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Beowulf (2007 film)
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Beowulf
Theatrical release poster
Directed by
Robert Zemeckis
Produced by
Robert Zemeckis
Steve Bing
Jack Rapke
Steve Starkey
Screenplay by
Neil Gaiman
Roger Avary
Based on
Beowulf
Starring
Ray Winstone
Anthony Hopkins
John Malkovich
Robin Wright
Brendan Gleeson
Crispin Glover
Alison Lohman
Angelina Jolie
Music by
Alan Silvestri
Cinematography
Robert Presley
Edited by
Jeremiah O'Driscoll
Production
company
Shangri-La Entertainment
ImageMovers
Distributed by
Paramount Pictures (North America)
Warner Bros. Pictures (International)
Release date
November 16, 2007 (2007-11-16)
Running time
114 minutes
Country
United Kingdom
United States
Language
English
Budget
$150 million
Box office
$196.4 million
Beowulf is a 2007 British-American 3D animated epic fantasy film directed by Robert Zemeckis and written by Neil Gaiman and Roger Avary, based on the Old English epic poem of the same name. The film was created through a motion capture process similar to the technique Zemeckis used in The Polar Express. The cast includes Ray Winstone, Anthony Hopkins, Robin Wright Penn, Brendan Gleeson, John Malkovich, Crispin Glover, Alison Lohman, and Angelina Jolie. It was released in the United Kingdom and United States on November 16, 2007, by Paramount Pictures and Warner Bros. Pictures, and was available to view in IMAX 3D, RealD, Dolby 3D and standard 2D format. The film received positive reviews from critics and it earned $196.4 million on a $150 million budget.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Animation
3.3 Visual effects
3.4 Music
4 Differences from the poem
5 Release
5.1 Marketing
5.2 Home media
6 Reception
6.1 Box office
6.2 Critical response
7 See also
8 References
9 External links
Plot[edit]
In 507, the legendary Geatish warrior Beowulf travels to Denmark with his band of soldiers, including his best friend, Wiglaf. They meet King Hrothgar, who needs a hero to slay Grendel, a hideously malformed troll-like creature with appalling strength and cunning, who attacked and killed many of Hrothgar's warriors during a celebration in the mead hall Heorot. Upon arriving, Beowulf becomes attracted to Hrothgar's wife, Queen Wealtheow, who reciprocates his interest.
Beowulf and his men celebrate in Heorot to lure Grendel out. When the beast attacks, Beowulf engages him unarmed and naked. During the fight, Beowulf discovers that Grendel has hypersensitive hearing and ruptures the creature's eardrum. Grendel shrinks in size and manages to escape only after Beowulf severs his arm, mortally wounding him. In thanks for freeing his kingdom from the monster, Hrothgar gives Beowulf his golden drinking horn, which commemorates Hrothgar's victory over the mighty dragon Fafnir.
In his cave, Grendel's mother swears revenge over his corpse. She travels to Heorot and slaughters Beowulf's men while they are sleeping. Hrothgar tells both Beowulf and Wiglaf, who had been sleeping outside the hall during the attack, that it was the work of Grendel's mother. She is the last of the Water Demons, who were thought to have left the land. Beowulf and Wiglaf travel to the demon's cave to slay her. Beowulf enters the cave alone and encounters the demon, who takes the form of a beautiful woman. She seduces him with promises to make him king in exchange for the drinking horn and a son to replace Grendel. Beowulf returns to Heorot and announces he has killed the demon. Only Hrothgar is not fooled, as he too had been seduced by the demon; Grendel was the result of their tryst. Hrothgar crowns Beowulf king, then commits suicide by jumping from the castle parapet onto the beach below.
Years later, the elderly Beowulf is married to (though estranged from) Wealtheow, who has converted to Christianity. Beowulf has a mistress, Ursula, but his tryst with Grendel's mother has left him sterile. On the anniversary of Beowulf's victory against Grendel Unferth returns the golden drinking horn, which his slave had found on the moors. That night, a nearby village is destroyed by a dragon, which then transforms into a golden figure, who orders Unferth to give a message to King Beowulf—the dragon's father.
Beowulf and Wiglaf go to the cave once again, and Beowulf enters the cave alone. When Grendel's mother appears, Beowulf gives her the golden horn, but she refuses to stop the attacks. The dragon attacks Beowulf's castle, threatening Wealtheow and Ursula. Despite his age, Beowulf goes to great lengths to stop the dragon, even slicing off his own arm in the process. Eventually, he kills the dragon by ripping its heart out, and he and the creature tumble to the rocky beach below the castle. As Wiglaf approaches him, Beowulf tries to tell the truth about his affair with Grendel's mother, but Wiglaf insists on keeping his legacy intact. Beowulf then dies.
As the new king, Wiglaf gives Beowulf a Norse funeral. Grendel's mother appears and gives Beowulf a final kiss before his burning ship sinks into the sea. Wiglaf sees the golden horn washed by the waves of the sea in the sand while Grendel's mother floats in the sea. As she smiles at him seductively, Wiglaf moves into the surf.
Cast[edit]
The cast members of Beowulf were filmed on a motion capture stage. They were altered on screen using computer-generated imagery, but their animated counterparts bear much resemblance to themselves.
The title character, Beowulf, is portrayed by Ray Winstone. Zemeckis cast Winstone after seeing his performance as the title character of the 2003 ITV serial Henry VIII.[1] On the topic of the original poem, Winstone commented during an interview, "I had the beauty of not reading the book, which I understand portrays Beowulf as a very one-dimensional kind of character; a hero and a warrior and that was it. I didn't have any of that baggage to bring with me."[2] Winstone enjoyed working with motion capture, stating that "You were allowed to go, like theater, where you carry a scene on and you become engrossed within the scene. I loved the speed of it. There was no time to sit around. You actually cracked on with a scene and your energy levels were kept up. There was no time to actually sit around and lose your concentration. So, for me, I actually really, really enjoyed this experience." Unlike some of his castmates, Winstone's animated counterpart bears little resemblance to the actor who was in his early 50s when he filmed the role; Winstone noted that his computer-generated counterpart resembled himself at the age of eighteen, although the filmmakers did not have a photo for reference.[3] Winstone also played a dwarf performer, and the "Golden Man"/Dragon.[2]
The antagonists Grendel and Grendel's mother are portrayed by Crispin Glover and Angelina Jolie, respectively. Glover had previously worked with Zemeckis in Back to the Future, when he portrayed George McFly. Zemeckis had found Glover tiresome on set, because of his lack of understanding of shooting a film, but realized this would not be a problem as on a motion capture film he could choose his angles later.[4] Glover's dialogue was entirely in Old English.[3] Jolie had wanted to work with Zemeckis, and had read the poem years before but could not remember it well until she read the script and was able to recall basic themes. The actress recounted her first impression of her character's appearance by saying "...I was told I was going to be a lizard. Then I was brought into a room with Bob, and a bunch of pictures and examples, and he showed me this picture of a woman half painted gold, and then a lizard. And, I’ve got kids and I thought 'That's great. That's so bizarre. I'm going to be this crazy reptilian person and creature.'" Jolie filmed her role over two days when she was three months pregnant. She was startled by the character's nude human form, stating that for an animated film "I was really surprised that I felt that exposed."[3]
King Hrothgar is portrayed by Anthony Hopkins. Hopkins noted in an interview that since Zemeckis is an American, he wasn't certain what accent Hopkins should use for the role of Hrothgar. Hopkins told him, "Well, Welsh would be my closest because that's where I come from." It was also his first time working with motion capture technology. Hopkins noted, "I didn't know what was expected. It was explained to me, I'm not stupid, but I still don't get the idea of how it works. I have no idea [...] you don't have sets, so it is like being in a Brecht play, you know, with just bare bones and you have nothing else." When asked if he had to read the original poem of Beowulf in school, Hopkins replied: "No, I was hopeless at school. I couldn't read anything. I mean I could read, but I was so inattentive. I was one of those poor kids, you know, who was just very slow, didn't know what they were talking about... So I tried to get around to reading Beowulf just before I did this movie, and it was a good modern translation. It was Trevor Griffiths, I’m not sure, but I couldn't hack it, and I tend to like to just go with the script if it's a good script."[5]
Unferth is portrayed by John Malkovich. Malkovich became involved in the project because one of his friends, who had worked with Zemeckis, "spoke very highly of him. I had always found him a very interesting and innovative filmmaker. I liked the script very much and I liked the group involved and the process interested me a great deal also." He found the experience of working with motion capture to be similar to his experiences working in the theater. He also found the process intriguing: "Say you do a normal day of filmmaking. Sometimes that’s 1/8 of a page, sometimes it’s 3/8th of a page, normally let’s say it’s 2½ pages, maybe 3. Now it’s probably a little more than it used to be but not always. So you may be acting for a total of 20 minutes a day. In this, you act the entire day all the time except for the tiny amount of time it takes them to sort of coordinate the computer information, let’s say, and make sure that the computers are reading the data and that you’re transmitting the data. It interests me on that level because I’m a professional actor so I’d just as soon act as sit around." Malkovich also recalled that he studied the original poem in high school, and that “I think we got smacked if we couldn’t recite a certain number of stanzas. It was in the Old English class and I think my rendition was exemplary."[6]
The cast also includes:
Brendan Gleeson as Wiglaf, Beowulf's lieutenant
Robin Wright Penn as Queen Wealtheow
Alison Lohman as Ursula, Beowulf's concubine when he is an old king
Costas Mandylor as Hondshew
Sebastian Roche as Wulfgar
Greg Ellis as Garmund
Tyler Steelman as Young Cain, Unferth's disabled slave
Dominic Keating as Adult Cain
Rik Young as Eofor
Charlotte Salt as Estrith
Leslie Harter Zemeckis as Yrsa
Fredrik Hiller as Finn of Frisia
Production[edit]
Development[edit]
Author Neil Gaiman and screenwriter Roger Avary wrote a screen adaptation of Beowulf in May 1997 (they had met while working on a film adaptation of Gaiman's The Sandman in 1996, before Warner Bros. canceled it).[1] The script had been optioned by ImageMovers in the same year and set up at DreamWorks with Avary slated to direct and Robert Zemeckis producing. Avary stated he wanted to make a small-scale, gritty film, with a budget of $15–20 million, similar to Jabberwocky or Excalibur.[1] The project eventually went into turnaround after the option expired, the rights returned to Avary, who went on to direct an adaptation of The Rules of Attraction. In January 2005, producer Steve Bing, at the behest of Zemeckis who was wanting to direct the film himself, revived the production by convincing Avary that Zemeckis' vision, supported by the strength of digitally enhanced live action, was worth relinquishing the directorial reins.[7][8] Zemeckis did not like the poem, but enjoyed reading the screenplay. Because of the expanded budget, Zemeckis told the screenwriters to rewrite their script, because "there is nothing that you could write that would cost me more than a million dollars per minute to film. Go wild!" In particular, the entire fight with the dragon was rewritten from a talky confrontation to a battle spanning the cliffs and the sea.[1]
Animation[edit]
Sony Pictures Imageworks created the animation for the film, with visual effects supervisor Jerome Chen overseeing creative and technical development for the project. Animation supervisor Kenn MacDonald explained that Zemeckis used motion capture because “Even though it feels like live action, there were a lot of shots where Bob cut loose. Amazing shots. Impossible with live action actors. This method of filmmaking gives him freedom and complete control. He doesn’t have to worry about lighting. The actors don’t have to hit marks. They don’t have to know where the camera is. It’s pure performance." A 25 × 35-foot stage was built, and it used 244 Vicon MX40 cameras. Actors on set wore seventy-eight body markers. The cameras recorded real time footage of the performances, shots which Zemeckis reviewed. The director then used a virtual camera to choose camera angles from the footage which was edited together. Two teams of animators worked on the film, with one group working on replicating the facial performances, the other working on body movement. The animators said they worked very closely on replicating the human characters, but the character of Grendel had to be almost reworked, because he is a monster, not human.[9]
In designing the dragon, production designer Doug Chiang wanted to create something unique in film. The designers looked at bats and flying squirrels for inspiration, and also designed its tail to allow underwater propulsion. As the beast is Beowulf's son with Grendel's mother, elements such as Winstone's eyes and cheekbone structure were incorporated into its look.[10] The three primary monsters in the film share a golden color scheme, because they are all related. Grendel has patches of gold skin, but because of his torment, he has shed much of his scales and exposed his internal workings. He still had to resemble Crispin Glover though: the animators decided to adapt Glover's own parted hairstyle to Grendel, albeit with bald patches.[9]
Robert Zemeckis insisted that the character Beowulf resemble depictions of Jesus, believing that a correlation could be made between Christ's face and a universally accepted appeal.[11] Zemeckis used Alan Ritchson for the physical model, facial image and movement for the title character of Beowulf.[12]
Visual effects[edit]
Director Robert Zemeckis drew inspiration for the visual effects of Beowulf from experience with The Polar Express, which used motion capture technology to create three-dimensional images of characters.[13] Appointing Jerome Chen, whom Zemeckis worked with on The Polar Express, the two decided to chart realism as their foremost goal. Over 450 graphic designers were chosen for the project, the largest team ever assembled for an Imageworks-produced movie as of 2007.[13] Designers at Imageworks generated new animation tools for facial, body, and cloth design especially for the movie, and elements of keyframe animation were incorporated into the movie to capture the facial expressions of the actors and actresses.[13] The mead hall battle scene near the beginning of the film, among others, required numerous props that served as additional markers; these markers allowed for a more accurate manifestation of a battlefield setting as the battle progressed.[13] However, the data being collected by the markers slowed down the studios' computer equipment, and five months were spent developing a new save/load system that would increase the efficiency of the studios' resources.[13] To aid in the process of rendering the massive quantities of information, the development team used cached data. In the cases that using cached data was not possible, the scenes were rendered using foreground occlusion, which involves the blurring of different overlays of a single scene in an attempt to generate a single scene film.[13]
Other elements of the movie were borrowed from that of others created by Imageworks; Spider-Man 3 lent the lighting techniques it used and the fluid engine present in the Sandman, while the waves of the ocean and the cave of Grendel's mother were modeled after the wave fluid engine used in Surf's Up. The 2007 film Ghost Rider lent Beowulf the fluid engine that was used to model the movements of protagonist Johnny Blaze.[13]
Jerome Chen worked to process large crowd scenes as early as possible, as additional time would be needed to process these scenes in particular.[13] As a result, the film's development team designed a priority scale and incorporated it into their processors so graphic artists would be able to work with the scenes when they arrived.[13]
So much data was produced in the course of the creation of the movie, the studio was forced to upgrade all of its processors to multicore versions, which run quicker and more efficiently. The creation of additional rendering nodes throughout Culver City, California was necessitated by the movie's production.[13]
Mark Vulcano, who had previously worked on VeggieTales and Monster House, was Senior Character Animator for the film.
Music[edit]
Main article: Beowulf (soundtrack)
The music for Beowulf was composed and conducted by Alan Silvestri. A soundtrack was released November 20, 2007.[14] Silvestri was largely responsible for the production of the soundtrack album, although actresses Robin Wright Penn and Idina Menzel performed several songs in the soundtrack's score.
Differences from the poem[edit]
"There are a lot of questions. For example, Grendel is described as half-man, half-demon. The mother is described as a water demon. So who's Grendel's father? Grendel's always dragging men off alive to the cave. Why? Why is he never attacking Hrothgar? [...] And if Hrothgar is Grendel's father, then what happens to Beowulf when he goes into that cave? Did he kill the monster? Did he kill Grendel’s mother? Or did he make a pact with the demon? It was those kinds of questions that allowed us to explore deeper into the myth, and in a way that I don't think bastardizes the original myth; I think it actually is a deeper examination of it."
— Roger Avary[15]
One objective of Neil Gaiman and Roger Avary was to offer their own interpretation for motivations behind Grendel's behavior and for what happened when Beowulf was in the cave of Grendel's mother. They justified these choices by arguing that Beowulf acts as an unreliable narrator in the portion of the poem in which he describes his battle with Grendel's mother.[16] These choices also helped them to better connect the third act to the second of their screenplay, which is divided in the poem by a 50-year gap.[15]
Some of the changes made by the film as noted by scholars include:
The portrayal of Beowulf as a flawed man
The portrayal of Hrothgar as a womanizing alcoholic
The portrayal of Unferth as a Christian
The portrayal of Grendel as a sickly-looking childlike creature (somewhat similar to Tolkien's Gollum character), rather than savage demon monster
Beowulf's funeral
The portrayal of Grendel's mother as a beautiful seductress, more of a succubus rather, who bears Grendel as Hrothgar's child and the dragon as Beowulf's child (this is also the case in the plot of the 1999 film Beowulf, with the exception that the dragon is entirely absent there)
The fact that Beowulf becomes ruler of Denmark instead of his native Geatland[17][18][19]
Scholars and authors have also commented on these changes. Southern Methodist University's Director of Medieval Studies Bonnie Wheeler is "convinced that the new Robert Zemeckis movie treatment sacrifices the power of the original for a plot line that propels Beowulf into seduction by Angelina Jolie—the mother of the monster he has just slain. What man doesn’t get involved with Angelina Jolie?' Wheeler asks. 'It’s a great cop-out on a great poem.' ... 'For me, the sad thing is the movie returns to…a view of the horror of woman, the monstrous female who will kill off the male,' Wheeler says. 'It seems to me you could do so much better now. And the story of Beowulf is so much more powerful.'"[20] Other commentators pointed to the theories elucidated in John Grigsby's work Beowulf and Grendel, where Grendel's mother was linked with the ancient Germanic fertility goddess Nerthus.[21]
This is not the first time that the theme of a relationship between Beowulf and Grendel's mother was explored. In Gaiman's 1998 collection of short stories, Smoke and Mirrors, the poem Bay Wolf is a retelling of Beowulf in a modern-day setting. In this story, Beowulf as the narrator is ambiguous about what happened between Grendel's mother and himself.
In addition, philosophy professor Stephen T. Asma argues that "Zemeckis's more tender-minded film version suggests that the people who cast out Grendel are the real monsters. The monster, according to this charity paradigm, is just misunderstood rather than evil (similar to the version presented in John Gardner's novel Grendel). The blame for Grendel's violence is shifted to the humans, who sinned against him earlier and brought the vengeance upon themselves. The only real monsters, in this tradition, are pride and prejudice. In the film, Grendel is even visually altered after his injury to look like an innocent, albeit scaly, little child. In the original Beowulf, the monsters are outcasts because they're bad (just as Cain, their progenitor, was outcast because he killed his brother), but in the film Beowulf the monsters are bad because they're outcasts [...] Contrary to the original Beowulf, the new film wants us to understand and humanize our monsters."[22]
Release[edit]
At Comic-Con International in July 2006, Gaiman said Beowulf would be released on November 22, 2007.[23] The following October, Beowulf was announced to be projected in 3-D in over 1,000 theaters for its release date in November 2007. The studios planned to use 3-D projection technology that had been used by Monster House (another film that Zemeckis was involved on, but credited as executive producer), Chicken Little, and 3-D re-release of The Nightmare Before Christmas, but on a larger scale than previous films. Beowulf would additionally be released in 35mm alongside the 3-D projections.[24]
Originally, Columbia Pictures was set to distribute the film. However, Steven Bing did not finalize a deal and instead arranged with Paramount Pictures for U.S. distribution and Warner Bros. for international distribution.[25] Beowulf was set to premiere at the 2007 Venice Film Festival but was not ready in time.[26] The film's world premiere was held in Westwood, Los Angeles, California on November 5, 2007.[27]
Critics and even some of the actors expressed shock at the British Board of Film Classification rating of the film — 12A — which allowed children under twelve in Britain to see the film if accompanied by their parents. Angelina Jolie called it "remarkable it has the rating it has", and said she would not be taking her own children to see it.[28] In the United States, the Motion Picture Association of America rated the film as PG-13 ("Parents Strongly Cautioned: Some material may be inappropriate for children under 13").
Marketing[edit]
To promote the film, a novelization of the film, written by Caitlín R. Kiernan, was published in September 2007.[29] This was followed by a four-issue comic book adaptation by IDW Publishing released every week in October 2007.[30]
A video game based on the film entitled Beowulf: The Game was released on Xbox 360, PlayStation 3, PC and PSP formats.[31] The game was announced by Ubisoft on May 22, 2007, during its Ubidays event in Paris.[32] It was released on November 13, 2007, in the United States. The characters are voiced by the original actors who starred in the film.[33] On November 1, 2007, Beowulf: The Game was released for mobile phones. The side-scrolling action video game was developed by Gameloft.[34]
Several cast members, including director Robert Zemeckis, gave interviews for the film podcast Scene Unseen in August 2007. This is noteworthy especially because it marks the only interview given by Zemeckis for the film.
Home media[edit]
Beowulf was released for Region 1 on DVD February 26, 2008. A director's cut was also released as both a single-disc DVD and two-disc HD DVD alongside the theatrical cut. The theatrical cut includes A Hero's Journey: The Making of Beowulf while the single disc director's cut features four more short features. The HD DVD contains eleven short features and six deleted scenes.[35]
The director's cut was released on Blu-ray Disc in the United Kingdom on March 17, 2008, and in the United States on July 29, 2008.[citation needed] The Blu-ray edition includes a "picture-in-picture" option that allows one to view the film's actors performing their scenes on the soundstage, before animation was applied (a notable exception to this is Angelina Jolie, whose scenes are depicted using storyboards and rough animation rather than the unaltered footage from the set).
Reception[edit]
Box office[edit]
Beowulf ranked #1 in the United States and Canada box office during its opening weekend date of November 18,[36] grossing $27.5 million in 3,153 theaters.[37]
As of April 27, 2008, the film had grossed an estimated domestic total of $82,195,215 and a foreign box office total of $113,954,447 for a worldwide gross of $196,149,662.[38]
Critical response[edit]
The film was met with mainly positive reviews. As of October 20, 2016, on the review aggregator Rotten Tomatoes, Beowulf received a rating of 71% certifying it as "Certified Fresh", based upon 195 reviews.[39] On Metacritic, the film had an average score of 59 out of 100, based on 35 reviews, indicating "mixed or average" reviews.[40]
Giving Beowulf three out of four stars, Roger Ebert argues that the film is a satire of the original poem.[41] Time magazine critic Richard Corliss describes the film as one with "power and depth" and suggests that the "effects scenes look realer [sic], more integrated into the visual fabric, because they meet the traced-over live-action elements halfway. It all suggests that this kind of a moviemaking is more than a stunt. By imagining the distant past so vividly, Zemeckis and his team prove that character capture has a future."[42] Corliss later named it the 10th best film of 2007.[43] Rolling Stone critic Peter Travers argues that “The eighth-century Beowulf, goosed into twenty-first century life by a screenplay from sci-fi guru Neil Gaiman and Pulp Fiction's Roger Avary, will have you jumping out of your skin and begging for more... I've never seen a 3-D movie pop with this kind of clarity and oomph. It's outrageously entertaining."[44]
Tom Ambrose of Empire gave the film four out of five stars. He argues that Beowulf is "the finest example to date of the capabilities of this new technique [...] Previously, 3D movies were blurry, migraine-inducing affairs. Beowulf is a huge step forward [...] Although his Cockney accent initially seems incongruous [...] Winstone’s turn ultimately reveals a burgeoning humanity and poignant humility." Ambrose also argues that “the creepy dead eyes thing has been fixed."[45] Justin Chang of Variety argues that the screenwriters "have taken some intriguing liberties with the heroic narrative [... the] result is, at least, a much livelier piece of storytelling than the charmless Polar Express." He also argues that "Zemeckis prioritizes spectacle over human engagement, in his reliance on a medium that allows for enormous range and fluidity in its visual effects yet reduces his characters to 3-D automatons. While the technology has improved since 2004's Polar Express (particularly in the characters' more lifelike eyes), the actors still don't seem entirely there."[46]
Kenneth Turan of NPR criticized the film, arguing: "It's been 50 years since Hollywood first started flirting with 3-D movies, and the special glasses required for viewing have gotten a whole lot more substantial. The stories being filmed are just as flimsy. Of course Beowulf does have a more impressive literary pedigree than, say, Bwana Devil. But you'd never know that by looking at the movie. Beowulf's story of a hero who slays monsters has become a fanboy fantasy that panders with demonic energy to the young male demographic."[47] Manohla Dargis of the New York Times compared the poem with the film stating that, "If you don't remember this evil babe from the poem, it's because she's almost entirely the invention of the screenwriters Roger Avary and Neil Gaiman and the director Robert Zemeckis, who together have plumped her up in words, deeds and curves. These creative interventions aren't especially surprising given the source material and the nature of big-studio adaptations. There's plenty of action in Beowulf, but even its more vigorous bloodletting pales next to its rich language, exotic setting and mythic grandeur."[48]
See also[edit]
List of historical drama films
Late Antiquity
Germanic Heroic Age
References[edit]
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Jump up ^ Michael Fleming; Dave McNary (August 17, 2005). "Par, WB cry "Beowulf"". Variety. Retrieved 2007-01-13.
Jump up ^ J. Lyman, Eric (June 13, 2007). "'Beowulf' misses Venice festival bow". The Hollywood Reporter. Retrieved April 18, 2012.
Jump up ^ Robert Sanchez (November 5, 2007). "Exclusive Photo Gallery: World Premiere of Beowulf!". IESB. Retrieved 2007-11-09.
Jump up ^ "Beowulf violence "shocked" Jolie". BBC. November 12, 2007. Retrieved 2007-12-24.
Jump up ^ Caitlín R. Kiernan (2007). Beowulf. Harper Entertainment. p. 384. ISBN 0-06-134128-2.
Jump up ^ ""Beowulf" coming to theaters and comics". Comic Book Resources. June 19, 2007. Retrieved 2007-11-13.
Jump up ^ John Gaudiosi (October 23, 2007). "Anthony Hopkins, Ray Winstone Make Video Game Debuts in Beowulf". Game Daily. Retrieved 2007-11-13.
Jump up ^ Hatfield, Daemon (May 22, 2007). "Ubisoft Producing Beowulf Game". IGN. Archived from the original on March 17, 2012. Retrieved April 18, 2012.
Jump up ^ "Beowulf Game Launches Alongside Film". IGN. November 16, 2007. Archived from the original on February 17, 2012. Retrieved April 16, 2012.
Jump up ^ "Beowulf: The Game". IGN. Archived from the original on February 22, 2012. Retrieved April 18, 2012.
Jump up ^ Tom Woodward. "Beowulf (US – DVD R1 | HD)". DVD Active. Retrieved 2008-01-17.
Jump up ^ "Beowulf tops US box office chart". BBC. November 19, 2007. Retrieved 2007-11-19.
Jump up ^ "Beowulf (2007)". Box Office Mojo. Retrieved 2007-11-21.
Jump up ^ "Beowulf (2007) – International Box Office Results". Box Office Mojo. Retrieved 2007-11-25.
Jump up ^ "Beowulf – Rotten Tomatoes". Rotten Tomatoes. Retrieved 2008-01-01.
Jump up ^ "Beowulf (2007): Reviews". Metacritic. Retrieved 2007-11-19.
Jump up ^ Roger Ebert (November 15, 2007). "Beowulf". Chicago Sun-Times. Retrieved 2007-11-16.
Jump up ^ Richard Corliss (November 16, 2007). "Beowulf and Grendel — and Grendma". TIME. Retrieved 2007-11-17.
Jump up ^ "Metacritic: 2007 Film Critic Top Ten Lists". Metacritic. Archived from the original on 2008-01-02. Retrieved 2008-01-05.
Jump up ^ Peter Travers (November 15, 2007). "Beowulf (Paramount)". Rolling Stone. Retrieved 2007-11-17.
Jump up ^ Tom Ambrose. "Beowulf". Empire. Retrieved 2007-11-12.
Jump up ^ Justin Chang (November 9, 2007). "Beowulf". Variety. Retrieved 2007-11-11.
Jump up ^ Kenneth Turan (November 16, 2007). ""Beowulf" Sexes Up, Dumbs Down an Epic". National Public Radio. Retrieved 2007-11-16.
Jump up ^ Manohla Dargis (November 16, 2007). "Confronting the Fabled Monster, Not to Mention His Naked Mom". New York Times. Retrieved 2007-11-16.
External links[edit]
Wikiquote has quotations related to: Beowulf (2007 film)
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Nick Haydock, "Making Sacrifices: Beowulf and Film," The Year's Work in Medievalism 27 (2012).
Paul Arendt (20 November 2007). "Children's author Michael Morpurgo on 'Beowulf'". The Guardian.
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Nate Thurmond
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Nate Thurmond
Thurmond with the Warriors in 1969
Personal information
Born
(1941-07-25)July 25, 1941
Akron, Ohio
Died
July 16, 2016(2016-07-16) (aged 74)
San Francisco, California
Nationality
American
Listed height
6 ft 11 in (2.11 m)
Listed weight
235 lb (107 kg)
Career information
High school
Central (Akron, Ohio)
College
Bowling Green (1960–1963)
NBA draft
1963 / Round: 1 / Pick: 3rd overall
Selected by the San Francisco Warriors
Playing career
1963–1977
Position
Center / Power forward
Number
42
Career history
1963–1974
San Francisco / Golden State Warriors
1974–1976
Chicago Bulls
1976–1977
Cleveland Cavaliers
Career highlights and awards
7× NBA All-Star (1965–1968, 1970, 1973, 1974)
2× NBA All-Defensive First Team (1969, 1971)
3× NBA All-Defensive Second Team (1972–1974)
NBA All-Rookie First Team (1964)
NBA's 50th Anniversary All-Time Team
No. 42 retired by the Golden State Warriors
No. 42 retired by the Cleveland Cavaliers
Consensus second-team All-American (1963)
3× First-team All-MAC (1961–1963)
Career statistics
Points
14,437 (15.0 ppg)
Rebounds
14,464 (15.0 rpg)
Assists
2,575 (2.7 apg)
Stats at Basketball-Reference.com
Basketball Hall of Fame as player
College Basketball Hall of Fame
Inducted in 2006
Nathaniel Thurmond (July 25, 1941 – July 16, 2016) was an American basketball player who spent the majority of his 14-year career in the National Basketball Association (NBA) with the Golden State Warriors. He played the center and power forward positions.[1] Thurmond was a seven-time All-Star and the first player in NBA history to record an official quadruple-double. In 1965, he grabbed 42 rebounds in a game; only Wilt Chamberlain and Bill Russell recorded more rebounds in an NBA game. Thurmond was named both a member of the Naismith Memorial Basketball Hall of Fame and one of the 50 Greatest Players in NBA History.[2]
Known to fans as "Nate the Great",[3] Thurmond has had his No. 42 jersey retired by both the Golden State Warriors and the Cleveland Cavaliers.[4]
Contents
[hide]
1 High school and college career
2 NBA career
2.1 San Francisco/Golden State Warriors
2.2 Chicago Bulls
2.3 Cleveland Cavaliers
3 Retirement and death
4 Statistical accomplishments
5 NBA career statistics
5.1 Regular season
5.2 Playoffs
6 See also
7 References
8 Further reading
9 External links
High school and college career[edit]
Thurmond started at Akron's Central High School, where he played alongside fellow future NBA star Gus Johnson.[5] Passing up a scholarship offer from Ohio State to avoid becoming a backup to Jerry Lucas, a high school rival, Thurmond chose to play college basketball at Bowling Green.[6]
Thurmond led the Mid-American Conference in rebounds during all three of his varsity seasons (with a college career average of 17.0 rebounds per game),[6] and was named a first-team All-American by The Sporting News in 1963.[7] In Thurmond's last two years with Bowling Green, he helped lead the team into the NCAA Tournament and he set a school record with 31 rebounds in his final college game.[6]
NBA career[edit]
San Francisco/Golden State Warriors[edit]
Thurmond was drafted by the San Francisco Warriors (now known as the Golden State Warriors) in the 1963 NBA draft. As a rookie, he mainly played a supporting role alongside Hall of Fame center Wilt Chamberlain. Thurmond averaged 7 points and 10.4 rebounds in his first NBA season and was named to the NBA All-Rookie Team in 1964.[5]
After Chamberlain was traded to the Philadelphia 76ers during the next season, Thurmond blossomed into a highly productive starting center for the Warriors. Among his many accomplishments, Thurmond set a regular season record for rebounds in a quarter with 18,[5] and averaged 21.3 and 22.0 rebounds per game in the 1966–67 and 1967–68 seasons.[3] Thurmond placed second to Chamberlain in the MVP balloting in the 1966–67 season,[8] averaged over 20 points per game each season from 1967–68 through 1971–72, and played in seven NBA All-Star Games as a member of the Warriors.[3] However, even with the contributions of star teammates like Rick Barry, the Warriors were unable to win a championship with Thurmond at center. They reached the 1967 NBA Finals, but lost to Chamberlain's 76ers.[5]
Chicago Bulls[edit]
Thurmond was acquired by the Chicago Bulls in exchange for Clifford Ray and $100,000 prior to the 1974–75 season on September 3, 1974. The Bulls had felt a need for one starting center rather than continue with a three-man rotation of Ray, Tom Boerwinkle and Dennis Awtrey. The Warriors added more fiscal stability when completing the deal.[9] On October 18, 1974 against the Atlanta Hawks, in his debut as a Bull, he recorded 22 points, 14 rebounds, 13 assists and 12 blocked shots, becoming the first player in NBA history to officially record a quadruple-double[5] (blocked shots were not counted before 1973–74).[10]
Cleveland Cavaliers[edit]
Thirteen games into the 1975–76 season, Thurmond was traded along with Rowland Garrett to the Cleveland Cavaliers for Steve Patterson and Eric Fernsten on November 27, 1975. Thurmond's mobility on the court failed to mesh with an offense built for a more stationary center, resulting in diminished playing time on a team enduring a nine-game losing streak at the time of the deal.[11] In Cleveland, the now 35-year-old Thurmond came off the bench for the injured Jim Chones to lead Cleveland's "Miracle at Richfield" team to the NBA Eastern Conference Finals before the Cavaliers lost to the star-studded Boston Celtics in 1976.[12]
Retirement and death[edit]
Thurmond at the Golden State Warriors Victory Parade on June 19, 2015
After retirement, Thurmond returned to San Francisco and opened a restaurant, Big Nate's BBQ.[13] He sold the restaurant after 20 years, while living in San Francisco with his wife, Marci. He was given the title "Warriors Legend & Ambassador" by the Warriors organization.[14]
Thurmond died on July 16, 2016, nine days away from his 75th birthday, after a short battle with leukemia.[15]
Statistical accomplishments[edit]
First player in NBA history to record a quadruple-double in a game:[2] Chicago Bulls (120) vs. Atlanta Hawks (115), 000000001974-10-18-0000October 18, 1974 (OT)[10]
22 points, 14 rebounds, 13 assists, and 12 blocked shots[10]
The game was Thurmond's debut with the Chicago Bulls.[10]
Alvin Robertson, Hakeem Olajuwon and David Robinson are the only other players to achieve a quadruple-double.[10]
One of five players in NBA history to average at least 15 rebounds per game for his career: 15.0[16] (14,464/964)[3]
Also done by Wilt Chamberlain, Bill Russell, Bob Pettit and Jerry Lucas[16]
One of five players in NBA history to average at least 20 rebounds per game during a season: 21.3 (1966–67), 22.0 (1967–68)[3]
Also achieved by Bill Russell, Wilt Chamberlain, Bob Pettit and Jerry Lucas[17]
One of four players in NBA history to record 40 or more rebounds in a game: 42, vs. Detroit Pistons, 000000001965-11-09-0000November 9, 1965[18]
Also achieved by Bill Russell, Wilt Chamberlain and Jerry Lucas[19]
NBA record for rebounds in a quarter: 18, at Baltimore Bullets, 000000001965-02-28-0000February 28, 1965[5]
NBA career statistics[edit]
Legend
GP Games played GS Games started MPG Minutes per game
FG% Field goal percentage 3P% 3-point field goal percentage FT% Free throw percentage
RPG Rebounds per game APG Assists per game SPG Steals per game
BPG Blocks per game PPG Points per game Bold Career high
Regular season[edit]
Year
Team
GP
GS
MPG
FG%
3P%
FT%
RPG
APG
SPG
BPG
PPG
1963–64 San Francisco 76 – 25.9 .395 – .549 10.4 1.1 – – 7.0
1964–65 San Francisco 77 – 41.2 .419 – .658 18.1 2.0 – – 16.5
1965–66 San Francisco 73 – 39.6 .406 – .654 18.0 1.5 – – 16.3
1966–67 San Francisco 65 – 42.5 .437 – .629 21.3 2.6 – – 18.7
1967–68 San Francisco 51 – 43.6 .411 – .644 22.0 4.2 – – 20.5
1968–69 San Francisco 71 – 45.2 .410 – .615 19.7 3.6 – – 21.5
1969–70 San Francisco 43 – 44.6 .414 – .754 17.7 3.5 – – 21.9
1970–71 San Francisco 82 – 40.9 .445 – .730 13.8 3.1 – – 20.0
1971–72 Golden State 78 – 43.1 .432 – .743 16.1 2.9 – – 21.4
1972–73 Golden State 79 – 43.3 .446 – .718 17.1 3.5 – – 17.1
1973–74 Golden State 62 – 39.7 .444 – .666 14.2 2.7 0.7 2.9 13.0
1974–75 Chicago 80 – 34.5 .364 – .589 11.3 4.1 0.6 2.4 7.9
1975–76 Chicago 13 – 20.0 .444 – .444 5.5 2.0 0.3 0.9 3.7
1975–76 Cleveland 65 – 17.4 .418 – .514 5.3 1.0 0.3 1.3 4.6
1976–77 Cleveland 49 – 20.3 .407 – .642 7.6 1.7 0.3 1.7 5.5
Career 964 – 37.2 .421 – .667 15.0 2.7 0.5 2.1 15.0
All-Star 5 2 20.8 .326 – .375 8.8 0.4 0.0 0.0 6.2
Playoffs[edit]
Year
Team
GP
GS
MPG
FG%
3P%
FT%
RPG
APG
SPG
BPG
PPG
1964 San Francisco 12 – 34.2 .438 – .679 12.3 0.8 – – 10.0
1967 San Francisco 15 – 46.0 .433 – .571 23.1 3.1 – – 15.9
1969 San Francisco 6 – 43.8 .392 – .588 19.5 4.7 – – 16.7
1971 San Francisco 5 – 38.4 .371 – .800 10.2 3.0 – – 17.6
1972 Golden State 5 – 46.0 .434 – .750 17.8 5.2 – – 25.4
1973 Golden State 11 – 41.8 .398 – .800 13.2 3.6 – – 14.5
1975 Chicago 13 – 19.5 .368 – .486 6.7 2.4 0.4 1.6 3.5
1976 Cleveland 13 – 28.8 .468 – .406 9.0 2.2 0.5 2.2 6.7
1977 Cleveland 1 – 1.0 – – – 1.0 0.0 0.0 1.0 0.0
Career 81 – 35.5 .416 – .621 13.6 2.8 0.4 1.9 11.9
See also[edit]
List of National Basketball Association career rebounding leaders
List of National Basketball Association players with most rebounds in a game
List of National Basketball Association players with most blocks in a game
List of National Basketball Association top individual rebounding season averages
Bay Area Sports Hall of Fame
References[edit]
Jump up ^ Brown, Daniel (July 16, 2016). "Nate Thurmond dead at 74; Warriors legend battled leukemia". San Jose Mercury News. Retrieved July 16, 2016.
^ Jump up to: a b "In era of great centers, Nate Thurmond was among the best". ESPN. July 16, 2016. Retrieved July 16, 2016.
^ Jump up to: a b c d e "Nate Thurmond NBA Stats". Basketball-Reference.com. Retrieved January 5, 2008.
Jump up ^ "NBA legend Nate Thurmond dies at 74". FoxNews.com. July 16, 2016. Retrieved July 16, 2016.
^ Jump up to: a b c d e f "Nate Thurmond Bio". NBA.com. Retrieved March 3, 2013.
^ Jump up to: a b c Musselman, Ron (March 13, 2005). "Nate the Great: Thurmond was BG's best and among elite in NBA". Toledo Blade. Retrieved July 17, 2016.
Jump up ^ "Nate Thurmond, Bowling Green". Mid-American Conference. Retrieved July 17, 2016.
Jump up ^ "1966-67 NBA Awards Voting". basketball-reference.com. Retrieved July 17, 2016.
Jump up ^ "Chicago Acquires Nate Thurmond; For Clifford Ray and Cash". Schenectady Gazette. September 4, 1974. Retrieved July 18, 2016.
^ Jump up to: a b c d e Granderson, LZ (March 11, 2009). "Will the NBA ever produce another quadruple-double?". ESPN Page 2. Retrieved July 17, 2016.
Jump up ^ Logan, Bob. "Nate goes to Cavs, Bulls get Patterson; Pick up Marin from Braves," Chicago Tribune, Friday, November 28, 1975
Jump up ^ Livingston, Bill (July 17, 2016). "Nate Thurmond, defensive star of Miracle of Richfield Cavaliers, dies". cleveland.com. Retrieved July 17, 2016.
Jump up ^ Lucchesi, Paolo (December 27, 2011). "Big Nate's BBQ closes; CatHead's BBQ en route". SFGate. Retrieved July 17, 2016.
Jump up ^ Whiting, Sam (March 3, 2013). "Big Nate Thurmond a center of attention". San Francisco Chronicle. Retrieved March 2, 2013.
Jump up ^ "Warriors Legend and Hall of Famer Nate Thurmond Passes Away at Age of 74". NBA.com. July 16, 2016. Retrieved July 16, 2016.
^ Jump up to: a b "NBA & ABA Career Leaders and Records for Rebounds Per Game". basketball-reference.com. Retrieved July 17, 2016.
Jump up ^ "NBA & ABA Single Season Leaders and Records for Rebounds Per Game". basketball-reference.com. Retrieved July 17, 2016.
Jump up ^ Weir, Tom (November 9, 2011). "Daily NBA fix: The night Nate Thurmond had 42 rebounds". USA Today. Retrieved July 17, 2016.
Jump up ^ Shouler, Ken (July 16, 2016). "Emerging from Wilt's shadow, Nate Thurmond became an all-time great". ESPN. Retrieved July 17, 2016.
Further reading[edit]
Heisler, Mark (2003). Giants: The 25 Greatest Centers of All Time. Chicago: Triumph Books. ISBN 1-57243-577-1.
External links[edit]
Wikimedia Commons has media related to Nate Thurmond.
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High-pressure area
From Wikipedia, the free encyclopedia
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Satellite image of an unusual high-pressure area south of Australia, evidenced by the clearing in the clouds[1]
A high-pressure area, high or anticyclone is a region where the atmospheric pressure at the surface of the planet is greater than its surrounding environment.
Winds within high-pressure areas flow outward from the higher pressure areas near their centers towards the lower pressure areas further from their centers. Gravity adds to the forces causing this general movement, because the higher pressure compresses the column of air near the center of the area into greater density – and so greater weight compared to lower pressure, lower density, and lower weight of the air outside the center.
However, because the planet is rotating underneath the atmosphere, and frictional forces arise as the planetary surface drags some atmosphere with it, the air flow from center to periphery is not direct, but is twisted due to the Coriolis effect, or the merely apparent force that arise when the observer is in a rotating frame of reference. Viewed from above this twist in wind direction is in the same direction as the rotation of the planet.
The strongest high-pressure areas are associated with cold air masses which push away out of polar regions during the winter when there is less sun to warm neighboring regions. These Highs change character and weaken once they move further over relatively warmer water bodies.
Somewhat weaker but more common are high-pressure areas caused by atmospheric subsidence, that is, areas where large masses of cooler drier air descend from an elevation of 8 to 15 km after the lower temperatures have precipitated out the water vapor.
Many of the features of Highs may be understood in context of middle- or meso-scale and relatively enduring dynamics of a planet's atmospheric circulation. For example, massive atmospheric subsidences occur as part of the descending branches of Ferrel cells and Hadley cells. Hadley cells help form the subtropical ridge, steer tropical waves and tropical cyclones across the ocean and is strongest during the summer. The subtropical ridge also helps form most of the world's deserts.
On English-language weather maps, high-pressure centers are identified by the letter H. Weather maps in other languages may use different letters or symbols.
Contents
[hide]
1 Wind circulation in the northern and southern hemispheres
2 Formation
3 Typical conditions
4 In climatology
5 Connection to wind
6 See also
7 References
Wind circulation in the northern and southern hemispheres[edit]
The direction of wind flow around an atmospheric high-pressure area and a low-pressure area, as seen from above, depends on the hemisphere. High-pressure systems rotate clockwise in the northern Hemisphere; low-pressure systems rotate clockwise in the southern hemisphere.
The scientific terms in English used to describe the weather systems generated by highs and lows were introduced in the mid-1800s, mostly by the British. The scientific theories which explain the general phenomena originated about two centuries earlier.
The term Cyclone was coined by Henry Piddington of the British East India Company to describe the devastating storm of December 1789 in Coringa, India.[2] A cyclone forms around a low-pressure area. Anticyclone, the term for the kind of weather around a high-pressure area, was coined in 1877 by Francis Galton[3] to indicate an area whose winds revolved in the opposite direction of a cyclone. In British English, the opposite direction of clockwise is referred to as anticlockwise, making the label anticyclones a logical extension.
A simple rule of thumb is that for high-pressure areas, where generally air flows from the center outward, the coriolis force given by the earth's rotation to the air circulation is in the opposite direction of earth's apparent rotation if viewed from above the hemisphere's pole. So, both the earth and winds around a low-pressure area rotate counter-clockwise in the northern hemisphere, and clockwise in the southern. The opposite to these two cases occurs in the case of a high. These results derive from the Coriolis effect; that article explains in detail the physics, and provides an animation of a model to aid understanding.
Formation[edit]
Main article: Anticyclogenesis
A surface weather analysis for the United States on October 21, 2006.
High-pressure systems form due to downward motion through the troposphere, the atmospheric layer where weather occurs. Preferred areas within a synoptic flow pattern in higher levels of the troposphere are beneath the western side of troughs.
On weather maps, these areas show converging winds (isotachs), also known as convergence, near or above the level of non-divergence, which is near the 500 hPa pressure surface about midway up through the troposphere, and about half the atmospheric pressure at the surface.[4][5]
High-pressure systems are alternatively referred to as anticyclones. On English-language weather maps, high-pressure centers are identified by the letter H in English,[6] within the isobar with the highest pressure value. On constant pressure upper level charts, it is located within the highest height line contour.[7]
Typical conditions[edit]
The subtropical ridge shows up as a large area of black (dryness) on this water vapor satellite image from September 2000
Highs are frequently associated with light winds at the surface and subsidence through the lower portion of the troposphere. In general, subsidence will dry out an air mass by adiabatic, or compressional, heating.[8] Thus, high pressure typically brings clear skies.[9] During the day, since no clouds are present to reflect sunlight, there is more incoming shortwave solar radiation and temperatures rise. At night, the absence of clouds means that outgoing longwave radiation (i.e. heat energy from the surface) is not absorbed, giving cooler diurnal low temperatures in all seasons. When surface winds become light, the subsidence produced directly under a high-pressure system can lead to a buildup of particulates in urban areas under the ridge, leading to widespread haze.[10] If the low level relative humidity rises towards 100 percent overnight, fog can form.[11]
The letter H is used to represent a high-pressure area.
Strong, vertically shallow high-pressure systems moving from higher latitudes to lower latitudes in the northern hemisphere are associated with continental arctic air masses.[12] Once arctic air moves over an unfrozen ocean, the air mass modifies greatly over the warmer water and takes on the character of a maritime air mass, which reduces the strength of the high-pressure system.[13] When extremely cold air moves over relatively warm oceans, polar lows can develop.[14] However, warm and moist (or maritime tropical) air masses that move poleward from tropical sources are slower to modify than arctic air masses.[15]
In climatology[edit]
See also: Siberian high and Subtropical ridge
The Hadley cell carries heat and moisture from the tropics towards the northern and southern mid-latitudes.
In terms of climatology, high pressure forms at the horse latitudes, or torrid zone,[16] between the latitudes of 20 and 40 degrees from the equator, as a result of air that has been uplifted at the equator. As the hot air rises it cools, losing moisture; it is then transported poleward where it descends, creating the high-pressure area.[17] This is part of the Hadley cell circulation and is known as the subtropical ridge or subtropical high, and is strongest in the summer.[18] The subtropical ridge is a warm core high-pressure system, meaning it strengthens with height.[19] Many of the world's deserts are caused by these climatological high-pressure systems.[20]
Some climatological high-pressure areas acquire regionally based names. The land-based Siberian High often remains quasi-stationary for more than a month during the most frigid time of the year, making it unique in that regard. It is also a bit larger and more persistent than its counterpart in North America.[21] Surface winds accelerating down valleys down the western Pacific ocean coastline, causing the winter monsoon.[22] Arctic high-pressure systems such as the Siberian High are cold core, meaning that they weaken with height.[19] The influence of the Azores High, also known as the Bermuda High, brings fair weather over much of the North Atlantic Ocean and mid to late summer heat waves in western Europe.[23] Along its southerly periphery, the clockwise circulation often impels easterly waves, and tropical cyclones that develop from them, across the ocean towards landmasses in the western portion of ocean basins during the hurricane season.[24] The highest barometric pressure ever recorded on Earth was 1,085.7 hectopascals (32.06 inHg) measured in Tonsontsengel, Mongolia on 19 December 2001.[25]
Connection to wind[edit]
Main article: Geostrophic wind
Wind flows from areas of high pressure to areas of low pressure.[26] This is due to density differences between the two air masses. Since stronger high-pressure systems contain cooler or drier air, the air mass is more dense and flows towards areas that are warm or moist, which are in the vicinity of low pressure areas in advance of their associated cold fronts. The stronger the pressure difference, or pressure gradient, between a high-pressure system and a low-pressure system, the stronger the wind. The coriolis force caused by the Earth's rotation is what gives winds within high-pressure systems their clockwise circulation in the northern hemisphere (as the wind moves outward and is deflected right from the center of high pressure) and counterclockwise circulation in the southern hemisphere (as the wind moves outward and is deflected left from the center of high pressure). Friction with land slows down the wind flowing out of high-pressure systems and causes wind to flow more outward than would be the case in the absence of friction. This is known as a geostrophic wind.[27]
See also[edit]
Weather front
References[edit]
Jump up ^ "An Australian "Anti-storm"". NASA. 2012-06-08. Retrieved 2013-02-12.
Jump up ^ "Cyclone". Dictionary.com. Retrieved 2013-01-24.
Jump up ^ | "Word Origin & History" [1]|accessed 2013-01-24
Jump up ^ Glossary of Meteorology (2009). Level of nondivergence. American Meteorological Society. Retrieved on 2009-02-17.
Jump up ^ Konstantin Matchev (2009). Middle-Latitude Cyclones - II. Archived 2009-02-25 at the Wayback Machine. University of Florida. Retrieved on 2009-02-16.
Jump up ^ Keith C. Heidorn (2005). Weather's Highs and Lows: Part 1 The High. The Weather Doctor. Retrieved on 2009-02-16.
Jump up ^ Glossary of Meteorology (2009). High. American Meteorological Society. Retrieved on 2009-02-16.
Jump up ^ Office of the Federal Coordinator for Meteorology (2006). Appendix G: Glossary. Archived 2009-02-25 at the Wayback Machine. NOAA. Retrieved on 2009-02-16.
Jump up ^ Jack Williams (2007). What's happening inside highs and lows. USA Today. Retrieved on 2009-02-16.
Jump up ^ Myanmar government (2007). Haze. Archived 2007-01-27 at the Wayback Machine. Retrieved on 2007-02-11.
Jump up ^ Robert Tardif (2002). Fog characteristics. Archived 2011-05-20 at the Wayback Machine. NCAR National Research Laboratory. Retrieved on 2007-02-11.
Jump up ^ CBC News (2009). Blame Yukon: Arctic air mass chills rest of North America. Canadian Broadcasting Centre. Retrieved on 2009-02-16.
Jump up ^ Federal Aviation Administration (1999). North Atlantic International General Aviation Operations Manual Chapter 2. Environment. FAA. Retrieved on 2009-02-16.
Jump up ^ Rasmussen, E.A. and Turner, J. (2003). Polar Lows: Mesoscale Weather Systems in the Polar Regions, Cambridge University Press, Cambridge, pp 612.
Jump up ^ Dr. Ali Tokay (2000). CHAPTER 11: Air Masses, Fronts, Cyclones, and Anticyclones. University of Maryland, Baltimore County. Retrieved on 2009-02-16.
Jump up ^ Anders Persson (2006). Hadley's Principle: Understanding and Misunderstanding the Trade Winds. International Commission on History of Meteorology: History of Meteorology 3. Retrieved on 2009-02-16.
Jump up ^ Becca Hatheway (2008). Hadley Cell. University Corporation for Atmospheric Research. Retrieved on 2009-02-16.
Jump up ^ Glossary of Meteorology (2009). Subtropical High. American Meteorological Society. Retrieved on 2009-02-16.
^ Jump up to: a b Climate Change Research Center (2002). STEC 521: Lesson 4 SURFACE PRESSURE SYSTEMS AND AIRMASSES. Archived 2009-11-07 at the Wayback Machine. University of New Hampshire. Retrieved on 2009-02-16.
Jump up ^ ThinkQuest team 26634 (1999). The Formation of Deserts. Archived 2012-10-17 at the Wayback Machine. Oracle ThinkQuest Education Foundation. Retrieved on 2009-02-16.
Jump up ^ W. T. Sturges (1991). Pollution of the Arctic Atmosphere. Springer, pp. 23. ISBN 978-1-85166-619-5. Retrieved on 2009-02-16.
Jump up ^ Glossary of Meteorology (2009). Siberian High. American Meteorological Society. Retrieved on 2009-02-16.
Jump up ^ Weather Online Limited (2009). Azores High. Retrieved on 2009-02-16.
Jump up ^ Chris Landsea (2009). "Frequently Asked Questions: What determines the movement of tropical cyclones?". Atlantic Oceanographic and Meteorological Laboratory. Retrieved 2006-07-25.
Jump up ^ Christopher C. Burt (2004). Extreme Weather (1 ed.). Twin Age Ltd. p. 234. ISBN 0-393-32658-6.
Jump up ^ BWEA (2007). Education and Careers: What is wind? Archived 2011-03-04 at the Wayback Machine. British Wind Energy Association. Retrieved on 2009-02-16.
Jump up ^ JetStream (2008). Origin of Wind. National Weather Service Southern Region Headquarters. Retrieved on 2009-02-16.
[hide]
v
t
e
Cyclones and anticyclones of the world (Centers of action)
Types
Extratropical
Mesocyclone/Anticyclonic storm
Polar
Subtropical cyclone/Subtropical ridge
Thermal
Tropical
Anticyclones
Polar High
Siberian High
Azores High (Bermuda/North Atlantic)
North American High (Canadian/Greenland)
South Atlantic High (St.Helena)
North Pacific High (Hawaii High)
South Pacific High
Kalahari High
Cyclones
Aleutian Low (Alaska/Far East Russia)
Atlantic hurricane
Australian Low (east coast)
European windstorm
Genoa Low
Icelandic Low
Kona storm (Hawaii)
Mediterranean tropical-like cyclone
Nor'easter
Pacific hurricane
Polar vortex
Typhoon
Wake Low
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