Films: Sound Of Freedom

Image © Angel Studios

On the 9th of September, 2023 I went to see Sound Of Freedom at Cineworld Birmingham, Broad Street.  I got to see this free thanks to the generosity of its distributor Angel Studios and their How You Can Help page.  Click here to purchase tickets to give away yourself, buy tickets for yourself or claim a free ticket (like I did) from the kind people who purchased said tickets themselves to give away.

This important film was finalised in 2019 but many, including Disney (who acquired the original distributor Fox), tried to stop it from being shown at all.  Thankfully Angel Studios bought back the rights to it.  It is shocking and disturbing to watch as its content is about paedophilia and child sex trafficking, but not, thankfully, in a graphic way.  It doesn’t need to do that.  The truth sells itself here.  It isn’t like most films these days, woke, it simply tells a story and does it well.  A rarity these days.  It is thought-provoking and leaves you feeling happy and sad at the same time.  You feel happy for Tim Ballard, excellently played by Jim Caviezel, when he succeeds at what he is doing but then you feel sad for the children and the terrible things they go through.  Those terrible things happen far too often and in staggering numbers.

Some people left the cinema when the credits started rolling and missed an important message by Caviezel at the end of the film.  It was just as moving as the film was and the audience clapped and so did I.  

This is a well-produced film with very good cinematography, very good acting, very good editing and very good music that captures the mood of the film so well.

I recommend anyone with children to watch this film and if their kids go to big school, they watch it too when it comes out on DVD (if it is allowed to that is), you won’t be sorry you did.  

Sound Of Freedom was released in America on July the 4th and in the UK on September the 1st.

Official Trailer

About Sound Of Freedom

Sound of Freedom is based on an incredible true story, that shines a light on even the darkest of places.  After rescuing a young boy from ruthless child traffickers, a federal agent learns the boy’s sister is still captive and decides to embark on a dangerous mission to save her.  With time running out, he quits his job and journeys deep into the Colombian jungle, putting his life on the line to free her from a fate worse than death. 

What Will The Movie Be Like?

Sound of Freedom is a thriller based on a pivotal extraction operation that would eventually rescue dozens of children from child traffickers in Colombia. 

It has the hero energy of Hacksaw Ridge and Spotlight paired with the heart of films like Unbroken and 127 Hours.

With a star-studded cast, director, and original score, this film has gone to great lengths to bring the harrowing realities of child trafficking to life like it’s never been done before.  Expertly produced and acted, Sound of Freedom has a larger-than-life mission to ignite the movement to end child trafficking for good.

Spreading global awareness about the harrowing realities of child trafficking cannot happen without telling stories like this one.  Storytellers are the changemakers.

The Challenge 

Distributing a film theatrically with such a global appeal is always a significant hurdle.  Angel Studios has experience with global hits like The Chosen, which had a Christmas Special and Season 3 theatrical release.  Most recently, another Angel Studios project, His Only Son, successfully crowdfunded $1.235 million in just a few days for their theatrical release (which premiered in over 2,000 cinemas internationally).

Angel also has experience working outside of traditional studio paths and is hopeful audiences will be excited to have an incredible film like Sound of Freedom in their local cinemas.

Deeply Rooted Values

Director Alejandro Monteverde said,

I believe that as a society we need to be aware of the horrors of child trafficking, and my call was to use the power of cinema to bring light and poetry and hope into that  darkest corner of humanity — and to wrap it all in one man’s incredible, world-changing odyssey.”

Sound Of Freedom Team

Alejandro Monteverde 

Image © Angel Studios

Alejandro Monteverde, the Director of Sound Freedom.

Alejandro Monteverde is a Mexican filmmaker, best known for his work as a director, writer, and producer on the 2006 film Bella, which won the People’s Choice Award at the Toronto International Film Festival and the Audience Award at the Heartland Film Festival.

Monteverde began his career as a film director with the short film The Last Goodbye in 2004, which won the Crystal Heart Award at the Heartland Film Festival. He went on to direct and write several other films, including Little Boy in 2015, which was also well-received by audiences.

Monteverde’s work is known for its focus on family and faith, and he has been vocal about his Catholic beliefs.  In addition to his film work, Monteverde has also been involved in philanthropic efforts, including the founding of the nonprofit organization Esperanza para los Ninos (Hope for Children) in 2010, which provides education and support to underprivileged children in Mexico.

Eduardo Verastegui

Image © Angel Studios

Eduardo Verastegui is the Producer of Sound of Freedom and plays Pablo.

Eduardo Verastegui is a Mexican actor, producer, businessman and philanthropist, born in Mexico.  He began his entertainment career as a member of the Mexican pop group Kairo in the 1990’s before transitioning to acting in telenovelas.

Verastegui gained international recognition for his leading role in the 2006 film Bella, which he produced with the production company he co-founded called Metanoia Films.  He is also known for his humanitarian work and began a nonprofit organization called Manto de Guadalupe that aids those who don’t have access to food, shelter, health care or education.

Verastegui is the producer of Sound of Freedom and has since toured all over Mexico and beyond in an effort to partner with local government leaders, educators, law enforcement, and foundations to prevent child exploitation.

Jim Caviezel

Image © Angel Studios

Jim Caviezel plays Tim Ballard in Sound Of Freedom.

Jim Caviezel is an American actor born in Mount Vernon, Washington.  He graduated from the University of Washington with a degree in Fine Arts before pursuing his acting career in Los Angeles.

Jim’s breakout role was playing Edmond in The Count of Monte Cristo, quickly followed by his portrayal of Jesus Christ in Mel Gibson’s film The Passion of the Christ.  He also gained recognition for his performances in The Thin Red Line and Frequency.

Caviezel is known for his strong Christian faith and has been actively involved in various charitable causes.  He has been married to his wife Kerri for over 20 years and they have adopted three children together.

After meeting Tim Ballard and learning about Operation Underground Railroad, Caviezel was deeply moved and became passionate about spreading this message and helping end child trafficking.

Interview With Jordan B. Peterson

Angel Studios 

You can read about the film distributor here.

Blog Posts

Films: Angel Studios.

Films: Tim Ballard.

Notes And Links

Article source: Angel Studios. 

The image shown at the top of this page and the three below is the copyright of Angel Studios.

Sound Of Freedom on IMDb.

Angel Studios – Official website.

Angel Studios on Facebook.

Angel Studios on Twitter.

Angel Studios on Instagram.

Angel Studios on YouTube.

Tim Ballard – Official website.

Operation Underground Railroad – Official website.  O.U.R. lead the fight against child sex trafficking and sexual exploitation around the globe.  Their work has no boundaries.  They go to the darkest corners of the world to assist law enforcement in rescuing children and ensure ongoing aftercare. They provide critical resources to law enforcement and preventative efforts that benefit at-risk children worldwide.  Their resolve never falters, and they will faithfully persevere until every child is safe.

Operation Underground Railroad On Facebook.

Operation Underground Railroad On Twitter.

Operation Underground Railroad On YouTube.

Operation Underground On Instagram.

Operation Underground Railroad On LinkedIn.

Operation Underground Railroad On TikTok.

The SPEAR Fund – Official website.  The SPEAR Fund collaborates with and funds anti-trafficking organizations to provide quick and effective action when it matters most.

Jordon B. Peterson – Official website. 

Jordon B. Peterson on Facebook.

Jordon B. Peterson on YouTube.

Jordon B. Peterson on Instagram

Films

Image © of Bence Szemerey via Pixabay

Everyone loves watching a good film albeit at the cinema or at home on the television etc.  With a collection of over 1000 DVDs that includes a LOT of films, it is clear to see that this is another big passion of mine.

I can’t remember the very first film I went to see at the pictures but it was in the mid-1970’s and it possibly could have been the Disney animation adaptation of Robin Hood.  Visits to the cinema over the decades as a child and older, with family have always held special memories for me. 

Watching a film on the telly is always good but nothing beats the experience and sound quality of watching it on the big screen.  Having a home cinema has always been a dream of mine but that probably won’t ever happen but one day I would like to get a decent surround sound system and projector with a large screen or a large telly to watch films on.  I will say never say never on that one!

I like most film genres with my favourite being Horror and Science Fiction ones.  I have favourite actors and actresses the same as anyone else does and they will be shown on this page.  I am not going to list every film I have watched in my lifetime, that would be IMPOSSIBLE to remember but I will list films I have watched and enjoyed that I think are worth watching for someone else but of course, your opinions may differ from mine, that’s life.

About Film

A film, also called a movie, motion picture, moving picture, picture, photoplay, or flick is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. Flick is, in general, a slang term, first recorded in 1926.  It originates in the verb flicker, owing to the flickering appearance of early films.  These images are generally accompanied by sound and, more rarely, other sensory stimulations.   The word cinema, short for cinematography, is often used to refer to filmmaking and the film industry, and the art form that is the result of it. 

The History Of Film

Precursors

The art of film has drawn on several earlier traditions in fields such as oral storytelling, literature, theatre, and visual arts.  Forms of art and entertainment that have already featured moving or projected images include shadowgraphy (probably used since prehistoric times), camera obscura (a natural phenomenon that has possibly been used as an artistic aid since prehistoric times), shadow puppetry (possibly originated around 200 BCE in Central Asia, India, Indonesia or China) and the magic lantern (developed in the 1650’s,  this multi-media phantasmagoria shows that magic lanterns were popular from 1790 throughout the first half of the 19th century and could feature mechanical slides, rear projection, mobile projectors, superimposition, dissolving views, live actors, smoke that was sometimes used to project images upon, odours, sounds, and even electric shocks).

Before Celluloid

The stroboscopic animation principle was introduced in 1833 with the stroboscopic disc (better known as the phenakisticope) and later applied in the zoetrope (since 1866), the flip book (since 1868), and the praxinoscope (since 1877) before it became the basic principle for cinematography.

Image © of Simon Ritter von Stampfer via Wikipedia

Prof. Stampfer’s Stroboscopische Scheibe No. X., created on the 22nd of June, 1833.  This is side Nr. 10 of the reworked second series of Stampfer’s stroboscopic disc published by Trentsensky & Vieweg in the same year.

Experiments with early phenakisticope-based animation projectors were made at least as early as 1843 and publicly screened in 1847.  Jules Duboscq marketed phenakisticope projection systems in France from circa 1853 until the 1890’s.

Photography was introduced in 1839, but initially, photographic emulsions needed such long exposures that the recording of moving subjects seemed impossible.  At least as early as 1844, a photographic series of subjects posed in different positions was created to either suggest a motion sequence or document a range of different viewing angles.  The advent of stereoscopic photography, with early experiments in the 1840’s and commercial success since the early 1850’s, raised interest in completing the photographic medium with the addition of means to capture colour and motion.  In 1849, Joseph Plateau published the idea to combine his invention of the phenakisticope with the stereoscope, as suggested to him by stereoscope inventor Charles Wheatstone, and to use photographs of plaster sculptures in different positions to be animated in the combined device.  In 1852, Jules Duboscq patented such an instrument as the Stereoscope-fantascope, ou Bioscope, but he only marketed it very briefly, without success.  One Bioscope disc with stereoscopic photographs of a machine is in the Plateau collection of Ghent University, but no instruments or other discs have yet been found.

By the late 1850’s the first examples of instantaneous photography came about and provided hope that motion photography would soon be possible, but it took a few decades before it was successfully combined with a method to record a series of sequential images in real-time.  In 1878, Eadweard Muybridge eventually managed to take a series of photographs of a running horse with a battery of cameras in a line along the track and published the results as The Horse in Motion on cabinet cards.  Muybridge, as well as Etienne-Jules Marey, Ottomar Anschütz, and many others, would create many more chronophotography studies.  Muybridge had the contours of dozens of his chronophotographic series traced onto glass discs and projected them with his zoopraxiscope in his lectures from 1880 to 1895.

Image © of Eadweard Muybridge via Wikipedia

An animation of the retouched Sallie Garner card from The Horse in Motion series by Eadweard Muybridge.  The series was from 1878 – 1879. 

Anschutz made his first instantaneous photographs in 1881.  He developed a portable camera that allowed shutter speeds as short as 1/1000 of a second in 1882.  The quality of his pictures was generally regarded to be much higher than that of the chronophotography works of Muybridge and Etienne-Jules Marey.  In 1886, Anschutz developed the Electrotachyscope, an early device that displayed short motion picture loops with 24 glass plate photographs on a 1.5-meter-wide rotating wheel that was hand-cranked to the speed of circa 30 frames per second.  Different versions were shown at many international exhibitions, fairs, conventions, and arcades from 1887 until at least 1894.  Starting in 1891, some 152 examples of a coin-operated peep-box Electrotachyscope model were manufactured by Siemens & Halske in Berlin and sold internationally.  Nearly 34,000 people paid to see it at the Berlin Exhibition Park in the summer of 1892.  Others saw it in London or at the 1893 Chicago World’s Fair.  On the 25th of November 1894, Anschutz introduced an Electrotachyscope projector with a 6 x 8 meter screening in Berlin.  Between the 22nd of February and the 30th of March 1895, a total of circa 7,000 paying customers came to view a 1.5-hour show of some 40 scenes at a 300-seat hall in the old Reichstag building in Berlin.

Image © unknown via Wikipedia

A picture of Ottomar’s Anschutz’s electrotachyscope, first published in Scientific American on the 16th of November, 1889.

Emile Reynaud already mentioned the possibility of projecting the images of the Praxinoscope in his 1877 patent application.  He presented a praxinoscope projection device at the Societe Francaise de Photographie on the 4th of June 1880 but did not market his praxinoscope before 1882.  He then further developed the device into the Theatre Optique which could project longer sequences with separate backgrounds, patented in 1888.  He created several movies for the machine by painting images on hundreds of gelatin plates that were mounted into cardboard frames and attached to a cloth band.  From the 28th of October 1892 to March 1900 Reynaud gave over 12,800 shows to a total of over 500,000 visitors at the Grevin Museu in Paris.

First Motion Pictures

By the end of the 1880’s, the introduction of lengths of celluloid photographic film and the invention of motion picture cameras, which could photograph a rapid sequence of images using only one lens, allowed the action to be captured and stored on a single compact reel of film.

Movies were initially shown publicly to one person at a time through peep show devices such as the Electrotachyscope, Kinetoscope, and the Mutoscope.  Not much later, exhibitors managed to project films on large screens for theatre audiences.

The first public screenings of films at which admission was charged were made in 1895 by the American Woodville Latham and his sons, using films produced by their Eidoloscope company, by the Skladanowsky brothers, and by the arguably better known  French brothers Auguste and Louis Lumiere with ten of their own productions.  Private screenings had preceded these by several months, with Latham’s slightly predating the others.

Roundhay Garden Scene is a short silent motion picture filmed by French inventor Louis Le Prince at Oakwood Grange in Roundhay, Leeds, in northern England on the 14th of October 1888.

Pauvre Pierrot or Poor Pete as it is known in English is a French short animated film directed by Charles-Emile Reynaud in 1891 and was released in 1892. 

Georges Melies’ Le Voyage dans la Lune or A Trip to the Moon as it is known in English is an early narrative film and also an early science fiction film, released in 1902.

The Bond is a two-reel propaganda film created by Charlie Chaplin at his own expense for the Liberty Loan Committee to help sell U.S. Liberty Bonds during World War I, released in 1918. 

Early Evolution

The earliest films were simply one static shot that showed an event or action with no editing or other cinematic techniques.  Typical films showed employees leaving a factory gate, people walking in the street, and the view from the front of a trolley as it traveled a city’s Main Street.  According to legend, when a film showed a locomotive at high speed approaching the audience, the audience panicked and ran from the theater.  Around the turn of the 20th century, films started stringing several scenes together to tell a story.  The filmmakers who first put several shots or scenes discovered that, when one shot follows another, that act establishes a relationship between the content in the separate shots in the minds of the viewer.  It is this relationship that makes all film storytelling possible.  In a simple example, if a person is shown looking out a window, whatever the next shot shows, it will be regarded as the view the person was seeing.  Each scene was a single stationary shot with the action occurring before it.  The scenes were later broken up into multiple shots photographed from different distances and angles.  Other techniques such as camera movement were developed as effective ways to tell a story with film.  Until sound film became commercially practical in the late 1920’s, motion pictures were purely visual art, but these innovative silent films had gained a hold on the public imagination.  Rather than leave audiences with only the noise of the projector as an accompaniment, theater owners hired a pianist or organist or, in large urban theaters, a full orchestra to play music that fit the mood of the film at any given moment. By the early 1920’s, most films came with a prepared list of sheet music to be used for this purpose, and complete film scores were composed for major productions.

The rise of European cinema was interrupted by the outbreak of World War I, while the film industry in the United States flourished with the rise of Hollywood, typified most prominently by the innovative work of D. W. Griffith in The Birth of a Nation (1915) and Intolerance (1916).  However, in the 1920’s, European filmmakers such as Eisenstein, F. W. Murnau, and Fritz Lang, in many ways inspired by the meteoric wartime progress of film through Griffith, along with the contributions of Charles Chaplin, Buster Keaton, and others, quickly caught up with American film-making and continued to further advance the medium.

Sound

In the 1920’s, the development of electronic sound recording technologies made it practical to incorporate a soundtrack of speech, music, and sound effects synchronized with the action on the screen.  The resulting sound films were initially distinguished from the usual silent moving pictures or movies by calling them talking pictures or talkies.  The revolution they wrought was swift.  By 1930, silent film was practically extinct in the US and already being referred to as the old medium.

The evolution of sound in cinema began with the idea of combining moving images with existing phonograph sound technology.  Early sound-film systems, such as Thomas Edison’s Kinetoscope and the Vitaphone used by Warner Bros., laid the groundwork for synchronized sound in film.  The Vitaphone system, produced alongside Bell Telephone Company and Western Electric, faced initial resistance due to expensive equipping costs, but sound in cinema gained acceptance with movies like Don Juan (1926) and The Jazz Singer (1927).

American film studios, while Europe standardized on Tobis-Klangfilm and Tri-Ergon systems.  This new technology allowed for greater fluidity in film, giving rise to more complex and epic movies like King Kong (1933).

As the television threat emerged in the 1940’s and 1950’s, the film industry needed to innovate to attract audiences.  In terms of sound technology, this meant the development of surround sound and more sophisticated audio systems, such as Cinerama’s seven-channel system.  However, these advances required a large number of personnel to operate the equipment and maintain the sound experience in cinemas.

In 1966, Dolby Laboratories introduced the Dolby A noise reduction system, which became a standard in the recording industry and eliminated the hissing sound associated with earlier standardization efforts.  Dolby Stereo, a revolutionary surround sound system, followed and allowed cinema designers to take acoustics into consideration when designing cinemas.  This innovation enabled audiences in smaller venues to enjoy comparable audio experiences to those in larger city cinemas.

Today, the future of sound in film remains uncertain, with potential influences from artificial intelligence, remastered audio, and personal viewing experiences shaping its development.  However, it is clear that the evolution of sound in cinema has been marked by continuous innovation and a desire to create more immersive and engaging experiences for audiences.

Colour

A significant technological advancement in the film industry was the introduction of natural colour, where colour was captured directly from nature through photography, as opposed to being manually added to black-and-white prints using techniques like hand-coloring or stencil-coloring.  Early colour processes often produced colours that appeared far from natural.  Unlike the rapid transition from silent films to sound films, colour’s replacement of black-and-white happened more gradually.

The crucial innovation was the three-strip version of the Technicolor process, first used in animated cartoons in 1932.  The process was later applied to live-action short films, specific sequences in feature films, and finally, to an entire feature film, Becky Sharp, in 1935.  Although the process was expensive, the positive public response, as evidenced by increased box office revenue, generally justified the additional cost.  Consequently, the number of films made in color gradually increased year after year.

The 1950’s: The Growing Influence Of Television

In the early 1950’s, the proliferation of black-and-white television started seriously depressing North American cinema attendance.  In an attempt to lure audiences back into cinemas, bigger screens were installed, widescreen processes, polarised 3D projection, and stereophonic sound were introduced, and more films were made in colour, which soon became the rule rather than the exception.  Some important mainstream Hollywood films were still being made in black-and-white as late as the mid-1960’s, but they marked the end of an era.  Colour television receivers had been available in the U.S. since the mid-1950’s, but at first, they were very expensive and few broadcasts were in colour.  During the 1960’s, prices gradually came down, colour broadcasts became common, and sales boomed.  The overwhelming public verdict in favour of colour was clear.  After the final flurry of black-and-white films had been released in mid-decade, all Hollywood studio productions were filmed in colour, with the usual exceptions made only at the insistence of star filmmakers such as Peter Bogdanovich and Martin Scorsese.

The 1960’s And Later

The decades following the decline of the studio system in the 1960’s saw changes in the production and style of film.  Various New Wave movements (including the French New Wave, New German Cinema wave, Indian New Wave, Japanese New Wave, New Hollywood, and Egyptian New Wave) and the rise of film-school-educated independent filmmakers contributed to the changes the medium experienced in the latter half of the 20th century.  Digital technology has been the driving force for change throughout the 1990’s and into the 2000’s.  Digital 3D projection largely replaced earlier problem-prone 3D film systems and has become popular in the early 2010’s. 

Image © unknown via Wikipedia

Salah Zulfikar, one of the most popular actors in the golden age of Egyptian Cinema.

Etymology And Alternative Terms

The name film originally referred to the thin layer of photochemical emulsion on the celluloid strip that used to be the actual medium for recording and displaying motion pictures.

The most common term in Europe is film while in the United States,  movie is preferred.

Archaic terms include animated pictures and animated photography. Common terms for the field, in general, include the big screen, the silver screen, the movies, and cinema.  The last of these is commonly used, as an overarching term, in scholarly texts and critical essays.  In the early years, the word sheet was sometimes used instead of screen.

Recording And Transmission Of The Film

The moving images of a film are created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of C.G.I. and computer animation, or by a combination of some or all of these techniques, and other visual effects.

Before the introduction of digital production, a series of still images were recorded on a strip of chemically sensitised celluloid (photographic film stock), usually at a rate of 24 frames per second.  The images are transmitted through a movie projector at the same rate as they were recorded, with a Geneva drive ensuring that each frame remains still during its short projection time.  A rotating shutter causes stroboscopic intervals of darkness, but the viewer does not notice the interruptions due to flicker fusion.  The apparent motion on the screen is the result of the fact that the visual sense cannot discern the individual images at high speeds, so the impressions of the images blend with the dark intervals and are thus linked together to produce the illusion of one moving image.  An analogous optical soundtrack (a graphic recording of the spoken words, music, and other sounds) runs along a portion of the film exclusively reserved for it and is not projected.

Contemporary films are usually fully digital through the entire process of production, distribution, and exhibition.

Film Theory

Film theory seeks to develop concise and systematic concepts that apply to the study of film as art.  The concept of film as an art-form began in 1911 with Ricciotto Canudo’s manifest The Birth of the Sixth Art.  The Moscow Film School, the oldest film school in the world, was founded in 1919, in order to teach about and research film theory.  Formalist film theory, led by Rudolf Arnheim, Bela Balazs, and Siegfried Kracauer, emphasized how film differed from reality and thus could be considered a valid fine art.  Andre Bazin reacted against this theory by arguing that film’s artistic essence lay in its ability to mechanically reproduce reality, not in its differences from reality, and this gave rise to realist theory.  More recent analysis spurred by Jacques Lacan’s psychoanalysis and Ferdinand de Saussure’s semiotics among other things has given rise to psychoanalytic film theory, structuralist film theory, feminist film theory, and others.  On the other hand, critics from the analytical philosophy tradition, influenced by Wittgenstein, try to clarify misconceptions used in theoretical studies and produce analysis of a film’s vocabulary and its link to a form of life.

Image © Janke via Wikipedia

The Bolex H16 Reflex camera.

Language

Film is considered to have its own language.  James Monaco wrote a classic text on film theory, titled How to Read a Film, that addresses this.  Director Ingmar Bergman famously said, “Andrei Tarkovsky for me is the greatest director, the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.”  An example of the language is a sequence of back and forth images of one speaking actor’s left profile, followed by another speaking actor’s right profile, then a repetition of this, which is a language understood by the audience to indicate a conversation.  This describes another theory of film, the 180-degree rule, as a visual story-telling device with an ability to place a viewer in a context of being psychologically present through the use of visual composition and editing.  The Hollywood style includes this narrative theory, due to the overwhelming practice of the rule by movie studios based in Hollywood, California, during film’s classical era.  Another example of cinematic language is having a shot that zooms in on the forehead of an actor with an expression of silent reflection that cuts to a shot of a younger actor who vaguely resembles the first actor, indicating that the first person is remembering a past self, an edit of compositions that causes a time transition.

Montage

Read more about Montage here.

Montage is a film editing technique in which separate pieces of film are selected, edited, and assembled to create a new section or sequence within a film.  This technique can be used to convey a narrative or to create an emotional or intellectual effect by juxtaposing different shots, often for the purpose of condensing time, space, or information.  Montage can involve flashbacks, parallel action, or the interplay of various visual elements to enhance the storytelling or create symbolic meaning.

The concept of montage emerged in the 1920’s, with pioneering Soviet filmmakers such as Sergei Eisenstein and Lev Kuleshov developing the theory of montage. Eisenstein’s film Battleship Potemkin (1925) is a prime example of the innovative use of montage, where he employed complex juxtapositions of images to create a visceral impact on the audience. 

As the art of montage evolved, filmmakers began incorporating musical and visual counterpoint to create a more dynamic and engaging experience for the viewer.  The development of scene construction through mise-en-scène, editing, and special effects led to more sophisticated techniques that can be compared to those utilized in opera and ballet.

The French New Wave movement of the late 1950’s and 1960’s also embraced the montage technique, with filmmakers such as Jean-Luc Godard and François Truffaut using montage to create distinctive and innovative films.  This approach continues to be influential in contemporary cinema, with directors employing montage to create memorable sequences in their films.

In contemporary cinema, montage continues to play an essential role in shaping narratives and creating emotional resonance.  Filmmakers have adapted the traditional montage technique to suit the evolving aesthetics and storytelling styles of modern cinema:

Rapid editing and fast-paced montages: With the advent of digital editing tools, filmmakers can now create rapid and intricate montages to convey information or emotions quickly.  Films like Darren Aronofsky’s Requiem for a Dream (2000) and Edgar Wright’s Shaun of the Dead (2004) employ fast-paced editing techniques to create immersive and intense experiences for the audience.

Music video influence: The influence of music videos on film has led to the incorporation of stylized montage sequences, often accompanied by popular music.  Films like Guardians of the Galaxy (2014) and Baby Driver (2017) use montage to create visually striking sequences that are both entertaining and narratively functional.

Sports and training montages: The sports and training montage has become a staple in modern cinema, often used to condense time and show a character’s growth or development.  Examples of this can be found in films like Rocky (1976), The Karate Kid (1984), and Million Dollar Baby (2004).

Cross-cutting and parallel action: Contemporary filmmakers often use montage to create tension and suspense by cross-cutting between parallel storylines.  Christopher Nolan’s Inception (2010) and Dunkirk (2017) employ complex cross-cutting techniques to build narrative momentum and heighten the audience’s emotional engagement.

Thematic montage: Montage can also be used to convey thematic elements or motifs in a film.  Wes Anderson’s The Royal Tenenbaums (2001) employs montage to create a visual language that reflects the film’s themes of family, nostalgia, and loss.

As the medium of film continues to evolve, montage remains an integral aspect of visual storytelling, with filmmakers finding new and innovative ways to employ this powerful technique.

Film Criticism

Film criticism is the analysis and evaluation of films.  In general, these works can be divided into two categories, academic criticism by film scholars and journalistic film criticism that appears regularly in newspapers and other media.  Film critics working for newspapers, magazines, and broadcast media mainly review new releases.  Normally they only see any given film once and have only a day or two to formulate their opinions.  Despite this, critics have an important impact on the audience response and attendance at films, especially those of certain genres.  Mass marketed action, horror, and comedy films tend not to be greatly affected by a critic’s overall judgment of a film.  The plot summary and description of a film and the assessment of the director’s and screenwriters’ work that makes up the majority of most film reviews can still have an important impact on whether people decide to see a film.  For prestige films such as most dramas and art films, the influence of reviews is important.  Poor reviews from leading critics at major papers and magazines will often reduce audience interest and attendance.

The impact of a reviewer on a given film’s box office performance is a matter of debate.  Some observers claim that movie marketing in the 2000’s is so intense, well-coordinated and well financed that reviewers cannot prevent a poorly written or filmed blockbuster from attaining market success.  However, the cataclysmic failure of some heavily promoted films which were harshly reviewed, as well as the unexpected success of critically praised independent films indicates that extreme critical reactions can have considerable influence.  Other observers note that positive film reviews have been shown to spark interest in little-known films.  Conversely, there have been several films in which film companies have so little confidence that they refuse to give reviewers an advanced viewing to avoid widespread panning of the film.  However, this usually backfires, as reviewers are wise to the tactic and warn the public that the film may not be worth seeing and the films often do poorly as a result.  Journalist film critics are sometimes called film reviewers.  Critics who take a more academic approach to films, through publishing in film journals and writing books about films using film theory or film studies approaches, study how film and filming techniques work, and what effect they have on people.  Rather than having their reviews published in newspapers or appearing on television, their articles are published in scholarly journals or up-market magazines.  They also tend to be affiliated with colleges or universities as professors or instructors.

In 1986, Roger Ebert, winner of the Pulitzer Prize for Criticism said, “If a movie can illuminate the lives of other people who share this planet with us and show us not only how different they are but, how even so, they share the same dreams and hurts, then it deserves to be called great.”

Industry

Read more about Industry here. Read more about World Cinema

The making and showing of motion pictures became a source of profit almost as soon as the process was invented.  Upon seeing how successful their new invention, and its product, was in their native France, the Lumieres quickly set about touring the Continent to exhibit the first films privately to royalty and publicly to the masses.  In each country, they would normally add new, local scenes to their catalogue and, quickly enough, found local entrepreneurs in the various countries of Europe to buy their equipment and photograph, export, import, and screen additional product commercially.  The Oberammergau Passion Play of 1898 was the first commercial motion picture ever produced.  Other pictures soon followed, and motion pictures became a separate industry that overshadowed the vaudeville world.  Dedicated theaters and companies formed specifically to produce and distribute films, while motion picture actors became major celebrities and commanded huge fees for their performances. By 1917 Charlie Chaplin had a contract that called for an annual salary of one million dollars.  From 1931 to 1956, film was also the only image storage and playback system for television programming until the introduction of videotape recorders.

In the United States, much of the film industry is centered around Hollywood, California.  Other regional centers exist in many parts of the world, such as Mumbai-centered Bollywood, the Indian film industry’s Hindi cinema which produces the largest number of films in the world.  Though the expense involved in making films has led cinema production to concentrate under the auspices of movie studios, recent advances in affordable film making equipment have allowed independent film productions to flourish.

Profit is a key force in the industry, due to the costly and risky nature of filmmaking; many films have large cost overruns, an example being Kevin Costner’s Waterworld.  Yet many filmmakers strive to create works of lasting social significance.  The Academy Awards (also known as the Oscars) are the most prominent film awards in the United States, providing recognition each year to films, based on their artistic merits (but it has got so woke lately that is questionable indeed).   There is also a large industry for educational and instructional films made in lieu of or in addition to lectures and texts.   Revenue in the industry is sometimes volatile due to the reliance on blockbuster films released in movie theaters.  The rise of alternative home entertainment has raised questions about the future of the cinema industry, and Hollywood employment has become less reliable, particularly for medium and low-budget films.

World Cinema

Read more about World Cinema here.

World cinema is a term in film theory that refers to films made outside of the American motion picture industry, particularly those in opposition to the aesthetics and values of commercial American cinema.  The Third Cinema of Latin America and various national cinemas are commonly identified as part of world cinema.  The term has been criticized for Americentrism and for ignoring the diversity of different cinematic traditions around the world.

Image © unknown via Wikipedia

Most productive cinemas around the world based on IMDb (as of 2009).  Over 10,000 titles (green), over 5,000 (yellow), over 1,000 (blue).

Associated Fields

Read more about Film theory here, Product placement here, and Propaganda here.

Derivative academic fields of study may both interact with and develop independently of filmmaking, as in film theory and analysis.  Fields of academic study have been created that are derivative or dependent on the existence of film, such as film criticism, film history, divisions of film propaganda in authoritarian governments, or psychological on subliminal effects (e.g., of a flashing soda can during a screening).  These fields may further create derivative fields, such as a movie review section in a newspaper or a television guide.  Sub-industries can spin off from film, such as popcorn makers, and film-related toys (e.g., Star Wars figures).  Sub-industries of pre-existing industries may deal specifically with film, such as product placement and other advertising within films.

Terminology

The terminology used for describing motion pictures varies considerably between British and American English.  In British usage, the name of the medium is film.  The word movie is understood but seldom used.  Additionally, the pictures (plural) is used semi-frequently to refer to the place where movies are exhibited, while in American English this may be called the movies, but it is becoming outdated.  In other countries, the place where movies are exhibited may be called a cinema or movie theatre.  By contrast, in the United States, movie is the predominant form.  Although the words film and movie are sometimes used interchangeably, film is more often used when considering artistic, theoretical, or technical aspects.  The term movies more often refers to entertainment or commercial aspects, such as where to go for a fun evening on a date.  For example, a book titled How to Understand a Film would probably be about the aesthetics or theory of film, while a book entitled Let’s Go to the Movies would probably be about the history of entertaining movies and blockbusters.

Further terminology is used to distinguish various forms and media used in the film industry.  Motion pictures and moving pictures are frequently used terms for film and movie productions specifically intended for theatrical exhibition, such as, for instance, Star Wars. DVD and videotape are video formats that can reproduce a photochemical film.  A reproduction based on such is called a transfer.  After the advent of theatrical film as an industry, the television industry began using videotape as a recording medium.  For many decades, the tape was solely an analogue medium onto which moving images could be either recorded or transferred.  Film and filming refer to the photochemical medium that chemically records a visual image and the act of recording respectively.  However, the act of shooting images with other visual media, such as with a digital camera, is still called filming and the resulting works are often called films as interchangeable with movies, despite not being shot on film.  Silent films need not be utterly silent but are films and movies without an audible dialogue, including those that have a musical accompaniment.  The word, Talkies, refers to the earliest sound films created to have audible dialogue recorded for playback along with the film, regardless of a musical accompaniment.  Cinema either broadly encompasses both films and movies, or it is roughly synonymous with film and theatrical exhibition, and both are capitalised when referring to a category of art.  The silver screen refers to the projection screen used to exhibit films and, by extension, is also used as a metonym for the entire film industry.

Widescreen refers to a larger width to height in the frame, compared to earlier historic aspect ratios.  A feature-length film, or feature film, is of a conventional full length, usually 60 minutes or more, and can commercially stand by itself without other films in a ticketed screening.  A short is a film that is not as long as a feature-length film, often screened with other shorts, or preceding a feature-length film.  An independent is a film made outside the conventional film industry.

In U.S. usage, one talks of a screening or projection of a movie or video on a screen at a public or private theatre.  In British English, a film showing happens at a cinema, never a theatre, which is a different medium and place altogether.  A cinema usually refers to an arena designed specifically to exhibit films, where the screen is affixed to a wall, while a theatre usually refers to a place where live, non-recorded action or combination thereof occurs from a podium or other type of stage, including the amphitheatre.  Theatres can still screen movies in them, though the theatre would be retrofitted to do so.  One might propose going to the cinema when referring to the activity, or sometimes to the pictures in British English, whereas the U.S. expression is usually going to the movies.  A cinema usually shows a mass-marketed movie using a front-projection screen process with either a film projector or, more recently, with a digital projector.  But, cinemas may also show theatrical movies from their home video transfers that include Blu-ray Disc, DVD, and videocassette when they possess sufficient projection quality or based upon need, such as movies that exist only in their transferred state, which may be due to the loss or deterioration of the film master and prints from which the movie originally existed.  Due to the advent of digital film production and distribution, physical film might be absent entirely.  A double feature is a screening of two independently marketed, stand-alone feature films.  A viewing is a watching of a film.  Sales and at the box office refer to tickets sold at a theatre, or more currently, rights sold for individual showings.  A release is the distribution and often simultaneous screening of a film.  A preview is a screening in advance of the main release.

Any film may also have a sequel, which portrays events following those in the film.  Bride of Frankenstein is an early example.  When there are more films than one with the same characters, story arcs, or subject themes, these movies become a series, such as the James Bond series.  And, existing outside a specific story timeline usually, does not exclude a film from being part of a series.  A film that portrays events occurring earlier in a timeline with those in another film, but is released after that film, is sometimes called a prequel, an example being Butch and Sundance: The Early Days.

The credits, or end credits, are a list that gives credit to the people involved in the production of a film.  Films from before the 1970’s usually start a film with credits, often ending with only a title card, saying The End or some equivalent, often an equivalent that depends on the language of the production.  From then onward, a film’s credits usually appear at the end of most films.  However, films with credits that end a film often repeat some credits at or near the start of a film and therefore appear twice, such as that film’s acting leads, while less frequently some appearing near or at the beginning only appear there, not at the end, which often happens to the director’s credit.  The credits appearing at or near the beginning of a film are usually called titles or beginning titles.  A post-credits scene is a scene shown after the end of the credits.  Ferris Bueller’s Day Off has a post-credit scene in which Ferris tells the audience that the film is over and they should go home.

A film’s cast refers to a collection of the actors and actresses who appear, or star, in a film.  A star is an actor or actress, often a popular one, and in many cases, a celebrity who plays a central character in a film.  Occasionally the word can also be used to refer to the fame of other members of the crew, such as a director or other personality, such as Martin Scorsese.  A crew is usually interpreted as the people involved in a film’s physical construction outside cast participation, and it could include directors, film editors, photographers, grips, gaffers, set decorators, prop masters, and costume designers.  A person can both be part of a film’s cast and crew, such as Woody Allen, who directed and starred in Take the Money and Run.

A film goer, movie goer, or film buff is a person who likes or often attends films and movies, and any of these, though more often the latter, could also see oneself as a student of films and movies.  Intense interest in films, film theory, and film criticism, is known as cinephilia.  A film enthusiast is known as a cinephile or cineaste.

Preview

Read more about Test screening here.

A preview performance refers to a showing of a film to a select audience, usually for the purposes of corporate promotions, before the public film premiere itself.  Previews are sometimes used to judge audience reaction, which if unexpectedly negative, may result in recutting or even refilming certain sections based on the audience response.  One example of a film that was changed after a negative response from the test screening is 1982’s First Blood.  After the test audience responded very negatively to the death of protagonist John Rambo (a Vietnam veteran) at the end of the film, the company wrote and re-shot a new ending in which the character survives.

Trailer And Teaser

Read more about the Film trailer here.

Trailers or previews are advertisements for films that will be shown in 1 to 3 months at a cinema.  Back in the early days of cinema, with cinemas that had only one or two screens, only certain trailers were shown for the films that were going to be shown there.  Later, when cinemas added more screens or new cinemas were built with a lot of screens, all different trailers were shown even if they were not going to play that film in that cinema.  Film studios realised that the more trailers that were shown (even if it was not going to be shown in that particular cinema) the more patrons would go to a different cinema to see the film when it came out.  The term trailer comes from their having originally been shown at the end of a film.  That practice did not last long because patrons tended to leave the theatre after the films ended, but the name stuck.  Trailers are now shown before the film, or when the first film in a double feature begins.  Film trailers are also common on DVD’s and Blu-ray Discs, as well as on the Internet and mobile devices.  Trailers are created to be engaging and interesting for viewers.  As a result, in the Internet era, viewers often seek out trailers to watch them.  Of the ten billion videos watched online annually in 2008, film trailers ranked third, after news and user-created videos.  Teasers are a much shorter preview or advertisement that lasts only 10 to 30 seconds.  Teasers are used to get patrons excited about a film coming out in the next six to twelve months.  Teasers may be produced even before the film production is completed.

The Role Of Film In Culture

Films are cultural artefacts created by specific cultures, facilitating intercultural dialogue.  It is considered to be an important art form that provides entertainment and historical value, often visually documenting a period of time.  The visual basis of the medium gives it a universal power of communication, often stretched further through the use of dubbing or subtitles to translate the dialogue into other languages. Just seeing a location in a film is linked to higher tourism to that location, demonstrating how powerful the suggestive nature of the medium can be.

Education And Propaganda

Read more about Educational films here and Propaganda films here.

Film is used for a range of goals, including education and propaganda due to its ability to effectively intercultural dialogue.  When the purpose is primarily educational, a film is called an educational film.  Examples are recordings of academic lectures and experiments, or a film based on a classic novel.  Film may be propaganda, in whole or in part, such as the films made by Leni Riefenstahl in Nazi Germany, U.S. war film trailers during World War II, or artistic films made under Stalin by Sergei Eisenstein.  They may also be works of political protest, as in the films of Andrzej Wajda, or more subtly, the films of Andrei Tarkovsky.  The same film may be considered educational by some, and propaganda by others as the Film is used for a range of goals, including education and propaganda due to its ability to effectively intercultural dialogue. When the purpose is primarily educational, a film is called an educational film. Examples are recordings of academic lectures and experiments, or a film based on a classic novel. Film may be propaganda, in whole or in part, such as the films made by Leni Riefenstahl in Nazi Germany, U.S. war film trailers during World War II, or artistic films made under Stalin by Sergei Eisenstein. They may also be works of political protest, as in the films of Andrzej Wajda, or more subtly, the films of Andrei Tarkovsky.  The same film may be considered educational by some, and propaganda by others as the categorisation of a film can be subjective.

Production

Read more about Filmmaking here

At its core, the means to produce a film depend on the content the filmmaker wishes to show, and the apparatus for displaying it e.g. the zoetrope merely requires a series of images on a strip of paper.  Film production can, therefore, take as little as one person with a camera, or even without a camera, as in Stan Brakhage’s 1963 film Mothlight, or thousands of actors, extras, and crew members for a live-action, feature-length epic.  The necessary steps for almost any film can be boiled down to conception, planning, execution, revision, and distribution.  The more involved the production, the more significant each of the steps becomes.  In a typical production cycle of a Hollywood-style film, these main stages are defined as development, pre-production, production, post-production and distribution.

This production cycle usually takes three years.  The first year is taken up with development.  The second year comprises preproduction and production.  The third year, post-production and distribution.  The bigger the production, the more resources it takes, and the more important financing becomes.  Most feature films are artistic works from the creators’ perspective, e.g., film directors, cinematographers, screenwriters and for-profit business entities for the production companies.

Crew

Read more about the Film crew here.

A film crew is a group of people hired by a film company, and employed during the production or photography phase, for the purpose of producing a film or motion picture.  Crew is distinguished from cast, who are the actors who appear in front of the camera or provide voices for characters in the film.  The crew interacts with but is also distinct from the production staff, consisting of producers, managers, company representatives, their assistants, and those whose primary responsibility falls in the pre-production or post-production phases, such as screenwriters and film editors.  Communication between production and crew generally passes through the director and his/her staff of assistants.  Medium-to-large crews are generally divided into departments with well-defined hierarchies and standards for interaction and cooperation between the departments.  Other than acting, the crew handles everything in the photography phase such as props and costumes, shooting, sound, electrics, i.e., lights, sets, and production special effects.  Caterers (known in the film industry as craft services) are usually not considered part of the crew.

Technology

Read more about Cinema Techniques here.

Film stock consists of transparent celluloid, acetate, or polyester base coated with an emulsion containing light-sensitive chemicals.  Cellulose nitrate was the first type of film base used to record motion pictures, but due to its flammability was eventually replaced by safer materials.  Stock widths and the film format for images on the reel have had a rich history, though most large commercial films are still shot on (and distributed to theatres) as 35 mm prints.  Originally moving picture film was shot and projected at various speeds using hand-cranked cameras and projectors; though 1000 frames per minute (162/3 frame/s) is generally cited as a standard silent speed, research indicates most films were shot between 16 frame/s and 23 frame/s and projected from 18 frame/s on up (often reels included instructions on how fast each scene should be shown).  When synchronised sound film was introduced in the late 1920’s, a constant speed was required for the sound head.  24 frames per second was chosen because it was the slowest (and thus cheapest) speed which allowed for sufficient sound quality.  The standard was set with Warner Bros.’s The Jazz Singer and their Vitaphone system in 1927.  Improvements since the late 19th century include the mechanisation of cameras which allows them to record at a consistent speed and quiet camera design thus allowing sound recorded on-set to be usable without requiring large blimps to encase the camera, the invention of more sophisticated filmstocks and lenses, allowing directors to film in increasingly dim conditions, and the development of synchronized sound, allowing sound to be recorded at exactly the same speed as its corresponding action.  The soundtrack can be recorded separately from shooting the film, but many parts of the soundtrack are usually recorded simultaneously for live-action pictures.

As a medium, film is not limited to motion pictures, since the technology developed as the basis for photography.  It can be used to present a progressive sequence of still images in the form of a slideshow. Film has also been incorporated into multimedia presentations and often has importance as primary historical documentation.  However, historic films have problems in terms of preservation and storage, and the motion picture industry is exploring many alternatives.  Most films on cellulose nitrate base have been copied onto modern safety films. Some studios save colour films through the use of separation masters which are three B&W negatives each exposed through red, green, or blue filters (essentially a reverse of the Technicolor process).  Digital methods have also been used to restore films, although their continued obsolescence cycle makes them (as of 2006) a poor choice for long-term preservation.  Film preservation of decaying film stock is a matter of concern to both film historians and archivists and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue).  Preservation is generally a higher concern for nitrate and single-strip color films, due to their high decay rates; black-and-white films on safety bases and color films preserved on Technicolor imbibition prints tend to keep up much better, assuming proper handling and storage.

Some films in recent decades have been recorded using analogue video technology similar to that used in television production.  Modern digital video cameras and digital projectors are gaining ground as well.  These approaches are preferred by some film-makers, especially because footage shot with digital cinema can be evaluated and edited with non-linear editing systems (N.L.E.) without waiting for the film stock to be processed.  The migration was gradual, and as of 2005, most major motion pictures were still shot on film.

Independent

Read more about Independent film here.

Independent filmmaking often takes place outside Hollywood or other major studio systems.  An independent film (or indie film) is a film initially produced without financing or distribution from a major film studio.  Creative, business and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century.  On the business side, the costs of big-budget studio films also lead to conservative choices in cast and crew.  There is a trend in Hollywood towards co-financing (over two-thirds of the films put out by Warner Bros. in 2000 were joint ventures, up from 10% in 1987).  A hopeful director is almost never given the opportunity to get a job on a big-budget studio film unless he or she has significant industry experience in film or television.  Also, the studios rarely produce films with unknown actors, particularly in lead roles.

Before the advent of digital alternatives, the cost of professional film equipment and stock was also a hurdle to being able to produce, direct, or star in a traditional studio film.  The advent of consumer camcorders in 1985, and more importantly, the arrival of high-resolution digital video in the early 1990’s, have lowered the technology barrier to film production significantly. Both production and post-production costs have been significantly lowered.  In the 2000’s, the hardware and software for post-production could be installed in a commodity-based personal computer.  Technologies such as DVD’s, FireWire connections and a wide variety of professional and consumer-grade video editing software make film-making relatively affordable.

Since the introduction of digital video D.V. technology, the means of production have become more democratised.  Filmmakers can conceivably shoot a film with a digital video camera and edit the film, create and edit the sound and music, and mix the final cut on a high-end home computer.  However, while the means of production may be democratised, financing, distribution, and marketing remain difficult to accomplish outside the traditional system.  Most independent filmmakers rely on film festivals to get their films noticed and sold for distribution.  The arrival of internet-based video websites such as YouTube and Veoh has further changed the filmmaking landscape, enabling indie filmmakers to make their films available to the public.

Image © unknown via Wikipedia

The Lumiere Brothers were among the first filmmakers.

Open Content Film

Read more about Open content film here.

An open-content film is much like an independent film, but it is produced through open collaborations.  Its source material is available under a license which is permissive enough to allow other parties to create fan fiction or derivative works, than a traditional copyright.  Like independent filmmaking, open source filmmaking takes place outside Hollywood or other major studio systems.  For example, the film Balloon was based on a real event during the Cold War.

Fan Film

Read more about Fan films here.

A fan film is a film or video inspired by a film, television program, comic book or a similar source, created by fans rather than by the source’s copyright holders or creators.  Fan filmmakers have traditionally been amateurs, but some of the most notable films have actually been produced by professional filmmakers as film school class projects or as demonstration reels.  Fan films vary tremendously in length, from short faux-teaser trailers for non-existent motion pictures to rarer full-length motion pictures.

Distribution

Read more about Film distribution here and Film release here.

Film distribution is the process through which a film is made available for viewing by an audience.  This is normally the task of a professional film distributor, who would determine the marketing strategy of the film, the media by which a film is to be exhibited or made available for viewing, and may set the release date and other matters.  The film may be exhibited directly to the public either through a cinema (historically the main way films were distributed) or television for personal home viewing including on DVD-Video or Blu-ray Disc, video-on-demand, online downloading, television programs through broadcast syndication etc.  Other ways of distributing a film include rental or personal purchase of the film in a variety of media and formats, such as VHS tape or DVD, or Internet downloading or streaming using a computer.

Animation

Read more about Animation here.

Animation is a technique in which each frame of a film is produced individually, whether generated as a computer graphic (by photographing a drawn image), or by repeatedly making small changes to a model unit (see
claymation and stop motion), and then photographing the result with a special animation camera.  When the frames are strung together and the resulting film is viewed at a speed of 16 or more frames per second, there is an illusion of continuous movement (due to the phi phenomenon).  Generating such a film is very labour-intensive and tedious, though the development of computer animation has greatly sped up the process. Because animation is very time-consuming and often very expensive to produce, the majority of animation for television and films comes from professional animation studios.  However, the field of independent animation has existed at least since the 1950’s, with animation being produced by independent studios and sometimes by a single person.  Several independent animation producers have gone on to enter the professional animation industry.

Limited animation is a way of increasing production and decreasing the costs of animation by using shortcuts in the animation process.  This method was pioneered by U.P.A. and popularized by Hanna-Barbera in the United States, and by Osamu Tezuka in Japan, and adapted by other studios as cartoons moved from movie theatres to television.  Although most animation studios are now using digital technologies in their productions, there is a specific style of animation that depends on film.  Camera-less animation, made famous by filmmakers like Norman McLaren, Len Lye, and Stan Brakhage, is painted and drawn directly onto pieces of film, and then run through a projector.

 

Image © Janke via Wikipedia

Further Information

Blog Posts

Films: Angel Studios.

Films: Sound Of Freedom.

Films: Tim Ballard.

Notes And Links

Article source: Wikipedia and is subject to change.

Bence Szemerey on Pexels
– The image shown at the top of this page is the copyright of Bence Szemerey.  You can find more great work from the photographer Bence and lots more free stock photos at Pexels.

The Prof. Stampfer’s Stroboscopische Scheibe No. X animation above is the copyright of Simon Ritter von Stampfer and is in the public domain.

The Horse In Motion animation above is the copyright of Eadweard Muybridge and is in the public domain.

The image above of a picture of Ottomar’s Anschutz’s electrotachyscope is  copyright unknown as is in the public domain.

The video above of Roundhay Garden Scene is in the public domain.  You can read more about the film by clicking here.

The video above of Pauvre Pierrot is in the public domain.  You can read more about the film by clicking here.

The video above of Le voyage dans la lune is in the public domain.  You can read more about the film by clicking here.

The video above of The Bond is in the public domain.  You can read more about the film by clicking here.

The image above of a picture of Salah Zulfikar, is  copyright unknown as is in the public domain.

The image above of The Bolex H16 Reflex camera is the copyright of Wikipedia user Janke and is in the public domain.   

The image above of The Most Productive Cinemas Around The World is copyright unknown via Wikipedia.   It comes with a Creative Commons licence (CC BY-SA 3.0).

The image above of The Lumiere Brothers is copyright unknown as is in the public domain.

The image above of an Animated Horse is the copyright of Wikipedia user Janke and is in the public domain.  It comes with a Creative Commons licence (CC BY-SA 2.5).

Creative Commons – Official website.  They offer better sharing, advancing universal access to knowledge and culture, and fostering creativity, innovation, and collaboration. 

IMDb – Official website.   IMDb is an online database of information related to films, television series, podcasts, home videos, video games, and streaming content online, including cast, production crew and personal biographies, plot summaries, trivia, ratings, and fan and critical reviews.   

IMDb on Facebook.

IMDb on Twitter.

IMDb on YouTube.

Wikipedia – Official website.  Wikipedia is a free online encyclopedia that anyone can edit in good faith. Its purpose is to benefit readers by containing information on all branches of knowledge.  Hosted by the Wikimedia Foundation, it consists of freely editable content, whose articles also have numerous links to guide readers to more information.

Birmingham City: My First Home Game Of The 2023/24 Season Against Millwall On 02/09/2023

Image © Stuart Smith

There is only one team in Birmingham worth supporting with true passion and Birmingham City is it.  I have been supporting them since 1978 when Jim Smith was the manager.  He is my favourite manager to date.   I am a blue nose ’til I die.

You can read lots more about Blues by clicking here

Saturday the 2nd of September, 2023 was like any other day for me when I am stuck in the house on a match day.  I wake up, spend at least an hour in bed to let my brain catch up with the rest of my body, get up, have my breakfast, kill time, and watch the game on the telly.  Today was going to be a different day and a whole lot better for it.

Before The Match

As the game was a 12.30 p.m. kick-off, I woke up earlier than normal for a Saturday, at about 9.15 a.m. and it is just as well I did.  Around 15 minutes later my sister Julie rang me to ask if I was available in 30 minutes.  I said yes and asked why.  She told me my nephew Craig had a spare ticket and asked if I wanted to go. That was a no-brainer, ha ha.  I got out of bed around 9.45 a.m., had a quick shave, and was about to have a cup of tea and my breakfast when Craig arrived at 10 a.m. It was time to go to the church of Birmingham City supporters and I was buzzing.  St. Andrew’s hhyhbere we come.

We had left early so Craig could get a decent parking spot near the ground because traffic is atrocious around the Blues ground on a match day.

The journey was trouble free and after we parked we walked to The Royal George, a well-known, sought-out pub for Blues fans.  It was here where Tom Wagner and Tom Brady visited on Saturday, August 12th, 2023, before they attended their first Blues home game ever against Leeds United.

There we met Craig’s friend Stuart, who was with his son Alfie, and we collected our tickets.  Craig brought me my first pint of the day.  This was my breakfast! I would like to say it was a nice pint of lager shandy but it wasn’t, It tasted musty and off but I drank it anyway, it would have been rude not to.

Image © Frank Parker

Looking towards the Royal George, Small Heath, Birmingham.

After we all had a drink and chat we headed toward where we were going to sit, The Gil Merrick Stand which is next to The Main Stand.  Nearby is a poster of Blues most well-known goalkeeper and past manager, whom the stand is named after. There was an inflatable that was free to have a go at, where kids could try to score in different holes of different value points but regardless of what they scored, they got a free lollipop.  It is a nice way to keep the kids busy before they enter the ground and Alfie enjoyed having a go.   When we eventually move to a new ground (it is inevitable) the club needs to lay on more things for the kids to do than this though.  By this is a place to get a drink and a bite to eat.  This is fine for drinks if you are an adult but not so for kids.  Stuart couldn’t get Alfie a soft drink and this needs to be sorted out in the future.  This is not me nitpicking, just being honest and I have no doubt, that as we grow and grow, Tom Wagner will rectify all this. Craig got me another pint, just lager this time and we all had another chat. There was live entertainment via a man with his guitar and there is no doubt at all that since the new owners have been in charge, the match day experience and the atmosphere outside of the ground certainly has improved for the better.

With drinks down the hatch, Craig and Stuart kindly paid for a match programme between them (I always like to get a souvenir and this has improved a lot since I last got one) we entered the ground and climbed the seamless never ending steps to get to our seats.  This was a task Craig handled well being he was on crutches due to a recent injury playing football himself!

Image © Frank Parker

The Gill Merrick Stand entrance, St. Andrew’s.

Image © Frank Parker

A Gil Merrick poster outside The Gill Merrick Stand, St. Andrew’s.

Image © Frank Parker

The Main Stand, St. Andrew’s.

Image © B.C.F.C. via Twitter

Blues News v Millwall match programme 02/09/2023.

We settled into our seats at about 11.45 p.m., and not long after we all had a selfie.  It is said the camera never lies and this is clearly so by the bloody mark on my Blues top, ha ha.  Oh well, it is a great photo for memory’s sake anyway.

I took some photos of the ground, including the players warming up.  

Image © Stuart Smith

Inside St. Andrew’s, in the Gil Merrick Stand, for my first home game of the 2023/24 season with Craig, Alfie, And Stuart. 

Image © Frank Parker

Blues entering the pitch for a warm-up v Millwall at St. Andrew’s.

Image © Frank Parker
Image © Frank Parker

Blues players warming up v Millwall at St. Andrew’s.

Image © Frank Parker

Blues and Millwall players warming up at St. Andrew’s.

Image © Frank Parker

The big screen between The Main Stand and The Gil Merrick Stand inside St. Andrew’s.

Image © Frank Parker

Inside St. Andrew’s.

Image © Frank Parker

The Main Stand, inside St. Andrew’s.

Image © Frank Parker

The Tilton, inside St. Andrew’s.

Image © Frank Parker

The Kop, inside St. Andrew’s.

Image © Frank Parker

Beau Brummie at St. Andrew’s.

Just before the 12:30 p.m. kick-off, there was a short pyro display and blue and white smoke to thrill the crowd.  This is a new thing obviously American influenced by Tom Wagner and Tom Brady and I like it.  As long as they don’t bring cheerleaders into the game then a bit of razzamatazz does no harm to the game and adds some excitement to the atmosphere in the ground.  

This was the Blues team starting today.  Our new loan signing Cody Drameh goes straight in the first 11 to make his home debut with another new loan signing, Emmanuel Aiwu taking his place on the bench.

Image © B.C.F.C.

Blues v Millwall starting line-up.

First Half

Blues were kicking toward The Gil Merrick Stand so it would have been nice to have seen us score a goal being we had a nice, clear view of the net.  Alas, that wasn’t to be. Millwall scored an early goal against the run of play after a decent enough start from us and that knocked our confidence for almost 15 minutes.  John Ruddy should have saved their free kick. His form was off today and his passing was poor. We picked up the pace toward the end of the first half but again, against the run of play they scored a second goal but it was ruled out by a delayed offside call.  We had a late penalty decision when Keshi Anderson was fowled in their box.  This was taken by Scott Hogan that should have taken us level at the break but it didn’t turn out that way.   The penalty was weak and was easily saved by Matija Sarkic (who was on loan to us last season).

It wasn’t just Ruddy’s passing that was not good enough first half, the whole team followed suit and should have done better.  We didn’t deserve to be a goal down at the break.  We made Millwall look better than they were. The first half was very frustrating to watch indeed.  

I filmed a short clip of gameplay early in the first half.  Click here to see it.  As with the Pyro clip above it is clear I am no Steven Spielberg, ha ha, but it is all about sharing the experience of it all.

Image © Frank Parker

Blues and Millwall players leaving the pitch at half-time at St. Andrew’s.

Image © Frank Parker

Blues players leaving the pitch at half-time v Millwall at St. Andrew’s.

Half Time

Birmingham City 0 – Millwall 1.

Not a lot went on at the interval or at least I never noticed.  I was busy on my phone and chatting.  Stuart brought me a Coke and before you knew it, it was time to get back to our seats for the kick-off with Blues playing towards The Tilton End.

Second Half.

Blues played much better this time with plenty of chances to score but only one went in, a 53rd-minute goal from Jay Stansfield, making it two goals in two games.  I didn’t see the goal that well being it was down the other end and my eyesight isn’t the best but after seeing it in the match highlights it was a good goal with a great assist from Juninho Bacuna.  

As much as you do get a much better view watching Blues on telly, NOTHING beats being at St. Andrew’s and soaking in the great atmosphere. I wish it could be more often.

Stuart and Alfie left 10 minutes early to avoid the traffic.  I want to say thank you to Alfie for sharing his sweets today, that was kind of him.

Me and Craig stayed until the end, hoping for another late winner that never happened. 

Blues battled until the ref blew the final whistle, as we always do.  I would like to state that said referee, Josh Smith, was very favourable to the Millwall players with his decisions but that seems to be the norm for most refs when anyone plays us.  

Full Time

Birmingham City 1 – Millwall 1.

Regarding the crowd, the atmosphere in the ground was good but could have been better.  When it was loud it was loud but the crowd was too quiet at times and the Millwall fans were heard too much for my liking. 

Regarding the game, I felt like it was two points lost for us.  However, I am NOT complaining, the fact that we could feel disappointed with a draw when in the not-so-distant past we would have snapped that up is a sign of how improved we have become on the pitch.  Games like this would have ended up in a loss after starting from a goal behind and it is a credit to John Eustace for the good work he has done since being manager under dire circumstances.  If you want to call him head coach, you can but I am old school so I will call him our manager. 

After The Match

Me and Craig slowly made our way out of the ground and made our way to his car.  As mentioned above the traffic around the ground on match day is shocking, especially as it is on the 97 bus route, and it was a challenge just to get onto the road.  Slowly we made our way out of Small Heath and Craig dropped me back home thus ending my time at my first home game of the 2023/24 football season. 

Some of the best days in life are the ones that include unexpected surprises and today was one of them and I am very grateful to Craig for thinking of me.  

As we head into the international break Blues are undefeated in the league and are sitting in 4th place which is EXCELLENT.  I just hope what happened last season when we went into the break on form and then returned doesn’t happen again! 

Here is the top of the table after all Championship games were played today and match highlights. 

Image © BCFC

Blues league position in the Championship on 02/09/2023.

 

KEEP RIGHT ON.

Blog Posts

Notes And Links

The selfie image shown at the top of this page is the copyright of Stuart Smith.  All other photos are copyrighted to me except the match programme, starting line-up, and league position photos which are the copyright of  Birmingham City F.C. and have come from Blues social media pages and website.

Birmingham City F.C. – Official website.  

Birmingham City on Facebook  – This is their official Facebook page.

Birmingham City on Twitter – This is their official Twitter page.

Birmingham City on YouTube – This is their official YouTube page.

Blues Store Online – Birmingham City’s official club store online.

Birmingham City: Summer Transfers For The 2023/24 Season

B.C.F.C. Badge
Image © of B.C.F.C.

There is only one team in Birmingham worth supporting with true passion and Birmingham City is it.  I have been supporting them since 1978 when Jim Smith was the manager.  He is my favourite manager to date.   I am a blue nose ’til I die.

You can read lots more about Blues by clicking here

Thirteen players have been bought in this summer, either on a full contract or on loan.  

Unlike in the past when the clueless Chinese owned us and Harry Redknapp was the manager and spent money like a kid in a sweet shop (as exciting and crazy as it was at the time) Blues have been able to do all this within Financial Fair Play Regulations thanks to the savvy business experience of Tom Wagner (Knighthead / Shelby Companies).

All these signings are a great asset to a squad that will be utilised a lot during a tough league like the Championship and a special mention has to go to Technical Director Craig Gardner for his huge part in getting the deals over the line.  Well done Craig.

Image © B.C.F.C. via BCFC The Project on Facebook

New summer signings for the 2023/24 season.

Summer Transfers: 2023 – 2024 Season 

Click on the player’s name to read their profile.  This will take you to Birmingham City’s official website. 

Click here to see our full first team squad for the 2023/24 season.

Defenders 

Number 2: Ethan Laird.

Image © B.C.F.C.

Read more about Laird here.

Number 3: Lee Buchanan

Image © B.C.F.C.

Read more about Buchanan here.

Number 5: Dion Sanderson.

Image © B.C.F.C.

Read more about Sanderson here.

Number 12: Cody Drameh

Loan Player

Read more about Drameh here.

Number 44: Emmanuel Aiwu. 

Loan Player

Read more about Aiwu here.

Number 26: Kevin Long.

Image © B.C.F.C.

Read more about Long here.

Midfielders 

Number 6: Krystian Bielik.

Image © B.C.F.C.

Read more about Bielik here.

Number 11: Koji Miyoshi.

Image © B.C.F.C.

Read more about Miyoshi here.

Number 14: Keshi Anderson.

Image © B.C.F.C.

Read more about Anderson here.

Number 17: Siriki Dembele.

Image © B.C.F.C.

Read more about Dembele here.

Forwards

Number 8: Tyler Roberts.

Image © B.C.F.C.

Read more about Roberts here.

Number 28: Jay Stansfield.

Loan Player

Read more about Stansfield here.

Loan Player

Read more about Burke here.

Blog Posts

Notes And Links

The Birmingham City Club logo shown at the top of this page and photos of our players is the copyright of Birmingham City F.C. and has come from Blues social media pages and website, as has the subsequent information. The new summer signings for the 2023/24 season image came from The BCFC Project via Facebook.  Anything else is from Wikipedia.

Wikipedia content is subject to change.

Birmingham City F.C. – Official website.  

Birmingham City on Facebook  – This is their official Facebook page.

Birmingham City on Twitter – This is their official Twitter page.

Birmingham City on YouTube – This is their official YouTube page.

Blues Store Online – Birmingham City’s official club store online.

BCFC The Project on Facebook – This is their official Facebook page.

Books: Little Wizard Stories Of Oz By L. Frank Baum

1905 first edition front cover image is © John R. Neill via Wikipedia

The Little Wizard Stories of Oz is related to the Oz series of books.

Click here to download this book.

Read this book online and get more download options and a bibliographic record on Project Gutenberg by clicking here.

You can download the main fourteen fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here.   

About Little Wizard Stories Of Oz

Little Wizard Stories of Oz is a set of six short stories written for young children by L. Frank Baum.  The six tales were published in separate small booklets, Oz books in miniature, in 1913, and then in a collected edition in 1914 with illustrations by John R. Neill.  Each booklet is 29 pages long, and printed in blue ink rather than black.

Development

The stories were part of a project, by Baum and his publisher Reilly & Britton, to revitalize and continue the series of Oz books that Baum had written up to that date.  The story collection effectively constitutes a fifteenth Oz book by Baum.

Baum had attempted to end the Oz series with the sixth book, The Emerald City of Oz (1910).  In the final chapter of that book, he sealed off the Land of Oz from the outside world.  He began a new series of books with The Sea Fairies (1911) and Sky Island (1912).  Also, he reacted to his 1911 bankruptcy by increasing his literary output.  He produced five books that year, his greatest output since 1907.  Baum tried to launch two other juvenile novel series in 1911, with The Daring Twins, released under his own name, and The Flying Girl, under his Edith Van Dyne pseudonym.

None of the new series was as successful as the previous Baum and Van Dyne series, the Oz books and Aunt Jane’s Nieces.  Both the Flying Girl and Daring Twins series ended with their second volumes, The Flying Girl and Her Chum and Phoebe Daring, both published in 1912.  Disappointing sales through 1911 and 1912 convinced Baum and Reilly & Britton that a return to Oz was needed.  Baum wrote The Patchwork Girl of Oz for a 1913 release, and in the same year, his publisher issued the six Little Wizard stories in individual booklets at a cost of $0.15 each.  The goal was to reach the youngest beginning readers and create in them an interest in the larger Oz canon, as part of a promotion of L. Frank Baum and all of his books.

Content And Publication

The six tales in the Little Wizard Stories are:

The Cowardly Lion and the Hungry Tiger.

Little Dorothy and Toto.

Tiktok and the Nome King.

Ozma and the Little Wizard.

Jack Pumpkinhead and the Sawhorse.

The Scarecrow and the Tin Woodman.

The strategy of reaching beginning readers was successful enough for Reilly & Britton to repeat it within a few years.  The publisher released selections from L. Frank Baum’s Juvenile Speaker (1910) in six smaller books called The Snuggle Tales in 1916 – 1917, and again as The Oz-Man Tales in 1920.

Four of the Little Wizard Stories were re-issued in 1932 in a new form, as The Little Oz Books with Jig Saw Oz Puzzles.  A year or two later the four tales were released again, as part of a promotion for a Wizard of Oz radio program. Rand McNally published the six stories in three booklets in 1939.  

Read more about Little Wizard Stories here.

Blog Posts

Notes And Links

The 1905 first edition front cover image shown at the top of this page is copyright of John R. Neill and is in the Public Domain via Wikipedia.  It has a fair use licence.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.  

Books: The Woggle-Bug Book By L. Frank Baum

1905 front cover image is © Ike Morgan and is in the Public Domain via Wikipedia

The Woggle-Bug Book is related to the Oz series of books.

Click here to download this book.

Read this book online and get more download options and a bibliographic record on Project Gutenberg by clicking here.

You can download the main fourteen fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here.   

About The Woggle-Bug Book

The Woggle-Bug Book has long been one of the rarest items in the Baum bibliography.

The book grew out of another promotional project, Queer Visitors from the Marvelous Land of Oz (1904 – 1905), a popular comic strip that promoted Baum’s second Oz book, The Marvelous Land of Oz (1904).   The comic strip, written by Baum and illustrated by Walt McDougall, brought Oz characters including the Scarecrow, the Tin Woodman, and others to the United States for various humorous adventures.  The Woggle-Bug Book employs the same concept.  H. M. Woggle-Bug, T. E. is shown maladjusted to life in an unnamed American city.  The book’s artist, Ike Morgan, was a Chicago cartoonist who had earlier provided illustrations for Baum’s American Fairy Tales (1901).

Baum’s Woggle-Bug was a popular character at the time.  There were Woggle-Bug postcards and buttons, a Woggle-Bug song, and a Woggle-Bug board game from Parker Brothers.   Baum and Morgan’s picture book was published in January 1905, to help publicize a new musical play, The Woggle-Bug,  that was being mounted that year.  The play flopped.  The book was copiously illustrated, with pictures and text alternating on recto and verso pages; it was printed in bright colours in a large format, eleven by fifteen inches.

The Plot

SPOILER ALERT: Skip this bit if you haven’t read the book and are planning to do so!

The Woggle-Bug Book features the broad ethnic humour that was accepted and popular in its era, and which Baum employed in various works.  The Woggle-Bug favours flashy clothes with bright colours.  He dresses in gorgeous reds and yellows and blues and greens and carries a pink handkerchief. One day he falls in love with a gaudy Wagnerian plaid dress that he sees on a mannequin in a department store window.  Being a woggle bug, he has trouble differentiating between the dress and its wearers, wax or human.  The dress is on sale for $7.93 with GREATLY REDUCED written on the tag.  The Bug works for two days as a ditch digger for money to buy the dress. He earns double pay since he digs with four hands. 

He arrives too late, though and the dress has been sold and makes its way through the second-hand market.  The Bug pursues his love through the town, ineptly courting the Irish, Swedish, and African-American women and even one Chinese man who had the dress in turn.  His pursuit eventually leads to an accidental balloon flight to Africa.  There, menacing Arabs want to kill the Woggle-Bug, but he convinces them that his death will bring bad luck.  In the jungle, he falls in with the talking animals that are the hallmark of Baum’s imaginative world.

In the end, the Bug makes his way back to the city, with a necktie made from the dress’s loud fabric.  He wisely reconciles himself to his fate.  “After all, this necktie is my love” he said, “and my love is now mine forevermore! Why should I not be happy and content?”

There are plot exploit elements that occur in other Baum works such as an accidental balloon flight that took the Wizard to Oz in Baum’s most famous book and hostile Arabs are a feature of John Dough and the Cherub (1906).

Blog Posts

Notes And Links

The 1905 front cover image shown at the top of this page is copyright of Ike Morgan and is in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.    

Books: Queer Visitors From The Marvelous Land Of Oz By L. Frank Baum

Image © Walt McDougall and is in the Public Domain via Wikipedia

Queer Visitors from the Marvelous Land of Oz is not a book in itself but is related to the Oz series of books which is why it is headed under Books and included here.

You can download the main fourteen fantasy books in the Oz series by L. Frank Baum via Project Gutenberg by clicking here.  

About Queer Visitors From The Marvelous Land Of Oz

Queer Visitors from the Marvelous Land of Oz was a newspaper comic strip written by L. Frank Baum and illustrated by Walt McDougall, a political cartoonist for the Philadelphia North American.  Queer Visitors appeared in the North American, the Chicago Record-Herald and other newspapers from the 28th of August 1904 to the 26th of February 1905.  The series chronicles the misadventures of the Scarecrow, the Tin Woodman, the Woggle-Bug, Jack Pumpkinhead, and the Sawhorse, as the Gump flies them to various cities in the United States.  The comic strip in turn produced its own derivation, The Woggle-Bug Book (1905).

Queer Visitors was formatted as a series of prose stories, surrounded by large illustrations, therefore not a comic strip in the modern sense.

Development

The project was designed to promote The Marvelous Land of Oz.  Coincidentally, it ran at the same time as a comic strip featuring Oz characters visiting America, that was written and drawn by W. W. Denslow.  Denslow drew the illustrations for The Wonderful Wizard of Oz and shared in its copyright.  After Baum and Denslow had a falling out, Denslow exercised his copyright through his strip, called Denslow’s Scarecrow and Tin-Man, which ran in relatively few newspapers from December 1904 to March 1905.  It was an artistic and commercial failure.

Re-Publication

Image © Walt McDougall and is in the Public Domain via Wikipedia

How the Wogglebug got a Thanksgiving dinner from Queer Visitors from The Marvelous Land of Oz, published November 20th, 1904.  

The Visitors from Oz, published by Reilly and Lee in 1960, includes about half of Baum’s Visitors stories rewritten and illustrated by Dick Martin.

The 27 Queer Visitors stories have been republished in book form as The Third Book of Oz (1989) from Buckethead Enterprises, which was censored.  The Buckethead Edition was a reprint under a new cover of an earlier edition, and Dulabone was not aware at the time that it was censored.  The Third Book of Oz also includes another early promotion project, The Woggle-Bug Book (written by Baum and illustrated by Ike Morgan); the volume is illustrated by Eric Shanower. Hungry Tiger Press corrected the censoring from the Buckethead edition but used The Visitors from Oz as the title, like the 1960 adaptation. 

In June, 2009, Sunday Press Books released a collected edition of the newspaper strips in their original format and colouring.  The book also included W. W. Denslow’s competing strip Denslow’s Scarecrow And Tin-Man as well as other comic strips by Walt McDougall, W. W. Denslow, and John R. Neill.

Image © unknown and is in the Public Domain via Wikipedia

A caricature of L. Frank Baum And Walt McDougall, from 1904, from a cartoon announcing the comic strip Queer Visitors from the Marvelous Land of Oz. 

Read more about Queer Visitors from The Marvelous Land of Oz here.   

Blog Posts

Notes And Links

The 1900 first edition front cover image shown at the top of this page is copyright of W. W. Denslow.

The caricature of L. Frank Baum And Walt McDougall, from 1904 image is copyright unknown.

All the above images are in the Public Domain via Wikipedia.

Project Gutenberg – Project Gutenberg is an online library of free e-books and was the first provider of free electronic books.  Michael Hart, the founder of Project Gutenberg, invented e-books in 1971 and his memory continues to inspire the creation of them and related content today.

The Wonderful Wiki of Oz – Official website.  A wonderful and welcoming encyclopedia of all things Oz that anyone can edit or contribute Oz-related information and Oz facts to enjoy.

The Oz Archive on Facebook – Archiving and celebrating the legacy of Oz.

The Oz Archive on Twitter – Archiving and celebrating the legacy of Oz.

The Oz Archive on Instagram – Archiving and celebrating the legacy of Oz.

The Oz Archive on TikTok – Archiving and celebrating the legacy of Oz.   

Birmingham City: Fixtures, Results And Goal Scorers For The 2023/24 Season

B.C.F.C. Badge
Image © of B.C.F.C.

There is only one team in Birmingham worth supporting with true passion and Birmingham City is it.  I have been supporting them since 1978 when Jim Smith was the manager.  He is my favourite manager to date.   I am a blue nose ’til I die.

You can read lots more about Blues by clicking here.

Below you will find all the Championship and Cup fixtures, results and goal scorers for the 2023/24 season.  Results are shown in red and clicking on the link will take you to the Blues website to give you further match details such as team line up etc. and also give you our current league table position.

Fixtures are subject to change and those changes will be noted on this page.  Games live on Sky Sports are also shown in red.

2023 – 2024 Season Fixtures

Image © B.C.F.C.

Birmingham City’s Championship and Cup fixtures for the 2023/24 season.  Subject to change.

2023 – 2024 Season Results

Click on the links below for the match details to each game.

August

Championship: Saturday, August 5th, 2023 at Swansea.com Stadium, Swansea.

Swansea City 1 – Birmingham City 1 (Dembele – 45th minute).  

League Cup – 1st Round: Tuesday, August 8th, 2023 at The Completely-Suzuki Stadium, Cheltenham. 

Cheltenham 0 – Birmingham City 2  (Bacuna – 24th and 32nd minutes). 

Championship: Saturday, August 12th, 2023 at St. Andrew’s Stadium, Birmingham.

Birmingham City 1 – Leeds United 0  (Jutkiewicz – 91st minute). 

Championship: Saturday, August 19th, 2023 at Ashton Gate Stadium, Bristol.

Bristol City 0 – Birmingham City 2 (Miyoshi – 48th minute and Jutkiewicz – 84th minute). 

Championship: Saturday, August 26th, 2023 at St. Andrew’s Stadium, Birmingham.

Birmingham City 2 – Plymouth Argyle 1 (Hogan – 8th Minute and Stansfield – 95th minute).

League Cup – 2nd Round: Tuesday, August 29th, 2023 at St. Andrew’s Stadium, Birmingham. 

Birmingham City 1 – Cardiff City 3 (Hogan – 70th Minute).

September

Championship: Saturday, September 2nd, 2023 at St. Andrew’s Stadium, Birmingham.

Birmingham City 1 – Millwall 1 (Stansfield – 53rd minute).

Championship: Saturday, September 16th, 2023 at Vicarage Road, Watford. 

Watford 2 – Birmingham City 0.

Championship: Tuesday,  September 19th, 2023 at Deepdale, Preston.

Preston North End 2 –  Birmingham City 1 (Stansfield – 46th minute).

Championship: Friday,  September 22nd, 2023 at St. Andrew’s Stadium, Birmingham.

Birmingham City 0 – Queens Park Rangers 0

Championship: Saturday, September 30th, 2023 at Carrow Road, Norwich.

Norwich City 2 – Birmingham City 0.

October

Championship: Tuesday,  October 3rd, 2023 at St. Andrew’s Stadium, Birmingham.

Birmingham City 4 –  Huddersfield Town 1 (Dembele – 3rd and 64th minutes, Myoshi – 23rd minute and James – 95th minute). 

Championship: Friday,  October 6th, 2023 at St. Andrew’s Stadium, Birmingham.

Birmingham City 3 – West Bromwich Albion 1 (Bacuna – 23rd minute, Sanderson 38th minute and Gardner – 87th minute). 

Championship: Saturday, October 21st, 2023 at Riverside Stadium, Middlesbrough.

Middlesbrough 1 – Birmingham City 0

Championship: Wednesday, October 25th, 2023  at St. Andrew’s Stadium, Birmingham.

Birmingham City 0  – Hull City 2.

Championship: Saturday, October 28th, 2023 at Saint Mary’s Stadium, Southampton.

Southampton 3 – Birmingham City 1 (Stansfield – 58th minute).

November

Championship: Saturday,  November 4th, 2023 at St. Andrew’s Stadium, Birmingham.

Birmingham City 2 – Ipswich Town 2 (Stansfield – 13th minute).

Championship: Saturday, November 11th, 2023 at Stadium of Light, Sunderland.

Sunderland 3 –  Birmingham City 1 (Miyoshi – 30th minute). 

Championship: Saturday, November 25th, 2023  at St. Andrew’s Stadium, Birmingham.

Birmingham City 2 – Sheffield Wednesday 1 (Bacuna – 48th minute and James – 81st minute). 

Championship: Wednesday,
November 29th, 2023  at Ewood Park, Blackburn.

Blackburn Rovers 4 – Birmingham City 2 (Dembele – 63rd minute and 78th minute). 

December

Championship: Saturday, December 2nd, 2023  at St. Andrew’s Stadium, Birmingham.

Birmingham City 0 – Rotherham United 0

Championship: Friday, December 8th, 2023  at The Coventry Building Society Arena, Coventry.

Coventry City 2 – Birmingham City 0.

Championship: Wednesday, December 13th, 2023  at Cardiff City Stadium, Cardiff.

Cardiff City 0 – Birmingham City 1 (Bacuna – 48th minute).

Championship: Monday, December 18th, 2023  at St. Andrew’s Stadium, Birmingham.

Birmingham City 2 –  Leicester City 3 (James – 14th minute and 74th minute).

Championship: Saturday, December 23rd, 2023  at Home Park, Plymouth.

Plymouth Argyle 3 – Birmingham City 3 (Stansfield – 15th minute, James 39th minute and Bacuna 62nd minute).

Championship: Tuesday, December 26th 2023  (Boxing Day) at St. Andrew’s Stadium, Birmingham.

Birmingham City 1 – Stoke City 3 (Stansfield – 69th minute).

Championship: Friday, December 29th 2023  at St. Andrew’s Stadium, Birmingham.

Birmingham City 0 – Bristol City 0.

January

Championship: Monday, January 1st, 2024 (New Year’s Day) at Elland Road, Leeds.

Leeds United 3 – Birmingham City 0.

F.A. Cup – 3rd Round:  Saturday, January 6th, 2024 at The MKM Stadium, Hull. 

Hull City 1 – Birmingham City 1. (Jutkiewicz – 18th minute). 

Championship: Saturday, January 13th, 2024  at St. Andrew’s Stadium, Birmingham.

Birmingham City 2 – Swansea City 2. (Dembele – 38th minute and James 95th minute).

F.A. Cup – 3rd Round Replay:  Tuesday, January 16th, 2024 at St. Andrews Stadium, Birmingham. 

Birmingham City 2 – Hull City 1. (Stansfield – 66th minute and Miyoshi 93rd minute).

Championship: Saturday, January 20th, 2024 at bet365 Stadium, Stoke.

Stoke City 1 – Birmingham City 2. (Stansfield – 10th minute and Bacuna 49th minute).

F.A. Cup – 4th Round: Saturday, January 27th, 2024 at King Power Stadium, Leicester.

Leicester City 3 – Birmingham City 0.

February

Championship: Saturday, February 3rd, 2024 at The Hawthorns, West Bromwich.

West Bromwich Albion 1 – Birmingham City 0.

Championship: Friday, February 9th, 2024 at Hillsborough, Sheffield.

Sheffield Wednesday 2 – Birmingham City 0.

Championship: Tuesday, February 13th, 2024 at St. Andrew’s @ Knighthead Park, Birmingham.

Birmingham City 1 – Blackburn Rovers 0 (Dozzell – 77th minute).

Championship: Saturday,
February 17th, 2024 at St. Andrew’s @ Knighthead Park, Birmingham.

Birmingham City 2 – Sunderland 1 (James – 60th minute and Miyoshi 80th minute).

Championship: Saturday, February 24th, 2024 at Portman Road, Ipswich.

Ipswich Town 3 – Birmingham City 1 (James – 46th minute).

March

Championship: Saturday, March 2nd, 2024 at St. Andrew’s @ Knighthead Park, Birmingham.

Birmingham City 3 – Southampton 4 (Miyoshi – 2nd minute, Stansfield – 41st minute and Bacuna 77th minute).

Championship: Tuesday,
March 5th, 2024 at The MKM Stadium, Hull.

Hull City 1 – Birmingham City 1 (Jutkiewicz – 82nd minute).

Championship: Saturday, March 9th, 2024 at The Den, London.

Millwall 1 – Birmingham City 0.

Championship: Tuesday, March 12th, 2024 at St. Andrew’s @ Knighthead Park, Birmingham.

Blues 0 – Middlesbrough 1.

Championship: Saturday, March 16th, 2023 at St. Andrew’s Stadium, Birmingham.

Birmingham City 0 – Watford 1.

Championship: Friday, March 29th, 2024 at MATRADE Loftus Road, London.

Queens Park Rangers 2 – Birmingham City 1 (Bacuna 62nd minute).

April

Championship: Saturday, April 1st, 2024 at St. Andrew’s @ Knighthead Park, Birmingham.

Birmingham City 1 – Preston North End 0 (Stansfield – 68th minute).

Championship: Saturday, April 6th, 2024 at King Power Stadium, Leicester.

Leicester City 2 – Birmingham City 1 (Stansfield – 45th minute).

Championship: Wednesday, April 10th, 2024 at St. Andrew’s @ Knighthead Park, Birmingham.

Birmingham City 0 – Cardiff City 1.

Championship: Saturday, April 13th,
2024 at St. Andrew’s @ Knighthead Park, Birmingham.

Birmingham City 3 – Coventry City 0 (Thomas [Own Goal] – 12th minute, Sunjic – 41st minute and Stansfield – 59th minute).

Championship: Saturday, April 20th, 2024 at AESSEAL New York Stadium, Rotherham.

Rotherham United 0 – Birmingham City 0.

Championship: Saturday, April 27th 2024 at John Smith’s Stadium, Huddersfield.

Huddersfield Town 1 – Birmingham City 1 (Miyoshi – 44th minute).

May

Championship: Saturday, May 4th, 2024 at St. Andrew’s @ Knighthead Park, Birmingham.

Birmingham City 1 – Norwich City 0 (Seung-Ho – 55th minute).

Blues finish 22nd and are relagated to League One.

2023 – 2024 Season Goal Scorers

Championship Games

TOP SCORER: Jay Stansfield = 12.

Jordan James = 8.

Junhino Bacuna = 7.

Siriki Dembele = 6.

Koji Miyoshi = 6.

Lukas Jutkiewicz = 3. 

Gary Gardner = 1.

Scott Hogan = 1.

Dion Sanderson = 1. 

Andre Dozzell = 1.

Ivan Sunjic = 1. 

Paik Seung-Ho =1.

Cup Games

TOP SCORER: Junhino Bacuna = 2.

Scott Hogan = 1.

Lukas Jutkiewicz = 1.

Jay Stansfield = 1.

Koji Miyoshi – 1. 

All Games

TOP SCORER: Jay Stansfield = 13.

Junhino Bacuna = 9.

Jordan James = 8.

Koji Miyoshi = 7.

Siriki Dembele = 6.

Lukas Jutkiewicz = 4. 

Scott Hogan = 2.

Gary Gardner = 1.

Dion Sanderson = 1. 

Andre Dozzell = 1.

Ivan Sunjic = 1. 

Paik Seung-Ho =1. 

2024 – 2025 Season Fixture Dates Announced

 

Fixtures for Blues’ 2024/25 League One season will be released on Wednesday the 26th of June at 9 am.

These will begin on Saturday the 10th of August 2024, with the regular league schedule concluding on Saturday the 3rd of May 2025.  The 46 rounds of matches will take place across 36 weekends, six midweeks and four bank holidays.

Meanwhile, the Carabao Cup will begin in mid-August and the Group Stage of the Bristol Street Motors Trophy, involving Sky Bet League One, Sky Bet League Two and 16 invited Under-21s Premier League teams, will start in early September.

The Men’s First Team will travel to Austria from Monday the 8th of July until Sunday the 14th of July in preparation for 2024/25, with details of pre-season games, including one during the tour, to be confirmed in due course.

Details for the above will be shown on separate pages for the new season.

Blog Posts

Notes And Links

The Birmingham City Club logo shown at the top of this page is the copyright of Birmingham City F.C. and came from their social media pages.  

Birmingham City F.C. – Official website.  

Birmingham City on Facebook  – This is their official Facebook page.

Birmingham City on Twitter – This is their official Twitter page.

Birmingham City on YouTube – This is their official YouTube page.

Blues Store Online – Birmingham City’s official club store online.

Nike – Official website.

Undefeated – Official website.  

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.

Birmingham City: A Tribute To Trevor Francis

Image © of B.C.F.C.

There is only one team in Birmingham worth supporting with true passion and Birmingham City is it.  I have been supporting them since 1979 when Jim Smith was the manager.  I was 13 at the time.  He is my favourite manager to date.   I am a blue nose ’til I die.

You can read lots more about Blues by clicking here.

The 24th of July 2023 was a day of shock and sadness for those associated with Birmingham City Football Club, Trevor Francis had died. Trevor wore the number 10 shirt and was certainly the most well-known player for B.C.F.C. and adored by many.  You can read more about him here.

I never got to see him play in person.  I was only in my early teens when I started supporting Blues and could only dream of going to St. Andrews but I saw him on television work his magic on the pitch.  He was at the end of his Blues career when I first started following Jim Smith and the Lads.  I can’t exactly recall when it was but it was around the time he was sold to Nottingham Forest as the first million player in British history.  I continued to watch him for Forest cementing my love for them and their manager Brian Clough.  Forest automatically became my second team until Clough retired in 1993. 

R.I.P.

Tributes From The Club 

On the 24th of July 2023 there was an announcement by Birmingham City informing the passing of Trevor Francis.  The Blues badge was changed to black as a mark of respect to the great man.

Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © Unknown
Image © Unknown

The above two photos were posted on Jude Bellingham’s Twitter account on 24/07/23.  This is what he  wrote:

“A very sad day for @BCFC and all of football. Beyond legendary, a trailblazer, a great and an icon of the game. The only thing that could exceed his quality and accolades on the pitch was his class off it. Thank you for all the guidance and the benchmarks you set. Rest in peace, King Trevor! “ 💙

Image © of B.C.F.C.

Players and staff from Blues Men’s and Women’s First Team paying their respects to Trevor Francis on 25/07/23.

On 27/07/23 there was an announcement from Blues that there would be a Trevor Francis Book of Condolence at the Library of Birmingham on the 28th and 29th of July.  This should have been longer than two days in my opinion.

Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.

Garry Cook signs the Trevor Francis Book of Condolence at the Library of Birmingham on 29/07/23.

Image © of B.C.F.C.

Blues players paying their respects to Trevor Francis at Peterborough United on 29/07/23.

Image © of B.C.F.C.

Blues fans at Peterborough United on 29/07/23.

Birmingham City Fans Tribute Area 

Click here to watch John Eustace and Darren Carter lay a reef in respect of Trevor Francis. This was the start of many flowers, scarves etc. that were placed in the designated area towards the Ticket Office at St. Andrew’s for fans to pay tribute to a club legend from 24/07/23 – 07/08/23.  The tributes are now safely in storage.

Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.

Fan tributes left for Trevor Francis at St. Andrews.

Videos From The Club 

The following videos (not including shorts) are from Birmingham City’s YouTube page and appear in order they were first shown.  There are too many videos of such a legend elsewhere to show here but search in your favourite browser and see for yourself what a great man he was.

Club Celebration 

On the 11th of August, 2023, the club announced that they will be celebrating Trevor Francis’s life at the first home game of the 2023/24 season against Leeds United. 

Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.
Image © of B.C.F.C.

Jasper Carrott pays tribute to his good friend Trevor Francis.

Image © of B.C.F.C.
Image © of B.C.F.C.

A celebration to Trevor Francis at Blues first home game of the 2023/24 season against Leeds United.  

Trevor Francis Statue Announcement  

Trevor Francis Statue Announcement
Image © of B.C.F.C.

Trevor Francis statue announcement.

On the 24th of July, 2024,  Birmingham City made an announcement about the commission of a Trevor Francis statue by  Douglas Jennings M.R.B.S., a globally acclaimed portrait sculptor.

Read more here.

Read more about Francis here.

Read more about Jennings here.

Trevor Francis Memorial Match 

On the 24th of July, 2024, one year after Trevor’s passing Birmingham City hosted Rangers in the Trevor Francis Memorial Match.

Birmingham City Legend Trevor Francis
Image © of B.C.F.C.

Birmingham City legend Trevor Francis.

Trevor Francis In His Birmingham City And Rangers Tops
Image © of B.C.F.C.

Trevor Francis in his Birmingham City and Rangers tops.

Garry Cook Pays Tribute To The Late, Great Trevor Francis

Click here for Chief Executive Officer Garry Cook’s tribute to the late, great Trevor Francis. 

Trevor Francis Memorial Match Interviews

For Chris Davies’s interview after the Trevor Francis Memorial Match click here.

For Ethan Laird’s interview click here.

Trevor Francis Memorial Match Highlights  

For match highlights of the Trevor Francis Memorial Match click here.

Rest In Peace Trevor and thanks for all the great memories and your service to Birmingham City.

KEEP RIGHT ON

Blog Posts

Notes And Links

The image shown at the top of this page is copyright of Birmingham City F.C.  

The images of Trevor Francis and Jude Bellingham with Trevor Francis are copyright unknown.

Birmingham City F.C. – Official website.  

Birmingham City on Facebook  – This is their official Facebook page.

Birmingham City on Twitter – This is their official Twitter page.

Birmingham City on YouTube – This is their official YouTube page.

Blues Store Online – Birmingham City’s official club store online.

Wikipedia – Official website.  Its purpose is to benefit readers by acting as a widely accessible and free encyclopedia that contains information on all branches of knowledge. Funded and hosted by the Wikimedia Foundation, Wikipedia consists of freely editable content whose articles also provide numerous links to guide readers to related pages with more information. 

Birmingham Mail – Official website.  The Birmingham Mail is a newspaper based in Birmingham, England but distributed around Birmingham, the Black Country, Solihull and parts of Warwickshire, Worcestershire and Staffordshire. 

Birmingham City: Trevor Francis

Image © of B.C.F.C.

There is only one team in Birmingham worth supporting with true passion and Birmingham City is it.  I have been supporting them since 1979 when Jim Smith was the manager.  I was 13 at the time.  He is my favourite manager to date.   I am a blue nose ’til I die.

You can read lots more about Blues by clicking here.

The 24th of July 2023 was a day of shock and sadness for those associated with Birmingham City Football Club, Trevor Francis had died. Trevor wore the number 8 shirt and was certainly the most well-known player for B.C.F.C., adored by many.  You can read my tribute page to him here.

I never got to see him play in person.  I was only in my early teens when I started supporting Blues and could only dream of going to St. Andrews but I saw him on television work his magic on the pitch.  He was at the end of his Blues career when I first started following Jim Smith and the Lads.  I can’t exactly recall when it was but it was around the time he was sold to Nottingham Forest as the first million player in British history.  I continued to watch him for Forest cementing my love for them and their manager Brian Clough.  Forest automatically became my second team until Clough retired in 1993. 

R.I.P. Trevor. 

Image © of B.C.F.C.

About Trevor Francis 

Trevor Francis was an English footballer who played as a forward for a number of clubs in England, the United States, Italy, Scotland and Australia.  In 1979 he became Britain’s first £1 million player following his transfer from Birmingham City to Nottingham Forest.  He scored the winning goal for Forest in the 1979 European Cup final against Malmö.  He won the European Cup again with the club the following year.  At international level, he played for England 52 times between 1976 and 1986, scoring 12 goals, and played at the 1982 FIFA World Cup.

Between 1988 and 2003, Francis was a football manager with Queens Park Rangers, Sheffield Wednesday, Birmingham City and Crystal Palace.

Image © of Hans van Dijk via Wikipedia

Trevor Francis in Amsterdam on the 22nd Of April 1980.  He was playing for Nottingham Forest at the time.

Early Life And Education

Trevor John Francis was born on the 19th of April 1954, in Plymouth, Devon, and educated at Plymouth’s Public Secondary School for Boys.  He was an agile and skilful forward and joined Birmingham City as a schoolboy.

Club Career

Birmingham City

Francis quickly rose in status, making his debut for Birmingham City’s first team in 1970, aged just 16.  His talent was noted when, before his 17th birthday, he scored four goals in a match against Bolton Wanderers.  He ended his first season with 15 goals from just 22 games.  Birmingham City manager at the time, Freddie Goodwin, compared Francis to both Jimmy Greaves and Denis Law.

On the 30th of October 1976, he scored one of Birmingham’s most famous goals, when he turned away from the touchline and cut inside two Queens Park Rangers defenders, constantly being forced backwards before suddenly unleashing a 25-yard (23 meters) shot. 

Detroit Express

Francis negotiated a loan from Birmingham in 1978 to play for the Detroit Express in the North American Soccer League where he scored 22 goals in 19 league matches and was named to the N.A.S.L. first XI alongside Franz Beckenbauer and Giorgio Chinaglia before returning home to the Midlands.

Nottingham Forest

Nottingham Forest, the reigning First Division champions and League Cup holders managed by Brian Clough, put in a bid for Francis which totalled just over £1 million.  No player had ever been sold between English clubs for a seven-figure fee before and the deal was sealed, with Francis famously being introduced to the media by a manager impatient to play squash.  Clough was in his red gym kit and carrying a racquet as he addressed the press conference.

While recognised as the first British million-pound player, the actual transfer fee for the player was £1,150,000, including a 15% commission to the Football League.  Clough wrote in his autobiography that the fee was £999,999, as he wanted to ensure the million-pound milestone did not go to the player’s head, although Francis says that was a tongue-in-cheek remark by Clough.

Nottingham Forest retained the League Cup shortly afterwards without the cup-tied Francis and made progress in the European Cup to the extent that they reached the semi-finals, although Francis was not eligible to play in the competition until the final.  They won their semi-final, and in May 1979 Forest took on Swedish club Malmö in the final in Munich, and a major instalment of the huge investment money was repaid just before half time.

The ball was spread to Forest’s winger John Robertson wide on the left and he took on two defenders at once to reach the byline and curl an awkward, outswinging cross towards the far post.  Francis had already begun to sprint into position, but even so, he had to increase his pace in order to reach the cross as it dropped and ended up throwing himself low at the ball.  He connected with his head and the ball diverted powerfully into the roof of the net.  Forest won the match 1–0 and footage of the goal was used in the opening titles to Match of the Day for some years afterwards.  A giant picture of Francis stooping to head the ball remains on display in the main entrance and reception area of Forest’s City Ground stadium.

Even though the season ended there, Francis duly headed back to Detroit for another summer playing in the N.A.S.L., where once again he was named to the first XI alongside Johan Cruyff (Los Angeles Aztecs) and Giorgio Chinaglia (New York Cosmos), despite playing only half the season.  In his brief career in America, Francis scored 36 goals in 33 regular season matches and had 18 assists.

At Nottingham Forest Clough frequently played Francis on the right wing, rather than in his preferred position as a central attacker.  Francis was in the side which lost the 1980 League Cup Final to Wolverhampton Wanderers but missed the European Cup Final against Hamburg due to an injury to his Achilles tendon.  Somehow the success of his Forest career never quite reflected his huge fee.  He scored only 14 league goals in the 1979 – 80 season and 6 in the next 18 games that he played for Forest.  Although still a regular for England, his Achilles injury prevented him from being in the squad for the 1980 European Championships.

Manchester City

The injury kept Francis out of the game for over six months.  He was sold to Manchester City in September 1981, this time for £1.2 million.  The deal caused behind-the-scenes friction at Manchester City.  During negotiations City chairman Peter Swales informed manager John Bond that the club could not afford the transfer fee.  Bond then issued an ultimatum which was if Francis did not sign, Bond would resign.  Francis made a promising start at the club, scoring two goals against Stoke City on his debut, but over the course of the season, he was frequently injured.  In total, he scored 12 goals in 26 games and made the England squad for the 1982 World Cup.

Back at his club, financial problems were again an issue.  Francis’ contract gave him a salary of £100,000 plus bonuses, which the club could no longer afford to pay to a player who regularly sustained injuries.

Sampdoria

Later that summer, Francis was approached by Italian club Sampdoria, who paid Manchester City £700,000 for his services.  He helped win the 1984–85 Coppa Italia, in the same team as Scotland midfielder Graeme Souness.  It was the first time that Sampdoria had won the competition.

Atalanta

Francis joined Atalanta in 1986.  He played 21 league games and scored once in his only season, but added two goals in nine games in the Coppa Italia. Atalanta lost the final to Napoli.  He was the second Englishman at the Bergamo-based club after Gerry Hitchens, and by the time of his death, their only other English-born player was Ademola Lookman.

Rangers

Francis returned to Britain in September 1987 to join Rangers under Graeme Souness.  Numerous English players were brought to the Scottish club by Souness as English clubs had been banned from European competition since the Heysel disaster.  Francis cost just £75,000, signed on a pay-as-you-play basis, and won the 1987 – 88 Scottish League Cup, scoring a penalty in the shootout.

Queens Park Rangers

Francis signed for Queens Park Rangers on a free transfer in March 1988 and helped the team finish fifth in the First Division.  He scored 10 goals from 26 appearances in the first half of the 1988 – 89 season and took over as player-manager in December 1988 when Jim Smith moved to Newcastle United, but a knee injury in January 1989 put an end to his playing season.  He marked his return to the field in September 1989 with a hat-trick against Aston Villa, but was replaced as manager by Don Howe in November 1989 and his playing contract was paid up a few days later.

During his time at Queens Park Rangers, Francis completed a brief loan in 1988 with an Australian National Soccer League team, Wollongong City, as part of businessman Harry Michaels’ attempt to market football in Australia.  Michaels had previously funded the loans of Alan Brazil and Paul Mariner, whom Francis was to replace, and had discussions with Norman Whiteside, Nigel Clough and Michel Platini about playing for the New South Wales-based team.

Sheffield Wednesday

Francis left Queens Park Rangers in February 1990 to play for Sheffield Wednesday.  Despite gaining a good reputation amongst supporters, he could not help the club avoid relegation to the second tier under manager Ron Atkinson for the 1990 – 91 season.  However, that season he helped Wednesday win the League Cup, although he was a non-playing substitute in the final, and also gained promotion back to the top flight.

International Career

Francis played for England 52 times between 1977 and 1986 and scored 12 goals.  In 1977, he was given his first England cap by Don Revie, in a 2 – 0 loss against the Netherlands.  After missing out on Euro 1980 due to an Achilles injury, Francis was named in the England squad for the 1982 World Cup in Spain.  In the first round of the tournament, he scored in the group games against Czechoslovakia and Kuwait.  England was eliminated after goalless draws against both the host nation and West GermanyIn the spring of 1986, he made his 52nd and final appearance for England in a victory over Scotland and was subsequently not selected for the 1986 World Cup in Mexico.

Managerial Career

Sheffield Wednesday

After the departure of Ron Atkinson, Francis took over as manager of Sheffield Wednesday with popular support from the club and supporters.  He guided Wednesday to a third-place finish in 1992.  The following year, Wednesday reached the F.A. Cup and League Cup finals, losing both to Arsenal, the former after a replay.  In 1994, Francis finally retired as a player, shortly before his 40th birthday.  He was dismissed as manager a year later after Wednesday finished 13th in the Premiership.

In February 1992, Francis brought former French international Eric Cantona back from a poor discipline-enforced hiatus in his career by inviting him for a trial at Sheffield Wednesday.  However, as the snowy conditions meant that he could only evaluate Cantona on AstroTurf, Francis requested an extension to the trial to see whether Cantona could play on grass.  An outraged Cantona walked out on The Owls and was signed (without a trial) by Leeds United, inspiring first them and then Manchester United to success.  In a 2012 interview, Francis said that he had agreed to take Cantona on as a favour to Francis’ former agent, Dennis Roach, and Michel Platini, who he knew from his time playing in Italy when they approached him about taking on Cantona, and that it was intended as an opportunity for Cantona to put himself in the shop window.  Wednesday had only recently been promoted back to the top flight, with most of the squad still being on Second Division-level wages, and the club could not afford to sign him.

Birmingham City

Francis was hired as Birmingham City as manager in 1996, with the club in the First Division.  He guided Birmingham to a 10th and 7th place finish in his first two seasons, missing out on the playoffs on goal difference in the latter.  Finishes of 4th, 4th and 5th in the next three seasons resulted in playoff entry, losing each time.

Francis led Blues to the 2001 League Cup Final, where they lost on penalties to Liverpool.  He was dismissed in October of that year.  BBC Sport wrote “Francis the player was legendary. Francis the manager is the nearly man.”

Crystal Palace

Francis was manager of Crystal Palace from November 2001 to April 2003.  He was appointed by Crystal Palace chairman, Simon Jordan to replace Steve Bruce who had resigned as Crystal Palace manager with the intention of taking the manager’s role at Birmingham City.  Litigation followed with Bruce being placed on gardening leave.  Of the appointment, Jordan said, “The last two or three weeks have not been easy.  I’m bored of Steve Bruce and Birmingham and what I’m interested in is Trevor Francis and Crystal Palace.”  At the time Francis said that he had turned down four jobs before accepting the role at Crystal Palace.  Under his managership, Palace defeated a Gerard Houllier-managed Liverpool in an FA Cup fourth-round replay at Anfield in February 2003 and beat Palace’s main rivals, Brighton & Hove Albion, 5 – 0 in October 2002.  However, after the team’s second failure to achieve promotion to the Premier League, Simon Jordan dismissed him, stating: “People know I am very unhappy with the selection of our players under Francis. We have a very strong squad and we should have done a lot better this season – a lot of lessons need to be learned from injury prevention and transfer policy.”

Personal Life

Francis married Helen in 1974.  The couple had two children together.  On the 5th of April 2017, it was reported that Helen Francis had died.

On the 13th of April 2012, Francis was reported to be recovering in hospital from a suspected heart attack.

Francis died of a heart attack at his home near Marbella, Spain, on July 24th, 2023.  He was 69.  

Image © Christophe95 via Wikipedia

Trevor Francis in 2009.

Career And Managerial Statistics

Click here to read about Francis’ club, international and managerial statistics.

Honours

Player

Birmingham City

Football League Second Division runner-up: 1971 – 72.

Detroit Express

American Conference Central Division: 1978.

Nottingham Forest

European Cup: 1978 – 79 and 1979 – 80.

European Super Cup: 1979.

Football League Cup: runner-up 1979 – 80.

Sampdoria

Coppa Italia: 1984 – 85.

Rangers

Scottish League Cup: 1987 – 88.

Sheffield Wednesday

Football League Cup: 1990 – 91.

Individual

P.F.A. First Division Team of the Year: 1976 – 77, 1977 – 78, and 1981 – 82.

Coppa Italia top scorer: 1984 – 85 (9 goals).

Manager

Sheffield Wednesday

F.A. Cup runner-up: 1992–93.

Football League Cup runner-up: 1992 – 93.

Birmingham City

Football League Cup runner-up: 2000 – 01.

Individual

Premier League Manager of the Month: December 1993.

Read more about Trevor Francis’ Wikipedia page here.

Blog Posts

Notes And Links

The image shown at the top of this page is copyright of Birmingham City F.C.  

The image above of Trevor Francis In Amsterdam In 1980 is the copyright of  Hans van Dijk via Wikipedia.  It comes with a Creative Commons licence (CC0 1.0and is in the Public Domain. 

The image above of Trevor Francis in 2009 is the copyright of Wikipedia user Christophe95.  It comes with a Creative Commons licence (CC BY-SA 3.0).  You can find more great work from him by clicking here.

The above links in the Before Knighthead section will take you to Wikipedia and its content is subject to change.

Birmingham City F.C. – Official website.  

Birmingham City on Facebook  – This is their official Facebook page.

Birmingham City on Twitter – This is their official Twitter page.

Birmingham City on YouTube – This is their official YouTube page.

Blues Store Online – Birmingham City’s official club store online.

Wikipedia – Official website.  Its purpose is to benefit readers by acting as a widely accessible and free encyclopedia that contains information on all branches of knowledge. Funded and hosted by the Wikimedia Foundation, Wikipedia consists of freely editable content whose articles also provide numerous links to guide readers to related pages with more information. 

Birmingham Mail – Official website.  The Birmingham Mail is a newspaper based in Birmingham, England but distributed around Birmingham, the Black Country, Solihull and parts of Warwickshire, Worcestershire and Staffordshire.