text:
I'll Make a Man Out of You
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the Disney song. For the World War I recruiting song, see I'll Make a Man of You.
"I'll Make a Man Out of You"
Song by Donny Osmond
from the album Mulan: An Original Walt Disney Records Soundtrack
Released
June 2, 1998 (1998-06-02)
Genre
Soundtrack
Length
3:21
Label
Walt Disney
Songwriter(s)
Matthew Wilder
David Zippel
Producer(s)
Matthew Wilder
Mulan: An Original Walt Disney Records Soundtrack track listing
"Reflection"
(2) "I'll Make a Man Out of You"
(3) "A Girl Worth Fighting For"
(4)
"I'll Make a Man out of You" is a song written by composer Matthew Wilder and lyricist David Zippel for Walt Disney Pictures' 36th animated feature film Mulan (1998). Appearing on the film's soundtrack Mulan: An Original Walt Disney Records Soundtrack, "I'll Make a Man Out of You" is performed by American singer Donny Osmond as the singing voice of Captain Li Shang in lieu of American actor BD Wong, who provides the character's speaking voice. The song also features appearances by Lea Salonga as Mulan, Eddie Murphy as Mushu, and Harvey Fierstein, Jerry Tondo and Wilder himself as Yao, Chien-Po and Ling, respectively.
"I'll Make a Man Out of You" was written to replace the song "We'll Make a Man of You" after the film's original songwriter Stephen Schwartz departed from the project in favor of working on DreamWorks' The Prince of Egypt (1998). Prior to Mulan, Osmond had auditioned for the role of Hercules in Disney's Hercules (1997), a role for which he was ultimately turned down by the directors because they felt that he sounded too old. Disney eventually cast Osmond as the singing voice of Shang because his singing voice is similar to Wong's speaking voice. An up-tempo military-style song, "I'll Make a Man Out of You" is performed by Shang during a rigorous training montage in which his young, inexperienced soldiers attempt to justify their worth. The song's title is considered ironic because Mulan, who relies on intelligence, ultimately proves more competent than her male comrades, including Captain Li Shang, who takes a liking to her.
"I'll Make a Man Out of You" has received mostly positive reviews from film and music critics, some of whom dubbed it the film's best song, while praising Osmond's performance. Critics have also drawn comparisons between the song and Disney's Hercules, while likening Mulan's role and transformation to actress Demi Moore's performance as Lieutenant Jordan O'Neil in the film G. I. Jane (1997). The song has since appeared on several "best of" Disney songs lists, including those of Total Film and the New York Post. Discussed by film critics, film historians, academic journalists and feminists, the song has gone on to be recorded and covered in several different languages—namely Mandarin, Cantonese and Spanish—by entertainers Jackie Chan and Cristian Castro, respectively.
Contents
[hide]
1 Background
2 Context and use in Mulan
3 Music and lyrics
4 Reception
4.1 Critical response
4.2 Accolades and recognition
5 Covers and parodies
6 Credits and personnel
7 References
8 External links
Background[edit]
The directors cast American singer Donny Osmond as the singing voice of Shang because he and BD Wong share similar voices; Osmond had auditioned for the role of Hercules in Disney's Hercules, for which he was turned down because he sounded "too old".
"I'll Make a Man Out of You" was written by composer Matthew Wilder and lyricist David Zippel, who were hired to write the songs for Mulan because, according to co-director Tony Bancroft, "Disney was trying to find different songwriters that ... would give kind of different sound to each of the songs." While Zippel, a Broadway lyricist, was recruited because the directors were impressed by the songwriter's work on Disney's Hercules (1997), at the time Wilder, a pop singer and record producer, was best known for his hit single "Break My Stride".[1] Bancroft believes that, although the songwriters "had two different sensibilities ... I think the[y] blend worked well together, especially on ['I'll Make a Man Out of You']".[1]
Originally, songwriter Stephen Schwartz, who had just recently worked as a lyricist opposite composer Alan Menken on Disney's Pocahontas (1995) and The Hunchback of Notre Dame (1996), was slated to write the lyrics for Mulan, but he was replaced by Zippel "at the last moment."[2] Schwartz had written a song called "We'll Make a Man of You" for "when Mulan is trying to learn to be a soldier".[3] The song was eventually replaced by Wilder and Zippel's "I'll Make a Man Out of You" when Schwartz was forced to resign from Mulan by Disney executives Peter Schneider and Michael Eisner because the songwriter had also agreed to write the songs for rival film studio DreamWorks' animated feature film The Prince of Egypt (1998).[4] According to The Musical Theater of Stephen Schwartz: From Godspell to Wicked and Beyond, Schwartz believed that he would have been able to work on both films simultaneously, but ultimately chose The Prince of Egypt instead because he felt pressured by Disney.[5]
Before Mulan, American singer Donny Osmond had auditioned for the lead role of Hercules in Hercules, a role for which he was ultimately not cast because the directors felt that is voice sounded "too old" and "too deep" for the character.[6] Osmond later revealed in an interview with People that he was so embarrassed by his Hercules audition that he had nearly considered ending his singing career prematurely.[7] A few months later, Disney contacted Osmond with interest in casting him as the singing voice of Shang after comparing his audition tapes to BD Wong and determining that both actors have "very similar voices."[8] In one scene, Osmond's character, Shang, is hit in the stomach while singing "I'll Make a Man Out of You". In order to sound as realistic as possible, Osmond punched himself in the stomach several times while recording the song.[9]
Context and use in Mulan[edit]
"I'll Make a Man Out of You" is performed by Captain Li Shang during Mulan's training montage,[10] which has also been identified as the film's "boot camp sequence."[11] The scene explores Shang's attempt to train his newly recruited squadron of incompetent soldiers in the hopes of ultimately transforming into a skilled army.[12] Occupying a significant portion of the film's plot, Shang promises to turn his team of "rag-tag recruits" into men.[13][14] The musical number is used to "compress dramatic time or narrate" in a more compelling way than had solely dialogue been used.[15] The scene begins with Shang shooting an arrow into the top of a tall pole and challenging all of his soldiers to retrieve it, each of whom fail until Mulan eventually succeeds. According to the book Into the Closet: Cross-Dressing and the Gendered Body in Children's Literature and Film by Victoria Flanagan, Mulan is successful in retrieving the arrow because she uses "an ingenuity that is based upon her ability to incorporate aspects of femininity into her masculine performance."[16] By the end of the scene, all of the soldiers have improved dramatically and the results of their practice and training are finally revealed.[17] In what Joshua and Judges author Athalya Brenner called "a humorous reversal toward the end of the movie," Mulan and her male comrades disguise themselves as concubines in order to infiltrate the palace and rescue the emperor while "I'll Make a Man Out of You" reprises in the background.[18]
Screenshot of Mulan (left), disguised as "Ping", being reprimanded by Shang (right) during the "I'll Make a Man Out of You" sequence due to her incompetence.
Critics have observed ways in which the scene explores Mulan's growth and transformation as the character evolves from a clumsy, inexperienced recruit into one of the army's most skilled soldiers, in spite of her gender. According to the book Literacy, Play and Globalization: Converging Imaginaries in Children's Critical and Cultural Performances, the montage depicts Mulan's gender as "an obstacle to overcome."[19] Author Phyllis Frus wrote in her book Beyond Adaptation: Essays on Radical Transformations of Original Works, "The need for inexperienced young men to go through a rigorous training results in a sequence common to many films," and that the scene "show's the challenges Ping/Mulan faces due to her" inexperience.[17] As observed by Juanita Kwok in the book Film Asia: New Perspectives on Film for English, the irony of the scene lies within the fact that "Mulan proves herself more competent than any of the men."[20] The author also observed that the scene's first refrain accompanies shots of Shang, while its second "coincides with Mulan climbing to the top of the pole."[21] Additionally, while the earlier, all-female musical number "Honor to Us All" "functions as an account of the constructedness of female gender," "I'll Make a Man Out of You" "juxtaposes and makes explicit the contention that gender is a cultural product," according to Johnson Cheu, author of Diversity in Disney Films: Critical Essays on Race, Ethnicity, Gender, Sexuality and Disability.[22] The Representation of Gender in Walt Disney's "Mulan" believes that the song emphasizes desirable masculine traits, namely "discipline ... tranquility, celerity, strength and fearlessness,"[23] while Shang, according to Putting the Grail Back into Girl Power: How a Girl Saved Camelot, and why it Matters, "views [femininity] as comparable to weakness."[24] In her article Disney's "Mulan"—the "True" Deconstructed Heroine?, Lisa Brocklebank argued the song explores themes such as othering, ostracism and abjection.[25]
Critics have drawn similarities between the "I'll Make a Man Out of You" sequence and Hercules' training montage in Disney's Hercules (1997), as well as actress Demi Moore's role as Lieutenant Jordan O'Neil in the film G. I. Jane (1997).[10] In the book Ways of Being Male: Representing Masculinities in Children's Literature, author John Stephens wrote that although both Mulan and Hercules depict "the active male body as spectacle," Mulan's is less "straight-forward" due to the character's gender.[21] Michael Dequina of The Movie Report observed that "Mulan's transformation is highly reminiscent of Demi Moore's in last year's Disney drama G.I. Jane, but Mulan oneups that film's hour-long toughening process by efficiently covering the same ground during a single, rousing musical number."[26]
Music and lyrics[edit]
I'll Make a Man Out of You
A twenty-nine second sample of "I'll Make a Man Out of You".
Problems playing this file? See media help.
Written in common time at a tempo of 110 beats per minute and starting out in the key of G major,[27] "I'll Make a Man Out of You" has been identified as a "heroic power ballad"[28] and anthem[29] that features an upbeat, "thumping" rhythm.[30][31] The Disney Song Encyclopedia described the song as a "rhythmic military song."[32] Beginning with "a military-style drum" introduction,[21] "I'll Make a Man Out of You", which is immediately preceded by the emotional ballad "Reflection" on the film's soundtrack album, "breaks up the slower pace of the songs," according to Filmtracks.com.[33] Similar to the song "A Girl Worth Fighting For", the "ironically titled"[34] "I'll Make a Man Out of You" "play[s] off Mulan's secret" because Shang is unaware that she is actually a girl, as observed by Jeffrey Gantz of The Phoenix.[35] Johnson Cheu, author of Diversity in Disney Films: Critical Essays on Race, Ethnicity, Gender, Sexuality and Disability, received the song as a counterpart to the all-female musical number "Honor to Us All".[22] Going into the last verse, the song's key shifts up to A♭ major and later towards the end, "the backing track falls into silence and [Osmond's] vocals come to the fore."[36] Osmond's vocal range spans one octave, from D3 to F4.[37] Beginning with two verses, followed by a bridge, a refrain, a final verse and repeated choruses,[38] the song is a total of three minutes and twenty-one seconds in length.[39]
Entertainment Weekly identified the number as the film's "rambunctious peak."[40] According to Victoria Flanagan, author of Into the Closet: Gender and Cross-dressing in Children's Fiction: Cross-Dressing and the Gendered Body in Children's Literature and Film, "I'll Make a Man Out of You" is "a playful parody of conventional masculinity."[16] The lyric "I'll make a man out of you" is constantly repeated and reinforced by Shang.[35] According to author John Stephens of Ways of Being Male: Representing Masculinities in Children's Literature, the song's lyrics "initially define masculinity in opposition to femininity,"[21] with its first verse beginning, "Let's get down to business/To defeat the Huns/Did they send me daughters/When I asked for sons?"[27] Its chorus reads, "You must be swift as the coursing river/With all the force of the great typhoon/With all the strength of a raging fire/Mysterious as the dark side of the moon" which,[12] according to Ways of Being Male: Representing Masculinities in Children's Literature, "essentializes masculinity by asserting that it embodies the speed, strength and power of the natural world, and yet contains this within an aura of tranquility and mystery."[21] According to Beyond Adaptation: Essays on Radical Transformations of Original Works, these lyrics "add a hint of darkness as they celebrate male prowess" by suggesting that one who has "acquired fiery strength" is also "untamed as the moon's dark side."[17] The song has been noted by the New York Post for its "slew of one-liners from supporting characters."[41] According to The Phoenix, Osmond performs the song's lyrics with "grit."[35] Meanwhile, the singer is backed up by a macho-sounding choir repeatedly chanting "Be a man!"[12][42]
Reception[edit]
Critical response[edit]
Hong Kong actor Jackie Chan covered the song in Mandarin and Cantonese for the film's Chinese and special edition releases; Chan's rendition has been met with generally positive reviews.
"I'll Make a Man Out of You" has been met with mostly positive reviews from both film and music critics. Irving Tan of Sputnikmusic wrote, "there hasn't been a single chorus in all of post-Mulan pop music that has managed to rival the roaring power in the refrain."[12] Scott Chitwood of ComingSoon.net reviewed "I'll Make a Man Out of You" as "a stirring, testosterone filled piece," describing the scene as "amusing."[43] Owen Gleiberman of Entertainment Weekly wrote that the song "has a comparable infectious punch," concluding, "it's the only song in the movie that escapes Disneyfied blandness."[40] Jeff Vice of the Deseret News observed that Wong and Osmond's "voices sound eerily similar."[8] Tom Henry of The Blade enjoyed Osmond's delivery, describing the singer's performance as "solid."[44] Lloyd Paseman of The Register-Guard called "I'll Make a Man Out of You" a favorite of his.[45] While exploring "The History of Movie Training Montages", Chris Giblin of Men's Fitness opined, "Mulan served as proof that the fitness montage can work amazingly well in movies for kids." Giblin continued, "it has the best lyrics of any serious fitness/sports montage song. Overall, a very strong montage."[46] Disney.com itself cites "I'll Make a Man Out of You" as a "song that was so epic, so legendary, that it requires an out loud sing along anytime we hear it."[28]
Despite dubbing the film's songs its "weak link," TV Guide wrote that the musical numbers are "crafted with a knowing, almost camp wink that's totally in keeping with the subtext of the film," concluding that "I'll Make a Man Out of You" sounds like "a Village People original."[47] Writing for The Seattle Times, Moira Macdonald criticized Wilder and Zippel's songs as "forgettable," calling "I'll Make a Man Out of You" "annoying."[30] The Phoenix's Jeffrey Gantz wrote that although "Donny Osmond shows some grit, but he's still the voice of the Whitebread West."[35] Amazon.ca's Jason Verlinde commented, "Unfortunately, the voice of Donny Osmond, relegated to anthems such as 'I'll Make a Man Out of You' doesn't really enhance the story line".[29]
Accolades and recognition[edit]
Total Film ranked "I'll Make a Man Out of You" twenty-ninth on its list of the "30 Best Disney Songs".[36] Similarly, M ranked the song twentieth on its list of the "Top 20 Disney Songs of All Time". Author Stephanie Osmanski cited "Did they send me daughters when I asked for sons?" as her favourite lyric.[48] Gregory E. Miller of the New York Post cited I'll Make a Man Out of You" as one of "The best (and the most underrated) Disney songs," writing, "Captain Shang’s battle-preparation anthem is the movie’s most quotable, with a memorable chorus and a slew of one-liners from supporting characters."[41] PopSugar ranked the song the nineteenth "Catchiest Disney Song".[49] On Empire's list of the twenty "Most Awesome Training Montages In Cinema History", "I'll Make a Man Out of You" was ranked 14th. The author identified it as "a solid training montage in which Mulan and her friends go from hapless duffers to fearless warriors in just over two minutes."[50] Similarly, Men's Fitness also ranked "I'll Make a Man Out of You" among the greatest training montages in film history.[46] Stephen Fiorentine of Sneaker Report wrote that "Training montages aren’t limited to just live-action movies. With movies like Mulan and Hercules, Disney mastered the art of the montage in their animated films."[51]
Covers and parodies[edit]
When Mulan was released in China, Hong Kong actor Jackie Chan was hired to dub the voice of Shang and record "I'll Make a Man Out of You" in Mandarin and Cantonese.[52] The special edition DVD release of Mulan features a music video of Chan performing the song. The video also depicts Chan performing martial arts-inspired choreography. Positively received, Scott Chitwood of ComingSoon.net called Chan's rendition "a fun addition for Chan fans,"[43] while Nancy Churnin of The Dallas Morning News wrote that he performed the song "very ably."[53] Mexican singer Cristian Castro, who voiced Shang in the film's Latin American release,[54] recorded "I'll Make a Man Out of You" in Spanish, titled "Hombres de Acción serán hoy".[55][56]
In July 2013, a parody of the song was uploaded to YouTube titled "I'll Make a Mann Out Of You". The video uses the song with animation made in Source Filmmaker in which the Soldier from Team Fortress 2 motivates his fellow RED teammates against the BLU team. In October 2014, a parody of "I'll Make a Man Out of You" was uploaded to YouTube entitled "I'll Make a 'Mon Out of You".[57] A mashup of Mulan and the popular Pokémon franchise, the video features Digimon Gatomon attempting to masquerade as Pokémon Meowth in lieu of Mulan, while Ash occupies the role of Shang as his trainer, according to Smosh. Another parody of the song, based on the Dragon Ball franchise was uploaded to YouTube by TeamFourStar. [58]
Credits and personnel[edit]
Credits adapted from the website Discogs.[59]
Donny Osmond – lead vocals
Lea Salonga, Eddie Murphy, Harvey Fierstein, Jerry Tondo and Matthew Wilder – additional vocals
Matthew Wilder – songwriting and producing
David Zippel – songwriting
References[edit]
^ Jump up to: a b Noyer, Jérémie (August 14, 2008). "Tony Bancroft balances the yin and the yang in directing Mulan". Animated Views. Retrieved October 30, 2014.
Jump up ^ Simon, Ben (October 25, 2004). "Mulan: Special Edition". Animated Views. Retrieved October 30, 2014.
Jump up ^ "Stephen Schwartz comments" (PDF). Stephen Schwartz. Stephen Schwartz. Retrieved October 20, 2014.
Jump up ^ Hill, Jim (October 1, 2008). ""Defying Gravity" details Stephen Schwartz's sometimes difficult dealings with the Walt Disney Company". Jim Hill Media. Retrieved October 30, 2014.
Jump up ^ Laird, Paul R. (2014). The Musical Theater of Stephen Schwartz: From Godspell to Wicked and Beyond. United States: Scarecrow Press. p. 245. ISBN 9780810891920.
Jump up ^ Vancheri, Barbara (June 17, 1998). "Busy Donny Osmond makes a captain sing". Post-Gazette. Retrieved October 30, 2014.
Jump up ^ Barlow, David H. (2004). Anxiety and Its Disorders: The Nature and Treatment of Anxiety and Panic. United States: Guilford Press. p. 454. ISBN 9781593850289.
^ Jump up to: a b Vice, Jeff (June 19, 1998). "Film review: Mulan". Deseret News. Retrieved October 29, 2014.
Jump up ^ Scheerer, Mark (July 8, 1998). "Donny Osmond rolls with the punches for 'Mulan' success". CNN. Cable News Network. Retrieved October 29, 2014.
^ Jump up to: a b McEwen, John R. (June 19, 1998). "MULAN". Film Quips Online. Retrieved October 28, 2014.
Jump up ^ Blackwelder, Rob (1998). "Forgettable songs no hinderance to Disney's marvelous new style in 'Mulan'". SPLICEDWIRE.com. SPLICEDwire. Retrieved October 29, 2014.
^ Jump up to: a b c d Tan, Irving (December 22, 2010). "Soundtrack (Disney) – Mulan". Sputnikmusic. Sputnikmusic.com. Retrieved October 28, 2014.
Jump up ^ Ebert, Roger (June 19, 1998). "Mulan". RogerEbert.com. Ebert Digital LLC. Retrieved October 29, 2014.
Jump up ^ Roten, Robert (1998). "Mulan – Disney again shows why it is the master of a genre". Laramie Movie Scope. Robert Roten. Retrieved October 28, 2014.
Jump up ^ DiMare, Pilip C. (2011). Movies in American History: An Encyclopedia [3 volumes]: An Encyclopedia. United States: ABC-CLIO. p. 1009. ISBN 9781598842975.
^ Jump up to: a b Flanagan, Victoria (2013). Into the Closet: Cross-Dressing and the Gendered Body in Children's Literature and Film. United Kingdom: Routledge. ISBN 9781136777288.
^ Jump up to: a b c Frus, Phyllis; Williams, Christy (2010). Beyond Adaptation: Essays on Radical Transformations of Original Works. United States: McFarland. pp. 160–161. ISBN 9780786455782.
Jump up ^ Brenner, Athalya; Yee, Gale A (2013). Joshua and Judges. United States: Fortress Press. ISBN 9780800699376.
Jump up ^ Medina, Carmen L.; Vohlwend, Karen E. (2014). Literacy, Play and Globalization: Converging Imaginaries in Children's Critical and Cultural Performances. United Kingdom: Routledge. p. 86. ISBN 9781136193781.
Jump up ^ Kwok, Juanita; McKnight, Lucinda (2002). Film Asia: New Perspectives on Film for English. United States: Curriculum Press. p. 85. ISBN 9781863665438.
^ Jump up to: a b c d e Stephens, John (2013). Ways of Being Male: Representing Masculinities in Children's Literature. United Kingdom: Routledge. pp. 121–122. ISBN 9781135363840.
^ Jump up to: a b Cheu, Johnson (2013). Diversity in Disney Films: Critical Essays on Race, Ethnicity, Gender, Sexuality and Disability. United States: McFarland. p. 119. ISBN 9780786446018.
Jump up ^ The Representation of Gender in Walt Disney's "Mulan". Retrieved 30 October 2014.
Jump up ^ "Putting the Grail Back into Girl Power: How a Girl Saved Camelot,...: ingentaconnect". Retrieved 30 October 2014.
Jump up ^ Brocklebank, Lisa (2000). "Disney's "Mulan"—the "True" Deconstructed Heroine?". Marvels & Tales. Wayne State University Press. 14 (2). Retrieved 30 October 2014.
Jump up ^ Dequina, Michael (June 4, 1998). "Mulan (G)". The Movie Report. Retrieved October 29, 2014.
^ Jump up to: a b "I'll Make a Man Out of You By Donny Osmond - Digital Sheet Music". Musicnotes.com. Walt Disney Music Publishing. Retrieved October 28, 2014.
^ Jump up to: a b "An Epic Breakdown of I’ll Make a Man Out of You". Official Disney Blogs. Disney. 2014. Retrieved November 3, 2014.
^ Jump up to: a b Verlinde, Jason. "Mulan". Amazon.ca. Amazon.com, Inc. Retrieved October 29, 2014.
^ Jump up to: a b Macdonald, Moira (June 19, 1998). "Disney's `Mulan': Surprising Words And Scenes - And Visual Beauty, Too". The Seattle Times. The Seattle Times. Retrieved October 10, 2014.
Jump up ^ Delia, John. ""Mulan" Comes to Blu-ray with a Double Feature (Video Review)". ACED Magazine. ACED Magazine. Retrieved October 28, 2014.
Jump up ^ Hischak, Thomas S.; Robinson, Mark A. (2009). The Disney Song Encyclopedia. United States: Scarecrow Press. p. 94. ISBN 9780810869387.
Jump up ^ "Mulan". Filmtracks.com. Christian Clemmensen (Filmtracks Publications). June 2, 1998. Retrieved October 28, 2014.
Jump up ^ Stingl, Alexander I; Restivo, Sal; Weiss, Sabrina M (2014). Worlds of ScienceCraft: New Horizons in Sociology, Philosophy, and Science Studies. United Kingdom: Ashgate Publishing, Ltd. p. 81. ISBN 9781409445272.
^ Jump up to: a b c d Gantz, Jeffrey (June 18, 1998). "True to its heart?". The Phoenix. Retrieved October 28, 2014.
^ Jump up to: a b Winning, Josh (December 3, 2013). "30 Best Disney Songs". Total Film. Future Publishing Limited. Retrieved October 30, 2014.
Jump up ^ "I'll Make a Man Out of You From Mulan - Digital Sheet Music". Musicnotes.com. Walt Disney Music Publishing. Retrieved October 28, 2014.
Jump up ^ Sonja, Blum (2008). The Representation of Gender in Walt Disney's "Mulan". United Kingdom: Books on Demand. p. 15. ISBN 9783638946384.
Jump up ^ "Mulan (An Original Walt Disney Records Soundtrack) Various Artists". iTunes. Apple Inc. Retrieved October 29, 2014.
^ Jump up to: a b Gleiberman, Owen (June 19, 1998). "Mulan (1998)". Entertainment Weekly. Entertainment Weekly and Time Inc. Retrieved October 10, 2014.
^ Jump up to: a b Miller, Gregory E (March 18, 2014). "The best (and the most underrated) Disney songs". New York Post. NYP Holdings, Inc. Retrieved October 29, 2014.
Jump up ^ Nachman, Brett (January 23, 2014). "Disney In Depth: ‘Frozen’ Soundtrack Review". Geeks of Doom. Creative Commons License. Retrieved October 28, 2014.
^ Jump up to: a b Chitwood, Scott. "Mulan - Special Edition". ComingSoon.net. CraveOnline Media, LLC. Retrieved October 29, 2014.
Jump up ^ Henry, Tom (August 9, 1998). "MULAN (Soundtrack)". The Blade. Retrieved October 30, 2014.
Jump up ^ Paseman, Lloyd (July 2, 1998). "Eugene Register-Guard - Google News Archive Search". The Register-Guard. Retrieved 30 October 2014.
^ Jump up to: a b Giblin, Chris. "The History of Movie Training Montages". Men's Fitness. Weider Publications, LLC. Retrieved October 30, 2014.
Jump up ^ "Mulan". TV Guide. CBS Interactive Inc. 1998. Retrieved October 28, 2014.
Jump up ^ Osmanski, Stephanie (January 9, 2014). "Top 20 Disney Songs of All Time". M. Retrieved October 30, 2014.
Jump up ^ Pehanick, Maggie (June 10, 2014). "25 Disney Songs We Will Never Stop Singing". PopSugar. PopSugar, Inc. Retrieved October 30, 2014.
Jump up ^ "The Most Awesome Training Montages In Cinema History". Empire. Bauer Consumer Media Ltd. Retrieved October 30, 2014.
Jump up ^ Fiorentine, Stephen (November 29, 2014). "Ranking the Best Workout Montages of All Time". Sneaker Report. Complex Media. Retrieved February 4, 2015.
Jump up ^ Wynalda, Steve (September 5, 2014). "10 Awesome Facts About Jackie Chan". Listverse. Listverse Ltd. Retrieved October 10, 2014.
Jump up ^ Churnin, Nancy (November 9, 2004). "Hurray for a woman who follows her heart". The Dallas Morning News. Retrieved October 30, 2014.
Jump up ^ "Christian Castro Biography". Rotten Tomatoes. Flixster, Inc. Retrieved October 29, 2014.
Jump up ^ "Disney's Mulan Latinamerica / Mulan Español O.S.T". freedb. Retrieved December 5, 2014.
Jump up ^ "Mulan Outside the U.S.". OoCities. Retrieved October 29, 2014.
Jump up ^ ""I'll Make a 'Mon Out of You" Is the Perfect Pokemon-Mulan Mashup". Dorkly. Connected Ventures, LLC. October 9, 2014. Retrieved October 31, 2014.
Jump up ^ "Make A 'Mon Out Of You (POKEMON MULAN PARODY)". Smosh. Defy Media, LLC. 2014. Retrieved October 30, 2014.
Jump up ^ "Matthew Wilder & David Zippel / Jerry Goldsmith – Disney's Mulan (An Original Walt Disney Records Soundtrack)". Discogs. Discogs. Retrieved November 20, 2014.
External links[edit]
Disney Sing-Along on YouTube (on Disney's official channel)
Lyrics of this song at MetroLyrics
[hide]
v
t
e
Disney's Mulan
Films
Mulan (1998)
Mulan II (2004)
Characters
Mulan
Other characters
Attractions and musicals
Mulan Jr.
Video games
Disney's Mulan
Disney's Animated Storybook: Mulan
Music
"Honor to Us All"
"Reflection"
"I'll Make a Man Out of You"
"A Girl Worth Fighting For"
Category
Retrieved from "https://en.wikipedia.org/w/index.php?title=I%27ll_Make_a_Man_Out_of_You&oldid=806971932"
Categories:
1990s ballads
1998 songs
Donny Osmond songs
Cristian Castro songs
1998 singles
Songs written by Matthew Wilder
Songs from Mulan
Hidden categories:
Good articles
Articles with hAudio microformats
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
Français
Edit links
This page was last edited on 25 October 2017, at 05:11.
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

values: mw-page-base noprint

values: mw-head-base noprint

values: This is a good article. Click here for more information.

attrs: href title

attrs: class id

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

attrs: role class

values:
note
hatnote navigation-not-searchable

attrs: colspan class style

value: i

values: width: 33%; text-align: center; vertical-align: top; padding:.2em .1em .2em 0;

values: width: 33%; text-align: center; vertical-align: top; padding:.2em .1em;

values: width: 33%; text-align: center; vertical-align: top; padding:.2em 0 .2em .1em;

values: background: transparent; width: 100%; min-width: 100%; border-collapse: collapse;

values:
/wiki/Li_Shang_(Mulan_character)
mw-redirect
Li Shang (Mulan character)

values:
/wiki/Yao,_Ling_and_Chien-Po
mw-redirect
Yao, Ling and Chien-Po

values:
/wiki/Hercules_(Disney_character)
mw-redirect
Hercules (Disney character)

values:
/wiki/Training_montage
mw-redirect
Training montage

values: position: absolute; top: 0px; left: 110px; right: 0px; bottom: 0px; height: 0px; width: 0px;

values: left: 50%; top: 50%; margin-left: -35px; margin-top: -27.5px;

values: width:220px width: 220px; position: relative;

values:
/wiki/Common_time
mw-redirect
Common time

values:
/wiki/Beats_per_minute
mw-redirect
Beats per minute

values:
/wiki/Power_ballad
mw-redirect
Power ballad

values:
/wiki/Military_song
mw-redirect
Military song

values:
/wiki/A%E2%99%AD_major
mw-redirect
A♭ major

values:
/wiki/Chorus_(song)
mw-redirect
Chorus (song)

values:
/wiki/Background_singer
mw-redirect
Background singer

values:
/wiki/Film_critics
mw-redirect
Film critics

values:
/wiki/Music_critics
mw-redirect
Music critics

values:
/wiki/The_Blade_(Toledo)
mw-redirect
The Blade (Toledo)

values:
/wiki/TV_Guide_(magazine)
mw-redirect
TV Guide (magazine)

values:
/wiki/M_(magazine)
mw-redirect
M (magazine)

values:
nofollow
external text
http://www.freedb.org/freedb_search.php

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

values: nowraplinks hlist collapsible autocollapse navbox-inner

values: Category:Songs written by Matthew Wilder

values: Category:Articles with hAudio microformats

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/I%27ll_Make_a_Man_Out_of_You
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:
uls-settings-trigger
Language settings
0
button
true

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

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-I_ll_Make_a_Man_Out_of_You rootpage-I_ll_Make_a_Man_Out_of_You vector-experimental-print-styles vector-nav-directionality skin-vector action-view


text:
Who Dat?
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the spectator chant, Who dat?. For other uses, see Who Dat (disambiguation).
Who dat? is an English idiom originating from New Orleans. First generally referenced in poetry, the phrase was a common dialogue element between the performers and crowd at traveling minstrel shows in the region. Eventually, the phrase became used in US cinematic productions for two decades, including TV and movies. In World War II, the phrase became known as a source of entertainment for American soldiers.
More recently, the phrase "Who dat?" has become a chant of team support. It is most widely used by fans of the New Orleans Saints, an American football team. The entire chant is: "Who dat? Who dat? Who dat say dey gonna beat dem Saints?" "Who dat" may also be used as a noun, describing a Saints fan.[1]
Contents
[hide]
1 Origins
2 Origins of the "Who Dat?" chant
3 "Who Dat?" spin-off chants
4 Who Dat Nation
5 Ownership controversy
6 Recorded versions
7 In hip hop
8 Other references
9 References
Origins[edit]
The earliest documented use of the phrase can be found in a July 30, 1852 New Orleans Daily Picayune article.[2]
The chant of "Who Dat?" originated in minstrel shows and vaudeville acts of the late 19th and early 20th centuries and was taken up by jazz and big band performers in the 1920s and '30s.[3]
Early references to "Who Dat?" can be found in the 19th Century in the poetry of Paul Laurence Dunbar, first in his poem "When Malindy Sings" and later in his lyrics to the song "Who Dat Say Chicken in dis Crowd,"[4][5][6] a featured song in Clorindy: The Origin of the Cakewalk, an "operetta" by Dunbar and Will Marion Cook that was first presented as part of E.E. Rice's 1898 show "Summer Nights".[7] A common tag line in the days of Negro minstrel shows was: "Who dat?" answered by "Who dat say who dat?" Many different blackfaced gags played off that opening. Vaudeville performer Mantan Moreland was known for the routine.[6] Another example is "Swing Wedding", a 1930s Harman-Ising cartoon musical, which caricatured Fats Waller, Cab Calloway, Bill "Bojangles" Robinson, Ethel Waters, and the Mills Brothers as frogs in a swamp performing minstrel show jokes and jazz tunes. The frogs repeatedly used the phrase "who dat?"
In the swing era, "who dat" chants back and forth between the band and the band leader or between the audience and the band were extemporaneous. That is, there was no one specific set of words except for the two magic ones.
"Who Dat?" lyrics from 1937:
Who dat up there who's dat down there
Who dat up there who dat well down there
Who's dat up there, sayin' who's dat down there
When I see you up there well who's dat down there
Who dat inside who's dat outside
Who's dat inside who dat well outside
Who's dat inside, singin' who's dat outside
When I see up there well who's dat out there
Button up your lip there big boy
Stop answerin' back
Give you a tip there big boy
Announce yourself jack
Who dat up there who's dat down there
Who dat up there who dat, well down there
Who's dat up there, singin' who's dat down there
When I see you up there you bum
Well who's dat down there
Who dat
Staged minstrel skits featured frightened African American characters saying "who dat" when they encountered a ghost, or someone imitating a ghost. Then, the "who dat"–"who dat say who dat" skit would play itself out. This skit was done frequently in short reels from the 1930s to 1950s and in some early TV shows too. Even the Marx Brothers had a "who dat" routine, which they included in their film A Day at the Races. "Who Dat Man? Why It's Gabriel!"[6] Often, a ghost was called a "who dat." Metro-Goldwyn-Mayer's animated character Bosko once had such an encounter in a 1938 toon called "Lil Ol Bosko in Bagdad." In 1941 Butterfly McQueen infamously delivered what African American film historian Donald Bogle described as what "might be the most demeaning line ever uttered by a black in the movies" when she said, "Who dat say who dat when I say who dat?" in the movie Affectionately Yours.[8]
"Who Dat?" became a familiar joke with soldiers during World War II.
Back in WWII, U.S. fighter squadron pilots would often fly under radio silence. But things get lonely up there in the cockpit, so after a while there'd be a crackle of static as someone keyed his mike. Then a disembodied voice would reply, "Who dat?" An answer would come, "Who dat say who dat?" And another, "Who dat say who dat when ah say who dat?" After a few rounds of this, the squadron commander would grab his microphone and yell, "Cut it out, you guys!" A few moments of silence. Then... "Who dat?"[9]
Origins of the "Who Dat?" chant[edit]
"Who Dat" became part of a chant for fans cheering on their favorite team. It has been debated exactly where it started, but some claim it began with Southern University Jaguars fans either in the late 1960s or early 1970s and went "Who dat talkin' 'bout beatin' dem Jags?"[10] Another claim is that it was connected with St. Augustine High School, a historically African-American all-boys Catholic high school in New Orleans, and yet another is that the cheer originated at Patterson High School in Patterson, Louisiana (home of Saints running back Dalton Hilliard).[6] In the late 1970s fans at Alcorn State University[11] and Louisiana State University picked up on the cheer.[12] Fans of professional wrestler Junkyard Dog, a star on the Mid-South Wrestling circuit from 1979 to 1984 who frequently appeared in events at the Louisiana Superdome and Municipal Auditorium in New Orleans, had a similar chant: "Who dat think they gonna beat that Dog".[13]
Its earliest known documented link specifically to the Saints organization was actually a December 9, 1972 New Orleans Times–Picayune newspaper column reference to a player from an opposing team, Carl Garrett of the New England Patriots.[14]
By 1983 the cheer had become so popular among fans that the New Orleans Saints organization officially adopted it during the tenure of coach Bum Phillips, and Aaron Neville (along with local musicians Sal and Steve Monistere and Carlo Nuccio) recorded a version of "When the Saints Go Marching In" that incorporated the chant of "Who dat say dey gonna beat dem Saints" (performed by a group of Saints players). The song quickly became a major local hit, due in part to the support of sportscaster Ron Swoboda and the fact that Saints fans had been using the chant for some time.[6]
Meanwhile, in about 1981 Cincinnati Bengals fans and players had started with their similar "Who Dey" cheer ("Who Dey think gonna beat them Bengals?").[15] In a 2006 article, Toni Monkovic, a New York Times writer, speculated that the 1981 popularity of the Bengals' "Who Dey" may have led Saints fans to expand their use of "Who Dat", from the "small number, and possibly a very small number" of Saints fans using it in the late 1970s to the much wider use of the chant in 1983. Monkovic noted that the fan bases of the two teams continue to disagree about this, and that ultimately the evidence is unclear.[16] However, this speculation seems unlikely to be accurate as the "Who Dat" chant was so common at nearby LSU months before Cincinnati's 1981 Super Bowl run that a song called "Who Dat" had been written (in March 1981) to the tune of Frankie Smith's "Double Dutch Bus" and played regularly on local radio, in conjunction with the LSU men's basketball team's Final Four run.[17]
"Who Dat?" spin-off chants[edit]
After the Saints won the NFC Championship Game on January 24, 2010, against the Minnesota Vikings in the Superdome, fans from all across New Orleans, including fans who were exiting the game, started a Mardi Gras-style "Who Dat" on Bourbon Street with modified lyrics, chanting, "Who Dat, Who Dat, Who Dat in the Super Bowl!" in reference to the Saints advancing to the Super Bowl for the first time ever in their 43-year history.[18][19] In Super Bowl XLIV, on February 7, 2010, the Saints beat the Indianapolis Colts 31-17. "Drew Dat" has occasionally been used in honor of quarterback Drew Brees.
Who Dat Nation[edit]
In recent years the phrase "Who Dat Nation" has become a popular term for the entire community of Saints fans.[20][21][22] According to Bobby Hebert, formerly a Saints quarterback and currently a sports commentator in New Orleans, the term "Who Dat Nation" originated after a highly anticipated 2006 game between the Saints and the favored Dallas Cowboys, which the Saints won; after the game, listeners from a wide geographic range called into Hebert's radio show on WWL (AM), and Hebert commented, "Man, there's a whole Who Dat Nation out there."[23]
Ownership controversy[edit]
Fans in New Orleans celebrating New Orleans Saints Super Bowl victory.
In January 2010, the NFL sent cease and desist letters to several Louisiana T-shirt shop owners ordering them to cease producing T-shirts bearing the phrase "Who dat". According to some recipients of these letters, the NFL was claiming to own the trademark to the term "Who dat", and that unlicensed T-shirts bearing the phrase would cause confusion among fans of the Saints about the official status of the merchandise.[24][25][26] On January 27 one company tweeted about their whodat tee shirt cease and desist order from the NFL, and NewOrleans.com and Huffington Post interviewed the Monisteres about the NFL's claims in relation to their company Who Dat?, Inc. The next day, the brothers released a statement claiming rights to the phrase to NewOrleans.com, which they registered in 1983 after recording the version of "When the Saints Go Marching In" that incorporated the chant.[27] The Monistere's record is listed as inactive, meaning that it was not renewed upon expiration. The Saints organization, through their company The New Orleans Louisiana Saints Limited Partnership, also registered the mark "Who Dat" in 1988 when used in conjunction with "fleur-de-lis design",[28] but later the Saints released their claim of ownership to WhoDat, Inc., asserting that they owned the phrase.[29]
The NFL's action also provoked responses from U.S. Senator David Vitter and Congressman Charlie Melancon of Louisiana, among others. Vitter sent a formal letter to NFL Commissioner Roger Goodell criticizing the NFL's attempt to claim ownership of the chant, informing Goodell he would be printing T-shirts using the phrase, and daring the NFL to sue him.[30] It was later reported that the NFL had responded to Vitter's letter, stating that it was only seeking to prevent unauthorized uses of "Who Dat?" together with other identifying marks of the Saints.[31][32]
Louisiana Attorney General Buddy Caldwell called the NFL and had a conversation about the ownership of the "Who Dat" slogan and of the fleur-de-lis. Caldwell said the bottom line from the legal back-and-forth with the league is that the NFL "is conceding it has no exclusive rights to the fleur-de-lis and no exclusive rights to 'Who Dat' and offshoots of 'Who Dat,' and no exclusive rights to the colors black and gold." Caldwell said his office was drafting a document to be signed by the state and the NFL outlining what is and is not allowable.[33]
On March 4, 2010, the Monisteres' company, Who Dat? Inc., filed suit in federal court against the Saints, NFL Properties, and the state of Louisiana, alleging improper interference with their business interests. The suit alleges: in 1987 the New Orleans Saints were granted a license by Who Dat?, Inc. to use the Who Dat phrase; in that agreement, the Saints agreed that the mark was original and that Monistere was the first use owner of the trademark; the Saints also agreed to never challenge Monistere's ownership of the mark or aid any one else in doing so; and the Saints were to also help protect the mark from infringement by others on behalf of the licensors (Who Dat?, Inc.).[34][35][36][37] Who Dat? Inc. subsequently amended their complaint to name several local retailers as defendants, most notably Fleurty Girl, and the matter was set for initial hearing in the U.S. District Court for the Eastern District of Louisiana on November 10, 2010.[38]
In January 2012, it was reported that the NFL and the Monisteres had agreed to dismiss their claims against each other and to cooperate in the production of "co-branded merchandise".[39] The lawsuit continued as to some of the other defendants, pending hearing of their motions to dismiss the case.[40][41] In October 2012 it was reported that the remaining parties had settled the case on confidential terms.[42] According to one attorney and restaurant owner who had been a party to the case, "The net effect of the settlement is that nobody owns Who Dat".[43]
Recorded versions[edit]
Who Dat - Spose
Who Dat? - Aaron Neville
Who Dat (Going to the Super Bowl) - Ashley Forrestier[44]
Who Dat - Royal Crown Revue
Dat "Who Dat" Jazz - Olympia Brass Band
Who Let the Dogs Out (Who Dat remix) - Baha Men/Clear Channel New Orleans
The Who Dat Roll - Williams Riley[45]
Who Dat? - Young Jeezy
Who Dat? Tom Tom Club
Who Dat David Frizzell, #60 Country hit in 1984
Who Dat - J. Cole
Who Dat Girl - Flo Rida
In hip hop[edit]
In 2008, New Orleans based artist Lil Wayne referenced the chant in his hit single "A Milli" where he raps Who dat say dey gonna beat Lil Wayne even though he is a Green Bay Packers fan.
In 2009, New Orleans based artist K. Gates recorded "Black and Gold (Who Dat)" based on Ying Yang Twins' "Halftime (Get Crunk)".
"Who dat" is also used in the song "Holla Back" by New Orleans-based rapper Juvenile: "They want a pimp to give them some money, but I don't do that. But baby I'm a Saints fan that's why I say who dat."
"Who Dat" is the name of the 8th single from 2008 The Recession by Young Jeezy. They say who dat?
JT Money has a 1999 single called "Who Dat". The song was a hit, but was likely not intended to have any relation to the Saints or Vaudeville.
In 2009, New Orleans rapper Birdman chants a "Who Dat". in the Single Wasted(Remix) by Gucci Mane featuring Birdman, Jadakiss and Lil Wayne.
In 2010, rapper J. Cole recorded a song called "Who Dat".
In 2010, New Orleans native, Ashley Forrestier released "Who Dat (Going to the Super Bowl)" celebrating the New Orleans Saints 31-28 Overtime Win over the Minnesota Vikings in the 2009-10 NFC Championship Game.
In 2012, New Orleans based rapper G-Eazy, in collaboration with artists Mod Sun and Meta, released the song "Rappin' A$$ Rappers" in which G-Eazy raps "livin' in New Orleans where dem people holla 'Who Dat'".[44]
Australian hip-hop artist Iggy Azalea has employed the refrain in several songs, including "Fancy" and "Leave It", drawing criticism from some who perceive an appropriation of Southern Black culture.[46]
Other references[edit]
A deepwater oil and gas field in the Gulf of Mexico, discovered in 2007, was named "Who Dat" by its developer, LLOG Exploration Co., based in New Orleans. The field, encompassing Mississippi Canyon Blocks 503, 504 and 547 in about 3,000 feet of water, began production in 2011.[47]
References[edit]
Jump up ^ "Meme of the week: Who Dat", Toronto Star, February 6, 2010.
Jump up ^ "City Intelligence: Only Thwimmin, Thir". New Orleans Daily Picayune (p. 2). July 30, 1852.
Jump up ^ Amy Davidson, "The Strange Case of Who Dat", Newyorker.com, February 9, 2010.
Jump up ^ Hollis Robbins, "The Origin of 'Who Dat?' It goes back to minstrelsy, but it's OK to say it now." The Root, February 9, 2010.
Jump up ^ Libretto - Who Dat Say Chicken In dis Crowd, 1898
^ Jump up to: a b c d e Dave Walker, "'Who dat?' popularized by New Orleans Saints fans when 'everybody was looking for the sign'", Times-Picayune, January 12, 2010, pp. A1, A10 (Saint Tammany Edition).
Jump up ^ Bernard L. Peterson, A Century of Musicals in Black and White: An Encyclopedia of Musical Stage Works By, About, or Involving African Americans (Greenwood Publishing Group, 1993), ISBN 978-0313266577, pp. 84-85. Excerpts available at Google Books.
Jump up ^ Stephen Bourne (2008). "Butterfly McQueen Remembered". Scarecrow Press, Inc. (p. 46).
Jump up ^ Murphy, Michael (2017). "All Dat New Orleans: Eating, Drinking, Listening to Music, Exploring, & Celebrating in the Crescent City".
Jump up ^ George Morris, "Saints cheer predates team; not much more history known", The Advocate (Baton Rouge, La.), December 30, 2009.
Jump up ^ Mark Young (February 25, 1979). "'Who Dat Talking'?' Just Alcorn". Baton Rouge Sunday Advocate (sec. F, p. 6).
Jump up ^ Rick Cleveland, "Who Dat started diz?", The Clarion-Ledger (Jackson, Miss.), January 29, 2010.
Jump up ^ Dan McDonald, "Book on wrestling's Junkyard Dog chronicles south Louisiana legend", SportsNOLA, May 17, 2010.
Jump up ^ Waddell Summers (December 9, 1972). "Summing It Up: Who 'Dat Man?". New Orleans Times–Picayune (sec. 3, p. 1).
Jump up ^ "Building tradition", AP, August 22, 2003.
Jump up ^ Toni Monkovic, "Who Dey vs. Who Dat", New York Times, December 14, 2006.
Jump up ^ Ron Thibodeaux (March 26, 1981). "'Who Dat' instant hit with LSU basketball fans". Baton Rouge Morning Advocate (sec. B, p. 1).
Jump up ^ Rob Longley (25 January 2010). "Saints bound for first Super Bowl". Toronto Sun. Retrieved 2010-01-25.
Jump up ^ "Who dat nation erupts with joy". Retrieved 2010-01-25.
Jump up ^ "Who Dat Nation", Times-Picayune, January 21, 2007.
Jump up ^ Blair Soden, "Saints Praying, and Playing, for the Super Bowl", ABC News, January 20, 2007.
Jump up ^ Barri Bronston,"New Orleans Saints fans prove that it's a Who Dat world", Times-Picayune, February 3, 2010.
Jump up ^ "Saints Must Protect the Football", ESPN interview with Bobby Hebert, November 25, 2009 (at 2:35).
Jump up ^ Huffington Post "Interview: Who Dat Trademark Owner Speaks Out on NFL, HuffingtonPost.com, January 27, 2010.
Jump up ^ NewOrleans.com "Who Dat Say Who Can Use 'Who Dat?" Trademark Holder Speaks Out, NewOrleans.com, January 27, 2010.
Jump up ^ Katie Moore, "NFL orders shops to stop selling 'Who Dat' gear, WWL-TV, January 27, 2010.
Jump up ^ WhoDat, Inc. statement claiming ownership of the phrase Who Dat
Jump up ^ Jaquetta White, "NFL says it has exclusive rights to 'Who Dat'", Times-Picayune, January 28, 2010.
Jump up ^ The New Orleans Louisiana Saints Limited Partnership statement transferring ownership of the phrase "Who Dat" to WhoDat, Inc.
Jump up ^ Jennifer Levitz, "Who Dat Owns 'Who Dat'? Dat's Us, Sez da NFL", Wall Street Journal, January 29, 2010.
Jump up ^ "NFL responds to "Who Dat" controversy", WWL (AM), January 29, 2010.
Jump up ^ Jaquetta White, "Who Dat Nation 1, NFL 0 in merchandise fight", Times-Picayune, January 29, 2010.
Jump up ^ Ed Anderson, "Buddy Caldwell says no need to sue NFL over 'Who Dat'", Times-Picayune, February 1, 2010.
Jump up ^ Bill Lodge, "Who Dat? Inc. suing Saints, NFL and Louisiana", The Advocate (Baton Rouge, La.), March 5, 2010.
Jump up ^ Inside Trademarks, "Who Dat Knows When Who Dat Will Stop?"
Jump up ^ Who Dat, Inc. press release (accessed April 16, 2010).
Jump up ^ Complaint in Who Dat?, Inc. v. NFL Properties, Inc. et al. at Who Dat?, Inc. website (accessed April 16, 2010).
Jump up ^ Gwen Filosa, "'Who Dat' trademark fight is back", Times-Picayune, October 17, 2010 (accessed November 7, 2010).
Jump up ^ "NFL, Who Dat, Inc. to drop lawsuits, work together", WWL-TV, January 30, 2012.
Jump up ^ Mark Schleifstein, "Who Dat nation triumphs as NFL settles trademark lawsuit", Times-Picayune, January 30, 2012.
Jump up ^ Scott Satchfield, "Settlement reached in 'Who Dat' lawsuit, but fight may continue for some", WWL-TV, January 30, 2012.
Jump up ^ Michael Kunzelman, "Deals resolve "Who Dat?" trademark claims", Associated Press in San Francisco Chronicle, October 29, 2012.
Jump up ^ Katie Moore, "Who owns 'Who Dat' may be answered", WWL-TV, October 29, 2012.
^ Jump up to: a b Trevino, Ron. "The Creole1Queen & The MostCold: WHO DAT Song Interview (KHOU 11 Houston)". KHOU-11 CBS News. Retrieved 17 June 2010.
Jump up ^ Lynn Hoppes, "Williams Riley sings 'Who Dat' anthem", ESPN.com, February 2, 2010.
Jump up ^ "Iggy Azalea's post-racial mess: America's oldest race tale, remixed"
Jump up ^ "LLOG producing from Who Dat oil, gas field in Gulf of Mexico", Oil & Gas Journal, December 21, 2011.
[hide]
v
t
e
New Orleans Saints
Founded in 1967
Based in New Orleans, Louisiana
Headquartered in Metairie, Louisiana
Franchise
Franchise
Seasons
History (playoff history)
Players
Coaches
Expansion draft
First-round draft picks
Starting quarterbacks
Broadcasters
Stadiums
Tulane Stadium
Mercedes-Benz Superdome
Temporary home venues due to Hurricane Katrina: Alamodome
Giants Stadium
Tiger Stadium
Culture
Gumbo
Sir Saint
Who Dat?
Effect of Hurricane Katrina
Buddy D
"When the Saints Go Marching In"
Lore
Dempsey's 63-yard field goal
Dome Patrol
Ricky Williams trade
River City Relay
Bountygate
Minneapolis Miracle
Owners
Tom Benson (majority owner)
Rita Benson LeBlanc (part-owner)
Wild card berths (5)
1987
1990
1992
2010
2013
Division championships (6)
1991
2000
2006
2009
2011
2017
Conference championships (1)
2009
League championships (1)
2009 (XLIV)
Ring of Honor
Andersen
Manning
Jackson
Roaf
Rivalries
Atlanta Falcons
Tampa Bay Buccaneers
Current league affiliations
League: National Football League
Conference: National Football Conference
Division: South Division
Seasons (52)
1967
1968
1969
1970
1971
1972
1973
1974
1975
1976
1977
1978
1979
1980
1981
1982
1983
1984
1985
1986
1987
1988
1989
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
2013
2014
2015
2016
2017
2018
Championship seasons in bold
Retrieved from "https://en.wikipedia.org/w/index.php?title=Who_Dat%3F&oldid=823929523"
Categories:
New Orleans Saints
Catchphrases
Culture of New Orleans
Hidden categories:
CS1: Julian–Gregorian uncertainty
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
Add links
This page was last edited on 4 February 2018, at 08:09.
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

value: div

attrs: id class

values: mw-page-base noprint

values: mw-head-base noprint

value: a

attrs: id class lang

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

attrs: href class title

values:
/wiki/Who_Dat_(disambiguation)
mw-redirect mw-disambig
Who Dat (disambiguation)

values:
note
hatnote navigation-not-searchable

value: b

values:
/wiki/Minstrel_shows
mw-redirect
Minstrel shows

value: p

value: sup

values:
/wiki/Bill_%22Bojangles%22_Robinson
mw-redirect
Bill "Bojangles" Robinson

values:
/wiki/Mills_Brothers
mw-redirect
Mills Brothers

values:
/wiki/African_American
mw-redirect
African American

values: Edit section: Origins of the "Who Dat?" chant

values:
/wiki/Professional_wrestler
mw-redirect
Professional wrestler

values: Universal Wrestling Federation (Bill Watts)

values:
/wiki/Louisiana_Superdome
mw-redirect
Louisiana Superdome

values:
/wiki/New_York_Times
mw-redirect
New York Times

values: Edit section: "Who Dat?" spin-off chants

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

values:
/wiki/Charlie_Melancon
mw-redirect
Charlie Melancon

values:
/wiki/Clear_Channel_Communications
mw-redirect
Clear Channel Communications

values:
/wiki/Young_Jeezy
mw-redirect
Young Jeezy

values:
/wiki/Amy_Davidson_(author)
mw-redirect
Amy Davidson (author)

values:
/wiki/Wall_Street_Journal
mw-redirect
Wall Street Journal

values:
nofollow
external text
http://insidetrademarks.com/?p=424

values:
nofollow
http://whodatstuff.com/suit/
external text

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

values: background: #D3BC8D; color:#000000;;background: #000000; color:white;-moz-box-shadow: inset 2px 2px 0  #D3BC8D, inset -2px -2px 0  #D3BC8D; -webkit-box-shadow: inset 2px 2px 0  #D3BC8D, inset -2px -2px 0  #D3BC8D; box-shadow: inset 2px 2px 0  #D3BC8D, inset -2px -2px 0  #D3BC8D;;background:none transparent;border:none;-moz-box-shadow:none;-webkit-box-shadow:none;box-shadow:none;

values:
navbox-abovebelow
2
background: #D3BC8D; color:#000000;

values: Playoff history of the New Orleans Saints

values: List of New Orleans Saints first-round draft picks

values: List of New Orleans Saints starting quarterbacks

values: Effect of Hurricane Katrina on the Louisiana Superdome

values: Effect of Hurricane Katrina on the New Orleans Saints

values: When the Saints Go Marching In (sports anthem)

values: nowraplinks hlist collapsible autocollapse navbox-inner

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/Who_Dat%3F
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: 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: /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: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Who_Dat rootpage-Who_Dat skin-vector action-view


text:
Laura Mulvey
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Laura Mulvey
Mulvey in 2010
Born
(1941-08-15) 15 August 1941 (age 76)
Academic background
Alma mater
University of Oxford
School or tradition
Screen theory
Academic work
Institutions
Birkbeck, University of London
Main interests
Film studies and media studies
Laura Mulvey (born 15 August 1941) is a British feminist film theorist. She was educated at St Hilda's College, Oxford. She is currently professor of film and media studies at Birkbeck, University of London. She worked at the British Film Institute for many years before taking up her current position.
During the 2008–09 academic year, Mulvey was the Mary Cornille Distinguished Visiting Professor in the Humanities at Wellesley College.[1] Professor Mulvey has been awarded three honorary degrees: in 2006 a Doctor of Letters from the University of East Anglia; in 2009 a Doctor of Law from Concordia University; in 2012 a Bloomsday Doctor of Literature from University College Dublin.
Contents
[hide]
1 Film theory
2 Phallocentrism and patriarchy
3 As a filmmaker
4 See also
5 References
6 Further reading
7 External links
Film theory[edit]
Mulvey is best known for her essay & thoughts, 'Visual Pleasure and Narrative Cinema', written in 1973 and published in 1975 in the influential British film theory journal Screen. It later appeared in a collection of her essays entitled Visual and Other Pleasures, as well as in numerous other anthologies. Her article, which was influenced by the theories of Sigmund Freud and Jacques Lacan, is one of the first major essays that helped shift the orientation of film theory towards a psychoanalytic framework. Prior to Mulvey, film theorists such as Jean-Louis Baudry and Christian Metz used psychoanalytic ideas in their theoretical accounts of the cinema. Mulvey's contribution, however, inaugurated the intersection of film theory, psychoanalysis and feminism.
Mulvey states that she intends to use Freud and Lacan's concepts as a "political weapon." She employs some of their concepts to argue that the cinematic apparatus of classical Hollywood cinema inevitably put the spectator in a masculine subject position, with the figure of the woman on screen as the object of desire and "the male gaze." In the era of classical Hollywood cinema, viewers were encouraged to identify with the protagonists, who were and still are overwhelmingly male. Meanwhile, Hollywood women characters of the 1950s and '60s were, according to Mulvey, coded with "to-be-looked-at-ness" while the camera positioning and the male viewer constituted the "bearer of the look." Mulvey suggests two distinct modes of the male gaze of this era: "voyeuristic" (i.e. seeing woman as image "to be looked at") and "fetishistic" (i.e. seeing woman as a substitute for "the lack," the underlying psychoanalytic fear of castration).
Mulvey argues that the only way to annihilate the patriarchal Hollywood system is to radically challenge and re-shape the filmic strategies of classical Hollywood with alternative feminist methods. She calls for a new feminist avant-garde filmmaking that would rupture the narrative pleasure of classical Hollywood filmmaking. She writes, "It is said that analysing pleasure or beauty annihilates it. That is the intention of this article."
"Visual Pleasure and Narrative Cinema" was the subject of much interdisciplinary discussion among film theorists that continued into the mid 1980s. Critics of the article pointed out that Mulvey's argument implies the impossibility of the enjoyment of classical Hollywood cinema by women, and that her argument did not seem to take into account spectatorship not organised along normative gender lines. Mulvey addresses these issues in her later 1981 article, "Afterthoughts on 'Visual Pleasure and Narrative Cinema' inspired by King Vidor's Duel in the Sun (1946)," in which she argues a metaphoric 'transvestism' in which a female viewer might oscillate between a male-coded and a female-coded analytic viewing position. These ideas led to theories of how gay, lesbian, and bisexual spectatorship might also be negotiated. Her article was written before the findings of the later wave of media audience studies on the complex nature of fan cultures and their interaction with stars. Queer theory, such as that developed by Richard Dyer, has grounded its work in Mulvey to explore the complex projections that many gay men and women fix onto certain female stars (e.g. Doris Day, Liza Minnelli, Greta Garbo, Marlene Dietrich, Judy Garland).
Feminist critic Gaylyn Studlar wrote extensively to problematize Mulvey's central thesis that the spectator is male and derives visual pleasure from a dominant and controlling perspective. Studlar suggested rather that visual pleasure for all audiences is derived from a passive, masochistic perspective, where the audience seeks to be powerless and overwhelmed by the cinematic image.
Mulvey later wrote that her article was meant to be a provocation or a manifesto, rather than a reasoned academic article that took all objections into account. She addressed many of her critics, and clarified many of her points in "Afterthoughts" (which also appears in the Visual and Other Pleasures collection).
Mulvey's most recent book is titled Death 24x a Second: Stillness and the Moving Image (2006). In this work, Mulvey responds to the ways in which video and DVD technologies have altered the relationship between film and viewer. No longer are audience members forced to watch a film in its entirety in a linear fashion from beginning to ending. Instead, viewers today exhibit much more control over the films they consume. In the preface to her book, therefore, Mulvey begins by explicating the changes that film has undergone between the 1970s and the 2000s. Whereas Mulvey notes that, when she first began writing about films, she had been "preoccupied by Hollywood's ability to construct the female star as ultimate spectacle, the emblem and guarantee of its fascination and power," she is now "more interested in the way that those moments of spectacle were also moments of narrative halt, hinting at the stillness of the single celluloid frame."[2] With the evolution of film-viewing technologies, Mulvey redefines the relationship between viewer and film. Before the emergence of VHS and DVD players, spectators could only gaze; they could not possess the cinema's "precious moments, images and, most particularly, its idols," and so, "in response to this problem, the film industry produced, from the very earliest moments of fandom, a panoply of still images that could supplement the movie itself," which were "designed to give the film fan the illusion of possession, making a bridge between the irretrievable spectacle and the individual's imagination."[3] These stills, larger reproductions of celluloid still-frames from the original reels of movies, became the basis for Mulvey's assertion that even the linear experience of a cinematic viewing has always exhibited a modicum of stillness. Thus, until a fan could adequately control a film to fulfill his or her own viewing desires, Mulvey notes that "the desire to possess and hold the elusive image led to repeated viewing, a return to the cinema to watch the same film over and over again."[3] However, with digital technology, spectators can now pause films at any given moment, replay their favorite scenes, and even skip the scenes they do not desire to watch. According to Mulvey, this power has led to the emergence of her "possessive spectator." Films, then, can now be "delayed and thus fragmented from linear narrative into favorite moments or scenes" in which "the spectator finds a heightened relation to the human body, particularly that of the star."[3] It is within the confines of this redefined relationship that Mulvey asserts that spectators can now engage in a sexual form of possession of the bodies they see on screen.
Mulvey believes that avant-garde film "poses certain questions which consciously confront traditional practice, often with a political motivation" that work towards changing "modes of representation" as well as "expectations in consumption." [4] Mulvey has stated that feminists recognize modernist avant-garde "as relevant to their own struggle to develop a radical approach to art.”[4]
Phallocentrism and patriarchy[edit]
See also: Neo-Freudianism
Mulvey incorporates the Freudian idea of phallocentrism into "Visual Pleasure and Narrative Cinema". Using Freud's thoughts, Mulvey insists on the idea that the images, characters, plots and stories, and dialogues in films are inadvertently built on the ideals of patriarchies, both within and beyond sexual contexts. She also incorporates the works of thinkers like Jacques Lacan and meditates on the works of directors Josef von Sternberg and Alfred Hitchcock.[5]
Within her essay, Mulvey discusses several different types of spectatorship that occur while viewing a film. Viewing a film involves unconsciously or semi-consciously engaging the typical societal roles of men and women. The "three different looks," as they are referred to, explain just exactly how films are viewed in relation to phallocentrism. The first "look" refers to the camera as it records the actual events of the film. The second "look" describes the nearly voyeuristic act of the audience as one engages in watching the film itself. Lastly, the third "look" refers to the characters that interact with one another throughout the film.[5]
The main idea that seems to bring these actions together is that "looking" is generally seen as an active male role while the passive role of being looked at is immediately adopted as a female characteristic. It is under the construction of patriarchy that Mulvey argues that women in film are tied to desire and that female characters hold an "appearance coded for strong visual and erotic impact". The female actor is never meant to represent a character that directly effects the outcome of a plot or keep the story line going, but is inserted into the film as a way of supporting the male role and "bearing the burden of sexual objectification" that he cannot.[5]
As a filmmaker[edit]
Mulvey was prominent as an avant-garde filmmaker in the 1970s and 1980s. With Peter Wollen, her husband, she co-wrote and co-directed Penthesilea: Queen of the Amazons (1974), Riddles of the Sphinx (1977 – perhaps their most influential film), AMY! (1980), Crystal Gazing (1982), Frida Kahlo and Tina Modotti (1982), and The Bad Sister (1982).
Penthesilea: Queen of the Amazons was the first of Mulvey and Wollen's films. In this film, Mulvey attempted to link her own feminist writings on the Amazon myth with the paintings of Allen Jones.[6] These writings concerned themes such as male fantasy, symbolic language, women in relation to men and the patriarchal myth.[7] Both filmmakers were interested in exploring ideology as well as the "structure of mythologizing, its position in mainstream culture and notions of modernism."[6] The film ventured into the territory of experimental filmmaking, previously explored by filmmakers such as Jean-Luc Godard.
With Riddles of the Sphinx, Mulvey and Wollen connected "modernist forms" with a narrative that explored feminism and psychoanalytical theory. [6] This film was fundamental in presenting film as a space "in which the female experience could be expressed." [7]
AMY! was a film tribute to Amy Johnson and explores the previous themes of Mulvey and Wollen's past films. One of the main themes of the film is that women "struggling towards achievement in the public sphere" must transition between the male and female worlds. [7]
Crystal Gazing exemplified more spontaneous filmmaking than their past films. Many of the elements of the film were decided once production began. The film was well received but lacked a "feminist underpinning" that had been the core of many of their past films. [7]
The last films of Mulvey and Wollen as a team, Frida Kahlo and Tina Modotti and The Bad Sister revisited feminist issues previously explored by the filmmakers.
In 1991, Mulvey returned to filmmaking with Disgraced Monuments, which she co-directed with Mark Lewis. This film examines "the fate of revolutionary monuments in the Soviet Union after the fall of communism."[7]
See also[edit]
Gaze
The female gaze
Scopophilia
Experimental film
Feminist film theory
References[edit]
Jump up ^ "Staff for 2008–09: Laura Mulvey". wellesley.edu. Newhouse Center for the Humanities, Wellesley College. Archived from the original on 30 December 2008.
Jump up ^ Mulvey, Laura (2005), "Preface", in Mulvey, Laura, Death 24 x a second: stillness and the moving image, London: Reaktion Books, p. 7, ISBN 9781861892638.
^ Jump up to: a b c Mulvey, Laura (2005), "The possessive spectator", in Mulvey, Laura, Death 24 x a second: stillness and the moving image, London: Reaktion Books, p. 161, ISBN 9781861892638.
^ Jump up to: a b Jacobus, Mary (1978). Women Writing and Writing about Women.
^ Jump up to: a b c Mulvey, Laura (Autumn 1975). "Visual pleasure and narrative cinema". Screen. Oxford Journals. 16 (3): 6–18. doi:10.1093/screen/16.3.6.
^ Jump up to: a b c O'Pray, Michael (1996). The British Avant-Garde Film, 1926–1995: An Anthology of Writings. University of Luton Press. ISBN 1860200044.
^ Jump up to: a b c d e "BFI Screenonline: Mulvey, Laura (1941–) Biography". www.screenonline.org.uk. Retrieved 2016-03-04.
Further reading[edit]
Mulvey, Laura (Autumn 1975). "Visual pleasure and narrative cinema". Screen. Oxford Journals. 16 (3): 6–18. doi:10.1093/screen/16.3.6.
Studlar, Gaylyn (1993). In the realm of pleasure. New York: Columbia University Press. ISBN 9780231082334.
Mulvey, Laura (1996). Fetishism and curiosity. Bloomington: Indiana University Press. ISBN 9780253210197.
Mulvey, Laura (1992). "Citizen Kane". BFI Film Classics Series. London: BFI Publishing. ISBN 9780851703398.
Mulvey, Laura (Autumn 2004). "Looking at the past from the present: rethinking feminist film theory of the 1970s". Signs: Journal of Women in Culture and Society, special issue: Beyond the Gaze: Recent Approaches to Film Feminisms. University of Chicago Press. 30 (1): 1286–1292. doi:10.1086/421883.
Mulvey, Laura (2005). Death 24x a second. London: Reaktion Books. ISBN 9781861892638.
Balaram, Rakhee (2007). "Artists: Laura Mulvey and Peter Wollen". Lux Online. LUX.
Mulvey, Laura (2009), Visual and other pleasures (2nd ed.), Houndmills, Basingstoke, Hampshire England New York: Palgrave Macmillan, ISBN 9780230576469
External links[edit]
Media related to Laura Mulvey at Wikimedia Commons
Laura Mulvey at the British Film Institute's Screenonline
Laura teaches on the Film, Television and Screen Media MA at Birkbeck, University of London
Authority control
WorldCat Identities
VIAF: 5014894
LCCN: n82006940
ISNI: 0000 0001 1558 7447
GND: 123736633
SUDOC: 033022763
BNF: cb123931882 (data)
BIBSYS: 90550711
ULAN: 500062358
NLA: 36088327
NKC: hka2010562560
IATH: w69p7c0q
Retrieved from "https://en.wikipedia.org/w/index.php?title=Laura_Mulvey&oldid=805136164"
Categories:
1941 births
Living people
British experimental filmmakers
Critical theorists
Feminist studies scholars
Film theorists
Gender studies academics
Academics of Birkbeck, University of London
People educated at St Paul's Girls' School
Postmodern feminists
British feminists
Poststructuralists
Women art historians
Hidden categories:
Articles with hCards
Wikipedia articles with VIAF identifiers
Wikipedia articles with LCCN identifiers
Wikipedia articles with ISNI identifiers
Wikipedia articles with GND identifiers
Wikipedia articles with BNF identifiers
Wikipedia articles with BIBSYS identifiers
Wikipedia articles with ULAN identifiers
Wikipedia articles with NLA identifiers
Wikipedia articles with SNAC-ID identifiers
Place of birth missing (living people)
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
Wikimedia Commons
Languages
Català
Čeština
Deutsch
Español
فارسی
Français
Bahasa Indonesia
Italiano
עברית
Malagasy
Polski
Português
Slovenčina
Svenska
Edit links
This page was last edited on 13 October 2017, at 08:48.
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

values: mw-page-base noprint

values: mw-head-base noprint

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

value: span

value: th

attrs: colspan style

value: tr

value: img

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

values: Laura Mulvey Fot Mariusz Kubik July 24 2010 06.JPG

attrs: href class

value: td

values:
/wiki/Psychoanalytical_film_theory
mw-redirect
Psychoanalytical film theory

values: Edit section: Phallocentrism and patriarchy

values:
nofollow
external text
http://dx.doi.org/10.1093/screen/16.3.6

values:
nofollow
external text
//doi.org/10.1093%2Fscreen%2F16.3.6

values:
reflist mw-references-wrap
list-style-type: decimal;

values:
nofollow
external text
https://dx.doi.org/10.1086/421883

values:
nofollow
external text
//doi.org/10.1086%2F421883

values:
nofollow
external text
https://viaf.org/viaf/5014894

values:
nofollow
external text
http://isni.org/isni/0000000115587447

values:
nofollow
external text
http://d-nb.info/gnd/123736633

values:
nofollow
external text
https://www.idref.fr/033022763

values:
nofollow
external text
https://nla.gov.au/anbd.aut-an36088327

values: Institute for Advanced Technology in the Humanities

values: Category:Academics of Birkbeck, University of London

values: Category:People educated at St Paul's Girls' School

values: Category:Wikipedia articles with VIAF identifiers

values: Category:Wikipedia articles with LCCN identifiers

values: Category:Wikipedia articles with ISNI identifiers

values: Category:Wikipedia articles with GND identifiers

values: Category:Wikipedia articles with BNF identifiers

values: Category:Wikipedia articles with BIBSYS identifiers

values: Category:Wikipedia articles with ULAN identifiers

values: Category:Wikipedia articles with NLA identifiers

values: Category:Wikipedia articles with SNAC-ID identifiers

values: Category:Place of birth missing (living people)

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

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

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

values: لورا مالوی – Persian

values: לורה מאלווי – Hebrew

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

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Laura_Mulvey rootpage-Laura_Mulvey vector-experimental-print-styles vector-nav-directionality skin-vector action-view


text:
Abiotic component
From Wikipedia, the free encyclopedia
This is the latest accepted revision, reviewed on 30 May 2018.
Jump to: navigation, search
Abiotic factors are non living components found in an ecosystem which influence living things (biotic factors).
In biology and ecology, abiotic components or abiotic factors are non-living chemical and physical parts of the environment that affect living organisms and the functioning of ecosystems. Abiotic factors and the phenomena associated with them underpin all biology.
Abiotic components include physical conditions and non-living resources that affect living organisms in terms of growth, maintenance, and reproduction. Resources are distinguished as substances or objects in the environment required by one organism and consumed or otherwise made unavailable for use by other organisms.[1][2]
These are different settings on earth that are abiotic factors, which mean they are not living organisms, that contribute to the earth in many different ways.
Component degradation of a substance occurs by chemical or physical processes, e.g. hydrolysis. All non-living components of an ecosystem, such as atmospheric conditions and water resources, are called abiotic components.[3]
Examples[edit]
In biology, abiotic factors can include water, light, radiation, temperature, humidity, atmosphere, and soil. The macroscopic climate often influences each of the above. Pressure and sound waves may also be considered in the context of marine or sub-terrestrial environments.[4] Abiotic factors in ocean environments also include aerial exposure, substrate, water clarity, solar energy and tides.[5] Consider the differences in the mechanics of C3, C4, and CAM plants in regulating the influx of carbon dioxide to the Calvin-Benson Cycle in relation to their abiotic stressors. C3 plants have no mechanisms to manage photorespiration, whereas C4 and CAM plants utilize a separate PEP Carboxylase enzyme to prevent photorespiration, thus increasing the yield of photosynthetic processes in certain high energy environments.[6][7]
Many Archea require very high temperatures, pressures or unusual concentrations of chemical substances such as sulfur; this is due to their specialization into extreme conditions. In addition, fungi have also evolved to survive at the temperature, the humidity, and stability of their environment.[8]
For example, there is a significant difference in access in both water and humidity between temperate rain forests and deserts. This difference in water availability causes a diversity in the types of plants and animals that survive in these areas. These differences in abiotic components alter the species present both by creating boundaries of what species can survive within the environment, as well as influencing competition between two species. Abiotic factors such as salinity can give one species a competitive advantage over another, creating pressures that lead to speciation and alteration of a species to and from generalist and specialist competitors.[9]
See also[edit]
Biotic component, a living part of an ecosystem that affects and shapes it.
Abiogenesis, the gradual process of increasing complexity of non-living into living matter.
Nitrogen cycle
Phosphorus cycle
References[edit]
Jump up ^ Ricklefs, R.E. 2005. The Economy of Nature, 6th edition. WH Freeman, USA.
Jump up ^ Chapin, F.S. III, H.A. Mooney, M.C. Chapin, and P. Matson. 2011. Principles of terrestrial ecosystem ecology. Springer, New York.
Jump up ^ Water Quality Vocabulary. ISO 6107-6:1994.
Jump up ^ Hogan, C. Benito (2010). "Abiotic factor". Encyclopedia of Earth. Washington, D.C.: National Council for Science and the Environment. Archived from the original on 2013-06-08.
Jump up ^ "Ocean Abiotic Factors" (PDF). National Geographic Society. 2011.
Jump up ^ Wang, Chuali; Guo, Longyun; Li, Yixue; Wang, Zhuo (2012). "Systematic Comparison of C3 and C4 Plants Based on Metabolic Network Analysis". BMC Systems Biology. 6 (59). doi:10.1186/1752-0509-6-S2-S9.
Jump up ^ "Rubisco and C4 Plants" (PDF). RSC: Advancing the Chemical Sciences. RSC.
Jump up ^ "Abiotic Components". Department of Biodiversity and Conservation Biology, University of the Western Cape. Archived from the original on 2005-04-25.
Jump up ^ Dunson, William A. (November 1991). "The Role of Abiotic Factors in Community Organization" (PDF). The American Naturalist. 138 (5): 1067–1091. doi:10.1086/285270.
[show]
v
t
e
Ecology: Modelling ecosystems: Trophic components
General
Abiotic component
Abiotic stress
Behaviour
Biogeochemical cycle
Biomass
Biotic component
Biotic stress
Carrying capacity
Competition
Ecosystem
Ecosystem ecology
Ecosystem model
Keystone species
List of feeding behaviours
Metabolic theory of ecology
Productivity
Resource
Producers
Autotrophs
Chemosynthesis
Chemotrophs
Foundation species
Mixotrophs
Myco-heterotrophy
Mycotroph
Organotrophs
Photoheterotrophs
Photosynthesis
Photosynthetic efficiency
Phototrophs
Primary nutritional groups
Primary production
Consumers
Apex predator
Bacterivore
Carnivores
Chemoorganotroph
Foraging
Generalist and specialist species
Intraguild predation
Herbivores
Heterotroph
Heterotrophic nutrition
Insectivore
Mesopredators
Mesopredator release hypothesis
Omnivores
Optimal foraging theory
Predation
Prey switching
Decomposers
Chemoorganoheterotrophy
Decomposition
Detritivores
Detritus
Microorganisms
Archaea
Bacteriophage
Environmental microbiology
Lithoautotroph
Lithotrophy
Microbial cooperation
Microbial ecology
Microbial food web
Microbial intelligence
Microbial loop
Microbial mat
Microbial metabolism
Phage ecology
Food webs
Biomagnification
Ecological efficiency
Ecological pyramid
Energy flow
Food chain
Trophic level
Example webs
Cold seeps
Hydrothermal vents
Intertidal
Kelp forests
Lakes
North Pacific Subtropical Gyre
Rivers
San Francisco Estuary
Soil
Tide pool
Processes
Ascendency
Bioaccumulation
Cascade effect
Climax community
Competitive exclusion principle
Consumer-resource systems
Copiotrophs
Dominance
Ecological network
Ecological succession
Energy quality
Energy Systems Language
f-ratio
Feed conversion ratio
Feeding frenzy
Mesotrophic soil
Nutrient cycle
Oligotroph
Paradox of the plankton
Trophic cascade
Trophic mutualism
Trophic state index
Defense,
counter
Animal coloration
Antipredator adaptations
Camouflage
Deimatic behaviour
Herbivore adaptations to plant defense
Mimicry
Plant defense against herbivory
Predator avoidance in schooling fish
[show]
v
t
e
Ecology: Modelling ecosystems: Other components
Population
ecology
Abundance
Allee effect
Depensation
Ecological yield
Effective population size
Intraspecific competition
Logistic function
Malthusian growth model
Maximum sustainable yield
Overpopulation in wild animals
Overexploitation
Population cycle
Population dynamics
Population modeling
Population size
Predator–prey (Lotka–Volterra) equations
Recruitment
Resilience
Small population size
Stability
Species
Biodiversity
Density-dependent inhibition
Ecological effects of biodiversity
Ecological extinction
Endemic species
Flagship species
Gradient analysis
Indicator species
Introduced species
Invasive species
Latitudinal gradients in species diversity
Minimum viable population
Neutral theory
Occupancy–abundance relationship
Population viability analysis
Priority effect
Rapoport's rule
Relative abundance distribution
Relative species abundance
Species diversity
Species homogeneity
Species richness
Species distribution
Species-area curve
Umbrella species
Species
interaction
Antibiosis
Biological interaction
Commensalism
Community ecology
Ecological facilitation
Interspecific competition
Mutualism
Parasitism
Storage effect
Symbiosis
Spatial
ecology
Biogeography
Cross-boundary subsidy
Ecocline
Ecotone
Ecotype
Disturbance
Edge effects
Foster's rule
Habitat fragmentation
Ideal free distribution
Intermediate Disturbance Hypothesis
Island biogeography
Landscape ecology
Landscape epidemiology
Landscape limnology
Metapopulation
Patch dynamics
r/K selection theory
Resource selection function
Source–sink dynamics
Niche
Ecological niche
Ecological trap
Ecosystem engineer
Environmental niche modelling
Guild
Habitat
Marine habitats
Limiting similarity
Niche apportionment models
Niche construction
Niche differentiation
Other
networks
Assembly rules
Bateman's principle
Bioluminescence
Ecological collapse
Ecological debt
Ecological deficit
Ecological energetics
Ecological indicator
Ecological threshold
Ecosystem diversity
Emergence
Extinction debt
Kleiber's law
Liebig's law of the minimum
Marginal value theorem
Thorson's rule
Xerosere
Other
Allometry
Alternative stable state
Balance of nature
Biological data visualization
Ecocline
Ecological economics
Ecological footprint
Ecological forecasting
Ecological humanities
Ecological stoichiometry
Ecopath
Ecosystem based fisheries
Endolith
Evolutionary ecology
Functional ecology
Industrial ecology
Macroecology
Microecosystem
Natural environment
Regime shift
Systems ecology
Urban ecology
Theoretical ecology
List of ecology topics

This ecology-related article is a stub. You can help Wikipedia by expanding it.
v
t
e
Retrieved from "https://en.wikipedia.org/w/index.php?title=Abiotic_component&oldid=843664846"
Categories:
Environmental science
Ecology stubs
Hidden categories:
Wikipedia pending changes protected pages
All stub 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
Azərbaycanca
भोजपुरी
Български
Català
Čeština
Dansk
Deutsch
Eesti
Español
Esperanto
Euskara
فارسی
Français
Galego
Hrvatski
Bahasa Indonesia
עברית
Basa Jawa
ქართული
Қазақша
Кыргызча
Lëtzebuergesch
Magyar
Nederlands
Norsk
Norsk nynorsk
Polski
Português
Русский
Slovenčina
Српски / srpski
Srpskohrvatski / српскохрватски
Suomi
Svenska
தமிழ்
Українська
中文
29 more
Edit links
This page was last edited on 30 May 2018, at 16:45.
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

values: mw-page-base noprint

values: mw-head-base noprint

values: Page protected with pending changes level 1

values: All edits by unregistered and new users are subject to review prior to becoming visible to unregistered users

values: firstHeading firstHeading en

values: siteSub noprint

attrs: class src alt title

values: Changes must be reviewed before being displayed on this page.

attrs: id class src style alt

attrs: class href

attrs: id style class

values: flaggedrevs_short flaggedrevs_stable_synced plainlinks noprint nomobile

values: jump-to-nav mw-jump

attrs: class style

values:
/wiki/Calvin-Benson_Cycle
mw-redirect
Calvin-Benson Cycle

values:
/wiki/PEP_Carboxylase
mw-redirect
PEP Carboxylase

values:
/wiki/Temperate_rain_forest
mw-redirect
Temperate rain forest

values:
nofollow
external text
//doi.org/10.1186%2F1752-0509-6-S2-S9

values:
nofollow
external text
//doi.org/10.1086%2F285270

values:
reflist mw-references-wrap
list-style-type: decimal;

values:
/wiki/Consumers_(food_chain)
mw-redirect
Consumers (food chain)

values:
/wiki/Environmental_microbiology
mw-redirect
Environmental microbiology

values:
/wiki/North_Pacific_Subtropical_Gyre
mw-redirect
North Pacific Subtropical Gyre

values:
/wiki/Antipredator_adaptation
mw-redirect
Antipredator adaptation

values: nowraplinks hlist collapsible autocollapse navbox-inner

values:
/wiki/Overpopulation_in_wild_animals
mw-redirect
Overpopulation in wild animals

values:
/wiki/Population_modeling
mw-redirect
Population modeling

values:
/wiki/Resilience_(ecology)
mw-redirect
Resilience (ecology)

values:
/wiki/Endemic_species
mw-redirect
Endemic species

values:
/wiki/Gradient_analysis
mw-redirect
Gradient analysis

values:
/wiki/Indicator_species
mw-redirect
Indicator species

values: Latitudinal gradients in species diversity

values:
/wiki/Species-area_curve
mw-redirect
Species-area curve

values:
/wiki/Community_ecology
mw-redirect
Community ecology

values:
/wiki/Island_biogeography
mw-redirect
Island biogeography

values:
/wiki/Ecological_deficit
mw-redirect
Ecological deficit

values:
/wiki/Ecological_energetics
mw-redirect
Ecological energetics

values:
/wiki/Ecosystem_based_fisheries
mw-redirect
Ecosystem based fisheries

values:
/wiki/List_of_ecology_topics
mw-redirect
List of ecology topics

values: nowraplinks hlist collapsible collapsed navbox-inner

values: position: absolute; right: 15px; display: none;

values:
metadata plainlinks stub
presentation
background:transparent

values: Category:Wikipedia pending changes protected pages

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/Abiotic_component
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: 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: مكونات لاأحيائية – Arabic

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

values: अजैविक संघटक – Bhojpuri

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

values: Абиотичен фактор – Bulgarian

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

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

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

values:
https://da.wikipedia.org/wiki/Biotisk
Biotisk – Danish
da
da
interlanguage-link-target

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

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

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

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

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

values: اجزای غیرزنده – Persian

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

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

values: Temperatura (abiotički čimbenik) – Croatian

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

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

values: מרכיב אביוטי – Hebrew

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

values:
https://jv.wikipedia.org/wiki/Abiotik
Abiotik – Javanese
jv
jv
interlanguage-link-target

values: აბიოტური ფაქტორები – Georgian

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

values: Абиотикалық факторлар – Kazakh

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

values: Абиотикалык факторлор – Kyrgyz

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

values: Abiotesch Ëmweltfaktoren – Luxembourgish

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

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

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

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

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

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

values: Абиотические факторы – Russian

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

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

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

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

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

values: உயிர்சாராக் கூறு – Tamil

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

values: Абіотичний фактор – 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: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Abiotic_component rootpage-Abiotic_component skin-vector action-view