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Coat of arms
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This article is about the main element of a heraldic achievement, although "coat of arms" is often erroneously used to refer to its whole[1][2]. For the whole heraldic symbol, see achievement (heraldry). For the album by Sabaton, see Coat of Arms (album).
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A coat of arms is an heraldic visual design on an escutcheon (i.e., shield), surcoat, or tabard. The coat of arms on an escutcheon forms the central element of the full heraldic achievement which in its whole consists of shield, supporters, crest, and motto. A coat of arms is traditionally unique to an individual person, family (except in the United Kingdom),[citation needed] state, organisation or corporation.
Part of a series on
Heraldic achievement
Conventional elements of coats of arms
Escutcheon
Chief
Field
(Tincture)
Division
Supporter
Supporter
Slogan (battle cry)
Crest
Torse
Mantling
Helmet/Galero
Crown/Coronet
Compartment
Order
Ordinaries
Charges
Motto
Dexter
Sinister
(right)
(left)
Heraldry portal
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Contents
[hide]
1 History
1.1 Background
1.2 Heraldry
2 Traditions and usage
3 European tradition
3.1 French and British heraldry
3.2 Irish heraldry
3.3 German and Scandinavian heraldry
3.4 Other European countries
4 Asia and North Africa
5 North American practices
6 Ecclesiastic practice
7 Flags and banners
8 See also
9 Notes
10 References
11 External links
History[edit]
Background[edit]
The ancient Greek hoplites used individual insignia on their shields.[3] The ancient Romans used similar insignia on their shields, but these identified military units. The first evidence of medieval coats of arms has been attributed to the 11th century Bayeux Tapestry in which some of the combatants carry shields painted with crosses. However, that heraldic interpretation remains controversial.
Heraldry[edit]
See also: List of oldest heraldry
Coats of arms came into general use by feudal lords and knights in battle in the 12th century. By the 13th century, arms had spread beyond their initial battlefield use to become a flag or emblem for families in the higher social classes of Europe, inherited from one generation to the next. Exactly who had a right to use arms, by law or social convention, varied to some degree between countries. In the German-speaking regions both the aristocracy and "burghers" (non-noble free citizens) used arms, while in most of the rest of Europe they were limited to the aristocracy. The use of arms spread to the clergy, to towns as civic identifiers, and to royally chartered organizations such as universities and trading companies. Flags developed from coats of arms, and the arts of vexillology and heraldry are closely related. The coats of arms granted to commercial companies are a major source of the modern logo.[citation needed]
Despite no widespread regulation[citation needed], heraldry has remained consistent across Europe, where tradition alone has governed the design and use of arms.[citation needed] Some nations, like England and Scotland, still maintain the same heraldic authorities which have traditionally granted and regulated arms for centuries and continue to do so in the present day. In England, for example, the granting of arms is and has been controlled by the College of Arms. Unlike seals and other general emblems, heraldic "achievements" have a formal description called a blazon, which uses vocabulary that allows for consistency in heraldic depictions. In the present day, coats of arms are still in use by a variety of institutions and individuals: for example, many European cities and universities have guidelines on how their coats of arms may be used, and protect their use as trademarks.[4][5] Many[citation needed] societies exist that also aid in the design and registration of personal arms.
Traditions and usage[edit]
Brabant Lion by Floris de Merode, Baron of Leefdael during the solemn Funeral of Albert VII, Archduke of Austria
The German Hyghalmen Roll, c. late 15th century, illustrates the German practice of thematic repetition from the arms in the crest
In the heraldic traditions of England and Scotland, an individual, rather than a family, had a coat of arms. In those traditions coats of arms are legal property transmitted from father to son; wives and daughters could also bear arms modified to indicate their relation to the current holder of the arms. Undifferenced arms are used only by one person at any given time. Other descendants of the original bearer could bear the ancestral arms only with some difference: usually a colour change or the addition of a distinguishing charge. One such charge is the label, which in British usage (outside the Royal Family) is now always the mark of an heir apparent or (in Scotland) an heir presumptive. Because of their importance in identification, particularly in seals on legal documents, the use of arms was strictly regulated; few countries continue in this today. This has been carried out by heralds and the study of coats of arms is therefore called "heraldry". In time, the use of arms spread from military entities to educational institutes, and other establishments.[4]
In his book, The Visual Culture of Violence in the Late Middle Ages, Valentin Groebner argues that the images composed on coats of arms are in many cases designed to convey a feeling of power and strength, often in military terms.[6] The author Helen Stuart argues that some coats of arms were a form of corporate logo.[7] Museums on medieval armoury also point out that as emblems they may be viewed as precursors to the corporate logos of modern society, used for group identity formation.[8]
When knights were encased in armour that no means of identifying them was left, the practice was introduced of painting their insignia of honour on their shield as an easy method of distinguishing them. Originally these were granted only to individuals, but were afterward made hereditary in England by King Richard I, during his crusade to the Holy Land.
European tradition[edit]
French and British heraldry[edit]
Arms of the Duke of Richmond c.1780
Coat of arms of Sir Edward Stanley, 3rd Earl of Derby, KG
Main articles: French heraldry, English heraldry, Scottish heraldry, and Welsh heraldry
The French system of heraldry greatly influenced the British and Western European systems. Much of the terminology and classifications are taken from it. However, with the fall of the French monarchy (and later Empire) there is not currently a Fons Honorum (power to dispense and control honors) to strictly enforce heraldic law. The French Republics that followed have either merely affirmed pre-existing titles and honors or vigorously opposed noble privilege. Coats of arms are considered an intellectual property of a family or municipal body. Assumed arms (arms invented and used by the holder rather than granted by an authority) are considered valid unless they can be proved in court to copy that of an earlier holder.
In Scotland, the Lord Lyon King of Arms has criminal jurisdiction to control the use of arms. In England, Northern Ireland and Wales the use of arms is a matter of civil law and regulated by the College of Arms and the Court of Chivalry.
In reference to a dispute over the exercise of authority over the Officers of Arms in England, Arthur Annesley, 1st Earl of Anglesey, Lord Privy Seal, declared on 16 June 1673 that the powers of the Earl Marshal were "to order, judge, and determine all matters touching arms, ensigns of nobility, honour, and chivalry; to make laws, ordinances, and statutes for the good government of the Officers of Arms; to nominate Officers to fill vacancies in the College of Arms; to punish and correct Officers of Arms for misbehaviour in the execution of their places". It was further declared that no patents of arms or any ensigns of nobility should be granted and no augmentation, alteration, or addition should be made to arms without the consent of the Earl Marshal.
Irish heraldry[edit]
Main article: Irish heraldry
In Ireland the usage and granting of coats of arms was strictly regulated by the Ulster King of Arms from the office's creation in 1552. After Irish independence in 1922 the office was still functioning and working out of Dublin Castle. The last Ulster King of Arms was Sir Nevile Rodwell Wilkinson [Ulster King of Arms 1908–1940], who held it until his death in 1940. At the Irish government's request, no new King of Arms was appointed. Thomas Ulick Sadleir, the Deputy Ulster King of Arms, then became the Acting Ulster King of Arms. He served until the office was merged with that of Norroy King of Arms in 1943 and stayed on until 1944 to clear up the backlog.
An earlier Ireland King of Arms was created by King Richard II in 1392 and discontinued by King Henry VII in 1487. It didn't grant many coats of arms – the few it did grant were annulled by the other Kings of Arms because they encroached upon their jurisdictions. Its purpose was supposedly to marshal an expedition to fully conquer Ireland that never materialized. Since 1 April 1943 the authority has been split between the Republic of Ireland and Northern Ireland. Heraldry in the Republic of Ireland is regulated by the Government of Ireland, by the Genealogical Office through the Office of the Chief Herald of Ireland. Heraldry in Northern Ireland is regulated by the British Government by the College of Arms through the Norroy and Ulster King of Arms.
German and Scandinavian heraldry[edit]
Coat of arms of the city of Vaasa, showing the shield with the Royal House of Wasa emblem, a crown and a Cross of Liberty pendant.
Main articles: German heraldry, Norwegian heraldry, Swedish heraldry, Danish heraldry, Finnish heraldry, and Icelandic heraldry
The heraldic tradition and style of modern and historic Germany and the Holy Roman Empire — including national and civic arms, noble and burgher arms, ecclesiastical heraldry, heraldic displays, and heraldic descriptions — stand in contrast to Gallo-British, Latin and Eastern heraldry, and strongly influenced the styles and customs of heraldry in the Nordic countries, which developed comparatively late.[9]
In the Nordic countries, provinces, regions, cities, and municipalities have coats of arms. These are posted at the borders and on buildings containing official offices, as well as used in official documents and on the uniforms of municipal officers. Arms may also be used on souvenirs or other effects, given that an application has been granted by the municipal council.
Other European countries[edit]
Coat of Arms of Liptov County in Slovakia.
Main articles: Spanish heraldry, Russian heraldry, Romanian heraldry, Portuguese heraldry, Hungarian heraldry, Polish heraldry, French heraldry, and Dutch heraldry
At a national level, "coats of arms" were generally retained by European states with constitutional continuity of more than a few centuries, including constitutional monarchies like Denmark as well as old republics like San Marino and Switzerland.
In Italy the use of coats of arms was only loosely regulated by the states existing before the unification of 1861. Since the Consulta Araldica, the college of arms of the Kingdom of Italy, was abolished in 1948, personal coats of arms and titles of nobility, though not outlawed, are not recognised.
Coats of arms in Spain were generally left up to the owner themselves, but the design was based on military service and the heritage of their grandparents. In France, the coat of arms is based on the Fleur-de-lys and the Rule of Tinctures used in English heraldry as well.
Among the states ruled by communist regimes, emblems resembling the Soviet design were adopted in all the Warsaw Pact states except Czechoslovakia and Poland. Since 1989, some of the ex-Communist states, as Romania or Russia have reused their original pre-communist heraldry, often with only the symbols of monarchy removed. Other countries such as Belarus or Tajikistan have retained their communist coats of arms or at least kept some of the old heraldry.
Asia and North Africa[edit]
See also: Mon (emblem)
Imperial Seal of Japan
Egyptian coats of arms showing common Near and Middle Eastern motifs, namely the crescent and stars which are symbols of the region's predominant religion, Islam, and Saladin's eagle.
Japanese emblems, called kamon (often abbreviated "mon"), are family badges which often date back to the 7th century, and are used in Japan today. The Japanese tradition is independent of the European, but many abstract and floral elements are used.
Sometimes simple items express an origin to a specific design. An example in recent use is the logo of Mitsubishi corporation which started as a shipping and maritime enterprise and whose emblem is based on a water chestnut derived from its maritime history with a military naval influence. The word mitsu means the number 3 and the word hishi meaning "water chestnut" (pronounced bishi in some combinations; see rendaku) originated from the emblem of the warrior Tosa Clan. The battleships of the Tosa Clan had been used in the late 19th century in the First Sino-Japanese War to reach Korea[10] and their name was given to a modern battleship. The Tosa water chestnut leaf mon was then drawn as a rhombus or diamond shape in the Mitsubishi logo.[11][12]

With the formation of the modern nation states of the Arab World in the second half of the 20th century, European traditions of heraldry were partially adopted for state emblems. These emblems often involve the star and crescent symbol taken from the Ottoman flag. Another commonly seen symbol is the eagle, which is a symbol attributed to Saladin,[13] and the hawk of the Qureish.[citation needed] These symbols can be found on the Coat of Arms of Egypt and Syria.
North American practices[edit]
Main articles: Canadian heraldry and United States heraldry
The Great Seal of the United States, which displays as its central design the heraldic device of the nation.
The Queen of Canada has delegated her prerogative to grant armorial bearings to the Governor General of Canada. Canada has its own Chief Herald and Herald Chancellor. The Canadian Heraldic Authority is situated at Rideau Hall.[14][15] The Great Seal of the United States uses on the obverse as its central motif an heraldic achievement described as being the arms of the nation.[16] The seal, and the armorial bearings, were adopted by the Continental Congress on 20 June 1782, and is a shield divided palewise into thirteen pieces, with a blue chief, which is displayed upon the breast of an American bald eagle. The crest is thirteen stars breaking through a glory and clouds, displayed with no helm, torse, or mantling (unlike most European precedents). Only a few of the American states have adopted a coat of arms, which is usually designed as part of the respective state's seal. Vermont has both a state seal and a state coat of arms that are independent of one another (though both contain a pine tree, a cow and sheaves of grain); the seal is used to authenticate documents, whilst the heraldic device represents the state itself.
Ecclesiastic practice[edit]
Main article: Ecclesiastical heraldry
The coat of arms of Pope John Paul II displays the papal tiara and crossed keys of the pontifical office.
The Vatican City State and the Holy See each have their own coat of arms. As the papacy is not hereditary, its occupants display their personal arms combined with those of their office. Some popes came from armigerous (noble) families; others adopted coats of arms during their career in the Church. The latter typically allude to their ideal of life, or to specific pontifical programmes.[17] A well-known and widely displayed example in recent times was Pope John Paul II's arms. His selection of a large letter M (for the Virgin Mary) was intended to express the message of his strong Marian devotion.[18] Roman Catholic dioceses are also each assigned a coat of arms, as are basilicas or papal churches, the latter usually displaying these on the building. These may be used in countries which otherwise do not use heraldic devices. In countries like Scotland with a strong statutory heraldic authority, arms will need to be officially granted and recorded.
Flags and banners[edit]
Main article: Heraldic flag
Flags are used to identify ships (where they are called ensigns), embassies and such, and they use the same colors and designs found in heraldry, but they are not usually considered to be heraldic. A country may have both a national flag and a national coat of arms, and the two may not look alike at all. For example, the flag of Scotland (St Andrew's Cross) has a white saltire on a blue field, but the royal arms of Scotland has a red lion within a double tressure on a gold (or) field.
See also[edit]
Heraldry portal
Arms of assumption
Gallery of country coats of arms
National emblem
Seal
List of coats of arms
Baron and feme
Siebmachers Wappenbuch (Coats of arms from Germany, Switzerland, Austria, etc.)
Notes[edit]
Jump up ^ A.G. Puttock, A Dictionary of Heraldry and Related Subjects, Exeter 1985. Blaketon Hall. ISBN 0907854 93 1. P. 40
Jump up ^ Stephen Friar (ed.), A New Dictionary of Heraldry, London 1987. Alphabooks/A&C Black. ISBN 0-906670-44-6. P. 96.
Jump up ^ George H. Chase, Shield Devices of the Greeks, Harvard Studies in Classical Philology, Vol. 13 1902
^ Jump up to: a b "Educational Institute Coat of arms". October 2005. Retrieved 26 August 2015.
Jump up ^ "Policy on use of the Workmark and Insignia of McGill University" (PDF). 2000. Archived from the original (PDF) on 26 February 2015. Retrieved 26 August 2015.
Jump up ^ Valentin Groebner, 2004, The Visual Culture of Violence in the Late Middle Ages ISBN 978-1-890951-37-5
Jump up ^ Employee Identification with the Corporate Identity International Studies of Management and Organization, Volume 32, Number 3, 2002
Jump up ^ "Group Identity Formation in the German Renaissance". 20 August 2002. Retrieved 26 August 2015.
Jump up ^ Volborth, Carl-Alexander von (1981). Heraldry: Customs, Rules and Styles. Poole, England: Blandford Press. ISBN 0-7137-0940-5. ISBN 0-7137-0940-5 p.129.
Jump up ^ Donald Calman, 1992 The Nature and Origins of Japanese Imperialism ISBN 0-415-06710-3
Jump up ^ "Mitsubishi Mark". 2015. Retrieved 26 August 2015.
Jump up ^ "Mitsubishi History". 2015. Retrieved 26 August 2015.
Jump up ^ "Coat of Arms (Eagle of Saladin)". Macaulay Honors College. 5 April 2011. Retrieved August 19, 2015.
Jump up ^ "The History of Heraldry in Canada". Royal Heraldry Society of Canada. 28 April 2004. Retrieved 2008-08-21.
Jump up ^ "The Canadian Heraldic Authority". Canadian Heraldic Authority. 2015. Retrieved 2015-08-26.
Jump up ^ "2004 Seal Broch" (PDF). July 2003. Retrieved 26 August 2015.
Jump up ^ "Coat of arms of His Holiness Benedict XVI". 2015. Retrieved 26 August 2015.
Jump up ^ "Vatican press office". 9 June 2013. Retrieved 27 August 2015.
References[edit]
Pimbley, Arthur Francis (1908). Pimbley's dictionary of heraldry. Pimbley. [page needed]
External links[edit]
Wikimedia Commons has media related to Coats of arms.
Wikisource has original text related to this article:
Coat of arms
Wikidata has the property: coat of arms (P237) (see uses)
College of Arms: Repository of the coats of arms and pedigrees of English, Welsh, Northern Irish and Commonwealth families and their descendants together with, and in principle under the control of, the legal body the Court of Chivalry, both medieval in origin.
The Court of the Lord Lyon: the statutory heraldry office for Scotland
Royal Dutch Library page for the "Wapenboek Beyeren" written by Claes Heynenzoon around 1400, containing over 1000 drawings of coats of arms
General armorial of noble families in the Russian Empire (Gerbovnik)
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Heraldic flag (Banner of arms)
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1 Non-traditional, rarely used traditions in italic (typically regional or modern, considered unheraldic by some)
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The Darkest Minds
From Wikipedia, the free encyclopedia
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The Darkest Minds
Theatrical release poster
Directed by
Jennifer Yuh Nelson
Produced by
Shawn Levy
Dan Levine
Screenplay by
Chad Hodge
Based on
The Darkest Minds
by Alexandra Bracken
Starring
Amandla Stenberg
Harris Dickinson
Mandy Moore
Gwendoline Christie
Music by
Benjamin Wallfisch
Cinematography
Kramer Morgenthau
Edited by
Maryann Brandon
Production
company
21 Laps Entertainment
Distributed by
20th Century Fox
Release date
August 3, 2018 (2018-08-03)
Running time
105 minutes
Country
United States
Language
English
Budget
$34 million[1]
Box office
$35.7 million[1]
The Darkest Minds is a 2018 American science fiction thriller film directed by Jennifer Yuh Nelson, and written by Chad Hodge, based on Alexandra Bracken's young adult novel of the same name. The film stars Amandla Stenberg, Harris Dickinson, Mandy Moore, and Gwendoline Christie, and follows a group of teenagers who are on the run from the government after mysteriously obtaining superpowers. The film was released in the United States on August 3, 2018, by 20th Century Fox, and received negative reviews from critics. The film grossed $35.5 million worldwide against its $34 million production budget.
Contents
1 Plot
2 Cast
3 Production
3.1 Casting
3.2 Filming
4 Reception
4.1 Box office
4.2 Critical response
5 References
6 External links
Plot[edit]
This section's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (August 2018) (Learn how and when to remove this template message)
A sudden disease, known as Idiopathic Adolescent Acute Neurodegeneration, or IAAN, kills over 90% of the children under 18 throughout the world, leaving the remaining survivors with unusual abilities. As a result, the governments of the world place the survivors in an internment camp, where they attempt to cure the children of their disease, distinguishing them into classes based on their abilities.
Ruby Daly celebrates her tenth birthday with her family, where her father gives her a keychain. Seeing her parents' concern about IAAN, Ruby tries to comfort her mother in the night, touching her hand, and inadvertently erasing all her memories with Ruby. In the morning, her mother locks Ruby in the garage; having no recollection of her, she sends Ruby to an internment camp, where Ruby is determined to be an Orange, one of the most dangerous classes where they have the abilities to control other people's minds and memories. Ruby uses her abilities to convince her supervisor that she is a Green, the least dangerous ones with extremely high intelligence.
Six years later, Ruby is found out to be an Orange following a test using a frequency that is only detectable by Oranges. Cate Begby, a doctor, reveals herself to be part of the Children's League, an organisation that uses the survivors as soldiers, and helps Ruby in her escape from the camp. The two make their way to a gas station, where Cate provides Ruby with a pendant that can be activated into a tracker, in the case she is in danger. Cate introduces her to an associate of the League; a suspicious Ruby makes her escape from the station with a little girl named Suzume, a Gold who has the abilities to control electricity. Suzume, shortened to Zu, introduces Ruby to her friends, Liam, a Blue who has telekinetic abilities, and Charles, a Green, who agree to let Ruby join them as they try to make their way to a safe haven, led by another Orange "Slip Kid".
The group heads to an abandoned mall to gather supplies, where they cross paths with another group of survivors, who give a clue about the haven's location, through the letters 'EDO'. Charles deduces that they are actually numbers '540', which lead to a radio transmission, revealing the location of the haven. The group make their way there; along the way, Ruby and Liam begin to develop a romantic connection, but Ruby refuses to touch him, fearing that her powers will hurt him. At the haven, "Slip Kid" is revealed to be the president's son, Clancy, who teaches Ruby on how to control her powers, and in turn, has Ruby teach him on how to erase people's memories. Clancy, who is revealed to be working for the government, attempts to use this to rid Ruby of her negative thoughts and turn him to her side, but she manages to escape with the others. Liam flees with all of the camp members and Zu, while Ruby faces off against Clancy, ultimately exploding the camp, and making her escape with Charles, who is severely injured in the chaos. Liam reunites with Ruby and an unconscious Charles in the woods, where Ruby uses her pendant to signal Cate for help.
Ruby and Liam are taken in by the League while Charles is taken to a hospital to recover and Zu is reunited with her family. Ruby convinces Cate to release Liam, and have her take his place as a soldier. Knowing that Liam will never leave her, Ruby kisses him and erases all of his memories with her. Liam leaves the camp, while Ruby begins her training with her fellow League members as a weary Clancy raises an army of his own.
Cast[edit]
Amandla Stenberg as Ruby Daly, a teenager with the ability to get into people's minds who escapes from her government camp and finds a group of runaways looking for East River.
Lidya Jewett as Young Ruby
Harris Dickinson as Liam Stewart, a kid with telekinesis in the group of runaways. Ruby's love interest.
Skylan Brooks as Chubs, a kid with super intelligence in the group of runaways.
Miya Cech as Suzume "Zu", a kid with electrokinesis in the group of runaways.
Patrick Gibson as Clancy Gray, the president's son, who, like Ruby, has the power of getting into people’s minds.
Mandy Moore as Dr. Cate Connor, a doctor and member of a group fighting against the government
Gwendoline Christie as Lady Jane, a bounty hunter of superpowered teens who escape from the camp
Golden Brooks as Molly Daly, Ruby's mother and Paul's wife
Wallace Langham as Dr. Viceroy
Mark O'Brien as Rob Meadows
Bradley Whitford as President Gray, Clancy's father
Production[edit]
On September 15, 2014, it was announced that 20th Century Fox had bought the film rights to Alexandra Bracken's young adult novel The Darkest Minds, the first book in her The Darkest Minds series. Shawn Levy would produce the film along with Dan Levine and Dan Cohen through his 21 Laps Entertainment, while the television writer Chad Hodge was hired to write the adaptation.[2] On July 12, 2016, it was reported that animation director Jennifer Yuh Nelson had been hired to direct the film, and it would be her first live-action project.[3]
Casting[edit]
On September 26, 2016, Amandla Stenberg joined the film to play the lead role of Ruby Daly, a 15-year-old girl who runs away from her government camp and joins a group of teens.[4] On January 17, 2017, it was reported that newcomer Harris Dickinson had signed on to play Liam, who also develops superpowers surviving the disease.[5] In February 2017, Miya Cech was cast in her debut film to play Zu, and Skylan Brooks was cast in the film to play Chubs.[6][7] In March 2017, Mandy Moore was cast to play Cate, a doctor and member of a organization who is fighting against the government, and Patrick Gibson was cast to play Clancy Gray, the president's handsome son, whose posters are all over the camp for being “cured” of his powers. He also has the power of seeing into people's minds.[8][9] Gwendoline Christie was also cast in the film to play a bounty hunter of teens who escape from the camp.[10] In April 2017, Golden Brooks joined the film to play the mother of Daly.[11]
Filming[edit]
Principal photography on the film began in April 2017 in Atlanta, Georgia.[12][13][14]
Reception[edit]
Box office[edit]
As of August 22, 2018, The Darkest Minds has grossed $12.4 million in the United States and Canada, and $19.5 million in other territories, for a total worldwide gross of $31.9 million, against a production budget of $34 million.[1]
In the United States and Canada, The Darkest Minds was released on August 3, 2018, alongside Christopher Robin, The Spy Who Dumped Me and Death of a Nation: Can We Save America a Second Time?, and was originally projected to gross around $10 million from 3,127 theaters in its opening weekend.[15] However after grossing $2.3 million on its first day, including $550,000 from Thursday night previews, weekend estimates were lowered to $6 million. It went on debut to $5.8 million, finishing eighth at the box office and marking the 11th worst opening for a film playing in over 3,000 theaters.[16] It dropped 64% to $2.1 million in its second weekend, finishing 12th.[17]
In its third weekend, the film grossed $255,173 and was pulled from 2,679 theaters (85.6%, 3,127 to 448), marking the largest third-weekend theater drop in history, beating Live by Night's record of 2,659.[18]
Critical response[edit]
This section needs expansion. You can help by adding to it. (August 2018)
On review aggregation website Rotten Tomatoes, the film holds an approval rating of 18% based on 114 reviews, with an average rating of 4.1/10. The website's critical consensus reads, "The Darkest Minds does little to differentiate itself in a crowded field of YA adaptations, leaving all but the least demanding viewers feeling dystopian déjà vu."[19] On Metacritic, the film has a weighted average score of 39 out of 100, based on reviews from 28 critics, indicating "generally unfavorable reviews".[20] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[16]
William Bibbiani of TheWrap praised film and the cast, but concedes "it's not quite thrilling enough [...] so it plays a bit more like a manifesto than a sci-fi thriller."[21] Alex Hudson from Exclaim! criticized the film's pacing and underdeveloped story, saying, "The Darkest Minds is just a schlocky teen romance with a post-apocalyptic backdrop."[22]
References[edit]
^ Jump up to: a b c "The Darkest Minds". Box Office Mojo. IMDb. Retrieved August 28, 2018.
Jump up ^ Kit, Borys (September 15, 2014). "'Wayward Pines' Creator Tapped to Adapt 'Darkest Minds' (Exclusive)". The Hollywood Reporter. Prometheus Global Media. Retrieved April 30, 2017.
Jump up ^ Kit, Borys (July 12, 2016). "'Kung Fu Panda' Director Jennifer Yuh Nelson to Make Live-Action Debut With 'Darkest Minds'". The Hollywood Reporter. Prometheus Global Media. Retrieved April 30, 2017.
Jump up ^ Kit, Borys (September 26, 2016). "Amandla Stenberg to Star in Fox's YA Adaptation of 'Darkest Minds' (Exclusive)". The Hollywood Reporter. Prometheus Global Media. Retrieved May 8, 2017.
Jump up ^ Patten, Dominic (January 17, 2017). "Harris Dickinson To Star In Fox's YA Adaptation Of 'Darkest Minds'". Deadline Hollywood. Penske Business Media. Retrieved May 8, 2017.
Jump up ^ N'Duka, Amanda (February 1, 2017). "Miya Cech Joins Fox's 'The Darkest Minds'; Noah Centineo Cast In 'Sierra Burgess Is A Loser'". Deadline Hollywood. Penske Business Media. Retrieved May 8, 2017.
Jump up ^ Rought, Karen (February 19, 2017). "'The Darkest Minds' movie adaptation has found its Chubs". Hypable. Retrieved May 8, 2017.
Jump up ^ McNary, Dave (March 7, 2017). "Mandy Moore Joins Amandla Stenberg in Dystopian Thriller 'Darkest Minds'". Variety. Penske Business Media. Retrieved May 8, 2017.
Jump up ^ Lodderhose, Diana (March 13, 2017). "'The OA' Star Patrick Gibson Heads To Fox's 'The Darkest Minds'". Deadline Hollywood. Penske Business Media. Retrieved May 8, 2017.
Jump up ^ Kit, Borys (March 22, 2017). "Gwendoline Christie Joins Sci-Fi Thriller 'Darkest Minds' (Exclusive)". The Hollywood Reporter. Prometheus Global Media. Retrieved May 8, 2017.
Jump up ^ McNary, Dave (April 4, 2017). "Golden Brooks Joins Amandla Stenberg's Dystopian Thriller 'Darkest Minds' (EXCLUSIVE)". Variety. Penske Business Media. Retrieved May 8, 2017.
Jump up ^ Walljasper, Matt (April 26, 2017). "What's filming in Atlanta now? Simon Vs. the Homo Sapiens Agenda, The Last Full Measure, Darkest Minds, plus how a looming WGA strike could threaten Georgia". Atlanta. Retrieved April 30, 2017.
Jump up ^ "What's Filming in Atlanta Now?". On Location Vacations. Retrieved April 30, 2017.
Jump up ^ "Casting Call for Kids and Adults in ATL for "The Darkest Minds" Sc-Fi Movie". Auditions Free. April 26, 2017. Retrieved April 30, 2017.
Jump up ^ Rubin, Rebecca (August 1, 2018). "Box Office: Can Disney's 'Christopher Robin' Top 'Mission: Impossible – Fallout'?". Variety. Penske Business Media. Retrieved August 1, 2018.
^ Jump up to: a b D'Alessandro, Anthony (August 4, 2018). "'Tom Cruise's $34M 'Mission' Takes Out 'Christopher Robin' — Saturday AM". Deadline Hollywood. Penske Business Media. Retrieved August 4, 2018.
Jump up ^ D'Alessandro, Anthony (August 12, 2018). "'August Audiences Get Hooked On 'Meg' Shelling Out $44.5M". Deadline Hollywood. Penske Business Media. Retrieved August 12, 2018.
Jump up ^ "Biggest Theater Drops". Box Office Mojo. IMDb. Retrieved August 21, 2018.
Jump up ^ "The Darkest Minds (2018)". Rotten Tomatoes. Fandango Media. Retrieved August 21, 2018.
Jump up ^ "The Darkest Minds Reviews". Metacritic. CBS Interactive. Retrieved August 21, 2018.
Jump up ^ Bibbiani, William (July 30, 2018). "'The Darkest Minds' Film Review: YA Tale Delivers Its Allegories With Crisp Efficiency". TheWrap. Retrieved August 21, 2018.
Jump up ^ Hudson, Alex (August 2, 2018). "'The Darkest Minds' Review: Teen Dystopia Meets Romantic Schmaltz". Exclaim!. Retrieved August 2, 2018.
External links[edit]
Official website
The Darkest Minds on IMDb
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Films directed by Jennifer Yuh Nelson
Kung Fu Panda 2 (2011)
Kung Fu Panda 3 (2016)
The Darkest Minds (2018)
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Darkest_Minds&oldid=856929350"
Categories:
2018 films
English-language films
American films
American science fiction thriller films
2010s science fiction films
2010s thriller films
Dystopian films
Films shot in Atlanta
Films directed by Jennifer Yuh Nelson
21 Laps Entertainment films
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text:
The Call of the Wild
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Call of the Wild (disambiguation).
The Call of the Wild
First edition cover
Author
Jack London
Illustrator
Philip R. Goodwin and Charles Livingston Bull
Cover artist
Charles Edward Hooper
Country
United States
Language
English
Genre
Adventure fiction
Publisher
Macmillan
Publication date
1903
Media type
Print (Serial, Hardcover & Paperback)
Pages
515 pp (First Edition)
OCLC
28228581
The Call of the Wild is a short adventure novel by Jack London published in 1903 and set in Yukon, Canada during the 1890s Klondike Gold Rush, when strong sled dogs were in high demand. The central character of the novel is a dog named Buck. The story opens at a ranch in Santa Clara Valley, California, when Buck is stolen from his home and sold into service as a sled dog in Alaska. He becomes progressively feral in the harsh environment, where he is forced to fight to survive and dominate other dogs. By the end, he sheds the veneer of civilization, and relies on primordial instinct and learned experience to emerge as a leader in the wild.
London spent almost a year in the Yukon, and his observations form much of the material for the book. The story was serialized in the Saturday Evening Post in the summer of 1903 and was published a month later in book form. The book’s great popularity and success made a reputation for London. As early as 1935, the story was adapted to film, and it has since seen several more cinematic adaptations.
Contents
[hide]
1 Summary
2 Background
3 Publication history
3.1 Editions
4 Genre
5 Themes
6 Writing style
7 Reception and legacy
7.1 Adaptations
8 References
9 Further reading
10 External links
Summary[edit]
The story opens with Buck, a large and powerful St. Bernard-Scotch Shepherd,[1][2] living happily in California's Santa Clara Valley as the pampered pet of rich Judge Miller and his family. However, he is stolen by the gardener's assistant, Manuel, and sold to finance his gambling addiction. He is shipped to Seattle. Put in a crate, he is starved and ill-treated. When released, he attacks his overseer, known only as the "man in the red sweater" but this man teaches the "law of the club", hitting Buck until he is sufficiently cowed (but the man shows some kindness after Buck stops). Buck is then sold to a pair of French-Canadian dispatchers from the Canadian government, François and Perrault, who take him with them to the Klondike region of Canada. There, they train him as a sled dog. From his teammates, he quickly learns to survive cold winter nights and the pack society. A rivalry develops between Buck and the vicious, quarrelsome lead dog, Spitz. Buck eventually beats Spitz in a fight. Spitz is killed by the pack after his defeat by Buck, and Buck eventually becomes the leader of the team.
When Francois and Perrault reach Dawson with their dispatches, and are given new orders from the Canadian government, the team is then sold to a "Scottish half-breed" man, who is also working the mail service. The dogs must carry heavy loads to the mining areas, and the journeys they make are tiresome and long. One of the team, a morose husky named Dave, becomes sick and is eventually shot.
Buck's next owners are a trio of stampeders from the United States (Hal, Charles, and a woman named Mercedes), who are inexperienced at surviving in the Northern wilderness. They struggle to control the sled and ignore helpful advice from others, in particular the warnings that the spring melt poses dangers. They overfeed the dogs and then starve them when the food runs out. On their journey they meet John Thornton, an experienced outdoorsman, who notices the dogs have been poorly treated and are in a weakened condition. He warns the trio against crossing the river, but they ignore his advice and order Buck to move on. Exhausted, starving, and sensing the danger ahead, Buck refuses and continues to lie unmoving in the snow. After Buck is beaten by Hal, Thornton recognizes him to be a remarkable dog. Disgusted by the driver's treatment of Buck, Thornton hits Hal with the butt of his axe, cuts Buck free from his traces, and tells the trio he is keeping him, much to Hal's displeasure. After some argument, the trio leaves and tries to cross the river, but as Thornton warned, the ice breaks, and the three fall into the river and drown, along with the sled and neglected dogs.
Buck comes to love and grow devoted to Thornton as he nurses him back to health. He saves Thornton when the man falls into a river. After Thornton takes him on trips to pan for gold, a bonanza king (someone who hit it rich in a certain area), named Matthewson, wagers Thornton on the dog's strength and devotion. Buck wins by breaking a half-ton (1,000-pound (450 kg)) sled free of the frozen ground, pulling it 100 yards (91 m) and winning US$1,600 in gold dust. A king of the Skookum Benches offers a large sum to buy Buck, but Thornton has grown fond of him and declines. Using his winnings, John Thornton retires his debts, but elects to continue searching for gold. [3] While Thornton and his two friends Pete and Hans are panning in a campsite, Buck explores the wilderness and socializes with a timber wolf from a local pack. However, Buck decides not join the wolves and elects to return to Thornton, mirroring John's refusal to sell Buck. However, Buck returns to the campsite to find Hans and Pete murdered, then sees John Thornton suffered the same fate. Buck finds out the murderers were a group of Yeehat Indians. Buck eventually kills the natives to avenge Thornton, and he then is attacked by an entire pack of wolves. Buck wins the fight, then finds that the same timber wolf he had socialized with was in the pack he fought. Buck then follows the wolf and its pack into the forest, and answers the call of the wild. The legend of Buck is spread among other Indian tribes as the "Ghost Dog of the Northland". Buck comes out of the backwoods once a year on the anniversary of his attack on the Yeehats, at the former campsite where he was last with John Thornton, Hans and Pete, in order to mourn their deaths.
Background[edit]
Miners carry gear up the Chilkoot Pass to reach the Klondike
California native Jack London had traveled around the United States as a hobo, returned to California to finish high school (he dropped out at age 14), and spent a year in college at Berkeley, when in 1897 he went to the Klondike by way of Alaska during the height of the Klondike Gold Rush. Later, he said of the experience: "It was in the Klondike I found myself."[4]
He left California in July and traveled by boat to Dyea, Alaska, where he landed and went inland. To reach the gold fields, he and his party transported their gear over the Chilkoot Pass, often carrying loads as heavy as 100 pounds (45 kg) on their backs. They were successful in staking claims to eight gold mines along the Stewart River.[5]
London stayed in the Klondike for almost a year, living temporarily in the frontier town of Dawson City, before moving to a nearby winter camp, where he spent the winter in a temporary shelter reading books he had brought: Charles Darwin's On the Origin of Species and John Milton's Paradise Lost.[6] In the winter of 1898, Dawson City (today mostly deserted) was a city comprising about 30,000 miners, a saloon, an opera house, and a street of brothels.[7]
Klondike routes map
In the spring, as the annual gold stampeders began to stream in, London left. He had contracted scurvy, common in the Arctic winters where fresh produce was unavailable. When his gums began to swell he decided to return to California. With his companions, he rafted 2,000 miles (3,200 km) down the Yukon River, through portions of the wildest territory in the region, until they reached St. Michael. There, he hired himself out on a boat to earn return passage to San Francisco.[8]
In Alaska, London found the material that inspired him to write The Call of the Wild.[4] Dyea Beach was the primary point of arrival for miners when London traveled through there, but because its access was treacherous Skagway soon became the new arrival point for prospectors.[9] To reach the Klondike, miners had to navigate White Pass, known as "Dead Horse Pass", where horse carcasses littered the route because they could not survive the harsh and steep ascent. Horses were replaced with dogs as pack animals to transport material over the pass;[10] particularly strong dogs with thick fur were "much desired, scarce and high in price".[11]
London would have seen many dogs, especially prized Husky sled dogs, in Dawson City and in the winter camps situated close to the main sled route. He was friends with Marshall Latham Bond and his brother Louis Whitford Bond, the owners of a mixed St. Bernard-Scotch Collie dog about which London later wrote: "Yes, Buck is based on your dog at Dawson."[12] Beinecke Library at Yale University holds a photograph of Bond's dog, taken during London's stay in the Klondike in 1897. The depiction of the California ranch in the beginning of the story was based on the Bond family ranch.[13]
Publication history[edit]
On his return to California, London was unable to find work and relied on odd jobs such as cutting grass. He submitted a query letter to the San Francisco Bulletin proposing a story about his Alaskan adventure, but the idea was rejected because, as the editor told him, "Interest in Alaska has subsided in an amazing degree."[8] A few years later, London wrote a short story about a dog named Bâtard who, at the end of the story, kills his master. London sold the piece to Cosmopolitan Magazine, which published it in the June 1902 issue under the title "Diablo — A Dog".[14] London's biographer, Earle Labor, says that London then began work on The Call of the Wild to "redeem the species" from his dark characterization of dogs in "Bâtard". Expecting to write a short story, London explains: "I meant it to be a companion to my other dog story "Bâtard" ... but it got away from me, and instead of 4,000 words it ran 32,000 before I could call a halt."[15]
Written as a frontier story about the gold rush, The Call of the Wild was meant for the pulp market. It was first published in four installments in The Saturday Evening Post, which bought it for $750 in 1903.[16][17] In the same year, London sold all rights to the story for $2,000 to Macmillan, which published it in book format.[17] The book has never been out of print since that time.[17]
Editions[edit]
The first edition, by Macmillan, released in August 1903, had 10 tipped-in color plates by illustrators Philip R. Goodwin and Charles Livingston Bull, and a color frontispiece by Charles Edward Hooper; it sold for $1.50.[18][19] It is presently available with the original illustrations at the Internet Archive.[20] The movie was first shown in 1935 as a black and white film called "Call of the Wild".
Genre[edit]
Buck proves himself as leader of the pack when he fights Spitz "to the death".
The Call of the Wild falls into the genre of animal fiction, in which an animal is anthropomorphized and given human traits. In the story, London attributes human thoughts and insights to Buck, so much so that when the story was published he was accused of being a nature faker for attributing "unnatural" feelings to a dog.[21] Along with his contemporaries Frank Norris and Theodore Dreiser, London was influenced by the naturalism of European writers such as Émile Zola, in which themes such as heredity versus environment were explored. London's use of the genre gave it a new vibrancy, according to scholar Richard Lehan.[22]
The story is also an example of American pastoralism—a prevailing theme in American literature—in which the mythic hero returns to nature. As with other characters of American literature, such as Rip van Winkle and Huckleberry Finn, Buck symbolizes a reaction against industrialization and social convention with a return to nature. London presents the motif simply, clearly, and powerfully in the story, a motif later echoed by 20th century American writers William Faulkner and Ernest Hemingway (most notably in "Big Two-Hearted River").[23] Doctorow says of the story that it is "fervently American".[24]
The enduring appeal of the story, according to American literature scholar Donald Pizer, is that it is a combination of allegory, parable, and fable. The story incorporates elements of age-old animal fables, such as Aesop's Fables, in which animals speak truth, and traditional beast fables, in which the beast "substitutes wit for insight".[25] London was influenced by Rudyard Kipling's The Jungle Book, written a few years earlier, with its combination of parable and animal fable,[26] and by other animal stories popular in the early 20th century. In The Call of the Wild, London intensifies and adds layers of meaning that are lacking in these stories.[15]
As a writer London tended to skimp on form, according to biographer Labor, and neither The Call of the Wild nor White Fang "is a conventional novel".[27] The story follows the archetypal "myth of the hero"; Buck, who is the hero, takes a journey, is transformed, and achieves an apotheosis. The format of the story is divided into four distinct parts, according to Labor. In the first part, Buck experiences violence and struggles for survival; in the second part, he proves himself a leader of the pack; the third part brings him to his death (symbolically and almost literally); and in the fourth and final part, he undergoes rebirth.[28]
Themes[edit]
London's story is a tale of survival and a return to primitivism. Pizer writes that: "the strong, the shrewd, and the cunning shall prevail when ... life is bestial".[29]
Pizer also finds evident in the story a Christian theme of love and redemption, as shown by Buck's refusal to revert to violence until after the death of Thornton, who had won Buck's love and loyalty.[30] London, who went so far as to fight for custody of one of his own dogs, understood that loyalty between dogs (particularly working dogs) and their masters is built on trust and love.[31]
The Call of the Wild (cover of the Saturday Evening Post shown) is about the survival of the fittest.[24]
Writing in the "Introduction" to the Modern Library edition of The Call of the Wild, E. L. Doctorow says the theme is based on Darwin's concept of survival of the fittest. London places Buck in conflict with humans, in conflict with the other dogs, and in conflict with his environment—all of which he must challenge, survive, and conquer.[24] Buck, a domesticated dog, must call on his atavistic hereditary traits to survive; he must learn to be wild to become wild, according to Tina Gianquitto. He learns that in a world where the "club and the fang" are law, where the law of the pack rules and a good-natured dog such as Curly can be torn to pieces by pack members, that survival by whatever means is paramount.[32]
London also explores the question of "nature vs. nurture", according to Pizer. Buck, raised as a pet, is by heredity a wolf. The change of environment releases his innate characteristics and strengths to the point where he fights for survival and becomes leader of the pack. Furthermore, Pizer maintains that the story appeals to human nature with the theme of the strong prevailing, particularly when faced with harsh circumstances, and a return to the wild.[30]
The veneer of civilization is thin and fragile, writes Doctorow, and in the story London exposes the brutality at the core of humanity and the ease with which humans revert to a state of primitivism.[24] His interest in Marxism is evident in the sub-theme that humanity is motivated by materialism; and his interest in Nietzschean philosophy is shown by Buck's characterization.[24] Gianquitto writes that in Buck's characterization, London created a type of Nietschean Übermensch — in this case a dog that reaches mythic proportions.[33]
Doctorow sees the story as a caricature of a bildungsroman — in which a character learns and grows – in that Buck becomes progressively less civilized.[24] Gianquitto explains that Buck has evolved to the point that he is ready to join a wolf pack, which has a social structure uniquely adapted to and successful in the harsh arctic environment, unlike humans, who are weak in the harsh environment.[34]
Writing style[edit]
Old longings nomadic leap,
Chafing at custom’s chain;
Again from its brumal sleep
Wakens the ferine strain.
John Myers O'Hara, Atavism
The first chapter opens with the first quatrain of John Myers O'Hara's poem, Atavism,[35] published in 1902 in The Bookman. The stanza outlines one of the main motifs of The Call of the Wild: that Buck, when removed from the "sun-kissed" Santa Clara Valley where he was raised, will revert to his wolf heritage with its innate instincts and characteristics.[36]
The themes are conveyed through London's use of symbolism and imagery which, according to Labor, vary in the different phases of the story. The imagery and symbolism in the first phase, to do with the journey and self-discovery, depict physical violence, with strong images of pain and blood. In the second phase fatigue becomes a dominant image and death is a dominant symbol, as Buck comes close to being killed. The third phase is a period of renewal and rebirth and takes place in the spring, before ending with the fourth phase, when Buck fully reverts to nature is placed in a vast and "weird atmosphere", a place of pure emptiness.[37]
The setting is allegorical. The southern lands represent the soft, materialistic world; the north symbolizes a world beyond civilization and is inherently competitive.[30] The harshness, brutality, and emptiness in Alaska reduce life to its essence, as London learned, and shows in Buck's story. Buck must defeat Spitz, the dog who symbolically tries to get ahead and take control. When Buck is sold to Charles, Hal, and Mercedes, he finds himself in a camp that is dirty. They treat their dogs badly; they are artificial interlopers in the pristine landscape. Conversely, Buck's next masters, John Thornton and his two companions, are described as "living close to the earth". They keep a clean camp, treat their animals well, and represent man's nobility in nature.[23] Unlike Buck, Thornton loses his fight with his fellow species, and not until Thornton's death does Buck revert fully to the wild and his primordial state.[38]
The characters too are symbolic of types. Charles, Hal and Mercedes symbolize vanity and ignorance, while Thornton and his companions represent loyalty, purity, and love.[30] Much of the imagery is stark and simple with an emphasis on images of cold, snow, ice, darkness, meat, and blood.[38]
London varied his prose style to reflect the action. He wrote in an over-affected style in his descriptions of Charles, Hal, and Mercedes' camp as a reflection of their intrusion in the wilderness. Conversely when describing Buck and his actions, London wrote in a style that was pared down and simple—a style that would influence and be the forebear of Hemingway's style.[23]
The story was written as a frontier adventure and in such a way that it worked well as a serial. As Doctorow points out, it is good episodic writing that embodies the style of magazine adventure writing popular in that period. "It leaves us with satisfaction at its outcome, a story well and truly told," he said.[24]
Reception and legacy[edit]
Cover of Classics Illustrated The Call of the Wild, published in 1952
The Call of the Wild was enormously popular from the moment it was published. H. L. Menken wrote of London's story: "No other popular writer of his time did any better writing than you will find in Call of the Wild."[4] A reviewer for The New York Times wrote of it in 1903: "If nothing else makes Mr. London's book popular, it ought to be rendered so by the complete way in which it will satisfy the love of dog fights apparently inherent in every man."[39] The reviewer for The Atlantic Monthly wrote that it was a book: "untouched by bookishness...The making and the achievement of such a hero [Buck] constitute, not a pretty story at all, but a very powerful one."[40]
The book secured London a place in the canon of American literature.[33] The first printing of 10,000 copies sold out immediately; it is still one of the best known stories written by an American author, and continues to be read and taught in schools.[24][41] It has been published in 47 languages.[42] London's first success, the book secured his prospects as a writer and gained him a readership that stayed with him throughout his career.[24][33]
After the success of The Call of the Wild London wrote to Macmillan in 1904 proposing a second book (White Fang) in which he wanted to describe the opposite of Buck: a dog that transforms from wild to tame: "I'm going to reverse the process...Instead of devolution of decivilization ... I'm going to give the evolution, the civilization of a dog."[43]
Adaptations[edit]
The first adaptation of London's story was a silent film made in 1923.[44] The 1935 version starring Clark Gable and Loretta Young expanded John Thornton's role and was the first "talkie" to feature the story. The 1972 movie The Call of the Wild, starring Charlton Heston as John Thornton, was filmed in Finland.[45] The 1978 Snoopy TV special What a Nightmare, Charlie Brown! is another adaptation.
A comic adaptation had been made in 1998 for Boys Life magazine. Due to cultural sensitivities, the Yeehat Indians are omitted, and John Thorton's killers are now white criminals, whom as before, are also killed by Buck.
French Canadian film Director Christian Duguay has announced financing and distribution for a version of The Call of the Wild to be released in 2018.[46] Meanwhile, Chris Sanders is directing another film adaptation scheduled to release on December 25, 2019.[47]
References[edit]
Jump up ^ London 1998, p. 4.
Jump up ^ London 1903, Chapter 1.
Jump up ^ London 1903, Chapter 7.
^ Jump up to: a b c "Jack London" 1998, p. vi.
Jump up ^ Courbier-Tavenier, p. 240.
Jump up ^ Courbier-Tavenier, p. 240–241.
Jump up ^ Dyer, p. 60.
^ Jump up to: a b Labor & Reesman, pp. 16–17.
Jump up ^ Giantquitto, 'Endnotes', pp. 294–295.
Jump up ^ Dyer, p. 59.
Jump up ^ "Comments and Questions", p. 301.
Jump up ^ Courbier-Tavenier, p. 242.
Jump up ^ Doon.
Jump up ^ Labor & Reesman, pp. 39–40.
^ Jump up to: a b Labor & Reesman, p. 40.
Jump up ^ Doctorow, p. xi.
^ Jump up to: a b c Dyer, p. 61.
Jump up ^ Smith, p. 409.
Jump up ^ Leypoldt, p. 201.
Jump up ^ London, Jack & Goodwin, Philip R. (Illustrator) & Bull, Charles Livingston (Illustrator) (1903). The Call of the Wild (First ed.). MacMillan. CS1 maint: Multiple names: authors list (link)
Jump up ^ Pizer, pp. 108–109.
Jump up ^ Lehan, p. 47.
^ Jump up to: a b c Benoit, p. 246–248.
^ Jump up to: a b c d e f g h i Doctorow, p. xv.
Jump up ^ Pizer, p. 107.
Jump up ^ Pizer, p. 108.
Jump up ^ Labor & Reesman, p. 38.
Jump up ^ Labor & Reesman, pp. 41–46.
Jump up ^ Pizer, p. 110.
^ Jump up to: a b c d Pizer, pp. 109–110.
Jump up ^ Giantquitto, 'Introduction', p. xxiv.
Jump up ^ Giantquitto, 'Introduction', p. xvii.
^ Jump up to: a b c Giantquitto, 'Introduction', p. xiii.
Jump up ^ Giantquitto, 'Introduction', pp. xx–xxi.
Jump up ^ London 1998, p. 3.
Jump up ^ Giantquitto, 'Endnotes', p. 293.
Jump up ^ Labor & Reesman, pp. 41–45.
^ Jump up to: a b Doctorow, p. xiv.
Jump up ^ "Comments and Questions", p. 302.
Jump up ^ "Comments and Questions", pp. 302–303.
Jump up ^ Giantquitto, 'Introduction', p. xxii.
Jump up ^ WorldCat.
Jump up ^ Labor & Reesman, p. 46.
Jump up ^ "Call of the Wild, 1923". Silent Hollywood.com.
Jump up ^ "Inspired", p. 298.
Jump up ^ Warner, Sam (27 October 2017). "'The Call Of The Wild' secures finance and distribution deal". Screen Daily. Retrieved 26 January 2018.
Jump up ^ D'Alessandro, Anthony (12 October 2017). "Gambit' Starring Channing Tatum Will Open Valentine's Day 2019". Deadline | Hollywood. Retrieved 26 January 2018.
Bibliography
Wikisource has original text related to this article:
The Call of the Wild
Benoit, Raymond (Summer 1968). "Jack London's 'The Call of the Wild'". American Quarterly. The Johns Hopkins University Press. 20 (2): 246–248. doi:10.2307/2711035. JSTOR 2711035.
Courbier-Tavenier, Jacqueline (1999). "The Call of the Wild and The Jungle: Jack London and Upton Sinclair's Animal and Human Jungles". In Pizer, Donald. Cambridge Companion to American Realism and Naturalism: Howells to London. New York: Cambridge University Press. ISBN 978-0-521-43876-6.
Doctorow, E. L.; London, Jack (1998). "Introduction". The Call of the Wild, White Fang & To Build a Fire. The Modern Library hundred best novels of the twentieth century. 88 (reprint ed.). Modern Library. ISBN 978-0-375-75251-3. OCLC 38884558.
Doon, Ellen. "Marshall Bond Papers". New Haven, Conn, USA: Yale University. Retrieved March 19, 2012.
Dyer, Daniel (April 1988). "Answering the Call of the Wild". The English Journal. National Council of Teachers of English. 77 (4): 57–62. doi:10.2307/819308. JSTOR 819308.
Barnes & Noble (2003). "'Jack London' — Biographical Note". The Call of the Wild and White Fang. Barnes and Noble Classics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN 978-1-59308-002-0.
Barnes & Noble (2003). "'The World of Jack London'". The Call of the Wild and White Fang. Barnes and Noble Classics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN 978-1-59308-002-0.
Giantquitto, Tina (2003). "'Introduction'". The Call of the Wild and White Fang. Barnes and Noble Classics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN 978-1-59308-002-0.
Giantquitto, Tina (2003). "'Endnotes'". The Call of the Wild and White Fang. Barnes and Noble Classics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN 978-1-59308-002-0.
Barnes & Noble (2003). "Inspired by 'The Call of the Wild' and 'White Fang'". The Call of the Wild and White Fang. Barnes and Noble Classics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN 978-1-59308-002-0.
Barnes & Noble (2003). "'Comments and Questions'". The Call of the Wild and White Fang. Barnes and Noble Classics. Introduction by Tina Giantquitto (reprint ed.). Barnes & Noble. ISBN 978-1-59308-002-0.
Lehan, Richard (1999). "The European Background". In Pizer, Donald. Cambridge Companion to American Realism and Naturalism: Howells to London. New York: Cambridge University Press. ISBN 978-0-521-43876-6.
"Jack London's 'The Call of the Wild'". Publishers Weekly. F. Leypoldt. 64 (1). August 1, 1903. Retrieved August 28, 2012.
Labor, Earle; Reesman, Jeanne Campbell (1994). Jack London. Twayne's United States authors series. 230 (revised, illustrated ed.). New York: Twayne Publishers. ISBN 978-0-8057-4033-2. OCLC 485895575.
London, Jack (1903). The Call of the Wild. Wikisource.
London, Jack (1998). The Call of the Wild, White Fang & To Build a Fire. The Modern Library hundred best novels of the twentieth century. 88. Introduction by E. L. Doctorow (reprint ed.). Modern Library. ISBN 978-0-375-75251-3. OCLC 38884558.
Modern Library (1998). "'Jack London' — Biographical Note". The Call of the Wild, White Fang & To Build a Fire. The Modern Library hundred best novels of the twentieth century. 88. Introduction by E. L. Doctorow (reprint ed.). Modern Library. ISBN 978-0-375-75251-3. OCLC 38884558.
Pizer, Donald (1983). "Jack London: The Problem of Form". Studies in the Literary Imagination. 16 (2): 107–115.
Smith, Geoffrey D. (August 13, 1997). American Fiction, 1901–1925: A Bibliography. Cambridge University Press. ISBN 978-0-521-43469-0. Retrieved August 28, 2012.
"London, Jack 1876–1916". The call of the wild. WorldCat. Retrieved October 26, 2012.
Further reading[edit]
Fusco, Richard. "On Primitivism in The Call of the Wild. American Literary Realism, 1870-1910. Vol. 20, No. 1 (Fall, 1987), pp. 76–80
McCrum, Robert. "The 100 best novels: No 35 - The Call of the Wild by Jack London (1903)". The Guardian. 19 May 2014. Retrieved 5 September 2015.
External links[edit]
Wikimedia Commons has media related to The Call of the Wild.
The Call of the Wild public domain audiobook at LibriVox
[hide]
v
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Works by Jack London
Novels
The Cruise of the Dazzler (1902)
A Daughter of the Snows (1902)
The Call of the Wild (1903)
The Kempton-Wace Letters (1903, anonymously co-authored with Anna Strunsky)
The Sea-Wolf (1904)
The Game (1905)
Before Adam (1906)
White Fang (1906)
The Iron Heel (1908)
Martin Eden (1909)
Burning Daylight (1910)
Adventure (1911)
The Scarlet Plague (1912)
A Son of the Sun (1912)
The Abysmal Brute (1913)
The Valley of the Moon (1913)
The Mutiny of the Elsinore (1914)
The Star Rover (1915)
The Little Lady of the Big House (1916)
Jerry of the Islands (1917)
Michael, Brother of Jerry (1917)
Hearts of Three (1920)
The Assassination Bureau, Ltd (1963) (Unfinished, completed by Robert L. Fish)
Short stories
"A Thousand Deaths" (1899)
"The Law of Life" (1901)
"Bâtard" (1902)
"Moon-Face" (1902)
"The Leopard Man's Story" (1903)
"To Build a Fire" (1908)
"The Dream of Debs" (1909)
"A Piece of Steak" (1909)
"The South of the Slot" (1909)
"The Heathen" (1910)
"The Mexican" (1911)
"The Unparalleled Invasion" (1914)
"The Red One" (1918)
Short story collections
Lost Face (1910)
South Sea Tales (1911)
Non-fiction
The People of the Abyss (1903)
The Road (1907)
The Cruise of the Snark (1911)
John Barleycorn (1913)
[show]
v
t
e
Jack London's The Call of the Wild (1903)
Films
The Call of the Wild (1923)
Call of the Wild (1935)
The Call of the Wild (1972)
The Call of the Wild (1976)
Call of the Wild (2009)
TV
What a Nightmare, Charlie Brown! (1978 special)
The Call of the Wild: Dog of the Yukon (1997 movie)
Call of the Wild (2000 series)
Related
White Fang
Authority control
WorldCat Identities
BNF: cb14420507m (data)
GND: 4488621-4
LCCN: n79125605
NLA: 35877047
VIAF: 179138821
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Call_of_the_Wild&oldid=843301343"
Categories:
The Call of the Wild
1903 American novels
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Hidden categories:
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