text:
Wanted (2008 film)
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Wanted
Theatrical release poster
Directed by
Timur Bekmambetov
Produced by
Marc Platt
Jim Lemley
Jason Netter
Iain Smith
Screenplay by
Michael Brandt
Derek Haas
Chris Morgan
Story by
Michael Brandt
Derek Haas
Based on
Wanted
by Mark Millar
J. G. Jones
Starring
James McAvoy
Morgan Freeman
Terence Stamp
Thomas Kretschmann
Common
Angelina Jolie
Music by
Danny Elfman
Cinematography
Mitchell Amundsen
Edited by
David Brenner
Dallas Puett (add)
Samuel Craven (add)[1]
Production
companies
Marc Platt Productions
Kickstart Productions[1]
Distributed by
Universal Pictures
(United States)
Spyglass Entertainment
(International)[2]
Release date
June 12, 2008 (2008-06-12) (London)
June 27, 2008 (2008-06-27) (United States)
Running time
110 minutes[2]
Country
United States[1][2][3]
Germany[1]
Russia[3]
Language
English
Budget
$75 million[4]
Box office
$341.4 million[4]
Wanted is a 2008 action thriller film directed by Timur Bekmambetov and written by Michael Brandt, Derek Haas, and Chris Morgan. It is based on the comic book miniseries by Mark Millar and J. G. Jones, and stars James McAvoy, Morgan Freeman, Terence Stamp, Thomas Kretschmann, Common, and Angelina Jolie. The plot follows Wesley Gibson (McAvoy), a frustrated account manager who discovers that he is the son of a professional assassin and decides to join the Fraternity, a secret society in which his father worked.
Universal Pictures acquired the adaptation rights from Millar in 2004, and while the eventual script drifted from the comic book supervillain mythos in the original miniseries, he was content to see most of the comic's darker content retained. Production began in April 2007, with filming in the Czech Republic, Budapest, and the story's main setting, Chicago. Bekmambetov's production company, Bazelevs Production, provided the majority of the film's visual effects. Danny Elfman scored the film, employing a guitar-based musical score.
Wanted opened on June 27, 2008 to generally favorable reviews and box office success. It grossed $341 million worldwide and reviews praised its fast pacing and stylized action scenes. A sequel was planned the same year as the film's release, but ultimately stalled in development.
Contents
1 Plot
2 Cast
3 Production
3.1 Development and pre-production
3.2 Casting
3.3 Filming
3.4 Effects
3.5 Music
4 Release and promotion
4.1 Theatrical run
4.2 Home video
4.3 Video games
5 Reception
6 Sequel
7 See also
8 References
9 External links
Plot[edit]
Wesley Gibson works at a dead-end desk job with an overbearing boss, takes medication for panic attacks, and has a live-in girlfriend who cheats on him with his work friend, Barry. One evening, Wesley is told by a woman named Fox that his recently murdered father was an assassin, and the killer, named Cross, is now hunting him. When Cross and Fox engage in a shootout, Wesley panics and is pursued by Cross. Fox flips Wesley into her car and then executes an escape.
Wesley awakens in a factory surrounded by Fox and other assassins. The group's leader, Sloan, forces Wesley at gunpoint through the Gunsmith to shoot the wings off of several flies, which he does, much to Wesley's shock. Sloan explains that Wesley's panic attacks are actually a rare ability that allows him to distribute massive amounts of adrenaline to his brain, slowing his perception of his surroundings and granting him superhuman strength and speed. He reveals that Wesley's father, as well as Cross, were members of the Fraternity, a society of assassins that maintains balance in the world. Sloan wants to train him so that he may help kill Cross.
A panicked Wesley leaves the building and awakens the next morning in his apartment. He discovers that his bank account now contains $3.6 million. Filled with new confidence, he insults his boss in front of the whole office and hits Barry in the face with a keyboard. Fox, waiting for Wesley, chauffeurs him to the Fraternity headquarters, a repurposed cotton mill.
Wesley trains under Fox's cruel tutelage, learning endurance, knife fighting, and hand-to-hand combat. He also learns to control and use his abilities for firearm marksmanship, such as curving bullets around targets. Frustrated by his lack of progress and the brutality of the training, Wesley insists he is ready, but Sloan disagrees. Wesley refocuses on his training and starts to excel. Sloan then shows him the Loom of Fate, which has served for 1,000 years in giving coded names of Fraternity targets through errors in the fabric. The Loom identifies those who will create evil and chaos in the future, with Sloan responsible for interpreting the code.
After several successful missions, and dumping his girlfriend with the help of Fox, Wesley has an unexpected shootout with Cross, wherein he accidentally kills the Exterminator, a Fraternity member he had befriended. Cross shoots Wesley in the shoulder. Sloan grants Wesley's wish to avenge his father and sends him after Cross—but then secretly gives Fox a mission to kill Wesley, saying that his name has come up in the Loom.
Analyzing the bullet from his shoulder, Wesley realizes that Cross had used a traceable bullet for the first time (as his previous kills were all untraceable). Wesley traces it to a man named Pekwarsky. He and Fox capture Pekwarsky, who arranges a meeting with Cross. When Wesley faces Cross alone on a moving train, Fox crashes a car into the train, causing a derailment. While Cross saves Wesley from falling, Wesley fatally shoots him. Before dying, Cross reveals that he is Wesley's real father. Fox confirms this, and explains that Wesley was recruited because he was the only person Cross would not kill. As Fox prepares to shoot Wesley, he shoots the train window below him and Cross, causing the men to free fall into the river.
Wesley is retrieved by Pekwarsky, who takes him to Cross' apartment (which is located just opposite Wesley's) and explains that Sloan started manufacturing targets for profit after discovering that he was targeted by the Loom. Cross discovered the truth, went rogue, and started killing Fraternity members to keep them away from his son. Pekwarsky departs, stating that Cross wished Wesley a life free of violence. Wesley, however, decides to kill Sloan after discovering his father's secret room, containing schematics to the Fraternity base.
Wesley attacks the base using explosive rats (a tactic he learned from the Exterminator), killing surviving Fraternity assassins in a massive shootout. Entering Sloan's office, he is surrounded by Fox, Gunsmith and the remaining assassins. Wesley discloses Sloan's deception, to which Sloan reveals that the names of those present had legitimately come up in the Loom, and that he had acted to protect them. He gives the members a choice: kill themselves, per the code, or kill Wesley and use their skills to control the world. As the others choose to kill him, Fox curves a bullet around the room, choosing to follow the code and kill everyone, including herself, but not before throwing her gun to Wesley. Sloan escapes in the mayhem.
Wesley, penniless again due to his bank account being wiped out by Sloan, returns to his desk job. Sloan arrives to kill Wesley, but is shocked when the person turns around and is revealed to be a decoy. Wesley shoots Sloan with a sniper rifle from Cross' apartment miles away. Wesley states that he is taking back control of his life before turning to the audience and asking, "What the fuck have you done lately?"
Cast[edit]
James McAvoy as Wesley Gibson:
A meek 24-year-old who works in a cubicle, but learns he is heir to a career as an assassin
Morgan Freeman as Sloan:
Leader of the Fraternity
Terence Stamp as Pekwarsky:
One of Cross's compatriots, a master in the science of killing
Thomas Kretschmann as Cross:
A rogue assassin who has left the Fraternity
Common as "The Gunsmith":
A professional gunman who trains others to use weapons
Angelina Jolie as Fox:
An accomplished member of the Fraternity who mentors Wesley
The cast also includes: Kristen Hager as Cathy, Wesley's unfaithful and bickering girlfriend; Marc Warren as "The Repairman", an assassin who says he "breaks bad habits" by violently beating people; David O'Hara as Mr. X, the first introduced Fraternity member, who is said to be the greatest assassin that has ever lived; Dato Bakhtadze as "The Butcher", a knife-expert; Konstantin Khabensky as "The Exterminator", a Russian explosives expert befriended by Wesley; Chris Pratt as Barry, Wesley's best friend and colleague, who is having an affair with Cathy; and Lorna Scott as Janice, Wesley's overbearing boss.
Production[edit]
Director Timur Bekmambetov was approached for his distinctive visual style, and agreed to direct Wanted based on the project's mixture of film genres.
Development and pre-production[edit]
The comic book miniseries Wanted (2003–04), by Mark Millar and J. G. Jones, came to the attention of Universal Pictures through executive Jeff Kirschenbaum, a comic book fan who sought a film adaptation that would be considered a "hard-R" and encouraged the studio to pick up the rights to the miniseries.[5] By 2004, producer Marc Platt had gotten the film rights, and lobbied the studio to get Russian-Kazakh director Timur Bekmambetov, as Platt considered that the visual style and sensibility Bekmambetov showed in Night Watch (2004) and its sequel Day Watch (2006) fit Wanted in the sense that "the comic is dark and edgy but it also has an ironic, comedic tone beneath its violent action."[6] In December 2005, Bekmambetov was hired to direct, his first English-language film, and writers Derek Haas and Michael Brandt were assigned the script.[7] Bekmambetov described the original comic as "risky and very provocative", with "a twist and good characters",[8] and declared that the thing that attracted him the most in Wanted was how it went through various film genres in its plot: "It's a comedy, a tragedy, a drama, a melodrama. Every scene, we change genres and that’s why our movie is different."[6]
Universal was initially reluctant on giving a potentially lucrative action film to a filmmaker who had never made an English-language film, but Platt convinced the studio that he could "create an environment that would allow Timur to be himself as a filmmaker and exercise his creative muscles."[6]
Millar was unhappy with the first draft of the screenplay, considering the approach to be "too tame" and "a little bit Americanized" given he wanted "basically be the opposite of the Spider-Man movie, the idea of someone getting powers and realizing they can do what they want, then choosing the dark path." The author only started to support the direction the project was taking once Bekmambetov "came in with his Eastern European madness" and the intention of coming closer to the spirit of the book.[9] Bekmambetov said that he would take liberty in adapting the comic book's world: "It's difficult for me to just follow. It's interesting for me to create. I feel a little bit different how this world has to be executed."[8] In July 2006, screenwriter Chris Morgan was hired to revise the third act of Haas and Brandt's script.[10] Haas and Brandt returned to refine the character of Wesley Gibson, which they had established in their first draft.[11]
Millar saw previsualized footage of the film and said that it exceeded his expectations for the adaptation.[12] He described its first half as being close to the source comic, and added the ending was similar though it was relocated elsewhere from the comic's original setting. The superhero costumes in the series were also removed, with the exception of the leather attire worn by Wesley and Fox. Incidentally, this had been Millar's intent when writing the graphic novel, but he and artist J. G. Jones had forgotten to. Millar said, "I wanted them to have those powers and then just wear those costumes for the initiation, but just for one panel. And then I forgot." Millar also stated that he would have liked to keep the supervillain mythos that dictates the original comic in the film.[9] Millar was favorable to most of the changes in the storyline,[13] which includes the story arc of the Fates issuing death orders in line with the series' original theme of predestination.[14]
Casting[edit]
Top to bottom: James McAvoy, Morgan Freeman and Angelina Jolie star in the film as, respectively, Wesley Gibson, Sloan and Fox
James McAvoy, who had screen-tested for the role early in 2006, was initially rejected because the studio was seeking an actor with conventional Hollywood leading man looks and physique. McAvoy was later recalled, being considered to be the "runt of the litter" among those who tested. According to McAvoy, "They [ultimately] wanted someone geeky."[15] McAvoy was cast in the role in October 2006.[16] The Scottish actor, who portrays an American in the film, worked out to improve his physique for the film's action scenes,[17] and suffered several injuries during shooting which included a twisted ankle and an injured knee.[18]
Angelina Jolie was cast in March 2007, after screenwriter Dean Georgaris rewrote the screenplay to tailor the role of Fox for her.[19] Mark Millar became much more enthusiastic about the project after learning that Jolie had accepted the role of Fox, saying "the only way they could have got a bigger star to play this role is if they'd hired Tom Cruise in drag."[20] Jolie decided to make Fox seem "distant and unattainable" by having her silent in many scenes. She mentioned Clint Eastwood, who had recently directed her in the film Changeling, as a possible influence for this aspect of her performance.[21] Furthermore, she asked for Fox to get killed, suggesting that "[i]f she was to find out she had killed people unjustly and was a part of something that wasn't fair, then she should take her own life."[22]
Common became interested in the role due to both the script and the prospect of working with McAvoy, Jolie, and Morgan Freeman.[23] Common learned a great deal about firearms as preparation for the role, but said he is not a strong supporter of guns in real life.[23][24] Konstantin Khabensky, who starred in Bekmambetov's Night Watch, was cast so that the director would have a familiar face around.[25] British television veteran Marc Warren agreed to work in the film because he always wanted to be in a Hollywood blockbuster.[26] Thomas Kretschmann originally intended to pick up the comic series after being cast, but Bekmambetov convinced him not to. Kretschmann said that he undertook "excessive gun training" to "make sure I look good and I look like I know what I'm doing".[27] Kristen Hager originally auditioned for Fox, but accepted the role of Cathy, considering it "fun to play".[28]
Filming[edit]
Location plate shooting took place in Chicago in April 2007.[29] Several chase scenes, including one with a low flying helicopter, were shot in Chicago over two days, on Wacker Drive along the Chicago River, between Columbus Drive and LaSalle Street.[30] The opening scene was filmed using the Carbide & Carbon Building.[31] Production moved to the Czech Republic later in May,[19] scheduled for 12 weeks of shooting, which included a scene in Pernštejn Castle.[32] Using a former sugar factory in Prague,[33] production designer John Myhre constructed a large textile factory as part of an industrial world, the setting of a mythological environment in which looms create fabrics that weavers interpret as assassination orders.[25] Afterward, filming moved to Budapest, then returned to Chicago in August.[29] While the actors performed many of their own stunts, with free running and parkour in some of the action scenes,[15] and Angelina Jolie being actually strapped to the hood of a moving Dodge Viper, some of the especially high-risk sequences required digital doubles instead.[34] Two full-sized train cars were built, a Chicago 'L' for a training scene where Fox and Wesley run atop a train, and a Czech Pendolino for the derailment, which was stationed in a gimbal equipped with hydraulics to allow the car to tilt and roll as the train crashed.[34] The film originally had both an alternate opening and an alternate ending.[35] The alternate opening, a flashback to ancient times describing the history of the Fraternity and the Loom of Fate, is available on the special edition DVD and Blu-ray.[36]
Effects[edit]
Eight visual effects companies worked on the film's 800 effects shots, the majority of which was done by Bekmambetov's company Bazelevs Production. The first effects supervisor, Jon Farhat, was forced to withdraw from the production due to illness and was replaced by Stefen Fangmeier, who accepted the task as Wanted would only require four months of work. Once Fangmeier visited Bazelevs in Moscow, the effects were behind schedule, with only 12 finished composites out of the planned 500. Fangemier then brought two other supervisors to assist him in finishing many shots per week, so the job could get done by the deadline, a process the supervisor described as "a creative challenge on one hand, but on the other also a significant production challenge." Another major contributor was London-based Framestore, responsible for the climactic train crash.[37]
Music[edit]
Main article: Wanted: Original Motion Picture Soundtrack
Danny Elfman wrote the film's score, a job he accepted for being a fan of Bekmambetov's previous films. Considering the film to be a "weird, twisted, sarcastic thing," Elfman decided to make a guitar-based soundtrack, with the "nastiest sounds" and a "heavy metal approach." This included a rock song written and performed by Elfman, "The Little Things", which is featured throughout the film and on the end credits.[38] The film score has been released on June 24, 2008 in North America by Lakeshore Records.
Release and promotion[edit]
Wanted was initially set to be released in cinemas on March 28, 2008. However, in December 2007, Universal Pictures announced that it would be pushing back the release date to June 27, 2008, as the studio considered that the film had the potential to stand among the blockbusters that would be released during the United States summer.[39] The film's world premiere happened at the Los Angeles Film Festival on June 19, with Wanted acting as the festival opener.[40] Given the Russian origin of the director, Universal released a specially localized version in Russia. The literary translation of the English dialog was written by the writer Sergey Lukyanenko. Several texts appearing on the screen and important for the plot were translated using CGI, without using subtitles or a voice-over translation. Several famous Russian actors, most of which were also in Bekmambetov's Night Watch and Day Watch, dubbed the main characters, and Konstantin Khabensky dubbed himself as The Exterminator. James McAvoy also provided some words in Russian for Wesley Gibson.[41] Danny Elfman's song "The Little Things" received a version in Russian, performed by Elfman himself,[35][41] and Bekmambetov also directed a music video for the band Delta as part of a viral marketing campaign in Russia.[42]
Theatrical run[edit]
Wanted debuted in 3,185 theaters and earned $50,927,085 in its opening weekend, placing it at second place after WALL-E. It was the best opening ever for an R-rated film released in June,[43] only surpassed four years later by both Prometheus and Ted.[44] Internationally, the film grossed $33 million on its opening weekend, breaking records in Russia and South Korea.[45] Wanted grossed $341,433,252, of which $134,508,551 was from North America and $206,924,701 was from elsewhere.[4]
Home video[edit]
Wanted was released on DVD and Blu-ray on December 2, 2008 in the U.S. Two versions were released, including a single-disc DVD and a two-disc edition of both the DVD and Blu-ray. A collectible two-disc gift-set DVD also included collectible postcards, a lenticular film cel in an acrylic frame, and a photobook of the Assassins.[46] The DVD debuted at second place on the charts (behind The Chronicles of Narnia: Prince Caspian),[47] and generated over $65 million in revenue by February 2009.[48] The Blu-ray debuted at first place on the charts.[47]
Video games[edit]
Sweden-based developer Stillfront AB launched a browser game based on Wanted in April 2008. The Wanted "Fan Immersion Game" was a massively multiplayer online role-playing game where players took the roles of Fraternity hitmen, performing assassination missions, upgrading weapons and ammunition, and creating alliances or rivalries with other players.[49] A video game sequel to the events of the film, Wanted: Weapons of Fate, was released in March 2009. It was developed by GRIN, and published by Warner Bros. Interactive Entertainment for Microsoft Windows, PlayStation 3, and Xbox 360.[50]
Reception[edit]
Reviews of Wanted were positive.[51] The review aggregation website Rotten Tomatoes gives the film a 71% approval rating based on 202 critics (a rating average of 6.6 out of 10) and the consensus, "Wanted is stylish, energetic popcorn fare with witty performances from Angelina Jolie (playing an expert assassin), James McAvoy, and Morgan Freeman that help to distract from its absurdly over-the-top plot."[52] It has a score of 64 out of 100 on Metacritic (based on 38 reviews), indicating "generally favorable reviews."[53] Audiences polled by CinemaScore during Wanted's opening weekend gave the film an average grade of B+ on an A+-to-F scale.[54]
Roger Ebert of Ebert & Roeper said "Wanted slams the pedal to the metal and never slows down. Here's an action picture that's exhausting in its relentless violence and its ingenuity in inventing new ways to attack, defend, ambush and annihilate".[55] Richard Roeper said, "It's made for fans of films that really just want to see some great visuals, some amazing sequences and some terrific performances."[56]
Lisa Schwarzbaum of Entertainment Weekly encapsulated many critics' views, saying that "Wanted is kind of unintelligible and idiotic. Also kind of nasty and brutish. And also undeniably kind of fun..."[57] Likewise, Tom Long of The Detroit News said, "Wanted may be the most absolutely stone bonkers, crazy-good movie of the century. Or it may be a gargantuan piece of trash. Chances are it's a combination of the two. But man, does it rock."[58] Claudia Puig of USA Today found the "thrilling stunts and hyperkinetic action scenes [to be] the undisputed stars of this surprisingly entertaining film."[59]
Conversely, John Rosenblatt of The Austin Chronicle denounced those same attributes, saying, "If Maxim magazine ever decides to branch out into filmmaking, Wanted is just the kind of ear-throttling nonsense it's bound to produce".[60] David Fear of Time Out New York called it "the cinematic equivalent of an energy drink. The film keeps artificially pumping your adrenal glands with mindless, malnutritional sensations, only to leave you crampy and cranky minutes later. ...[T]his exercise in ultraviolence then insults us by having a beaten, bloodied McAvoy inform viewers that he used to be a loser 'just like all of you.'"[61] Frank Lovece of Film Journal International, one of few mainstream critics to have read the comic-book miniseries, said that the film compared poorly with the source material. Noting that the hero in the comic goes even further, "breaking the fourth wall and positioning himself so that he's 'prison-raping' and taunting the reader for having liked the series", Lovece found that, "[w]hile Millar may have contempt for his readers—and, by extension, the medium in which he works—at least he has his own vision, and gets it across with style and wit"; qualities that, in Lovece's opinion, the movie lacked.[62]
In the comics press, Erik Amaya of Comic Book Resources said that "[t]he film's biggest faults lie in how far it strays from the source" and that "[i]f you've ever seen any movie about leather-clad assassins, you already know how this film plays out. The speed and skill of the movie-making balance out those faults, however."[63] Tom McLean of Newsarama noted that, while the story deviated strongly from the source, the movie "stands out as a highly entertaining action film that preserves the comic's core premise and cheeky attitude while taking the story into very different but still satisfying territory."[64]
Among European critics, Peter Bradshaw of The Guardian said that the film "looks as if it has been written by a committee of 13-year-old boys for whom penetrative sex is still only a rumour, and the resulting movie plays like a party political broadcast on behalf of the misogynist party", concluding, "In an ideal world, the title would have the word 'Not' tacked on to the front."[65] Kim Newman, writing in Empire, praised Bekmambetov as "the most exciting action-oriented émigré since John Woo" and commented that the film's gruesome violence "hint[s] at the comic's uncomfortable suggestion that escapism is merely a licence to become monstrous."[66]
Wanted won the Empire Award for Best Sci-Fi / Superhero Movie of 2008.[67] The film was nominated for two Academy Awards; for Best Sound Editing and Best Sound Mixing (Chris Jenkins, Frank A. Montaño, and Petr Forejt).[68][69] It was also nominated for the Critics Choice Award for Best Action Movie,[70] the Saturn Award for Best Fantasy Film,[71] three MTV Movie Awards,[72] and the Screen Actors Guild Award for Outstanding Performance by a Stunt Ensemble.[73]
Sequel[edit]
Even before the film's release, Mark Millar announced director Timur Bekmambetov was planning a sequel, though Millar denied that he would write a sequel to the comic book. He was instead creating a story along with the producers,[74] that would follow the first film's idea of an international guild of assassins.[75] Terence Stamp described Pekwarsky as "something that's written for a sequel",[76] and Common expressed interest in a prequel, feeling that both The Gunsmith and Fox deserved more exposition.[77]
Chris Morgan would return to write the sequel's screenplay,[78] but departed in April 2009 due to "excessive workload", leaving the task to Evan Spiliotopoulos.[79] In June 2009, Bekmambetov said that pre-production for Wanted 2 was about to get started, with filming scheduled to begin in late fall or winter. The film will have a reported budget of $150 million and will be shot in the United States, India, and Russia. He also added that some of the characters would resurrect, particularly Fox and The Exterminator.[80] On September, the director added that even without a finished script Bazelevs had already done previsualization of the action scenes.[81] In 2010, after reports that Angelina Jolie had pulled out of the sequel,[82] Millar said that the script would be rewritten to remove Fox's return, so production could start that year for a late 2011 release.[83] Eventually the production did not take off, leading Bekmambetov to work on Abraham Lincoln: Vampire Hunter instead.[84]
In a 2011 Q&A, producer Jim Lemley said that "Wanted 2 sounds like it will not happen any time soon if at all".[85] That same year, James McAvoy said, regarding the sequel, "I think the studio is keen to make it, and we really want to make it, but we want to make it if it's right and when it's right, and that might not be ever." McAvoy also expressed interest in a sequel focusing on a character other than Wesley.[86] Universal later brought Wanted screenwriters Michael Brandt and Derek Haas to write the sequel, which Haas described as happening "right after the events that just happened; it'll pick up Wesley a few years later and go back in for another round", while also being "Fox-less and loom-less."[87] Haas would later detail that the script featured a new female protagonist, who Wesley would recruit "sort of in the Fox role."[88] Bekmambetov declared during the interviews for Abraham Lincoln: Vampire Hunter that after many years of indecision as the Wanted sequel stalled in development, he proposed an idea to the screenwriters wherein the plot followed Wesley while featuring "a great twist."[84]
McAvoy declared that since he "had a blast making the first Wanted", he would make a sequel regardless of the quality of the script; however, he also acknowledged that the extended time the film spent in development "suggests to me that they're not finding it very easy to come up with a story that they're passionate about, so we'll have to wait and see."[89] In 2014, McAvoy acknowledged that a potential sequel has been in the talks, saying he "had a couple of versions of script thrown my way" while adding that Universal is still waiting for the right screenplay.[90]
See also[edit]
Norns, who "twine the threads of fate"
References[edit]
^ Jump up to: a b c d "Wanted". British Film Institute. Retrieved May 13, 2014.
^ Jump up to: a b c "Wanted (2008)". American Film Institute. Retrieved May 13, 2014.
^ Jump up to: a b "Wanted (2008)". AllMovie. Retrieved May 13, 2014.
^ Jump up to: a b c "Wanted (2008) – Box Office Mojo". Box Office Mojo. Amazon.com. Retrieved December 30, 2009.
Jump up ^ Edward Douglas (August 17, 2007). "Exclusive: The Writers of Wanted!". SuperHeroHype.com. Retrieved January 26, 2008.
^ Jump up to: a b c Sneider, Jeff (June 27, 2008). "Timur Bekmambetov on 'Wanted'". Variety. Retrieved May 23, 2014.
Jump up ^ Gabriel Snyder (December 7, 2005). "Helmer's on Universal's 'Wanted' list". Variety. Retrieved February 8, 2007.
^ Jump up to: a b Carl Cortez (February 27, 2006). "Exclusive Profile: Director Timur Bekmambetov Comes into the Light with Night Watch – Part 2". iFMagazine.com. Archived from the original on December 16, 2006. Retrieved February 8, 2007.
^ Jump up to: a b Justin Aclin (December 3, 2007). "Mark Millar on the Wanted Movie". Wizard. Archived from the original on December 6, 2007. Retrieved December 4, 2007.
Jump up ^ George A. Tramountanas (July 22, 2006). "CCI, Day 2: Chris Morgan – A "Wanted" Screenwriter". Comic Book Resources. Retrieved February 10, 2007.
Jump up ^ George A. Tramountanas (October 12, 2007). "The Wicked Witch Returns in Boom!'s "Salem"". Comic Book Resources. Retrieved October 14, 2007.
Jump up ^ Mark Millar (February 6, 2011). "Mark Millar Talks Wanted". ComingSoon.net. Retrieved February 20, 2011.
Jump up ^ Dan Goodowsen. "Mark Millar Interview". Empire. Retrieved February 16, 2009.
Jump up ^ Larry Carroll (June 11, 2007). "Why Angelina Jolie, Common 'Wanted' To Work With Red-Hot Russian Director". MTV. Retrieved February 16, 2009.
^ Jump up to: a b Edward Douglas (February 16, 2007). "Exclusive: A Chat with James McAvoy". ComingSoon.net. Retrieved February 16, 2007.
Jump up ^ "Exclusive: Shia McAvoy Talks Wanted". Empire. October 19, 2006. Retrieved February 8, 2007.
Jump up ^ Serena Kim (July 16, 2008). "'Wanted' Star James McAvoy (Barely) Recalls Kissing Angelina Jolie, Addresses 'Hobbit' Rumors". MTV. Viacom. Retrieved February 16, 2009.
Jump up ^ Patrick Kolan (July 22, 2008). "Wanted: James McAvoy Interview". IGN. Ziff Davis. Retrieved February 16, 2009.
^ Jump up to: a b Michael Fleming; Diane Garrett (March 19, 2007). "Jolie'Wanted' for Universal film". Variety. Penske Media Corporation. Retrieved March 20, 2007.
Jump up ^ Phil Miller (March 23, 2007). "Comic writer signs up Jolie as assassin". The Herald. Retrieved March 26, 2007.
Jump up ^ Breznican, Anthony (June 19, 2008). "Angelina Jolie: The world's most 'Wanted'". USA Today. Retrieved February 22, 2009.
Jump up ^ Chris Lee (November 8, 2008). "Angelina Jolie "Wanted" to die". Los Angeles Times. Retrieved February 16, 2009.
^ Jump up to: a b Morales, Wilson (June 23, 2008). "An Exclusive Interview with Common". Black Film. Retrieved February 22, 2009.
Jump up ^ Murray, Rebecca. "Common Talks About Playing The Gunsmith in 'Wanted'". About.com. Archived from the original on August 4, 2008. Retrieved February 22, 2009.
^ Jump up to: a b Larry Carroll (June 11, 2007). "Why Angelina Jolie, Common 'Wanted' To Work With Red-Hot Russian Director". MTV. Viacom. Retrieved June 12, 2007.
Jump up ^ Press release (August 13, 2008). "Mutual Friends press pack: Marc Warren". BBC. Retrieved February 22, 2009.
Jump up ^ Roberts, Sheila. "Wanted Interview, Thomas Kretschmann". Movies Online. Retrieved February 22, 2009.
Jump up ^ Stacy Dodd. "Wanted Cast Interviews". About.com. Archived from the original on March 22, 2009. Retrieved February 22, 2009.
^ Jump up to: a b "Angelina Jolie Blowing Through Windy City in Dodge Vipers for 'Wanted'". MovieFone. April 12, 2007. Retrieved April 18, 2007.
Jump up ^ Tribune Staff (May 17, 2007). "Filming of movie to close off streets". Chicago Tribune. Retrieved April 11, 2010.
Jump up ^ "Chicago scene stealers". Chicago Tribune. July 16, 2008. Retrieved June 8, 2014.
Jump up ^ "Stillking Films head new productions in Prague". Czech Film Commission. January 18, 2007. Archived from the original on July 3, 2007. Retrieved February 8, 2007.
Jump up ^ Behind the Scenes Tour with Common, Wanted DVD [Region 4]
^ Jump up to: a b Hart, Hugh (June 28, 2008). "Secrets of Wanted's Insane Onscreen Action". Wired. Retrieved February 22, 2009.
^ Jump up to: a b "Audio: On The Score with Danny Elfman". Film Music Magazine. July 8, 2008. Archived from the original on July 31, 2008. Retrieved February 16, 2009.
Jump up ^ Monfette, Christopher (November 20, 2008). "Wanted Blu-Ray Review". IGN. Retrieved February 22, 2009.
Jump up ^ Bielik, Alain (July 3, 2008). "Wanted: Bending VFX for a Killing Machine". VFXWorld. Retrieved February 22, 2009.
Jump up ^ "Audio: On The Score with Danny Elfman". Film Music Magazine. July 8, 2008. Archived from the original on July 31, 2008. Retrieved February 16, 2009.
Jump up ^ Kay, Jeremy (December 5, 2007). "Universal moves Wanted into prime summer 2008 release slot". Screen Daily. Retrieved December 5, 2007.
Jump up ^ Lee, Chris (June 15, 2008). "Los Angeles Film Festival: Art-house fare shares a forum with blockbusters". Los Angeles Times. Retrieved February 16, 2009.
^ Jump up to: a b "Interview with Timur Bekmambetov" (in Russian). Ekho Moskvy. Retrieved February 24, 2009.
Jump up ^ "Music clip based on a video about a "crazed clerk" – a commercial of the film "WANTED" – is the most watched video in the Internet". Bazelevs. June 10, 2008. Archived from the original on August 20, 2008. Retrieved February 24, 2009.
Jump up ^ Pamela McClintock (June 29, 2008). "'Wall-E,' 'Wanted' wow box office". Variety. Retrieved February 16, 2009.
Jump up ^ "Opening Weekends - Rated R". Box Office Mojo. Retrieved May 23, 2014.
Jump up ^ Dave McNary (June 28, 2008). "'Wanted' a potent weapon overseas". Variety. Retrieved February 16, 2009.
Jump up ^ "Wanted (US BD) in December". DVD Times. October 14, 2008. Retrieved February 15, 2009.
^ Jump up to: a b "Prince Caspian Rules Sales". Home Media Magazine. December 11, 2008. Retrieved February 15, 2009.
Jump up ^ "Wanted DVD". The Numbers. Nash Information Services. Retrieved February 15, 2009.
Jump up ^ "Swedish developer Stillfront AB produces web game based on the explosive Universal Pictures theatrical release, WANTED" (Press release). Stillfront AB. June 27, 2008. Archived from the original on May 31, 2014. Retrieved May 30, 2014.
Jump up ^ Geddes, Ryan (October 30, 2008). "Wanted: Weapons of Fate In-depth". IGN. Retrieved October 31, 2008.
Jump up ^ Schnurr, Samantha. "Wanted Is Coming to Netflix in May 2018". E!. NBCUniversal Cable Entertainment Group. Archived from the original on May 21, 2018. Retrieved May 21, 2018.
Jump up ^ "Wanted (2008)". Rotten Tomatoes. Fandango Media. Archived from the original on May 21, 2018. Retrieved May 21, 2018.
Jump up ^ "Wanted: Reviews". Metacritic. CBS Interactive. Archived from the original on May 21, 2018. Retrieved July 21, 2009.
Jump up ^ "Official website". CinemaScore. Archived from the original on January 2, 2018. Retrieved October 28, 2017. Type the film's title into the 'Find Cinemascore' search box.
Jump up ^ Ebert, Roeper. "Wanted (review), June 26, 2008
Jump up ^ Richard Roeper. "Wanted (review) Archived January 2, 2008, at Archive.is, June 30, 2008
Jump up ^ Schwarzbaum, Lisa (June 26, 2008). "'Wanted' (review),". Entertainment Weekly.
Jump up ^ Long, Tom, "Over-the-top 'Wanted' is the action film to beat"], The Detroit News, June 27, 2008
Jump up ^ Puig, Claudia. "'Wanted' weaves an intriguing, if far-fetched, plot", USA Today, posted June 26, 2008
Jump up ^ Rosenblatt, John. "Wanted (review), The Austin Chronicle, June 27, 2008
Jump up ^ Fear, David. "Wanted (review), Time Out New York, June 26 – July 2, 2008
Jump up ^ Lovece, Frank. "Wanted (review), Film Journal International, June 27, 2008. Retrieved April 11, 2010.
Jump up ^ Amaya, Erik, Wanted (review), Comic Book Resources, June 26, 2008
Jump up ^ McLean, Tom. "Movie Review – Will Moviegoers Want 'Wanted'?", Newsarama, June 20, 2008
Jump up ^ Peter Bradshaw review, The Guardian, June 25, 2008
Jump up ^ Newman, Kim. Wanted review. Empire. URL Retrieved March 31, 2009.
Jump up ^ "Empire Awards 2009: Best Sci-Fi / Superhero". Empire. March 30, 2009. Retrieved September 27, 2009.
Jump up ^ "The 81st Academy Awards (2009) Nominees and Winners". oscars.org. Retrieved November 22, 2011.
Jump up ^ Ryan Adams (January 22, 2009). "Oscar Nominations". Oscars. Retrieved January 22, 2009.
Jump up ^ "Critics Choice Awards 2009". MTV. January 9, 2009. Retrieved February 16, 2009.
Jump up ^ "The 35th Saturn Award Nominations". Saturn Awards. Archived from the original on April 29, 2007. Retrieved May 29, 2009.
Jump up ^ "MTV Movie Award Nominations Pit Twilight Against Dark Knight". E! Online. May 4, 2009. Retrieved May 29, 2009.
Jump up ^ "The 15th Annual Screen Actors Guild Awards". Screen Actors Guild Awards. Retrieved December 27, 2008.
Jump up ^ Mark Millar (March 24, 2007). "SDCC 08: Mark Millar's Ultimate Story". IGN. Retrieved July 27, 2007.
Jump up ^ "Wanted 2 Movie Interview – SDCC 09: Mark Millar and John Romita Jr. Interview". IGN. Retrieved September 27, 2009.
Jump up ^ Carroll, Larry (June 18, 2008). "Terence Stamp Making Plans For Wanted Sequel". MTV. Retrieved February 22, 2009.
Jump up ^ Parfitt, Orlando (December 3, 2008). "Common Wants Wanted 2". IGN. Retrieved February 22, 2009.
Jump up ^ Marshall, Rick (November 5, 2008). "Chris Morgan Writing Screenplay For Wanted 2, Hints At Sequel Going "Global"". MTV Movies Blog. MTV. Retrieved December 30, 2008.
Jump up ^ Marshall, Rick (April 5, 2009). "Exclusive: 'Wanted' Screenwriter Chris Morgan Explains His Departure From Wanted 2". MTV. Retrieved September 27, 2009.
Jump up ^ "Bekmambetov to Start Preparation for Wanted-2". Russian-InfoCentre. June 8, 2009. Retrieved September 27, 2009.
Jump up ^ Desowitz, Bill (September 14, 2009). "Bekmambetov Talks '9, Wanted 2' and 'Moby Dick'". VFX World. Retrieved June 8, 2014.
Jump up ^ White, James (February 26, 2010). "Has Jolie Put a Bullet In Wanted 2?". Empire. Retrieved April 11, 2010.
Jump up ^ MacLennan, Michael (February 27, 2010). "Mark Millar: Wanted 2 will go ahead without Angelina Jolie. Kristen Stewart is being considered for the role of Fox". STV. Retrieved April 11, 2010.
^ Jump up to: a b Toro, Gabe (June 18, 2012). "Timur Bekmambetov Says "Shocking" Sequel To 'Wanted' Will Follow James McAvoy's Wesley Gibson & Features A "Great Twist"". IndieWire. Retrieved June 22, 2014.
Jump up ^ Sciretta, Peter (February 8, 2011). "Producer Jim Lemley Talks Abraham Lincoln: Vampire Hunter and 'Wanted 2". /Film. Retrieved February 8, 2011.
Jump up ^ Tilly, Chris (April 14, 2011). "Exclusive: James McAvoy Talks Wanted 2". IGN. Retrieved July 25, 2011.
Jump up ^ "Wanted 2 Moving Forward Again?". Empireonline.com. September 28, 2011. Retrieved August 10, 2012.
Jump up ^ Wales, George (October 24, 2012). "Screenwriter Derek Haas provides an update on Wanted 2". Total Film. Retrieved June 18, 2014.
Jump up ^ Highfill, Samantha (March 29, 2013). "Catching up with James McAvoy on his big year, 'X-Men' and the possibility of a 'Wanted 2'". Entertainment Weekly. Archived from the original on June 16, 2013. Retrieved June 18, 2014.
Jump up ^ X-Men Days of Future Past & Wanted 2 Interview - James McAvoy, Flicks and the City
External links[edit]
Wikiquote has quotations related to: Wanted (film)
Official website
Wanted on IMDb
show
v
t
e
Films directed by Timur Bekmambetov
Peshavar Waltz (1994)
The Arena (2001)
Night Watch (2004)
Day Watch (2006)
The Irony of Fate 2 (2007)
Wanted (2008)
Yolki (2010)
Abraham Lincoln: Vampire Hunter (2012)
Yolki 1914 (2014)
Ben-Hur (2016)
Yolki 5 (2016)
Profile (2018)
show
v
t
e
Mark Millar
Creator-owned
American Jesus
Empress
Hit-Girl
Jupiter's Legacy
Kick-Ass
Kick-Ass 2
Kick-Ass 3
Kingsman
Nemesis
Supercrooks
Superior
The Unfunnies
Wanted
War Heroes
2000 AD
Big Dave
Canon Fodder
Red Razors
DC Comics
Aztek
Superman Adventures
Superman: Red Son
Swamp Thing
Zauriel
Marvel Comics
Civil War
Marvel Knights Spider-Man
Marvel 1985
Skrull Kill Krew
Trouble
Ultimate Comics: Avengers
Ultimate Fantastic Four
Ultimate X-Men
Ultimates
The Ultimates
The Ultimates 2
Wolverine
"Old Man Logan"
Fantastic Four
Other comics
The Authority
Jenny Sparks: The Secret History of the Authority
Starlight
See also
CLiNT
Millarworld
show
v
t
e
Empire Award for Best Sci-Fi/Fantasy
Star Wars: Episode III – Revenge of the Sith (2006)
Pan's Labyrinth (2007)
Stardust (2008)
Wanted (2009)
Star Trek (2010)
Harry Potter and the Deathly Hallows – Part 1 (2011)
Thor (2012)
The Hobbit: An Unexpected Journey (2013)
The Hobbit: The Desolation of Smaug (2014)
X-Men: Days of Future Past (2015)
Star Wars: The Force Awakens (2016)
A Monster Calls (2017)
Wonder Woman (2018)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Wanted_(2008_film)&oldid=852810444"
Categories:
2008 films
English-language films
2000s action thriller films
German action films
American action thriller films
American films
German films
Best Sci-Fi/Fantasy Empire Award winners
Films based on Image Comics
Films directed by Timur Bekmambetov
Films set in Chicago
Films shot in Budapest
Films shot in Chicago
Films shot in the Czech Republic
Infidelity in fiction
Relativity Media films
Spyglass Entertainment films
Universal Pictures films
Films about murderers
Films based on works by Mark Millar
Films based on Top Cow Productions
Films scored by Danny Elfman
Films produced by Marc E. Platt
Assassinations in fiction
Screenplays by Chris Morgan
Live-action films based on comics
Hidden categories:
CS1 Russian-language sources (ru)
Webarchive template archiveis links
Use mdy dates from May 2018
Good articles
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikiquote
Languages
العربية
বাংলা
Български
Català
Čeština
Deutsch
Eesti
Ελληνικά
Español
فارسی
Français
Gaeilge
한국어
Հայերեն
हिन्दी
Bahasa Indonesia
Italiano
עברית
ქართული
Lietuvių
Magyar
മലയാളം
Nederlands
日本語
Norsk
Polski
Português
Русский
Suomi
Svenska
Türkçe
Українська
Tiếng Việt
中文
25 more
Edit links
This page was last edited on 31 July 2018, at 14:28 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

key: html

type: local

attrs: id class

values: mw-page-base noprint

values: mw-head-base noprint

value: img

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

values: This is a good article. Follow the link for more information.

attrs: href title

attrs: class id

value: i

attrs: id class lang

values: firstHeading firstHeading en

values: siteSub noprint

attrs: class href

values: mw-jump-link #mw-head

values: mw-jump-link #p-search

value: p

value: th

attrs: colspan class style

value: tr

values: Film poster with a woman (Angelina Jolie) on the left holding a large handgun as she faces right. Her left arm is covered in tattoos. A man (James McAvoy) on the right is facing forward and is holding two handguns, one hand held over the other. The top of the image includes the film's title, while the bottom shows an overhead view of a city's lights as well as the billing block.

value: td

attrs: colspan style

attrs: scope style

values:
/wiki/Marc_E._Platt
mw-redirect
Marc E. Platt

values:
/wiki/Chris_Morgan_(screenwriter)
mw-redirect
Chris Morgan (screenwriter)

values:
/wiki/Action_thriller
mw-redirect
Action thriller

values:
/wiki/Bazelevs_Production
mw-redirect
Bazelevs Production

values: checkbox button toctogglecheckbox toctogglecheckbox display:none

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

values: Edit section: Development and pre-production

values: A photograph of McAvoy attending the 2014 Cannes Film Festival

values: A photograph of Freeman attending the 2008 premiere of "The Bucket List" in Germany

values: A photograph of Jolie attending the Global Summit to End Sexual Violence in Conflict

values:
/wiki/Free_running
mw-redirect
Free running

values:
/wiki/Chicago_%27L%27
mw-redirect
Chicago 'L'

values: Wanted: Original Motion Picture Soundtrack

values:
/wiki/Los_Angeles_Film_Festival
mw-redirect
Los Angeles Film Festival

values:
/wiki/Sergey_Lukyanenko
mw-redirect
Sergey Lukyanenko

values:
/wiki/Blu-ray_Disc
mw-redirect
Blu-ray Disc

values: The Chronicles of Narnia: Prince Caspian

values: Massively multiplayer online role-playing game

values:
/wiki/GRIN_(company)
mw-redirect
GRIN (company)

values:
/wiki/Rating_average
mw-redirect
Rating average

values:
/wiki/Ebert_%26_Roeper
mw-redirect
Ebert & Roeper

values:
/wiki/Time_Out_New_York
mw-redirect
Time Out New York

values:
/wiki/Empire_(magazine)
mw-redirect
Empire (magazine)

values:
/wiki/Empire_Award
mw-redirect
Empire Award

values:
/wiki/Academy_Award
mw-redirect
Academy Award

values:
/wiki/Academy_Award_for_Sound_Editing
mw-redirect
Academy Award for Sound Editing

values:
/wiki/Academy_Award_for_Best_Sound
mw-redirect
Academy Award for Best Sound

values: Broadcast Film Critics Association Awards

values:
/wiki/MTV_Movie_Award
mw-redirect
MTV Movie Award

values:
/wiki/Screen_Actors_Guild_Awards
mw-redirect
Screen Actors Guild Awards

values:
nofollow
external text
http://explore.bfi.org.uk/4ce2b8c546e06

values:
nofollow
external text
http://www.filmmusicmag.com/?p=1675

values:
/wiki/Fandango_Media
mw-redirect
Fandango Media

values:
nofollow
external text
http://www.metacritic.com/movie/wanted

values:
nofollow
https://www.cinemascore.com/
external text

values:
/wiki/STV_(TV_network)
mw-redirect
STV (TV network)

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

values:
nofollow
external text
http://www.wantedmovie.com

values:
nofollow
https://www.imdb.com/title/tt0493464/
external text

values: nowraplinks collapsible autocollapse navbox-inner mw-collapsible mw-made-collapsible mw-collapsed

values:
/wiki/American_Jesus_(comics)
mw-redirect
American Jesus (comics)

values:
/wiki/Empress_(comic_book)
mw-redirect
Empress (comic book)

values:
/wiki/Kick-Ass_2_(comics)
mw-redirect
Kick-Ass 2 (comics)

values:
/wiki/Starlight_(comic_book)
mw-redirect
Starlight (comic book)

values: Template:Empire Award for Best Sci-Fi/Fantasy

values: Template talk:Empire Award for Best Sci-Fi/Fantasy

values: Star Wars: Episode III – Revenge of the Sith

values: Harry Potter and the Deathly Hallows – Part 1

values: Category:Best Sci-Fi/Fantasy Empire Award winners

values: Category:Films directed by Timur Bekmambetov

values: Category:Films shot in the Czech Republic

values: Category:Films based on works by Mark Millar

values: Category:Films based on Top Cow Productions

values: Category:Films produced by Marc E. Platt

values: Category:Live-action films based on comics

values: Category:CS1 Russian-language sources (ru)

values: Category:Webarchive template archiveis links

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

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

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

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

values:
/wiki/Wanted_(2008_film)
View the content page [ctrl-alt-c]
c

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

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

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

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

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

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

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

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

values: Featured content – the best of Wikipedia

values: Find background information on current events

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

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

values: Guidance on how to use and edit Wikipedia

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

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

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

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

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

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

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

values: Permanent link to this revision of the page

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

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

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

values: وانتد (فيلم) – Arabic

values: ওয়ান্টেড (২০০৮-এর চলচ্চিত্র) – Bangla

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

values: Неуловим – Bulgarian

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

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

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

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

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

values:
https://el.wikipedia.org/wiki/Wanted
Wanted – Greek
el
el
interlanguage-link-target

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

values: تحت تعقیب – Persian

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

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

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

values: Ծայրահեղ վտանգավոր է – Armenian

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

values: वांटेड (2008 फ़िल्म) – Hindi

values: Wanted - Scegli il tuo destino – Italian

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

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

values: განსაკუთრებით საშიში (ფილმი) – Georgian

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

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

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

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

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

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

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

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

values: Особо опасен (фильм, 2008) – Russian

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

values:
https://sv.wikipedia.org/wiki/Wanted
Wanted – Swedish
sv
sv
interlanguage-link-target

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

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

values: Особливо небезпечний (фільм) – Ukrainian

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

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

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

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

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

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Wanted_2008_film rootpage-Wanted_2008_film skin-vector action-view


text:
Cult of Domesticity
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The culture of domesticity (often shortened to "cult of domesticity"[1]) or cult of true womanhood[a] is a term used by some historians to describe what they consider to have been a prevailing value system among the upper and middle classes during the nineteenth century in the United States[2] and Great Britain. This value system emphasized new ideas of femininity, the woman's role within the home and the dynamics of work and family. "True women," according to this idea, were supposed to possess four cardinal virtues: piety, purity, domesticity, and submissiveness. The idea revolved around the woman being the center of the family; she was considered "The light of the home".[3][4]
The women and men who most actively promoted these standards were generally white and Protestant; the most prominent of them lived in New England and the Northeastern United States.[5] Although all women were supposed to emulate this ideal of femininity, black, working class, and immigrant women were often excluded from the definition of "true women" because of social prejudice.[6][7][8][9]
Since the idea was first advanced by Barbara Welter in 1966, many historians have argued that the subject is far more complex and nuanced than terms such as "Cult of Domesticity" or "True Womanhood" suggest, and that the roles played by and expected of women within the middle-class, nineteenth-century context were quite varied and often contradictory; for example, it has been argued that much of what has been considered as anti-feminist in the past in fact helped lead to feminism. [10]
Contents
[hide]
1 Virtues
2 Influence
3 Connection to the women's movement
4 See also
5 References
6 External links
Virtues[edit]
Godey's Lady's Book was a highly influential women's magazine which reinforced many of the values of the Cult of Domesticity.[11]
Part of the separate spheres ideology, the "Cult of Domesticity" identified the home as women's "proper sphere".[12] Women were supposed to inhabit the private sphere, running the household and production of food (including servants), rearing the children, and taking care of the husband.[13][14]According to Barbara Welter (1966), "True Women" were to hold and practice the four cardinal virtues:[3]
Piety – Religion was valued because—unlike intellectual pursuits—it did not take a woman away from her "proper sphere," the home, and because it controlled women's longings.
Purity – Virginity, a woman's greatest treasure, must not be lost until her marriage night, and married women had to remain committed only to their husbands.
Submission – True women were required to be as submissive and obedient "as little children" because men were regarded as women's superiors "by God's appointment".
Domesticity – A woman's proper place was in the home and her role as a wife was to create a refuge for her husband and children. Cooking, needlework, making beds, and tending flowers were considered naturally feminine activities, whereas reading anything other than religious biographies was discouraged.
Physically, according to Wilma Pearl Mankiller, a "True Woman" was expected to be delicate, soft and weak. She should not engage in strenuous physical activity that would damage her “much more delicate nervous system."[15]
Frances B. Cogan, however, described an overlapping but competing ideology that she called the ideal of "Real Womanhood," in which women were encouraged to be physically fit and active, involved in their communities, well educated, and artistically accomplished, although usually within the broader idea that women were best suited to the domestic sphere. The conflation of "Domesticity" and "True Womanhood" can be misleading in that dedication to the domestic sphere did not necessarily imply purity, submission, or weakness.[16]
The characteristics of "True Womanhood" were described in sermons, books, and religious texts as well as women's magazines.[17] [18] Prescriptive literature advised women on how to transform their homes into domestic sanctuaries for their husbands and children. Fashion was also stressed because a woman had to stay up to date in order to please her husband. Instructions for seamstresses were often included in magazines.[19] Magazines which promoted the values of the "Cult of Domesticity" fared better financially than those competing magazines which offered a more progressive view in terms of women's roles.[11] In the United States, Peterson's Magazine and Godey's Lady's Book were the most widely circulated women's magazines[11] and were popular among both women and men.[20] With a circulation of 150,000 by 1860,[21] Godey's reflected and supported some of the ideals of the "Cult of True Womanhood."[11] The magazine's paintings and pictures illustrated the four virtues, often showing women with children or behind husbands. It also equated womanhood with motherhood and being a wife, declaring that the "perfection of womanhood (...) is the wife and mother".[22][23] The magazine presented motherhood as a woman's natural and most satisfying role, and encouraged women to find their fulfillment and their contributions to society mainly within the home. [24] At the same time, the long-time editor of Godey's, Sarah Josepha Hale, encouraged women to improve themselves intellectually, to write, and to take action that would improve the moral character of their communities and their nation. Hale promoted Vassar College, advocated for female physicians, and published many of the most important female writers of the nineteenth century.[25] Frances B. Cogan argued that Godey's supported "Real Womanhood" more than "True Womanhood." Reflecting the ideals of both "True Womanhood" and "Real Womanhood," Godey's considered mothers as crucial in preserving the memory of the American Revolution and in securing its legacy by raising the next generation of citizens.[26]
Influence[edit]
The Cult of Domesticity affected married women's labor market participation in the nineteenth and the beginning of the twentieth century.[27] "True Women" were supposed to devote themselves to unpaid domestic labor and refrain from paid, market-oriented work. Consequently, in 1890, 4.5% of all married women were "gainfully employed," compared with 40.5% of single women. Women's complete financial dependence upon their husbands proved disastrous when wives lost their husbands through death or desertion and were forced to fend for themselves and their children.[28] This division between the domestic and public spheres had effects on women's power and status. In society as a whole, particularly in political and economic arenas, women's power declined. Within the home, however, they gained symbolic power.[29]
The legal implications of this ideology included the passage of protective labor laws, which also limited women's employment opportunities outside the home.[30] These laws, as well as subsequent Supreme Court rulings such as Muller v. Oregon, were based on the assumption that women's primary role was that of mother and wife, and that women's non-domestic work should not interfere with their primary function. As a result, women's working hours were limited and night work for women was prohibited, essentially costing many female workers their jobs and excluding them from many occupations.[30]
The Cult of Domesticity “privatized” women’s options for work, for education, for voicing opinions, or for supporting reform. Arguments of significant biological differences between the genders (and often of female inferiority) led to pronouncements that women were incapable of effectively participating in the realms of politics, commerce, or public service. Women were seen as better suited to parenting. Also, because of the expected behaviors, women were assumed to make better teachers of younger children. Catharine Beecher, who proselytised about the importance of education and parenting, once said, "Woman's great mission is to train immature, weak, and ignorant creatures [children] to obey the laws of God...first in the family, then in the school, then in the neighborhood, then in the nation, then in the world...." [31] One of the first public jobs for women was teaching. One estimate says that, with the growth of public education in the northern tier of states, one quarter of all native-born Massachusetts women in the years between 1825 and 1860 were schoolteachers at some point in their lives.[32]
Connection to the women's movement[edit]
A New Court of Queen's Bench, an 1849 caricature by George Cruikshank, mocking the idea of women taking over the all-male world of court.
Women's rights advocates of the late eighteenth and early nineteenth centuries, such as Mary Wollstonecraft, Frances Wright, and Harriet Martineau, were widely accused of disrupting the natural order of things and condemned as unfeminine. "They are only semi-women, mental hermaphrodites," wrote Henry F. Harrington in the Ladies' Companion.[33] However, after the Jacksonian Era (1812 to 1850) saw the expansion of voting rights to virtually all white males in the United States, many women believed it was their opportunity for increased civil liberties. Early feminist opposition to many of the values promoted by the Cult of Domesticity (especially concerning women's suffrage, political activism, and legal independence) culminated in the Seneca Falls Convention in 1848.
Susan M. Cruea postulated that although the “Cult of True Womanhood” set many societal restrictions that took away women's working rights and freedom, it nonetheless laid the groundwork for the later development of feminism by crediting women with a moral authority which implicitly empowered them to extend their moral influence outside the home. The ideal woman was expected to act as a status symbol for men and reflect her husband's wealth and success, and was to create babies and care for them so her husband’s legacy of success would continue, but she was also seen as the “Angel in the House” whose purpose was to guide her family morally. Because of the perceived importance of the role, this ideology was imprinted on girls at a very young age; these girls were taught to value their virginity as the “‘pearl of great price’ which was her greatest asset” and to develop the skills to manage a household and rear children, but they were also taught to see themselves as “a pillar of strength and virtue” who was key not only in providing her husband a proper image but in raising boys who would later have a direct impact on the success of the nation. [34]
During the Progressive Era,[35] the ideal of the New Woman emerged as a response to the Cult of True Womanhood.[36] The New Woman, frequently associated with the suffrage movement,[37] represented an ideal of femininity which was strongly opposed to the values of the Cult of True Womanhood.[38] With demands expressed in the Declaration of Sentiments, written at the Seneca Falls convention in 1848, women finally gained ratification of a constitutional amendment and the right to vote in 1920. After emancipation, these New Women could be identified by as “cigarette-smoking, lipsticked and rouged, jazz-dancing, birth-control-using types known as ‘modern girls’ or flappers.”[39]
World War II brought about a restructuring of the labor market as women valiantly stepped into the war effort on the home front. World War II was not only a brother’s war, but one that mobilized the siblings as both men and women were prompted to serve their country and fight for democracy. In the era after World War II, many of the ideas of the "Cult of Domesticity" were stressed again as American society sought to integrate veterans and emphasize the revival of family life. Once the troops returned home, men were encouraged to embrace family life and enter companionship marriages, uniting the brothers and sisters who helped to defeat fascism abroad. Veterans returned home to be the head of the family and women who had been involved in high-paying and high-skilled wartime jobs were pushed back into the home. The remaking of the private life was central to this era. Anticommunism structured much of the American life, emphasizing the free enterprise system which brought about a period of economic prosperity and a consumer culture.
In the 1950s television shows often presented series that depicted fictional families in which the mother's primary work was to raise the children and run the household. Men's and women's spheres were increasingly separated as many families lived in suburban settings, from which men commuted to other cities for work. However, this image of separate spheres disguised the reality that all groups of women continued to work for pay; many did not stop working after the men returned home from the war, they were instead forced into lower-paying jobs. Wages were low and there was little room for advancement. Women that did enter into professional fields were under intense scrutiny for going against the feminine domestic ideal. Despite neo-domestic ideals, many middle-class mothers were burdened by women’s double shift of working in the home and also a job. At the same time, women had independent lives during the day and were often active in volunteer and community activities, particularly around issues of education, health, children and welfare. The "Cult of Domesticity" shaped an idealized myth of the family and paved the way for the nuclear family.[40] Betty Friedan’s The Feminine Mystique summed up the expectations of female nature of this time, with a focus on “consumerism, sexualized marriage, and civic activism.”[41] Though feminism was subdued during this period of neo-domesticity, resistance stirred underneath the surface. Opposition to those ideas influenced the second wave of feminism.[42]
See also[edit]
Father Knows Best
Gender role
Girl next door
Glass ceiling
Good Wife, Wise Mother
Home economics
Ideal womanhood
Incidents in the Life of a Slave Girl
María Clara
Martha Stewart
Molly Mormon
Motherhood
New Woman
Separate Spheres
The Angel in the House
The Feminine Mystique
The Stepford Wives
Yamato nadeshiko
References[edit]
Notes
^ The home and the idea of domesticity were so important in 19th century culture that historians speak of the "cult" of domesticity.[20] The phrase "True Womanhood" was used by mid-nineteenth century authors who wrote about the subject of women.[43]
Footnotes
Jump up ^ Lisa A. Keister, Darby E. Southgate (2011). Inequality: A Contemporary Approach to Race, Class, and Gender. Cambridge: Cambridge University Press. p. 228. ISBN 978-0-521-68002-8.
Jump up ^ Keister 2011, p. 228.
^ Jump up to: a b Welter 1966, p. 152.
Jump up ^ Lavender, Catherine. "Notes on The Cult of Domesticity and True Womanhood" (PDF). The College of Staten Island/CUNY. Retrieved 27 October 2014.
Jump up ^ Lindley, Susan Hill (1996). "The Ideal American Woman". In You have stept out of your place: a history of women and religion in America. Louisville, Kentucky.: Westminster John Knox Press, p. 56. ISBN 978-0-664-22081-5.
Jump up ^ Patton, Venetria K. (2000). "The Cult of True Womanhood and its Revisions", In Women in Chains: The Legacy of Slavery in Black Women's Fiction. Albany: State University of New York Press, pp. 29–30. ISBN 978-0-7914-4343-9.
Jump up ^ Yee, Shirley J. (1992). "Black Women and the Cult of True Womanhood", In Black Women Abolitionists: A Study in Activism, 1828–1860. Knoxville: University of Tennessee Press, p. 41. ISBN 978-0-87049-735-3.
Jump up ^ Tyson, Lois (2001). Learning for a Diverse World: Using Critical Theory to Read and Write about Literature, New York: Routledge, pp. 88–89. ISBN 978-0-8153-3773-7.
Jump up ^ O'Brien, Jodi A.; Newman, David M. (2010). Sociology: Exploring the Architecture of Everyday Life. Thousand Oaks, Calif.: Pine Forge Press, an Imprint of Sage Publications, p. 294. ISBN 978-1-4129-7942-9.
Jump up ^ Rupp, Leila J. (2002). "Woman's History in the New Millennium: A Retrospective Analysis of Barbara Welter's "The Cult of True Womanhood." Journal of Women's History 14.1.
^ Jump up to: a b c d Endres, Kathleen L.; Lueck; Therese L. (1995). Women's Periodicals in the United States: Consumer Magazines. Westport, Conn.: Greenwood Press, p. xii. ISBN 978-0-313-28631-5.
Jump up ^ Carroll, Bret E. (2003). American Masculinities: A Historical Encyclopedia. Thousand Oaks, Calif.: SAGE Publications. pp. 120–122. ISBN 978-0-7619-2540-8.
Jump up ^ Landry, Bart (2000). Black Working Wives: Pioneers of the American Family Revolution. Berkeley: University of California Press. pp. 22–23. ISBN 978-0-520-21826-0.
Jump up ^ Buillet, Richard W. (2005). The Earth and Its Peoples: A Global History (3rd ed.). Boston: Houghton Mifflin. p. 586. ISBN 978-0-618-40334-9.
Jump up ^ Mankiller 1998, p. 571.
Jump up ^ Cogan, Frances B., All-American Girl: The Ideal of Real Womanhood in Mid-Nineteenth-Century America, University of Georgia Press 2010.
Jump up ^ Brannon, Linda (2005). Gender: Psychological Perspectives. Boston: Allyn and Bacon, pp. 154–155. ISBN 978-0-205-40457-5.
Jump up ^ DuBois & Dumenil 2005, p. 188.
Jump up ^ Fitts, Robert K. (1999). "The Archaeology of Middle-Class Domesticity and Gentility in Victorian Brooklyn". Historical Archaeology. Society for Historical Archaeology. 33 (1): 39–62.
^ Jump up to: a b Matthews, Glenna (1987). "Just a Housewife": The Rise and Fall of Domesticity in America. New York: Oxford University Press, pp. 6, 42. ISBN 978-0-19-503859-0.
Jump up ^ Fackler, Mark; Lippy, Charles H. (1995). Popular Religious Magazines of the United States. Westport, Conn.: Greenwood Press, p. 241. ISBN 978-0-313-28533-2.
Jump up ^ Green, Harvey; Perry, Mary-Ellen (1983). The Light of the Home: An Intimate View of the Lives of Women in Victorian America. New York: Pantheon Books, p. 180. ISBN 978-0-394-52746-8.
Jump up ^ Wayne, Tiffany K. (2007). Women's roles in nineteenth-century America. Westport, Conn.: Greenwood Press, p. 1, ISBN 978-0-313-33547-1.
Jump up ^ Mitchell, Sarah (2009). "A Wonderful Duty: A Study of Motherhood on Godey's Magazine". In: Sachsman, David B.; Rushing, S. Kittrell; Morris, Roy (eds). Seeking a Voice: Images of Race and Gender in the 19th Century Press. West Lafayette, Ind.: Purdue University Press, pp. 171–178. ISBN 978-1-55753-505-4.
Jump up ^ https://www.nwhm.org/education-resources/biography/biographies/sarah-hale/
Jump up ^ Cogan, Frances B., All-American Girl: The Ideal of Real Womanhood in Mid-Nineteenth-Century America, University of Georgia Press 2010.
Jump up ^ Bose, Christine E. (1987). "Dual Spheres". In Hess, Beth B.; Ferree, Myra Marx. Analyzing Gender: A Handbook of Social Science Research. Newbury Park, Calif.: Sage Publications, pp. 278–279. ISBN 978-0-8039-2719-3.
Jump up ^ Mankiller 1998, pp. 263–266.
Jump up ^ Rotman, Deborah L. Historical Archaeology of Gendered Lives. New York; London: Springer, 2009, p. 19. ISBN 978-0-387-89668-7.
^ Jump up to: a b Baron, Ava (1981). "Protective Labor Legislation and the Cult of Domesticity". Journal of Family Issues. SAGE Publications. 2 (1): 25–38. doi:10.1177/0192513X8100200103.
Jump up ^ Beecher, Catharine, Woman's Suffrage and Woman's Profession, Hartford 1871.
Jump up ^ Bernard, Richard and Maris Vinovskis, "The Female Schoolteacher in Ante-Bellum Massachusetts," Journal of Social History v. 10 #3, March 1977.
Jump up ^ Welter 1966, p. 173.
Jump up ^ Cruea, Susan (2005). "Changing Ideals of Womanhood During the Nineteenth-Century Woman Movement". American Transcendental Quarterly. 19 (3): 187–204. |access-date= requires |url= (help)
Jump up ^ Lindenmeyer, Kriste (2000). Ordinary Women, Extraordinary Lives: Women in American History. Wilmington, Del.: SR Books, p. 134. ISBN 978-0-8420-2752-6.
Jump up ^ "The Cult of Domesticity and the Reaction: From True Women to New Women". In Lorence, James J.; Boyerp, Paul S. (200). Enduring Voices: document sets to accompany The Enduring Vision, a History of the American People. Lexington, Mass.: D.C. Heath, p. 85, ISBN 978-0-395-96084-4.
Jump up ^ Patterson, Martha H. (2008). The American New Woman Revisited: A Reader, 1894–1930. New Brunswick, N.J.: Rutgers University Press, p. 6. ISBN 978-0-8135-4494-6.
Jump up ^ Trites, Roberta Seelinger (2007). Twain, Alcott, and the Birth of the Adolescent Reform Novel. Iowa City: University of Iowa Press, p. 92. ISBN 978-1-58729-622-2.
Jump up ^ Stansell, Christine (2011). The feminist promise : 1792 to the present (Modern Library paperback ed. ed.). New York: Modern Library. p. 180. ISBN 978-0812972023. CS1 maint: Extra text (link)
Jump up ^ Wegener 2005, p. 36.
Jump up ^ Stansell, Christine (2011). The feminist promise : 1792 to the present (Modern Library paperback ed. ed.). New York: Modern Library. p. 183. ISBN 978-0812972023. CS1 maint: Extra text (link)
Jump up ^ Ford, Lynne E. (2008). Encyclopedia of Women and American Politics. New York: Facts On File, pp. 136–37. ISBN 978-0-8160-5491-6.
Jump up ^ Welter 1966, p. 151.
Bibliography
DuBois, Ellen Carol; Dumenil, Lynn (2005). Through Women's Eyes: An American History. Boston: Bedford/St.Martin's. ISBN 978-0-312-24731-7.
Lavender, Catherine. "Notes on The Cult of Domesticity and True Womanhood" (PDF). The College of Staten Island/City University of New York. Retrieved 2014-10-27.
Ellis, Sarah Stickney (1843). The Women of England, their Social Duties and Domestic Habits. J. & H.G. Langley.
Keister, Lisa A. (2011). Inequality: A Contemporary Approach to Race, Class, and Gender. Cambridge: Cambridge University Press. pp. 228–230. ISBN 978-0-521-68002-8.
Mankiller, Wilma Pearl, ed. (1998). The Reader's Companion to U.S. Women's History. Boston, Mass.: Houghton Mifflin. ISBN 978-0-395-67173-3.
Wegener, Signe O. (2005). James Fenimore Cooper versus the Cult of Domesticity: Progressive Themes of Femininity and Family in the Novels. Jefferson, N.C.: McFarland. ISBN 978-0-7864-2128-2.
Welter, Barbara (1966). "The Cult of True Womanhood: 1820–1860" (PDF). American Quarterly. 18 (2): 151–174. doi:10.2307/2711179. [permanent dead link]
Welter, Barbara (1977). Dimity Convictions: The American Woman in the Nineteenth Century. Ohio University Press. ISBN 0-8214-0352-4.
External links[edit]
Catherine Lavender, "Notes on The Cult of Domesticity and True Womanhood"
PBS: Cult of True Womanhood
National Humanities Center sources on the Cult of Domesticity
Retrieved from "https://en.wikipedia.org/w/index.php?title=Cult_of_Domesticity&oldid=801549832"
Categories:
Women's rights in Europe
Women's rights in the Americas
Hidden categories:
Pages using citations with accessdate and no URL
CS1 maint: Extra text
All articles with dead external links
Articles with dead external links from August 2017
Articles with permanently dead external links
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Simple English
Edit links
This page was last edited on 20 September 2017, at 10:39.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view

value: div

values: mw-page-base noprint

values: mw-head-base noprint

attrs: id class style

value: a

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

value: b

value: sup

values:
/wiki/Women%27s_magazine
mw-redirect
Women's magazine

values: Edit section: Connection to the women's movement

values:
/wiki/Jacksonian_Era
mw-redirect
Jacksonian Era

values:
/wiki/Angel_in_the_House
mw-redirect
Angel in the House

values:
/wiki/Separate_Spheres
mw-redirect
Separate Spheres

values: div-col columns column-count column-count-2

values: -moz-column-count: 2; -webkit-column-count: 2; column-count: 2;

values: International Standard Book Number (identifier)

values:
/wiki/Greenwood_Press
mw-redirect
Greenwood Press

values:
/wiki/Allyn_and_Bacon
mw-redirect
Allyn and Bacon

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

values: The College of Staten Island/City University of New York (page does not exist)

values:
nofollow
external text
//doi.org/10.2307%2F2711179

values: Category:Pages using citations with accessdate and no URL

values: Category:All articles with dead external links

values: Category:Articles with dead external links from August 2017

values: Category:Articles with permanently dead external links

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

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

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

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

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

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

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

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

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

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

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

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

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

values: Featured content – the best of Wikipedia

values: Find background information on current events

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

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

values: Guidance on how to use and edit Wikipedia

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

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

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

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

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

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

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

values: Permanent link to this revision of the page

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

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

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

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