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Natural Born Killers
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Not to be confused with Natural Born Killaz.
Natural Born Killers
Theatrical release poster
Directed by
Oliver Stone
Produced by
Jane Hamsher
Don Murphy
Clayton Townsend
Screenplay by
Richard Rutowski
Oliver Stone
David Veloz
Rodney Dangerfield (his own monologues)
Story by
Quentin Tarantino
Starring
Woody Harrelson
Juliette Lewis
Robert Downey, Jr.
Tommy Lee Jones
Tom Sizemore
Cinematography
Robert Richardson
Edited by
Hank Corwin
Brian Berdan
Production
company
Regency Enterprises
Distributed by
Warner Bros.
Release date
August 26, 1994 (1994-08-26)
Running time
119 minutes[1]
Country
United States
Language
English
Budget
$34 million[2]
Box office
$50.3 million[2]
Natural Born Killers is a 1994 American satirical black comedy crime film directed by Oliver Stone and starring Woody Harrelson, Juliette Lewis, Robert Downey Jr., Tom Sizemore, and Tommy Lee Jones. The film tells the story of two victims of traumatic childhoods who became lovers and mass murderers, and are irresponsibly glorified by the mass media.
The film is based on an original screenplay by Quentin Tarantino that was heavily revised by writer David Veloz, associate producer Richard Rutowski, and director Stone; Tarantino received story credit. Jane Hamsher, Don Murphy, and Clayton Townsend produced the film, with Arnon Milchan, Thom Mount, and Stone as executive producers.
The film was released on August 26, 1994 in the United States, and also screened at the Venice Film Festival on August 29, 1994. It was a box office success, grossing over $50 million against a production budget of $34 million, and received generally positive reviews from critics, who praised the cast's performances, the humor, plot and combination of action and romance, but found the film much too violent and graphic. Notorious for its violent content and inspiring "copycat" crimes, the film was named the eighth most controversial film in history by Entertainment Weekly in 2006.[3]
Contents
[hide]
1 Plot
1.1 Prologue
1.2 Part I
1.3 Part II
1.4 Part III
2 Cast
3 Production
4 Style
5 Release
5.1 Box office
5.2 Critical response
6 Controversies
6.1 Censorship
6.2 "Copycat" crimes
7 Soundtrack
8 See also
9 References
10 Further reading
11 External links
Plot
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Prologue
Mickey Knox and his wife Mallory stop at a diner in the New Mexico desert. A duo of rednecks arrive and one begins sexually harassing Mallory while she is dancing. She briefly encourages him before beating him to a pulp, screaming "How sexy am I now, huh flirty boy?". Mickey and Mallory then murder all but one of the diner's staff, and one customer, culminating in a morbid game of Eeny, meeny, miny, moe to decide who lives and dies. After killing the waitress Mabel, the couple ensures that the only survivor remembers their names so that he can pass on the legend of Mickey and Mallory before they embrace and declare their undying love.
Part I
Mickey and Mallory camp out in the desert, and Mallory reminisces about when they first met. A flashback (done in the style of a TV sitcom, including a laughtrack) shows Mickey as a meat deliveryman who came to the house where Mallory lived with her sexually abusive father, her neglectful mother, and her younger brother, Kevin. Mickey and Mallory fall in love instantly and leave together, stealing Mallory's father's car. Soon Mickey is arrested and imprisoned for auto theft, but he subsequently escapes from a prison work farm during a tornado and returns to Mallory's house. The two kill Mallory's parents, but spare Kevin. Mallory's father is beaten and then drowned in the fish tank while her mother is tied to her bed and set on fire. Mickey and Mallory then go on the road together and get "married" on the side of a bridge, celebrating by taking a hostage. Furious with Mickey's notion that they have a threesome, Mallory drives to a nearby gas station, where she flirts with the mechanic. They begin to have sex on the hood of a car, but Mallory kills him when he recognizes her as a wanted killer. During this time, Mickey rapes the hostage.
Part II
The pair continue their killing spree, ultimately claiming fifty-two victims in New Mexico, Arizona, and Nevada. Pursuing them is Detective Jack Scagnetti, who became obsessed with mass murderers after witnessing his mother being shot and killed by Charles Whitman when he was eight. Beneath his heroic facade, he is a violent psychopath. The audience witnesses Scagnetti violently strangle a prostitute to death. The killers are also followed by self-serving tabloid journalist Wayne Gale. Gale profiles Mickey and Mallory on his show, American Maniacs, soon elevating them to cult hero status.
Mickey and Mallory get lost in the desert after taking psychedelic mushrooms. They come across a ranch where they encounter Warren Red Cloud, a Navajo Indian, and his young grandson. The Navajo provides them with food and shelter. After the two fall asleep, the Navajo, hoping to expel the demon he perceives in Mickey, begins chanting beside the fire. This invokes nightmares in Mickey about his abusive parents. Mickey wakes up in a panicked rage and fatally shoots Red Cloud before he realizes what he is doing. Mallory wakes up to the sound of the gunshot and starts screaming at Mickey for killing the man who sheltered them. This is the first time Mallory and Mickey feel guilty for a murder. Fleeing from the scene, they step outside of the house and come across a field of rattlesnakes. Mallory does not see the snakes and gets bitten first. Mickey lights a stick on fire to expose the snakes. While he is trying to help Mallory he also gets bitten.
They drive to a drugstore to find snakebite antidote, however the store is completely sold out. Mallory falls to the ground while Mickey runs to the pharmacy with the hopes that there will be more medication in stock. The pharmacist recognizes Mickey from the news report and sets off the silent alarm before Mickey kills him. Soon police cars arrive and Mallory is captured and subsequently beaten by the police. A gunfight breaks out between Mickey and the others while Mallory is held hostage. Scagnetti arrives and tells Mickey that unless he surrenders, he will cut off Mallory's breasts. Mickey gives up his guns, but attacks Scagnetti with a knife. The police taser him and the scene ends with Mickey and Mallory being beaten by a group of vengeful policemen as a Japanese news crew fronted by a female reporter films the action.
Part III
The story picks up one year later: the homicidal couple have been imprisoned, and are due to be moved to a mental hospital after being declared insane. Mickey and Mallory have now gone one year without seeing each other. Scagnetti arrives at the prison and encounters Warden Dwight McClusky, with whom he plans to murder the two criminals. McClusky will arrange for Scagnetti to be the driver for the Knoxes' transfer. Alone with the pair, Scagnetti will murder them, then claim that they tried to escape.
Meanwhile, Gale has persuaded Mickey to agree to a live interview that will air immediately after the Super Bowl. Mallory is held in solitary confinement elsewhere in the prison, awaiting her transport to the mental hospital. During the interview, Mickey gives a speech about how murder provides enlightenment and declares himself a "natural born killer". His words inspire the other inmates (who are watching the interview on TV in the recreation room) and incite them to riot.
McClusky, upon learning of the riot, orders the interview terminated despite Gale's vehement protests. Mickey is left alone with Gale, the film crew and several guards. Using a lengthy joke as a diversion, Mickey overpowers a guard and grabs his shotgun. He kills most of the guards with it and takes the survivors hostage, leading them through the prison riot. Gale follows, giving a live television report as people are beaten and killed around him.
While this riot is unfolding, Scagnetti enters Mallory's cell and attempts to seduce her. Mallory, feigning reciprocation at first, rebuffs his efforts, smashing his face against the wall and breaking his nose. The two guards outside the cell struggle to enter while Mallory attacks Scagnetti. Finally, the two guards subdue her, and Scagnetti sprays her face with tear gas in revenge. Still live on national television, Mickey arrives at Mallory's cell, where he kills all the guards and engages in a Mexican standoff with Scagnetti, eventually feigning a concession. Mallory then approaches Scagnetti from behind and slashes his throat with a shank. To Scagnetti's horror, Mickey tells him that he was out of shotgun shells during the standoff. Mallory then picks up Scagnetti's gun, saying "You still like me now, Jack?" and kills him.
Mickey and Mallory continue to escape through the riot torn prison, with Gale's entire TV crew getting killed. Gale himself snaps, succumbing to Stockholm syndrome as well as indulging in his own longtime fascination for murder, and begins to shoot at the guards with a pistol that he has taken from one of the dead guards, but gets so frenzied that Mickey prefers to disarm him. After being rescued by a mysterious prisoner named Owen Traft, the trio of Mickey, Mallory, and Gale run into McClusky and a heavily armed posse of guards. The trio takes cover in a blood-splattered shower room. McClusky threatens to storm the shower room; Mickey, in turn, threatens to kill both Gale and a guard on live TV, and the prisoners walk out the front door, to McClusky's utter dismay, as he helplessly threatens to hunt them down. McClusky and his guards are then quickly massacred by hordes of inmates.
Mickey and Mallory steal a van and kill the last guard; Owen's fate is unknown. Escaping to a rural location, they give a final interview to Gale, whose ear they have seemingly removed (implied, but as a camera track reveals), before they tell him he must die also. He attempts various arguments to change their minds, finally appealing to their trademark practice of leaving one survivor; Mickey informs him they are leaving a witness to tell the tale, his camera. Gale accepts his fate and extends his arms as if on a cross as they shoot him dead while his unattended camera continues to roll. The couple is shown several years later, in an RV, with Mickey driving and a pregnant Mallory watching their two children play.
Cast
Main article: List of Natural Born Killers characters
Woody Harrelson as Mickey Knox
Juliette Lewis as Mallory Wilson Knox
Robert Downey, Jr. as Wayne Gale
Tom Sizemore as Detective Jack Scagnetti
Tommy Lee Jones as Warden Dwight McClusky
Rodney Dangerfield as Ed Wilson
Edie McClurg as Mrs. Wilson
Sean Stone as Kevin Wilson
Russell Means as Warren Red Cloud, Sr. aka The Navajo Man
Lanny Flaherty as Earl
Evan Handler as David
Balthazar Getty as Gas station attendant
Richard Lineback as Sonny
Kirk Baltz as Roger
Steven Wright as Dr. Emil Reingold
Pruitt Taylor Vince as Deputy Warden Kavanaugh
Joe Grifasi as Deputy Sheriff Duncan Homolka
Everett Quinton as Deputy Wurlitzer
Marshall Bell as Deputy
Peter Crombie as Intense cop
Grand L. Bush as Prison inmate
Louis Lombardi as Deputy "Sparky"
Dale Dye as Dale Wrigley
Corey Everson as Mallory Knox in TV reconstruction
O-Lan Jones as Mabel
James Gammon (uncredited) as Redneck buddy
Mark Harmon (uncredited) as Mickey Knox in TV reconstruction
Adrien Brody and David Pasquesi (uncredited) as Gale's cameramen
Arliss Howard (uncredited) as Owen Traft, Mickey and Mallory's Guardian angel / The Demon
Deleted scenes
Ashley Judd as Grace Mulberry
Rachel Ticotin as Prosecutor Wanda Bisbing
Peter and David Paul as Simon and Norman Hun
Denis Leary and Bret Hart as Prison inmates
Production
Natural Born Killers was based upon a screenplay written by Quentin Tarantino, in which a married couple suddenly decide to go on a killing spree. Tarantino had sold an option for his script to producers Jane Hamsher and Don Murphy for $10,000 after he had tried, and failed, to direct it himself for $500,000.[4] Hamsher and Murphy subsequently sold the screenplay to Warner Bros. Around the same time, Oliver Stone was made aware of the script. He was keen to find something more straightforward than his previous production, Heaven & Earth; a difficult shoot which had left him exhausted, and he felt that Natural Born Killers could be what he was looking for.[5]
David Veloz, associate producer Richard Rutowski, and Stone rewrote the script, keeping much of the dialogue but changing the focus of the film from journalist Wayne Gale to Mickey and Mallory. The script was changed so much that as per WGA rules, Tarantino was credited for the film's story only. In a 1993 interview, Tarantino stated that he did not hold any animosity towards Stone, and that he wished the film well;
"It's not going to be my movie, it's going to be Oliver Stone's, and God bless him. I hope he does a good job with it. If I wasn't emotionally attached to it, I'm sure I would find it very interesting. If you like my stuff, you might not like this movie. But if you like his stuff, you're probably going to love it. It might be the best thing he's ever done, but not because of anything to do with me. [...] I actually can't wait to see it, to tell you the truth."[6]
Initially, when producers Hamsher and Murphy had first brought the script to Stone's attention, he had seen it as an action film; "something Arnold Schwarzenegger would be proud of."[7] As the project developed however, incidents such as the O.J. Simpson case, the Menendez brothers case, the Tonya Harding/Nancy Kerrigan incident, the Rodney King incident, and the Federal assault of the Branch Davidian sect all took place. Stone came to feel that the media was heavily involved in the outcome of all of these cases, and that the media had become an all-pervasive entity which marketed violence and suffering for the good of ratings. As such, he changed the tone of the movie from one of simple action to a satirical critique of the media in general.[5] Also coloring Stone's approach, and contributing to the violent nature of the film, were the anger and sadness he felt at the breakdown of his second marriage.[8] He also said in an interview that the film was influenced by the "vitality" of Indian cinema.[9] He let Rodney Dangerfield write or rewrite all of his own character's lines.[10]
During pre-production, to prepare for the role of Wayne Gale, Downey spent time with Australian TV shock-king Steve Dunleavy, and later convinced Stone to allow him to portray Gale with an Australian accent. Also during pre-production, Stone tried to convince actress Juliette Lewis to bulk up for the role of Mallory so that she looked tougher, but she refused, saying she wanted the character to look like a pushover, not a bodybuilder.[11]
Principal photography took only 56 days to shoot, but the editing process went on for 11 months, with the final film containing almost 3,000 cuts (most films have 600–700).[11] Filming locations included the Rio Grande Gorge Bridge just west of Taos, New Mexico, where the wedding scene was filmed, and Stateville Correctional Center in Joliet, Illinois, where the prison riot was filmed. In Stateville, 80% of the prisoners are incarcerated for violent crimes. For the first two weeks on location at the prison, the extras were actual inmates with rubber weapons. For the subsequent two weeks, 200 extras were needed because the Stateville inmates were on lockdown. According to Tom Sizemore, during filming on the prison set, Stone would play African tribal music at full blast between takes to keep the frantic energy up.[7] Whilst shooting the POV scene wherein Mallory runs into the wire mesh, director of photography Robert Richardson broke his finger and the replacement cameraman cut his eye. According to Oliver Stone, he wasn’t too popular with the camera department on set that day.[11] For the scenes involving rear projection, the projected footage was shot prior to principal photography, then edited together, and projected onto the stage, behind the live actors. For example, when Mallory drives past a building and flames are projected onto the wall, this was shot live using footage projected onto the facade of a real building.[11]
The famous Coca-Cola polar bear ad[12] is seen twice during the film. According to Stone, Coca-Cola approved the use of the ad without having a full idea of what the film was about. When they saw the completed film, they were furious.[11]
The film's soundtrack was produced by Stone and Trent Reznor of Nine Inch Nails, who reportedly watched the film over 50 times to "get in the mood".[11] Reznor reportedly produced the soundtrack while on tour.[13][14] On his approach to compiling the soundtrack, Reznor told MTV:
I suggested to Oliver [Stone] to try to turn the soundtrack into a collage-of-sound, kind of the way the movie used music: make edits, add dialog, and make it something interesting, rather than a bunch of previously released music.[15]
Some songs were written especially for the film or soundtrack, such as "Burn" by Nine Inch Nails.
Style
Natural Born Killers is shot and edited in a frenzied and psychedelic style consisting of black and white, animation, and other unusual color schemes, and employing a wide range of camera angles, filters, film stocks, lenses, and special effects. Much of the film is told via parodies of television shows, including a scene (I Love Mallory) presented in the style of a sitcom about a dysfunctional family. Commercials which were commonly on the air at the time of the film's release make brief, intermittent appearances. In his DVD director's commentary, Stone goes into great detail about the look of the film, explaining scene by scene why a particular look was chosen for a particular scene.
According to Hollywood.com, Natural Born Killers is a satirical crime film,[16] while Foster Hirsch deemed it "the crime film as would-be social and cultural satire".[17] Stone considered it his road film, specifically naming Bonnie and Clyde as a source of inspiration.[18] The famous death scene in Bonnie and Clyde used innovative editing techniques provided by multiple cameras shot from different angles at different speeds; this sporadic interchange between fast-paced and slow-motion editing that concludes Arthur Penn's film is used throughout the entirety of Natural Born Killers.[19]
Furthermore, both films fall under the road film genre through their constant challenges of the society in which the characters live. While Bonnie and Clyde attempt to disintegrate the weakened economic and social landscape of the 1930s, Mickey and Mallory try to free America from the overarching conventions which influence the common masses, primarily the media. However, whilst Bonnie and Clyde concludes with a pessimistic outlook regarding individual freedom within the American sphere of influence, Oliver Stone sees Natural Born Killers as having an optimistic finale. In Bonnie and Clyde, the police's ambush of the couple exhibits the empirical control of law enforcement over the individual. Natural Born Killers, however, ends with the couple symbolically destroying the mass media, as represented by Wayne Gale, and successfully fleeing together to live a relatively "normal" life. As Stone himself says, "In its own way, Natural Born Killers is ultimately a very optimistic film about the future. It's about freedom, and the ability of every human being to get it."[11]
Release
Box office
This section needs expansion. You can help by adding to it. (November 2014)
In its opening weekend, Natural Born Killers grossed a total of $11.2 million in 1,510 theaters, finishing 1st. It finished its theatrical run with a total gross of $50.3 million,[20] against its $34 million budget.[21]
Critical response
On review aggregator Rotten Tomatoes, the film has an approval rating of 46% based on 37 reviews, with an average rating of 7/10. On Metacritic, the film has an average weighted score of 74 out of 100, based on 20 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B–" on an A+ to F scale.[22]
Roger Ebert of the Chicago Sun-Times gave the film four stars out of four and wrote, "Seeing this movie once is not enough. The first time is for the visceral experience, the second time is for the meaning."[23] On his television show, his partner Gene Siskel agreed with him, adding extra praise to the scene featuring Rodney Dangerfield.
Other critics found the film unsuccessful in its aims. Hal Hinson of The Washington Post claimed that "Stone's sensibility is white-hot and personal. As much as he'd like us to believe that his camera is turned outward on the culture, it's vividly clear that he can't resist turning it inward on himself. This wouldn't be so troublesome if Stone didn't confuse the public and the private."[24] Janet Maslin of The New York Times wrote, "for all its surface passions, Natural Born Killers never digs deep enough to touch the madness of such events, or even to send them up in any surprising way. Mr. Stone's vision is impassioned, alarming, visually inventive, characteristically overpowering. But it's no match for the awful truth."[25]
James Berardinelli gave the film a negative review but his criticism was different from many other such pans, which generally said that Oliver Stone was a hypocrite for making an ultra-violent film in the guise of a critique of American attitudes. Berardinelli noted that the movie "hits the bullseye" as a satire of America's lust for bloodshed, but repeated Stone's main point so often and so loudly that it became unbearable.[26]
Lionsgate Films released a director's cut on DVD. Stone himself retained ownership of his preferred cut. Distribution rights to the director's cut reverted from Lionsgate to Warner Bros. in 2009, giving Warner all distribution rights.
Controversies
Censorship
When the film was first handed in to the MPAA, they told Stone they would give it an NC-17 unless he cut it. As such, Stone toned down the violence by cutting approximately four minutes of footage, and the MPAA re-rated the film as an R. In 1996, a Director's Cut was released on home video by Vidmark Entertainment and Pioneer Entertainment, as Warner Bros. wanted nothing to do with that particular version.[27] Warner Home Video later released this cut on Blu-ray.[28]
The film was banned completely upon release in Ireland, including – controversially – from cinema clubs, in significant part because the principal characters have Irish names. The ban was later quietly lifted.[29][30]
In the UK, though the cinema release was delayed while the BBFC investigated reports that the film caused copycat murders in the USA and France,[31] it was finally shown in cinemas in February 1995.
The original intended UK home video release in March 1996 was cancelled due to the Dunblane massacre in Scotland. In the meantime, Channel Five showed the film in November 1997. It was finally released on video in July 2001.[32]
Entertainment Weekly ranked the film as the eighth most controversial film ever.[33]
"Copycat" crimes
Main article: Natural Born Killers copycat crimes
From almost the moment of its release, the film has been accused of encouraging and inspiring numerous murderers in North America, including the Heath High School shooting and the Columbine High School massacre.
Soundtrack
Main article: Natural Born Killers (soundtrack)
The soundtrack was released August 23, 1994 by Interscope Records.
"Waiting for the Miracle" (Edit) – Leonard Cohen
"Shitlist" – L7
"Moon Over Greene County" (Edit) – Dan Zanes
"Rock N Roll Nigger" (Flood Remix) – Patti Smith
"Sweet Jane" (Edit) – Cowboy Junkies
"You Belong to Me" – Bob Dylan
"The Trembler" (Edit) – Duane Eddy
"Burn" – Nine Inch Nails
"Route 666" – BB Tone Brian Berdan featuring Robert Downey Jr.
"Totally Hot" – Remmy Ongala & Orchestre Super Matimila
"Back in Baby's Arms" – Patsy Cline
"Taboo" (Edit) – Peter Gabriel and Nusrat Fateh Ali Khan
"Sex is Violent" – Jane's Addiction and Diamanda Galás (based on "Ted, Just Admit It...")
"History Repeats Itself" (Edit) – A.O.S.
"Something I Can Never Have" (Edited and Extended) – Nine Inch Nails
"I Will Take You Home" – Russell Means
"Drums a Go-Go" (Edit) – The Hollywood Persuaders
"Hungry Ants" – Barry Adamson
"The Day the Niggaz Took Over" – Dr. Dre
"Born Bad" – Juliette Lewis
"Fall of the Rebel Angels" (Edit) – Sergio Cervetti
"Forkboy" – Lard
"Batonga in Batongaville" (Edit) –
"A Warm Place" (Edit) – Nine Inch Nails
"Allah, Mohammad, Char, Yaar" – Nusrat Fateh Ali Khan
"The Future" (Edit) – Leonard Cohen
"What Would U Do?" – Tha Dogg Pound
Tracks 10, 13, 18, 20, 23, and 25 are assembled from various recordings and dialogue from the film.
See also
Film in the United States portal
1990s portal
Charles Starkweather
References
Jump up ^ "NATURAL BORN KILLERS (18)". British Board of Film Classification. December 20, 1994. Retrieved September 25, 2014.
^ Jump up to: a b "Natural Born Killers (1994)". Box Office Mojo. 1994-10-18. Retrieved 2016-01-06.
Jump up ^ 25 Most Controversial Movies Ever, Entertainment Weekly, 9 June 2006
Jump up ^ Hamsher, Jane (1998). Killer Instinct. Broadway. pp. 48–51. ISBN 0-7679-0075-8.
^ Jump up to: a b "Oliver Stone Interview with Charlie Rose". Retrieved 2008-11-25.
Jump up ^ Fuller, Graham (1998). "Graham Fuller/1993". In Peary, Gerald. Quentin Tarantino: Interviews. University Press of Mississippi. pp. 57–59. ISBN 1-57806-051-6.
^ Jump up to: a b "'Chaos Rising: The Storm Around Natural Born Killers' (DVD Featurette)".
Jump up ^ Cadwalladr, Carole (18 July 2010). "Oliver Stone and the politics of film-making". The Observer. paragraph 19. Retrieved 22 July 2010.
Jump up ^ "Oliver Stone 'loves' Indian cinema". BBC News. October 27, 2010.
Jump up ^ "MOVIES : Natural Born Actor : Comic titan Rodney Dangerfield is getting respect for his performance as a hateful dad in 'Natural Born Killers.'". LA Times. Retrieved 2013-05-27.
^ Jump up to: a b c d e f g "Director's Commentary (DVD Extra)".
Jump up ^ "Coke Lore: Polar Bears – Advertising Case History". The Coca-Cola Company. Retrieved 20 October 2010.
Jump up ^ "Natural Born Thriller". Los Angeles Times. October 1994.
Jump up ^ "An Interview with Charlie Clouser". Scene Magazine. September 1996.
Jump up ^ "Box Set: NIN On "Doing The Soundtrack For Natural Born Killers"". MTV.com. Retrieved 2008-02-18.
Jump up ^ "Natural Born Killers". Hollywood.com. Retrieved August 21, 2016.
Jump up ^ Hirsch, Foster (2004). Detours and Lost Highways: A Map of Neo-Noir. Hal Leonard Corporation. p. 266. ISBN 161774784X.
Jump up ^ Lavington, Stephen. Oliver Stone. London: Virgin Books, 2004.
Jump up ^ Leong, Ian, Mike Sell, and Kelly Thomas. "Mad Love, Mobile Homes, and Dysfunctional Dicks." The Road Movie Book. Ed. Steven Cohan and Ina Rae Hark (1997): 70–89.
Jump up ^ "Natural Born Killers". Box Office Mojo. Retrieved 2007-01-12.
Jump up ^ Corliss, Richard (1994-08-24). "Stone Crazy". Time Magazine. Retrieved 2008-11-23.
Jump up ^ "Natural Born Killers – CinemaScore". CinemaScore. Retrieved January 17, 2018.
Jump up ^ Ebert, Roger (August 26, 1994). "Natural Born Killers". Chicago Sun-Times. Retrieved 2007-01-12.
Jump up ^ Hinson, Hal (August 26, 1994). "Natural Born Killers". The Washington Post. Retrieved 2007-01-12.
Jump up ^ Maslin, Janet (August 26, 1994). "Natural Born Killers; Young Lovers With a Flaw That Proves Fatal". The New York Times. Retrieved 2007-01-12.
Jump up ^ Berardinelli, James. "Natural Born Killers". ReelViews. Retrieved 2017-07-10.
Jump up ^ FILM;With Video, 'Cut!' Needn't Be the Director's Final Word - New York Times. Nytimes.com (1996-04-14). Retrieved on 2014-05-22.
Jump up ^ Natural Born Killers (Unrated Director's Cut) [Blu-ray]: Woody Harrelson, Juliette Lewis, Tom Sizemore, Oliver Stone: Movies & TV. Amazon.com. Retrieved on 2014-05-22.
Jump up ^ "'Natural Born Killers' Is Banned in Ireland". NY Times. Retrieved 2013-05-26.
Jump up ^ "Irish Film Institute - Natural Born Killers". Irish Film Institute. Retrieved 2013-05-26.
Jump up ^ [1] Archived March 19, 2015, at the Wayback Machine.
Jump up ^ "Natural Born Killers given video release". The Guardian. London. May 16, 2001.
Jump up ^ 25 Most Controversial Movies Ever, Entertainment Weekly (archived at Internet Archive), 2010-01-06, Archived from the original on January 6, 2010, retrieved 2016-06-10 CS1 maint: Unfit url (link)
Further reading
Hamsher, Jane (1998). Killer Instinct. Broadway.
Hanley, Jason. (2001) “Natural Born Killers: Music and Image in Postmodern Film,” in Postmodern Music/ Postmodern Thought, Routledge. ed. Joseph Auner and Judy Lochhead, pp. 335–359.
External links
Wikiquote has quotations related to: Natural Born Killers
Natural Born Killers on IMDb
Natural Born Killers at Box Office Mojo
Natural Born Killers at Rotten Tomatoes
Natural Born Killers at Metacritic
"Natural Born Killers: Beyond Good and Evil", by Heidi Nelson Hochenedel, Ph.D.
"Natural Born Copycats", a 2002 article from The Guardian on Stone's response to claims that the film inspired several murders.
[show]
v
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e
Films by Oliver Stone
Films directed
Feature
Seizure (1974)
The Hand (1981)
Salvador (1986)
Platoon (1986)
Wall Street (1987)
Talk Radio (1988)
Born on the Fourth of July (1989)
The Doors (1991)
JFK (1991)
Heaven & Earth (1993)
Natural Born Killers (1994)
Nixon (1995)
U Turn (1997)
Any Given Sunday (1999)
Alexander (2004)
World Trade Center (2006)
W. (2008)
Wall Street: Money Never Sleeps (2010)
Savages (2012)
Snowden (2016)
Documentaries
Persona Non Grata (2003)
Comandante (2003)
Looking for Fidel (2004)
South of the Border (2009)
The Untold History of the United States (2012 series)
The Putin Interviews (2017)
Screenwriter only
Midnight Express (1978)
Conan the Barbarian (1982)
Scarface (1983)
Year of the Dragon (1985)
8 Million Ways to Die (1986)
Evita (1996)
[show]
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e
Quentin Tarantino
Filmography
Written and
directed
Feature films
Reservoir Dogs
Pulp Fiction
Jackie Brown
Kill Bill
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Volume 2
Death Proof
Inglourious Basterds
Django Unchained
The Hateful Eight
Once Upon a Time in Hollywood
Short films
My Best Friend's Birthday
Four Rooms (segment "The Man from Hollywood")
Written only
True Romance
Natural Born Killers
From Dusk till Dawn
Other work
Past Midnight
It's Pat
Crimson Tide
The Rock
Sin City
"Grave Danger"
Planet Terror
Film soundtracks
Pulp Fiction
Jackie Brown
Kill Bill: Volume 1
Kill Bill: Volume 2
Death Proof
Inglourious Basterds
Django Unchained
The Hateful Eight
Awards by film
Inglourious Basterds
Django Unchained
The Hateful Eight
[show]
v
t
e
Venice Film Festival Grand Jury Prize
1951–1968
A Streetcar Named Desire (1951)
Mandy (1952)
Executive Suite (1954)
The Lovers / La Sfida (1958)
The Magician (1959)
Rocco and His Brothers (1960)
Peace to Him Who Enters (1961)
My Life to Live (1962)
The Fire Within / Introduction to Life (1963)
The Gospel According to St. Matthew / Hamlet (1964)
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Benjamin (Animal Farm)
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"Donkeys live a long time. None of you has ever seen a dead donkey."
Benjamin is a donkey in George Orwell's novel Animal Farm.[1] He is also the oldest of all the animals (he is alive in the last scene of the novel). He is less straightforward than most characters in the novel, and a number of interpretations have been put forward to which social class he represents as regards to the Russian Revolution and the Soviet Union. (Animal Farm is an allegory for the evolution of Communism in Russia, with each animal representing a different social class, e.g. Boxer represents the working class.)
Interpretations[edit]
Some interpret Benjamin as representing the aged population of Russia, because he is old and cynical. Others feel that he represents the Menshevik intelligentsia as he is just as intelligent, if not more so, than the novel's pigs, yet he is marginalized. He is very cynical about the Revolution and life in general. It has also been argued that he represents the skeptical people who believed that Communism would not help the people of Russia, but who did not criticize it fervently enough to lose their lives. His Biblical name could also imply that he represents the Jewish populace of Russia whose lives were not remotely improved under Joseph Stalin's leadership.
He is one of the wisest animals on the farm and is able to "read as well as any pig". However, he rarely uses his ability, because he feels there is nothing worth reading. He does not use his ability for the benefit of others until the end of the book, when Boxer is sent off to the slaughterhouse, and when Clover asks him to read the public display of the Seven Commandments, as they, for the last time in the book, changed; Benjamin reveals that the Commandments now consist entirely of the message "All animals are equal, but some animals are more equal than others". Despite his age, he is never given the option of retirement (none of the animals are). Only the pigs' betrayal of his best friend, Boxer, spurs him into (failed) action, after which Benjamin becomes more cynical than ever.
He is also quite significant in that he is not quite a horse (the working class) and yet definitely not a leader like the pigs, although his intellect is at least equal to theirs, this implies that Benjamin is a symbol of the intelligentsia who during the revolution and its aftermath are very much aware of what is going on, but do nothing about it. Although he is aware of their mistreatment (especially that of Boxer) and can see how the basic rules of their society are changing, he is unwilling to act on it in any way that would threaten his security.
Benjamin's famous remark; "Donkeys live a long time. None of you has ever seen a dead donkey" seems out of place as an opinion (quote 2,5) but simply tells us that major events, even revolutions, have little effect in the long run. In a macro sense, whether Man or Pig is in charge, capitalism or communism in effect, things will neither improve nor get worse; "Windmill or no windmill, he said, life would go on as it had always gone on– that is, badly."
Film[edit]
In the 1954 film, Benjamin is voiced by Maurice Denham. In the film, it is Benjamin who leads the other animals in a counter-revolution against Napoleon when his abuses finally go too far. In the 1999 film, he is voiced by Pete Postlethwaite. In the film, Benjamin simply flees Napoleon's unendurable regime with some of the other animals. (Neither event occurs in the book.)
References[edit]
Jump up ^ Orwell, George (1946). Animal Farm. New York: The New American Library. p. 40.
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The Significance of the Frontier in American History
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"The Significance of the Frontier in American History" is a seminal essay by the American historian Frederick Jackson Turner which advanced the Frontier Thesis of American history. It was presented to a special meeting of the American Historical Association at the World's Columbian Exposition in Chicago, Illinois in 1893, and published later that year first in Proceedings of the State Historical Society of Wisconsin, then in the Annual Report of the American Historical Association. It has been subsequently reprinted and anthologized many times, and was incorporated into Turner's 1921 book, The Frontier in American History, as Chapter I.
The thesis shares his views on how the idea of the frontier shaped the American being and characteristics. He writes how the frontier drove American history and why America is what it is today. Turner reflects on the past to illustrate his point by noting human fascination with the frontier and how expansion to the American West changed people's views on their culture. It is a thesis that has been respected in the historical circle for many years.
Opposition to the Turner Thesis[edit]
In 1942, in "The Frontier and American Institutions: A Criticism of the Turner Thesis," Professor George Wilson Pierson debated the validity of the Turner thesis, stating that many factors influenced American culture besides the looming frontier. Although he respected Turner, Pierson strongly argues his point by looking beyond the frontier and acknowledging other factors in American development.
The Turner Thesis was also critiqued by Patricia Nelson Limerick in her 1987 book, The Legacy of Conquest: The Unbroken Past of the American West. Limerick asserts the notion of a "New Western History" in which the American West is treated as a place and not a process of finite expansion. Limerick pushes for a continuation of study within the historical and social atmosphere of the American West, which she believes did not end in 1890, but rather continues on to this very day.
Urban historian Richard C. Wade challenged the Frontier Thesis in his first asset, The Urban Frontier (1959), asserting that western cities such as Pittsburgh, Louisville, and Cincinnati, not the farmer pioneers, were the catalysts for western expansion.
More recently Glenda Riley has argued that Turner’s thesis ignored women. She argues that his context and upbringing led him to ignore the female portion of society, which directly led to the frontier becoming an exclusively male phenomenon.[1] The exclusion of women is one of the central debates around his work, particularly referred to by New Western Historians.
References[edit]
Jump up ^ Riley, Glenda. "Frederick Jackson Turner Overlooked the Ladies." Journal of the Early Republic 13.2 (1993): 216–30.
External links[edit]
Wikisource has original text related to this article:
The Frontier in American History
The Frontier in American History at Project Gutenberg
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Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Significance_of_the_Frontier_in_American_History&oldid=797854564"
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Special Marriage Act, 1954
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The Special Marriage Act, 1954
An Act to provide a special form of marriage in certain cases, for the registration of such and certain other marriages and for divorce.
Citation
Act No.43 of 1954
Enacted by
Parliament of India
Date assented to
9 October 1954
Date commenced
1 January 1955
Status: In force
The Special Marriage Act, 1954 is an Act of the Parliament of India enacted to provide a special form of marriage for the people of India and all Indian nationals in foreign countries, irrespective of the religion or faith followed by either party.[1] The Act originated from a piece of legislation proposed during the late 19th century. Marriages solemnized under Special Marriage Act are not governed by personal laws.[2]
In 1872 Act III, 1872 was enacted but later it was found inadequate for certain desired reforms, and Parliament enacted a new legislation. Henry Sumner Maine first introduced Act III of 1872, which would permit any dissenters to marry whomever they chose under a new civil marriage law. In the final wording, the law sought to legitimize marriages for those willing to renounce their profession of faith altogether ("I do not profess the Hindu, Christian, Jewish, etc. religion"). It can apply in inter-caste and inter-religion marriages.[3] Overall, the response from local governments and administrators was that they were unanimously opposed to Maine’s Bill and believed the legislation encouraged marriages based on lust, which would inevitably lead to immorality.[4]
The Special Marriage Act, 1954 replaced the old Act III, 1872. The new enactment has 3 major objectives:
To provide a special form of marriage in certain cases,
to provide for registration of certain marriages and,
to provide for divorce.[5]
Contents
1 Applicability
2 Conditions for marriage
3 Succession to the property
4 See also
5 References
Applicability[edit]
Any person, irrespective of religion.[6]
Hindus, Muslims, Buddhists, Jains, Sikhs, Christians, Parsis, or Jews can also perform marriage under the Special Marriage Act, 1954.[6]
Inter-religion marriages are performed under this Act.[6]
This Act is applicable to the entire territory of India (excluding the state of Jammu and Kashmir) and extends to intending spouses who are both Indian nationals living abroad.[6]
Indian national living abroad. [7]
The parties have to file a Notice of Intended Marriage in the specified form to the Marriage Registrar of the district in which at least one of the parties to the marriage has resided for a period of not less than thirty days immediately preceding the date on which such notice is given.[8]
After the expiration of thirty days from the date on which notice of an intended marriage has been published, the marriage may be solemnised, unless it has been objected to by any person.
The marriage may be solemnised at the specified Marriage Office.[8]
Marriage is not binding on the parties unless each party states "I, (A), take thee (B), to be my lawful wife (or husband)," in the presence of the Marriage Officer and three witnesses.[8]
Conditions for marriage[edit]
Each party involved should have no other subsisting valid marriage. In other words, the resulting marriage should be monogamous for both parties.[8]
The groom must be at least 21 years old; the bride must be at least 18 years old.[8]
The parties should be competent in regards to their mental capacity to the extent that they are able to give valid consent for the marriage.[8]
The parties should not fall within the degree of prohibited relationship.[9]
Court Marriage is a union of two soul where oath ceremony is performed according to Special Marriage Act-1954 before the Registrar of Marriage in the presence of three witnesses thereafter a court marriage certificate is issued directly by the Registrar of Marriage appointed by the Govt. of India. Franc ally speaking marriage is solemnised between man and women before the court of law.[10]
Succession to the property[edit]
Succession to the property of person married under this Act or customary marriage registered under this Act and that of their children, are governed by Indian Succession Act.[11][12] However, if the parties to the marriage are Hindu, Buddhist, Sikh or Jain religion, the succession to their property will be governed by Hindu succession Act.[13]
See also[edit]
Dowry law in India
References[edit]
Jump up ^ "Special Marriage Act (iloveindia.com)". Archived from the original on 2010-09-24.
Jump up ^ "'Marriages under Special Marriage Act not governed by personal laws'".
Jump up ^ http://blog.ipleaders.in/10-things-every-indian-should-know-about-the-special-marriage-act1954/
Jump up ^ Perveez Mody, "Love and the Law: Love-Marriage in Delhi," Modern Asian Studies 36:1 (2002): 223-256
Jump up ^ "Divorce, under the Special Marriage Act, 1954 (valkilno1.com)". Archived from the original on 2010-09-24.
^ Jump up to: a b c d "Registered Marriage Under Special Marriage Act, 1954 (tax4india.com)". Archived from the original on 2010-09-24.
Jump up ^ "Place And Form Of Solemnisation, Registered Marriage (tax4india.com)". Archived from the original on 2010-09-24.
^ Jump up to: a b c d e f "The Special Marriage Act, 1954 (delhiadvocate.tripod.com)". Archived from the original on 2010-09-24.
Jump up ^ "Necessary conditions for a registered marriage (tax4india.com)". Archived from the original on 2010-09-24.
Jump up ^ "Court Marriage in Delhi". 2018-09-24.
Jump up ^ https://www.webcitation.org/5syrXS5dK Section 21 of the Act
Jump up ^ http://indiankanoon.org/doc/552306/ Bombay High court judgment reported by Indian Kanoon
Jump up ^ https://www.webcitation.org/5syrXS5dK Section 21 A of the Act
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Squared deviations from the mean
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Squared deviations from the mean (SDM) are involved in various calculations. In probability theory and statistics, the definition of variance is either the expected value of the SDM (when considering a theoretical distribution) or its average value (for actual experimental data). Computations for analysis of variance involve the partitioning of a sum of SDM.
Contents
1 Introduction
2 Sample variance
3 Partition — analysis of variance
3.1 Sums of squared deviations
3.2 Example
3.3 Two-way analysis of variance
4 See also
5 References
Introduction[edit]
An understanding of the computations involved is greatly enhanced by a study of the statistical value
E  ( X 2 ) {\displaystyle \operatorname {E} (X^{2})} , where E {\displaystyle \operatorname {E} } is the expected value operator.
For a random variable X {\displaystyle X} with mean μ {\displaystyle \mu } and variance σ 2 {\displaystyle \sigma ^{2}} ,
σ 2 = E  ( X 2 ) − μ 2 . {\displaystyle \sigma ^{2}=\operatorname {E} (X^{2})-\mu ^{2}.} [1]
Therefore,
E  ( X 2 ) = σ 2 + μ 2 . {\displaystyle \operatorname {E} (X^{2})=\sigma ^{2}+\mu ^{2}.}
From the above, the following can be derived:
E  ( ∑ ( X 2 ) ) = n σ 2 + n μ 2 , {\displaystyle \operatorname {E} \left(\sum \left(X^{2}\right)\right)=n\sigma ^{2}+n\mu ^{2},}
E  ( ( ∑ X ) 2 ) = n σ 2 + n 2 μ 2 . {\displaystyle \operatorname {E} \left(\left(\sum X\right)^{2}\right)=n\sigma ^{2}+n^{2}\mu ^{2}.}
Sample variance[edit]
Main article: Sample variance
The sum of squared deviations needed to calculate sample variance (before deciding whether to divide by n or n − 1) is most easily calculated as
S = ∑ x 2 − ( ∑ x ) 2 n {\displaystyle S=\sum x^{2}-{\frac {\left(\sum x\right)^{2}}{n}}}
From the two derived expectations above the expected value of this sum is
E  ( S ) = n σ 2 + n μ 2 − n σ 2 + n 2 μ 2 n {\displaystyle \operatorname {E} (S)=n\sigma ^{2}+n\mu ^{2}-{\frac {n\sigma ^{2}+n^{2}\mu ^{2}}{n}}}
which implies
E  ( S ) = ( n − 1 ) σ 2 . {\displaystyle \operatorname {E} (S)=(n-1)\sigma ^{2}.}
This effectively proves the use of the divisor n − 1 in the calculation of an unbiased sample estimate of σ2.
Partition — analysis of variance[edit]
Main article: Partition of sums of squares
In the situation where data is available for k different treatment groups having size ni where i varies from 1 to k, then it is assumed that the expected mean of each group is
E  ( μ i ) = μ + T i {\displaystyle \operatorname {E} (\mu _{i})=\mu +T_{i}}
and the variance of each treatment group is unchanged from the population variance σ 2 {\displaystyle \sigma ^{2}} .
Under the Null Hypothesis that the treatments have no effect, then each of the T i {\displaystyle T_{i}} will be zero.
It is now possible to calculate three sums of squares:
Individual
I = ∑ x 2 {\displaystyle I=\sum x^{2}}
E  ( I ) = n σ 2 + n μ 2 {\displaystyle \operatorname {E} (I)=n\sigma ^{2}+n\mu ^{2}}
Treatments
T = ∑ i = 1 k ( ( ∑ x ) 2 / n i ) {\displaystyle T=\sum _{i=1}^{k}\left(\left(\sum x\right)^{2}/n_{i}\right)}
E  ( T ) = k σ 2 + ∑ i = 1 k n i ( μ + T i ) 2 {\displaystyle \operatorname {E} (T)=k\sigma ^{2}+\sum _{i=1}^{k}n_{i}(\mu +T_{i})^{2}}
E  ( T ) = k σ 2 + n μ 2 + 2 μ ∑ i = 1 k ( n i T i ) + ∑ i = 1 k n i ( T i ) 2 {\displaystyle \operatorname {E} (T)=k\sigma ^{2}+n\mu ^{2}+2\mu \sum _{i=1}^{k}(n_{i}T_{i})+\sum _{i=1}^{k}n_{i}(T_{i})^{2}}
Under the null hypothesis that the treatments cause no differences and all the T i {\displaystyle T_{i}} are zero, the expectation simplifies to
E  ( T ) = k σ 2 + n μ 2 . {\displaystyle \operatorname {E} (T)=k\sigma ^{2}+n\mu ^{2}.}
Combination
C = ( ∑ x ) 2 / n {\displaystyle C=\left(\sum x\right)^{2}/n}
E  ( C ) = σ 2 + n μ 2 {\displaystyle \operatorname {E} (C)=\sigma ^{2}+n\mu ^{2}}
Sums of squared deviations[edit]
Under the null hypothesis, the difference of any pair of I, T, and C does not contain any dependency on μ {\displaystyle \mu } , only σ 2 {\displaystyle \sigma ^{2}} .
E  ( I − C ) = ( n − 1 ) σ 2 {\displaystyle \operatorname {E} (I-C)=(n-1)\sigma ^{2}} total squared deviations aka total sum of squares
E  ( T − C ) = ( k − 1 ) σ 2 {\displaystyle \operatorname {E} (T-C)=(k-1)\sigma ^{2}} treatment squared deviations aka explained sum of squares
E  ( I − T ) = ( n − k ) σ 2 {\displaystyle \operatorname {E} (I-T)=(n-k)\sigma ^{2}} residual squared deviations aka residual sum of squares
The constants (n − 1), (k − 1), and (n − k) are normally referred to as the number of degrees of freedom.
Example[edit]
In a very simple example, 5 observations arise from two treatments. The first treatment gives three values 1, 2, and 3, and the second treatment gives two values 4, and 6.
I = 1 2 1 + 2 2 1 + 3 2 1 + 4 2 1 + 6 2 1 = 66 {\displaystyle I={\frac {1^{2}}{1}}+{\frac {2^{2}}{1}}+{\frac {3^{2}}{1}}+{\frac {4^{2}}{1}}+{\frac {6^{2}}{1}}=66}
T = ( 1 + 2 + 3 ) 2 3 + ( 4 + 6 ) 2 2 = 12 + 50 = 62 {\displaystyle T={\frac {(1+2+3)^{2}}{3}}+{\frac {(4+6)^{2}}{2}}=12+50=62}
C = ( 1 + 2 + 3 + 4 + 6 ) 2 5 = 256 / 5 = 51.2 {\displaystyle C={\frac {(1+2+3+4+6)^{2}}{5}}=256/5=51.2}
Giving
Total squared deviations = 66 − 51.2 = 14.8 with 4 degrees of freedom.
Treatment squared deviations = 62 − 51.2 = 10.8 with 1 degree of freedom.
Residual squared deviations = 66 − 62 = 4 with 3 degrees of freedom.
Two-way analysis of variance[edit]
Main article: Two-way analysis of variance
The following hypothetical example gives the yields of 15 plants subject to two different environmental variations, and three different fertilisers.
Extra CO2
Extra humidity
No fertiliser 7, 2, 1 7, 6
Nitrate 11, 6 10, 7, 3
Phosphate 5, 3, 4 11, 4
Five sums of squares are calculated:
Factor
Calculation
Sum
σ 2 {\displaystyle \sigma ^{2}}
Individual 7 2 + 2 2 + 1 2 + 7 2 + 6 2 + 11 2 + 6 2 + 10 2 + 7 2 + 3 2 + 5 2 + 3 2 + 4 2 + 11 2 + 4 2 {\displaystyle 7^{2}+2^{2}+1^{2}+7^{2}+6^{2}+11^{2}+6^{2}+10^{2}+7^{2}+3^{2}+5^{2}+3^{2}+4^{2}+11^{2}+4^{2}} 641 15
Fertilizer × Environment ( 7 + 2 + 1 ) 2 3 + ( 7 + 6 ) 2 2 + ( 11 + 6 ) 2 2 + ( 10 + 7 + 3 ) 2 3 + ( 5 + 3 + 4 ) 2 3 + ( 11 + 4 ) 2 2 {\displaystyle {\frac {(7+2+1)^{2}}{3}}+{\frac {(7+6)^{2}}{2}}+{\frac {(11+6)^{2}}{2}}+{\frac {(10+7+3)^{2}}{3}}+{\frac {(5+3+4)^{2}}{3}}+{\frac {(11+4)^{2}}{2}}} 556.1667 6
Fertilizer ( 7 + 2 + 1 + 7 + 6 ) 2 5 + ( 11 + 6 + 10 + 7 + 3 ) 2 5 + ( 5 + 3 + 4 + 11 + 4 ) 2 5 {\displaystyle {\frac {(7+2+1+7+6)^{2}}{5}}+{\frac {(11+6+10+7+3)^{2}}{5}}+{\frac {(5+3+4+11+4)^{2}}{5}}} 525.4 3
Environment ( 7 + 2 + 1 + 11 + 6 + 5 + 3 + 4 ) 2 8 + ( 7 + 6 + 10 + 7 + 3 + 11 + 4 ) 2 7 {\displaystyle {\frac {(7+2+1+11+6+5+3+4)^{2}}{8}}+{\frac {(7+6+10+7+3+11+4)^{2}}{7}}} 519.2679 2
Composite ( 7 + 2 + 1 + 11 + 6 + 5 + 3 + 4 + 7 + 6 + 10 + 7 + 3 + 11 + 4 ) 2 15 {\displaystyle {\frac {(7+2+1+11+6+5+3+4+7+6+10+7+3+11+4)^{2}}{15}}} 504.6 1
Finally, the sums of squared deviations required for the analysis of variance can be calculated.
Factor
Sum
σ 2 {\displaystyle \sigma ^{2}}
Total
Environment
Fertiliser
Fertiliser × Environment
Residual
Individual 641 15 1 1
Fertiliser × Environment 556.1667 6 1 −1
Fertiliser 525.4 3 1 −1
Environment 519.2679 2 1 −1
Composite 504.6 1 −1 −1 −1 1
Squared deviations 136.4 14.668 20.8 16.099 84.833
Degrees of freedom 14 1 2 2 9
See also[edit]
Absolute deviation
Algorithms for calculating variance
Errors and residuals
Least squares
Mean squared error
Residual sum of squares
Variance decomposition
References[edit]
Jump up ^ Mood & Graybill: An introduction to the Theory of Statistics (McGraw Hill)
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values: {\displaystyle \operatorname {E} (X^{2})}

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Sample variance

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values: S=\sum x^{2}-{\frac  {\left(\sum x\right)^{2}}{n}}

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values: \operatorname {E}(I)=n\sigma ^{2}+n\mu ^{2}

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values: \operatorname {E}(T)=k\sigma ^{2}+n\mu ^{2}.

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values: \operatorname {E}(C)=\sigma ^{2}+n\mu ^{2}

values: Edit section: Sums of squared deviations

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values: Edit section: Two-way analysis of variance

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Absolute deviation

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Variance decomposition

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