mat was pretty thick. I must have done that about 50 times. My face was pretty bruised up. My face took it a little bit."[13] Eugene Simon, who portrayed Lancel Lannister, also spoke about his death scene revealing about his discussions with Sapochnik, "the note was when Lancel was dragging his body, there was a sense of someone who is trying to put aside their pain of being stabbed and being paralyzed as much as possible in order to try to defend what little hope there is left of trying to save the sept and also to save their life. It really only comes down to the very last few nanoseconds of footage that you realize the cause is lost."[20] Simon also stated about the filming of Jonathan Pryce's, who portrays the High Sparrow, final scene, "we had a very big nice round of applause when that took place. I remember that scene very well; we had 200 or so supporting actors in there, all of whom were so committed. They stayed there all day and did wonderful reactions to all the really intense bits. When the first part of the bomb goes off, all of them really, really performed that there was a full-on nuclear explosion going on underneath them."[20] He continued, "We had a big round of applause and celebration after that scene was done because I think we all knew it was going to be pretty monumentous. We said goodbye to countless Tyrells, Kevan Lannister my father, the High Sparrow and dozens of other. It was a pretty extraordinary day."[20] In regards to the non-verbal exchange between Jaime and Cersei Lannister when she is sitting on the Iron Throne, Sapochnik stated "I thought that non-verbal exchange was a very interesting moment but it wasn't clear from the script what exactly Benioff and Weiss wanted. So we just tried a few things, following our noses, drawing from what we knew about these characters and what you see was one of the versions we shot. Interestingly in the edit I still couldn't find a version I felt worked so I actually dropped the moment entirely out of my cut but David and Dan reinstated and to great effect. In fact, I can't really remember the sequence without it anymore. I think he's saying 'don't' and she's saying 'too late.'"[24] He continued "The wonderful thing about filmmaking is you make and remake your film or episode a number of times over the duration of its existence. Firstly in the script stage, second is in prep when you plan how you're going to execute it. Third is in production when you actually get there and have to change everything and finally, in the edit, when you realize what you thought something meant means something totally different when put before or after another juxtaposing or complimentary image."[24]
In the same interview, Sapochnik was also asked about how he went about creating a sense of emotion in the 'King in the North' scene, saying "It wasn't hard. I think as fans we'd been waiting for it for so long. That said, it was a very difficult scene to shoot. Mainly because it was unusually hot over the two days we shot it, everyone was wearing heavy furs and armor, Kit was actually pretty ill and everyone was crammed into this space full of plates of sheep's tongues and chicken carcasses so it got quite smelly and sticky. It's also quite a long scene and yet Bella did it probably more than a hundred times, only forgetting a line once in the entire time. When we finished the scene she got a standing ovation from all the cast and crew."[24]
Sapochnik was asked in an interview what the most difficult shot was to direct, responding "The final sequence of seeing the armada on its way to Westeros was complicated because it involved so many different ships, and we only had one that we had to redress and shoot again and again. It was also raining and freezing when we shot it, and it was meant to be a Mediterranean climate. Emilia Clarke got so cold, her jaw started shaking uncontrollably and she totally lost her thread as far as what she was meant to be thinking in that moment, the cold will do that. She asked me to help, so I suggested that she just hum the theme to Game of Thrones in her head while we were rolling the cameras, and apparently that worked because it's the take we used in the final cut!"[27]
Costuming[edit]
Costume designer Michele Clapton returned to the series to design Cersei Lannister's gown and crown, among other costumes.
Costume designer Michele Clapton designed most of the newly introduced costumes and jewelry in "The Winds of Winter".[28] Clapton had initially left the series, but returned for the final two episodes of the season to design four different costumes.[28] In an interview, Michele Clapton spoke about the process and meaning behind Cersei Lannister's gown and crown in the season finale. Clapton stated that she had four to five weeks to create the gown, but once she received the script for the episode, she was "immediately sure" of how the dress should look.[28] She stated in the interview, "I knew it had to be leather and I knew it had to be linked to Tywin. I wanted a distinct, strong silhouette, so I squared her shoulders. I also wanted the dress to skim her ankles, so that you could see her feet—again, strength. The silver shoulders are decorated in a similar manner to Jaime's gold hand—the one person that she still has something with."[28] Clapton also noted that every part of the dress represents something, saying, "There is no 'decoration' to Cersei."[28] She stated that she additionally chose to make the dress black in order to represent mourning, as well as a "deadness inside her."[28]
Clapton, in a separate interview, was also asked about the meaning and representation of Cersei's crown, saying "I chose to make it in silver with just wisps of gold to try to show her isolation, her mental disentangling from her family. There is no reference to Baratheon; there is no need anymore. She doesn't have to try and prove a link. The center of the crown is the lion sigil abstracted — its mane represents the Iron Throne, her desire. She has made it her own — she is reborn."[29] Clapton revealed as well that King Tommen Baratheon's costume was intended to show how heavily his responsibilities weigh on him, as he is weighted down with jeweled finery, with Clapton saying "He was a nice boy. Too nice for this."[29]
Musical score[edit]
Composer Ramin Djawadi created the episode's musical score.
"Light of the Seven"
Sample of "Light of the Seven"
Problems playing this file? See media help.
The musical score for "The Winds of Winter" was composed by Ramin Djawadi. Djawadi has worked on the series since its inception, and additionally composed the show's main theme. In an interview, Djawadi spoke about the score he created for the beginning of the episode, titled "Light of the Seven", which largely consisted of piano, something unusual for the series.[30] Djawadi stated, "The interesting thing to me was the use of the piano. When we started the season, showrunners David Benioff and Dan Weiss, and Miguel Sapochnik, the director of the episode, reached out to me and said, 'There's something coming up in episode 10.' We talked about 'The Light of the Seven', and how it needed to be a new piece of music. Any kind of character theme could tip it, and we didn't want to tip the audience. Miguel brought it up: 'What about the piano?' We discussed it. The piano is not really in the language of the Game of Thrones score."[30]
He continued, "It all felt like a perfect fit. What's great about the scene, too, is there's hardly any dialogue. It's nine minutes long. I knew I had to start minimal and give it space. Let notes ring, then give it space, and build up the anticipation from there, without tipping in either direction."[30] Djawadi stated that he refrained from using the typical Lannister theme, "The Rains of Castamere", in order to create more of a mystery.[30] The piece also featured vocals by two young boys singing in unison, with Djawadi describing how he pieced all of the separate pieces of the music together by saying "The boys I recorded completely separate. The strings I recorded all together. Even the solo instruments, I recorded them separately — the solo violins and solo cellists were recorded separately. The piano, I played. And the organ as well."[30]
Asked in a separate interview about the overall process of composing the music and how it is used in the episode, Djawadi revealed "I sit with David and Dan and we do what's called a spotting session where we watch the entire episode and then discuss when music should start and stop. Everybody's very involved with that. And it constantly gets played with. What I love about Game of Thrones is that the positioning of the music is so well done, because it's not overdone. When the music cuts in, it really has something to say."[31] "Light of the Seven" reached No. 1 on Billboard's Spotify Viral 50 chart on its release.[32]
The episode also featured the show's main theme during the "King in the North" scene with Jon Snow at Winterfell.[33] Critical praise was directed towards the musical score for the episode, with Lili Loofbourow of The Week calling it the "real winner" of the season finale.[33]
Reception[edit]
Ratings[edit]
"The Winds of Winter" was viewed by 8.89 million American households on its initial viewing on HBO, significantly higher than the previous week's rating of 7.66 million viewers for the season's penultimate episode "Battle of the Bastards", making it the most watched episode in the series' history, until surpassed by the seventh-season premiere, "Dragonstone".[34][35] The episode also acquired a 4.35 rating in the 18–49 demographic, making it the highest rated show on cable television of the night, and topping its previous best of 4.0, set twice earlier in the season.[35] In the United Kingdom, the episode was viewed by 2.498 million viewers on Sky Atlantic, making it the highest-rated broadcast that week on its channel. It also received 0.153 million timeshift viewers.[36]
Critical reception[edit]
Game of Thrones concluded what's arguably its best season with one of its finest — and the bloodiest — episodes, "The Winds of Winter", which excelled in dramatic storytelling just as last week's "Battle of the Bastards" raised the bar for action sequences. Though the finale shifted from the battlefield, the events were, if anything, far more seismic, with game-changing revelations and huge moves from every corner of the realm that established some very clear new conflicts going into season 7. Just look at all that happened in those 69 minutes: Dany set sail for Westeros, Dorne joined forces with both Dany and the Tyrells, Arya returned to Westeros and crossed a major name off her list, Jon became King in the North, and Cersei blew up her enemies and then claimed the Iron Throne for herself. There was death and destruction galore, but it was also rather gleeful death and destruction, as favorite characters mostly got exactly what they wanted.
— James Hibberd, Entertainment Weekly[37]
"The Winds of Winter" received acclaim from both critics and viewers, praising it as one of the series' best episodes. It has received a 100 percent rating on the review aggregator website Rotten Tomatoes from 58 reviews with an average score of 9.7 out of 10.[38] The site's consensus reads "'The Winds of Winter' makes the most of its extended run time, and is potentially the best season finale in the series' history."[38] The episode had received a perfect 10 out of 10 score on IMDb for several weeks after its release. It now holds a rating of 9.9/10, being one of the few episodes ever to get a 9.9 or higher on the website.[39]
Matt Fowler of IGN wrote in his review for the episode "The stories in the North and Meereen stayed a bit quiet as all their action got taken care of last week, leaving Cersei's big plot to destroy the Sept and everyone in it as this finale's big suspenseful and explosive set piece. Elsewhere, there were big reveals and revenge kills that helped everything add up to a very surprising and satisfying season finale."[40] He continued by praising how the trial sequence played out on screen, writing "The actual staging and pacing of the trial and violent reckoning was really cool, with everyone getting dressed and little puzzle pieces falling into place, little birds leading men to their deaths, and Ramin Djawadi's excellent score."[40] He gave the episode a 9.5 out of 10.[40] Michael Calia of The Wall Street Journal similarly gave praise to the episode, writing "It's a good thing ... that the season finale was full of massive developments, tying up several plot threads while leaving some others dangling in the most tantalizing way. This was the most complete episode of Game of Thrones yet, and possibly the best."[41] He also wrote, "Dany and her fleet are finally sailing to Westeros, her great dragons casting shadows over the waves. It's on."[41]
Jeremy Egner of The New York Times also praised the direction of the King's Landing story, and Lena Headey's portrayal of Cersei, saying in his review "Ms. Headey's performance was but one element in a sequence that, technically, ranks among the show's best. Miguel Sapochnik, who directed last week's battle-heavy episode, brought a different kind of precision and urgency to Sunday's installment. Cersei's scheme unspooled amid insistent strings and a series of shots — those vicious little birds taking out Pycelle, Lancel and the dwindling candle-fuse, Margaery's growing concern and rising tension in the Sept — that built inexorably to the High Sparrow's realization that he wasn't as smart as he thought."[42] James Hibberd of Entertainment Weekly stated he felt the episode introduced new conflicts to look forward to in the next season, saying "Though the finale shifted from the battlefield, the events were, if anything, far more seismic, with game-changing revelations and huge moves from every corner of the realm that established some very clear new conflicts going into season 7."[37] Sarah Larson of The New Yorker wrote in her review, "It's a beautiful image. Boats, clouds, sun, dragons, and two female ship captains, pointing their armada toward a Westeros ruled by a queen."[43] James Hunt of WhatCulture wrote in his review, "What a way to go out. Season 6 has already proved to be a great season of TV, but it saved its best for last."[44] Tim Surette of TV.com called the episode, "the best episode ever."[45] Brian Lowry of CNN wrote in his review for the episode, "At this point it's hard to second-guess producers David Benioff and D.B. Weiss, who, working with Martin, have created a series for the ages."[46] Willa Paskin of Slate wrote in his review, "Revenge, a dish Game of Thrones has almost always made taste awful, served hot or cold, became, in the finale, a delicacy. "[47]
Accolades[edit]
Year
Award
Category
Nominee(s)
Result
Ref.
2016 68th Primetime Emmy Awards Outstanding Costumes for a Period/Fantasy Series, Limited Series, or Movie Chloe Aubry
Michele Clapton
Sheena Wichary Won
[48]
[49]
Outstanding Supporting Actress in a Drama Series Lena Headey Nominated
Gold Derby TV Awards 2016 Best Drama Episode Nominated [50]
British Society of Cinematographers Best Cinematography in a Television Drama Fabian Wagner Nominated [51]
International Film Music Critics Association Film Music Composition Of The Year Ramin Djawadi for "Light of the Seven" Nominated [52]
2017 IGN Awards Best TV Episode Nominated [53]
IGN People's Choice Award Best TV Episode Won
69th Writers Guild of America Awards Episodic Drama David Benioff
D. B. Weiss Nominated [54]
Visual Effects Society Awards 2016 Outstanding Created Environment in an Episode, Commercial or Real-Time Project Edmond Engelbrecht, Tomoka Matsumura, Edwin Holdsworth, and Cheri Fojtik – Citadel Nominated [55]
USC Scripter Award Best Adapted Screenplay David Benioff
D. B. Weiss Nominated [56]
References[edit]
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^ Jump up to: a b Vejvoda, Jim (June 27, 2016). "Game of Thrones: Will Jon Snow and Sansa Stark Stay Allies?". IGN. Archived from the original on August 17, 2016. Retrieved June 28, 2016.
^ Jump up to: a b Oswald, Anjelica (June 28, 2016). "There's nothing to stop Cersei from going off the rails in 'Game of Thrones' season seven". Business Insider. Archived from the original on August 17, 2016. Retrieved June 28, 2016.
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Jump up ^ Schwartz, Terri (June 27, 2016). "Game of Thrones:Isaac Hempstead-Wright Talks Jon Snow's Father and Bran's Night King Connection". IGN. Archived from the original on August 17, 2016. Retrieved June 28, 2016.
Jump up ^ Rawden, Jessica (July 1, 2016). "Is There More To Jon Snow's Father Situation On Game Of Thrones?". Cinemablend. Archived from the original on August 17, 2016. Retrieved July 3, 2016.
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Jump up ^ Robinson, Joanna (April 14, 2014). "The Game of Thrones Re-Casting Nobody Is Talking About". Vanity Fair. Archived from the original on April 13, 2016. Retrieved June 28, 2016.
^ Jump up to: a b c Wigler, Josh (June 27, 2016). "'Game of Thrones' Finale: "Winds of Winter" Victim Speaks Out on Cersei Lannister's Wrath". The Hollywood Reporter. Archived from the original on August 17, 2016. Retrieved June 28, 2016.
^ Jump up to: a b Hibberd, James (June 26, 2016). "Game of Thrones star on that shocking finale death". Entertainment Weekly. Archived from the original on August 17, 2016. Retrieved June 28, 2016.
Jump up ^ "Emmy(R)- and Golden Globe-Winning HBO Series "Game of Thrones" Returns for Sixth Season April 24" (Press release). HBO. April 7, 2016. Retrieved April 25, 2016.
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^ Jump up to: a b "Game of Thrones season 5: Meet 'game-changing' character High Sparrow". The Sydney Morning Herald. March 3, 2015. Archived from the original on August 17, 2016. Retrieved June 28, 2016.
Jump up ^ Prokop, Andrew (June 28, 2016). "Game of Thrones season 6 finale recap: the many deaths in "The Winds of Winter"". Vox. Archived from the original on August 17, 2016. Retrieved June 28, 2016.
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^ Jump up to: a b c d Schwartz, Terri (June 28, 2016). "Game of Thrones: Eugene Simon Discusses the Rise of Mad Queen Cersei". IGN. Archived from the original on August 17, 2016. Retrieved June 28, 2016.
Jump up ^ Berger, Eric (June 27, 2016). "That time when Littlefinger and Lyanna Stark promoted a comet landing". Ars Technica. Archived from the original on August 17, 2016.
Jump up ^ Jakobsen, Andreas (June 27, 2016). "Frank Hvam the latest Dane to appear in 'Game of Thrones'". The Copenhagen Post. Archived from the original on August 17, 2016.
Jump up ^ Hibberd, James (June 25, 2015). "Game of Thrones directors revealed for mysterious season 6". Entertainment Weekly. Archived from the original on August 17, 2016. Retrieved June 26, 2015.
^ Jump up to: a b c d e Lash, Jolie (June 28, 2016). "'Game Of Thrones' Director Miguel Sapochnik Talks Season 6 Finale – 'The Winds Of Winter'". Access Hollywood. Archived from the original on August 17, 2016. Retrieved June 28, 2016.
^ Jump up to: a b c d Hibberd, James (June 28, 2016). "Game of Thrones finale director explains his epic opening sequence". Entertainment Weekly. Archived from the original on August 17, 2016. Retrieved June 28, 2016.
Jump up ^ Wood, Ali (April 26, 2016). "Meet the new star of Game of Thrones: the Spanish city of Girona". Radio Times. Archived from the original on April 27, 2016. Retrieved May 30, 2016.
Jump up ^ Vineyard, Jennifer (June 28, 2016). "Director Miguel Sapochnik on the Most Difficult Shot in the Game of Thrones Finale". Vulture. Archived from the original on August 17, 2016. Retrieved June 30, 2016.
^ Jump up to: a b c d e f Miller, Julie (June 28, 2016). "Game of Thrones Finale: the Secret Symbolism in Cersei's Badass Gown". Vanity Fair. Archived from the original on July 12, 2016. Retrieved June 30, 2016.
^ Jump up to: a b Friedlander, Whitney (June 28, 2016). "Cersei Lannister's Crown Was Designed to Show How Lonely She Is". Vulture. Archived from the original on August 17, 2016. Retrieved June 30, 2016.
^ Jump up to: a b c d e Wigler, Josh (June 28, 2016). "'Game of Thrones' Composer Discusses "Light of the Seven," the Finale's "Haunting" King's Landing Score". The Hollywood Reporter. Archived from the original on August 17, 2016. Retrieved June 30, 2016.
Jump up ^ Blickley, Leigh (June 29, 2016). "'Game Of Thrones' Composer Breaks Down The Season Finale's Opening Sequence". The Huffington Post. Archived from the original on August 17, 2016. Retrieved June 30, 2016.
Jump up ^ "Spotify Viral 50". Billboard. July 16, 2016. Retrieved August 20, 2016.
^ Jump up to: a b Loofbourow, Lily (June 29, 2016). "Why the real winner of the Game of Thrones season finale was the music". The Week. Archived from the original on August 17, 2016. Retrieved June 30, 2016.
Jump up ^ Porter, Rick (June 28, 2016). "Sunday cable ratings: 'Game of Thrones' scores series high with Season 6 finale". TV by the Numbers. Archived from the original on August 17, 2016. Retrieved June 28, 2016.
^ Jump up to: a b Metcalf, Mitch (June 26, 2016). "Top 150 Sunday Cable Originals & Network Finals: 6.26.2016". Showbuzz Daily. Archived from the original on August 17, 2016. Retrieved June 28, 2016.
Jump up ^ "Top 10 Ratings (20 - 26 June 2016)". BARB. Archived from the original on 18 July 2014. Retrieved July 4, 2016.
^ Jump up to: a b Hibberd, James (June 26, 2016). "Game of Thrones finale recap: 'The Winds of Winter'". Entertainment Weekly. Archived from the original on June 28, 2016. Retrieved June 27, 2016.
^ Jump up to: a b "The Winds of Winter - Game of Thrones: Season 6, Episode 10". Rotten Tomatoes. Retrieved June 27, 2016.
Jump up ^ "Proof that 'Game of Thrones' Season 6 ended with two best episodes ever". Mashable. June 27, 2016. Archived from the original on August 17, 2016. Retrieved August 19, 2016.
^ Jump up to: a b c Fowler, Matt (June 27, 2016). "Game of Thrones: "The Winds of Winter" Review". IGN. Archived from the original on August 17, 2016. Retrieved June 27, 2016.
^ Jump up to: a b Calia, Michael (June 26, 2016). "'Game of Thrones' Season 6 Finale Recap: 'The Winds of Winter'". Wall Street Journal. Archived from the original on August 17, 2016. Retrieved June 26, 2016.
Jump up ^ Egner, Jeremy (June 26, 2016). "'Game of Thrones' Season 6 Finale: Long May She Reign". The New York Times. Archived from the original on August 4, 2017. Retrieved June 27, 2016.
Jump up ^ Larson, Sarah (June 27, 2016). "An Epic "Game of Thrones" Season Finale: Women and Wildfire". The New Yorker. Archived from the original on August 17, 2016. Retrieved August 18, 2016.
Jump up ^ Hunt, James (July 6, 2016). "Game Of Thrones Season 6 Finale: 10 Ups And 2 Downs From 'The Winds Of Winter'". WhatCulture. Archived from the original on October 10, 2016. Retrieved August 18, 2016.
Jump up ^ Surette, Tim (June 28, 2016). "Game of Thrones Season 6 Finale Review: The Best Episode Ever". TV.com. Archived from the original on August 17, 2016. Retrieved August 18, 2016.
Jump up ^ Lowry, Brian (June 27, 2016). "'Game of Thrones' season finale sets stage for epic march toward finish". CNN. Archived from the original on August 17, 2016. Retrieved August 18, 2016.
Jump up ^ Paskin, Willa (June 27, 2016). "In Its Immensely Satisfying Season Finale, Game of Thrones Became the Show It Has Always Tried Not to Be". Slate. Archived from the original on August 17, 2016. Retrieved August 18, 2016.
Jump up ^ Prudom, Laura (July 14, 2016). "'Game of Thrones' Rules 2016 Emmy Race With 23 Nominations". Variety. Archived from the original on August 17, 2016. Retrieved July 14, 2016.
Jump up ^ Prudom, Laura (July 14, 2016). "Creative Arts Emmy Awards Winners: ‘Game Of Thrones’ Leads Way On Night 1". Deadline.com. Archived from the original on September 11, 2016. Retrieved September 11, 2016.
Jump up ^ Montgomery, Daniel (September 7, 2016). "Gold Derby TV Awards 2016: ‘People v. O.J. Simpson’ leads winners, ‘Game of Thrones’ & ‘Veep’ also prevail". GoldDerby. Archived from the original on September 11, 2016. Retrieved September 11, 2016.
Jump up ^ "Past nominees" (PDF). bscine.com. Retrieved April 9, 2017.
Jump up ^ "IFMCA Award Nominations 2016 | IFMCA: International Film Music Critics Association". International Film Music Critics Association. Retrieved April 9, 2017.
Jump up ^ "Best of 2016". IGN. December 18, 2016. Archived from the original on December 23, 2016. Retrieved December 18, 2016.
Jump up ^ O'Connell, Michael (December 5, 2016). "WGA TV Nominations Include 'Westworld,' 'This Is Us' and 'Stranger Things'". The Hollywood Reporter. Archived from the original on December 6, 2016. Retrieved December 5, 2016.
Jump up ^ Giardina, Carolyn (January 10, 2017). "'Rogue One' Leads Visual Effects Society Feature Competition With 7 Nominations As 'Doctor Strange,' 'Jungle Book' Grab 6 Each". The Hollywood Reporter.
Jump up ^ McNary, Dave (January 11, 2017). "‘Arrival,’ ‘Fences,’ ‘Game of Thrones’ Earn USC Scripter Award Nominations". Variety. Retrieved January 11, 2017.
External links[edit]
Wikiquote has quotations related to: The Winds of Winter
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Institution
From Wikipedia, the free encyclopedia
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This article is about institutions as social mechanisms. For formal organization, see Formal organization. For a computer science concept, see Institution (computer science).
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2012) (Learn how and when to remove this template message)
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Institutions are "stable, valued, recurring patterns of behavior".[1] As structures or mechanisms of social order, they govern the behaviour of a set of individuals within a given community. Institutions are identified with a social purpose, transcending individuals and intentions by mediating the rules that govern living behavior.[2]
The term "institution" commonly applies to both informal institutions such as customs, or behavior patterns important to a society, and to particular formal institutions created by entities such as the government and public services. Primary or meta-institutions are institutions such as the family that are broad enough to encompass other institutions.
As structures and mechanisms of social order, institutions are a principal object of study in social sciences such as political science, anthropology, economics, and sociology (the latter described by Émile Durkheim as the "science of institutions, their genesis and their functioning").[3] Institutions are also a central concern for law, the formal mechanism for political rule-making and enforcement.
Contents
[hide]
1 Definition
2 Examples
3 Informal institutions
4 Social science perspectives
4.1 Theories of institutional change
4.1.1 Institutional persistence
4.1.2 Natural selection
5 Institutionalization
6 See also
7 References
8 Bibliography
9 Further reading
Definition[edit]
People may deliberately create individual, formal organizations commonly identified as "institutions"—but the development and function of institutions in society in general may be regarded as an instance of emergence. That is, institutions arise, develop and function in a pattern of social self-organization beyond conscious intentions of the individuals involved.
As mechanisms of social interaction, institutions manifest in both formal organizations, such as the U.S. Congress, or the Roman Catholic Church, and, also, in informal social order and organization, reflecting human psychology, culture, habits and customs, and encompassing subjective experience of meaningful enactments. Formal institutions are explicitly set forth by a relevant authority and informal institutions are generally unwritten societal rules, norms, and traditions.[4]
Primary or meta-institutions are institutions that encompass many other institutions, both formal and informal (e.g. the family, government, the economy, education, and religion.[4][5][6] Most important institutions, considered abstractly, have both objective and subjective aspects: examples include money and marriage. The institution of money encompasses many formal organizations, including banks and government treasury departments and stock exchanges, which may be termed, "institutions," as well as subjective experiences, which guide people in their pursuit of personal well-being. Powerful institutions are able to imbue a paper currency with certain value, and to induce millions into production and trade in pursuit of economic ends abstractly denominated in that currency's units.[citation needed] The subjective experience of money is so pervasive and persuasive that economists talk of the "money illusion" and try to disabuse their students of it, in preparation for learning economic analysis.[citation needed]
Examples[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2013) (Learn how and when to remove this template message)
Examples of institutions include:
Family: The family is the center of the child's life, as infants are totally dependent on others. The family teaches children cultural values and attitudes about themselves and others – see sociology of the family. Children learn continuously from the environment that adults create. Children also become aware of class at a very early age and assign different values to each class accordingly.[7]
Religion: Some believe religion is like an ethnic or cultural category, making it less likely for the individuals to break from religious affiliations and be more socialized in this setting. Parental religious participation is the most influential part of religious socialization—more so than religious peers or religious beliefs.[8] See sociology of religion and civil religion.
Peer groups: A peer group is a social group whose members have interests, social positions and age in common. This is where children can escape supervision and learn to form relationships on their own. The influence of the peer group typically peaks during adolescence however peer groups generally only affect short term interests unlike the family which has long term influence.[9]
Economic systems: Economic systems dictate "acceptable alternatives for consumption," "social values of consumption alternatives," the "establishment of dominant values," and "the nature of involvement in consumption".[10] Capitalist society may encourage the growth of centralization and interdependence under the control of an elite. Socialism encourages democratic, bottom-up control by the people and their communities.[11]
Legal systems: Children are pressured from both parents and peers to conform and obey certain laws or norms of the group/community. Parents’ attitudes toward legal systems influence children’s views as to what is legally acceptable.[12] For example, children whose parents are continually in jail are more accepting of incarceration. See jurisprudence, philosophy of law, sociology of law.
Penal systems: The penal systems acts upon prisoners and the guards. Prison is a separate environment from that of normal society; prisoners and guards form their own communities and create their own social norms. Guards serve as "social control agents" who discipline and provide security.[13] From the view of the prisoners, the communities can be oppressive and domineering, causing feelings of defiance and contempt towards the guards.[13] Because of the change in societies, prisoners experience loneliness, a lack of emotional relationships, a decrease in identity and "lack of security and autonomy".[14] Both the inmates and the guards feel tense, fearful, and defensive, which creates an uneasy atmosphere within the community.[13] See sociology of punishment.
Language: People learn to socialize differently depending on the specific language and culture in which they live.[15] A specific example of this is code switching. This is where immigrant children learn to behave in accordance with the languages used in their lives: separate languages at home and in peer groups (mainly in educational settings).[16] Depending on the language and situation at any given time, people will socialize differently.[17] See linguistics, sociolinguistics, sociology of language.
Mass media: The mass media are the means for delivering impersonal communications directed to a vast audience. The term media comes from Latin meaning, "middle," suggesting that the media's function is to connect people. The media can teach norms and values by way of representing symbolic reward and punishment for different kinds of behavior.[18] Mass media has enormous effects on our attitudes and behavior, notably in regards to aggression.[19] See media studies.
Learning: Learning can be social or nonsocial.[20] Consider the example of a child learning about bees. If is child is exploring and playing with no one else around, the child may see a bee and touch it (out of curiosity). If the child is stung by the bee, the child learns that touching bees is associated with pain. This is nonsocial learning, since no one else was around. In contrast, a child may benefit from social learning about bees. If the child is with a parent, relative or anyone else, the child's inquisitive approach to a bee may lead to some kind of social intervention. Maybe Aunt Emy sees the child reaching for a bee and simply points the child in another direction, saying "Look at that pretty butterfly." Maybe Uncle Ed would say, "Don’t touch the bee, because it can hurt you and make you cry." Maybe Mom would have said, "Honey, stay away from bees because they sting." There are all sorts of ways that people can interact with a child to help the child learn to avoid ever being stung. Any and all of these social interventions allow the child to benefit from social learning, though some of these social interventions may be more educational and useful than others.[20]
Educational institutions – schools (preschool, primary/elementary, secondary, and post-secondary/higher –see sociology of education)
Research community – academia and universities; research institutes – see sociology of science
Medicine – hospitals and other health care institutions – see sociology of health and illness, medical sociology
Psychiatric hospitals (history)
Military or paramilitary forces – see military sociology
Industry – businesses, including corporations – see financial institution, factory, capitalism, division of labour, social class, industrial sociology
Civil society or NGOs – charitable organizations; advocacy groups; political parties; think tanks; virtual communities
In an extended context:
Art and culture (See also: culture industry, critical theory, cultural studies, cultural sociology)
The nation-state – Social and political scientists often speak of the state as embodying all institutions such as schools, prisons, police, and so on. However, these institutions may be considered private or autonomous, whilst organised religion and family life certainly pre-date the advent of the nation state. The Neo-Marxist thought of Antonio Gramsci, for instance, distinguishes between institutions of political society (police, the army, legal system, etc.), which dominate directly and coercively—and civil society (the family, education system, etc.). For example, in Schenck v. United States, the circumstance of which made that speech case special
Informal institutions[edit]
Informal institutions have been largely overlooked in comparative politics, but in many countries it is the informal institutions and rules that govern the political landscape. To understand the political behaviour in a country it is important to look at how that behaviour is enabled or constrained by informal institutions, and how this affects how formal institutions are run. For example, if there are high levels of extra judicial killings in a country, it might be that while it is prohibited by the state the police are actually enabled to carry out such killings and informally encouraged to prop up an inefficient formal state police institution. An informal institution tends to have socially shared rules, which are unwritten and yet are often known by all inhabitants of a certain country, as such they are often referred to as being an inherent part of the culture of a given country. Informal practices are often referred to as "cultural", for example clientelism or corruption is sometimes stated as a part of the political culture in a certain place, but an informal institution itself is not cultural, it may be shaped by culture or behaviour of a given political landscape, but they should be looked at in the same way as formal institutions to understand their role in a given country. Informal institutions might be particularly used to pursue a political agenda, or a course of action that might not be publicly popular, or even legal, and can be seen as an effective way of making up for lack of efficiency in a formal institution. For example, in countries where formal institutions are particularly inefficient, an informal institution may be the most cost effective way or actually carrying out a given task, and this ensures that there is little pressure on the formal institutions to become more efficient. The relationship between formal and informal institutions is often closely aligned and informal institutions step in to prop up inefficient institutions. However, because they do not have a centre, which directs and coordinates their actions, changing informal institutions is a slow and lengthy process.[21][22] It is as such important to look at any given country and note the presence of informal institutions when looking at the political landscape, and note that they are not necessarily a rejection of the state, but an integral part of it and broadening the scope of the role of the state in a given country.
Social science perspectives[edit]
While institutions tend to appear to people in society as part of the natural, unchanging landscape of their lives, study of institutions by the social sciences tends to reveal the nature of institutions as social constructions, artifacts of a particular time, culture and society, produced by collective human choice, though not directly by individual intention. Sociology traditionally analyzed social institutions in terms of interlocking social roles and expectations. Social institutions created and were composed of groups of roles, or expected behaviors. The social function of the institution was executed by the fulfillment of roles. Basic biological requirements, for reproduction and care of the young, are served by the institutions of marriage and family, for example, by creating, elaborating and prescribing the behaviors expected for husband/father, wife/mother, child, etc.[citation needed]
The relationship of institutions to human nature is a foundational question for the social sciences. Institutions can be seen as "naturally" arising from, and conforming to, human nature—a fundamentally conservative view—or institutions can be seen as artificial, almost accidental, and in need of architectural redesign, informed by expert social analysis, to better serve human needs—a fundamentally progressive view. Adam Smith anchored his economics in the supposed human "propensity to truck, barter and exchange". Modern feminists have criticized traditional marriage and other institutions as element of an oppressive and obsolete patriarchy. The Marxist view—which sees human nature as historically 'evolving' towards voluntary social cooperation, shared by some anarchists—is that supra-individual institutions such as the market and the state are incompatible with the individual liberty of a truly free society.
Economics, in recent years, has used game theory to study institutions from two perspectives. Firstly, how do institutions survive and evolve? In this perspective, institutions arise from Nash equilibria of games. For example, whenever people pass each other in a corridor or thoroughfare, there is a need for customs, which avoid collisions. Such a custom might call for each party to keep to their own right (or left—such a choice is arbitrary, it is only necessary that the choice be uniform and consistent). Such customs may be supposed to be the origin of rules, such as the rule, adopted in many countries, which requires driving automobiles on the right side of the road.
Secondly, how do institutions affect behaviour? In this perspective, the focus is on behaviour arising from a given set of institutional rules. In these models, institutions determine the rules (i.e. strategy sets and utility functions) of games, rather than arise as equilibria out of games. Douglass North argues, the very emergence of an institution reflects behavioral adaptations through his application of increasing returns.[23] Over time institutions develop rules that incentivize certain behaviors over others because they present less risk or induce lower cost, and establish path dependent outcomes. For example, the Cournot duopoly model is based on an institution involving an auctioneer who sells all goods at the market-clearing price. While it is always possible to analyze behaviour with the institutions-as-equilibria approach instead, it is much more complicated.[citation needed]
In political science, the effect of institutions on behavior has also been considered from a meme perspective, like game theory borrowed from biology. A "memetic institutionalism" has been proposed, suggesting that institutions provide selection environments for political action, whereby differentiated retention arises and thereby a Darwinian evolution of institutions over time. Public choice theory, another branch of economics with a close relationship to political science, considers how government policy choices are made, and seeks to determine what the policy outputs are likely to be, given a particular political decision-making process and context. Credibility thesis purports that institutions emerge from intentional institution-building but never in the originally intended form.[24] Instead, institutional development is endogenous and spontaneously ordered and institutional persistence can be explained by their credibility,[25] which is provided by the function that particular institutions serve.
In history, a distinction between eras or periods, implies a major and fundamental change in the system of institutions governing a society. Political and military events are judged to be of historical significance to the extent that they are associated with changes in institutions. In European history, particular significance is attached to the long transition from the feudal institutions of the Middle Ages to the modern institutions, which govern contemporary life.
Theories of institutional change[edit]
In order to understand why some institutions persist and other institutions only appear in certain contexts, it is important to understand what drives institutional change. Acemoglu, Johnson and Robinson assert that institutional change is endogenous. They posit a framework for institutional change that is rooted in the distribution of resources across society and preexisting political institutions. These two factors determine de jure and de facto political power, respectively, which in turn defines this period's economic institutions and next period's political institutions. Finally, the current economic institutions determine next period's distribution of resources and the cycle repeats.[26] Douglass North attributes institutional change to the work of "political entrepreneurs", who see personal opportunities to be derived from a change institutional framework. These entrepreneurs weigh the expected costs of altering the institutional framework against the benefits they can derive from the change.[27] North describes institutional change as a process that is extremely incremental, and that works through both formal and informal institutions.
Institutional persistence[edit]
North argues that because of the preexisting influence that existing organizations have over the existing framework, change that is brought about is often in the interests of these organizations. This produces a phenomenon called path dependence, which states that institutional patterns are persistent and endure over time.[28] These paths are determined at critical junctures, analogous to a fork in the road, whose outcome leads to a narrowing of possible future outcomes. Once a choice is made during a critical juncture, it becomes progressively difficult to return to the initial point where the choice was made. James Mahoney studies path dependence in the context of national regime change in Central America and finds that liberal policy choices of Central American leaders in the 19th century was the critical juncture that led to the divergent levels of development that we see in these countries today.[29] The policy choices that leaders made in the context of liberal reform policy led to a variety of self-reinforcing institutions that created divergent development outcomes for the Central American countries.
Though institutions are persistent, North states that paths can change course when external forces weaken the power of an existing organization. This allows other entrepreneurs to affect change in the institutional framework. This change can also occur as a result of gridlock between political actors produced by a lack of mediating institutions and an inability to reach a bargain.[30] Artificial implementation of institutional change has been tested in political development but can have unintended consequences. North, Wallis, and Weingast divide societies into different social orders: open access orders, which about a dozen developed countries fall into today, and limited access orders, which accounts for the rest of the countries. Open access orders and limited access orders differ fundamentally in the way power and influence is distributed. As a result, open access institutions placed in limited access orders face limited success and are often coopted by the powerful elite for self-enrichment. Transition to more democratic institutions is not created simply by transplanting these institutions into new contexts, but happens when it is in the interest of the dominant coalition to widen access.[31]
Natural selection[edit]
Ian Lustick suggests that the social sciences, particularly those with the institution as a central concept, can benefit by applying the concept of natural selection to the study of how institutions change over time.[32] By viewing institutions as existing within a fitness landscape, Lustick argues that the gradual improvements typical of many institutions can be seen as analogous to hill-climbing within one of these fitness landscapes. This can eventually lead to institutions becoming stuck on local maxima, such that for the institution to improve any further, it would first need to decrease its overall fitness score (e.g., adopt policies that may cause short-term harm to the institution's members). The tendency to get stuck on local maxima can explain why certain types of institutions may continue to have policies that are harmful to its members or to the institution itself, even when members and leadership are all aware of the faults of these policies.
As an example, Lustick cites Amyx's analysis of the gradual rise of the Japanese economy and its seemingly sudden reversal in the so-called "Lost Decade". According to Amyx, Japanese experts were not unaware of the possible causes of Japan's economic decline. Rather, to return Japan's economy back to the path to economic prosperity, policymakers would have had to adopt policies that would first cause short-term harm to the Japanese people and government. Under this analysis, says Ian Lustick, Japan was stuck on a "local maxima," which it arrived at through gradual increases in its fitness level, set by the economic landscape of the 1970s and 80s. Without an accompanying change in institutional flexibility, Japan was unable to adapt to changing conditions, and even though experts may have known which changes the country needed, they would have been virtually powerless to enact those changes without instituting unpopular policies that would have been harmful in the short-term.[32][33]
The lessons from Lustick's analysis applied to Sweden's economic situation can similarly apply to the political gridlock that often characterizes politics in the United States. For example, Lustick observes that any politician who hopes to run for elected office stands very little to no chance if they enact policies that show no short-term results. Unfortunately, there is a mismatch between policies that bring about short-term benefits with minimal sacrifice, and those that bring about long-lasting change by encouraging institution-level adaptations.[citation needed]
There are some criticisms to Lustick's application of natural selection theory to institutional change. Lustick himself notes that identifying the inability of institutions to adapt as a symptom of being stuck on a local maxima within a fitness landscape does nothing to solve the problem. At the very least, however, it might add credibility to the idea that truly beneficial change might require short-term harm to institutions and their members. David Sloan Wilson notes that Lustick needs to more carefully distinguish between two concepts: multilevel selection theory and evolution on multi-peaked landscapes.[32] Bradley Thayer points out that the concept of a fitness landscape and local maxima only makes sense if one institution can be said to be "better" than another, and this in turn only makes sense insofar as there exists some objective measure of an institution's quality. This may be relatively simple in evaluating the economic prosperity of a society, for example, but it is difficult to see how objectively a measure can be applied to the amount of freedom of a society, or the quality of life of the individuals within.[32]
Institutionalization[edit]
Main article: Institutionalisation
The term "institutionalization" is widely used in social theory to refer to the process of embedding something (for example a concept, a social role, a particular value or mode of behavior) within an organization, social system, or society as a whole. The term may also be used to refer to committing a particular individual to an institution, such as a mental institution. To this extent, "institutionalization" may carry negative connotations regarding the treatment of, and damage caused to, vulnerable human beings by the oppressive or corrupt application of inflexible systems of social, medical, or legal controls by publicly owned, private or not-for-profit organizations.
The term "institutionalization" may also be used in a political sense to apply to the creation or organization of governmental institutions or particular bodies responsible for overseeing or implementing policy, for example in welfare or development.
See also[edit]
Look up institution in Wiktionary, the free dictionary.
Academic institution
Actor analysis
Base and superstructure
Cultural reproduction
Historical institutionalism
Ideological state apparatus
Institute
Institutional abuse
Institutional economics
Institutional logic
Institutional memory
Institutional racism
Institutionalist political economy
Linkage institution
State, Nation, country, Sovereign state
References[edit]
Jump up ^ Huntington, p. 9
Jump up ^ "Social Institutions". Stanford Encyclopedia of Philosophy. Retrieved 30 January 2015.
Jump up ^ Durkheim, Émile [1895] The Rules of Sociological Method 8th edition, trans. Sarah A. Solovay and John M. Mueller, ed. George E. G. Catlin (1938, 1964 edition), p. 45
^ Jump up to: a b Carter, Becky. "Defining institutions". Governance and Social Development Resource Centre (GSDRC). University of Birmingham. Retrieved 2016-07-03.
Jump up ^ Harper, Caroline; Jones, Nicola; Watson, Carol (May 2012). "Gender justice for adolescent girls: tackling social institutions. Towards a conceptual framework" (PDF). Overseas Development Institute. Retrieved July 3, 2016.
Jump up ^ Miller, Seumas (2014-01-01). Zalta, Edward N., ed. Social Institutions (Winter 2014 ed.).
Jump up ^ Macionis, John J., and Linda M. Gerber. Sociology. Toronto: Pearson Canada, 2011. p. 116.
Jump up ^ Vaidyanathan, B (2011). "Religious resources or differential returns? early religious socialization and declining attendance in emerging adulthood". Journal for the scientific study of religion. 50 (2): 366–87. doi:10.1111/j.1468-5906.2011.01573.x.
Jump up ^ Macionis, John J., and Linda M. Gerber. Sociology. Toronto: Pearson Canada, 2011. p. 113.
Jump up ^ Denhart, R. B.; Jeffress, P. W. (1971). "Social learning and economic behavior: The process of economic socialization". American Journal of Economics and Sociology. 30 (2): 113–25.
Jump up ^ Harrington, Michael (2011) [1989]. Socialism: Past and Future. New York: Arcade Publishing. pp. 8–9. ISBN 1-61145-335-6.
Jump up ^ Arnett, J. J. (1995). "Broad and narrow socialization: The family in the context of a cultural theory". Journal of marriage and family. 57 (3): 617–28. doi:10.2307/353917.
^ Jump up to: a b c Poole, E. D.; Regoli, R. M. (1981). "Alienation in prison: An examination of the work relation of prison guards". Criminology. 19 (2): 251–70. doi:10.1111/j.1745-9125.1981.tb00415.x.
Jump up ^ Carmi, A (1983). "The role of social energy in prison". Dynamische Psychiatrie. 16 (5–6): 383–406.
Jump up ^ Ochs, Elinor. 1988. Culture and language development: Language acquisition and language socialization in a Samoan village. Cambridge: Cambridge University Press. Ochs, Elinor, and Bambi Schieffelin. 1984. Language Acquisition and Socialization: Three Developmental Stories and Their Implications. In Culture Theory: Essays on Mind, Self, and Emotion. R. Shweder and R.A. LeVine, eds. pp. 276–320. New York: Cambridge University. Schieffelin, Bambi B. 1990. The Give and Take of Everyday Life: Language Socialization of Kaluli Children. Cambridge: Cambridge University Press.
Jump up ^ Morita, N (2009). "Language, culture, gender, and academic socialization". Language and education. 23 (5): 443–60. doi:10.1080/09500780902752081.
Jump up ^ Harris, J. R. (1995). "Where is the child's environment? A group socialization theory of development". Psychological Review. 102 (3): 458–89. doi:10.1037/0033-295x.102.3.458.
Jump up ^ McQuail (2005): McQuail’s Mass Communication Theory: Fifth Edition, London: Sage. 494
Jump up ^ Macionis, John J., and Linda M. Gerber. Sociology. Toronto: Pearson Canada, 2011. Print.
^ Jump up to: a b http://www.soc.ucsb.edu/faculty/baldwin/classes/soc142/sle&nsle Archived 2012-12-16 at the Wayback Machine.
Jump up ^ Helmke, G.
Jump up ^ Levitsky, S.
Jump up ^ Pierson, Paul (2000-01-01). "Increasing Returns, Path Dependence, and the Study of Politics". The American Political Science Review. 94 (2): 251–67. doi:10.2307/2586011.
Jump up ^ Ho, Peter (September 2014). "The 'credibility thesis' and its application to property rights: (In)Secure land tenure, conflict and social welfare in China". Land Use Policy. 40: 13–27. doi:10.1016/j.landusepol.2013.09.019. Retrieved 20 October 2016.
Jump up ^ Grabel, Ilene. "The political economy of 'policy credibility': the new-classical macroeconomics and the remaking of emerging economies". Cambridge Journal of Economics. 24 (1): 1–19. doi:10.1093/cje/24.1.1. Retrieved 20 October 2016.
Jump up ^ Acemoglu, Daron, Simon Johnson, and James A. Robinson. "Institutions as a fundamental cause of long-run growth." Handbook of Economic Growth 1 (2005): 385–472.
Jump up ^ North, D. C. (1992). Transaction costs, Institutions, and Economic Performance (pp. 13–15). San Francisco, CA: ICS Press.
Jump up ^ Transaction costs, Institutions, and Economic Performance (pp. 13–15). San Francisco, CA: ICS Press.
Jump up ^ Mahoney, James. "Path-dependent explanations of regime change: Central America in comparative perspective." Studies in Comparative International Development 36.1 (2001): 111–41.
Jump up ^ North, Douglass Cecil. Transaction costs, institutions, and economic performance. San Francisco, CA: ICS Press, 1992.
Jump up ^ North, Douglass C. Limited access orders in the developing world: A new approach to the problems of development. Vol. 4359. World Bank Publications, 2007.
^ Jump up to: a b c d Lustick, Ian (2011). "Institutional Rigidity and Evolutionary Theory: Trapped on a Local Maximum". Cliodynamics. 2 (2).
Jump up ^ Amyx, Jennifer (2004). Japan's Financial Crisis: Institutional Rigidity and Reluctant Change. Princeton University Press. pp. 17–18.
Bibliography[edit]
Berger, P. L. and T. Luckmann (1966), The Social Construction of Reality: A Treatise in the Sociology of Knowledge, Anchor Books, Garden City, NY.
Chang, Ha-Joon (ed.) (2007), Institutional Change and Economic Development, Anthem Press.
Greif, Avner (2006), Institutions and the Path to the Modern Economy: Lessons from Medieval Trade, Cambridge University Press, ISBN 978-0-521-67134-7
Helmke, G, Levitsky, S. (2004) Informal Institutions and Comparative Politics: A Research Agenda. Cambridge journals online
Huntington, Samuel P. (1968) Political Order in Changing Societies Yale University Press ISBN 978-0-300-11620-5
North, D. C. (1990), Institutions, Institutional Change and Economic Performance. Cambridge University Press, Cambridge.
Schotter, A. (1981), The Economic Theory of Social Institutions. Cambridge University Press, Cambridge.
Gielen, P. (ed. 2013), Institutional Attitudes. Instituting Art in a Flat World. Valiz: Amsterdam.
Further reading[edit]
Report of the Committee of Inquiry into allegations of ill-treatment of patients and other irregularities at the Ely Hospital, Cardiff, HMSO 1969
Extracts of the Report of the Committee of Inquiry into Normansfield Hospital. British Medical Journal, 1978, 2, 1560–63
Whyte, William H., The Organization Man, Doubleday Publishing, 1956. (excerpts from Whyte's book)
The Production and Reproduction of Scandals in Chronic Sector Hospitals Amy Munson-Barkshire 1981
"Social Institutions," Stanford Encyclopedia of Philosophy
Authority control
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View the content page [ctrl-alt-c]
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p-cactions
navigation
vectorMenu emptyPortlet
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mw-wiki-logo
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Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
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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]
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values: Guidance on how to use and edit Wikipedia

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

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Language settings
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values: مؤسسة – Arabic

values: Сацыяльны інстытут – Belarusian

values: Сацыяльны інстытут – Belarusian (Taraškievica orthography)

values: Институция – Bulgarian

values:
https://cs.wikipedia.org/wiki/Instituce
Instituce – Czech
cs
cs
interlanguage-link-target

values: Θεσμός – Greek

values:
https://eu.wikipedia.org/wiki/Erakunde
Erakunde – Basque
eu
eu
interlanguage-link-target

values: نهاد اجتماعی – Persian

values:
https://hr.wikipedia.org/wiki/Ustanova
Ustanova – Croatian
hr
hr
interlanguage-link-target

values:
https://id.wikipedia.org/wiki/Pranata
Pranata – Indonesian
id
id
interlanguage-link-target

values: Әлеуметтік ұйым – Kazakh

values: Социалдык институт – Kyrgyz

values: Институција – Macedonian

values:
https://ms.wikipedia.org/wiki/Institusi
Institusi – Malay
ms
ms
interlanguage-link-target

values: Нийгмийн институт – Mongolian

values: Социальный институт – Russian

values:
https://sl.wikipedia.org/wiki/Ustanova
Ustanova – Slovenian
sl
sl
interlanguage-link-target

values: Установа – Serbian

values: நிறுவனம் – Tamil

values: สถาบัน – Thai

values:
https://tr.wikipedia.org/wiki/Kurum
Kurum – Turkish
tr
tr
interlanguage-link-target

values: Соціальна інституція – Ukrainian

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