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Running time 195 minutes Country United States Language English Budget $200 million Box office $2.187 billion Titanic is a 1997 American - directed, written, co-produced and co-edited. A fictionalized account of the of the, it stars and as members of different social classes who fall in love aboard the ship during its ill-fated. Cameron's inspiration for the film came from his fascination with; he felt a love story interspersed with the human loss would be essential to convey the emotional impact of the disaster. Production began in 1995, when Cameron shot footage of the actual Titanic wreck. The modern scenes on the research vessel were shot on board the, which Cameron had used as a base when filming the wreck., and a reconstruction of the Titanic built at, at were used to re-create the sinking. The film was partially funded by and. It was the at the time, with a production budget of $200 million.

Upon its release on December 19, 1997, Titanic achieved critical and commercial success. Nominated for 14, it tied (1950) for the most Oscar nominations, and won 11, including the awards for and, tying (1959) for the most Oscars won by a single film. With an initial worldwide gross of over $1.84 billion, Titanic was the first film to reach the billion-dollar mark. It remained the until Cameron's surpassed it in 2010. A version of Titanic, released on April 4, 2012 to commemorate the centennial of the sinking, earned it an additional $343.6 million worldwide, pushing the film's worldwide total to $2.18 billion and making it the second film to gross more than $2 billion worldwide (after Avatar). In 2017, the film was re-released for its 20th anniversary and was selected for preservation in the United States.

The real Margaret Brown (right) giving Captain an award for his service in the rescue of Titanic 's surviving passengers. • as: Brown is looked down upon by other first-class women, including Ruth, as 'vulgar' and '. She is friendly to Jack and lends him a tuxedo (bought for her son) when he is invited to dinner in the first-class dining saloon.

Despite Brown being a real person, Cameron decided not to portray her real-life actions. Molly Brown was dubbed 'The Unsinkable Molly Brown' by historians because she, with the support of other women, commandeered from Quartermaster. Some aspects of this altercation are portrayed in Cameron's film. • as: The ship's builder, Andrews is portrayed as a very kind and pleasant man who is modest about his grand achievement. After the collision, he tries to convince the others, particularly Ismay, that it is a 'mathematical certainty' that the ship will sink. He is depicted during the sinking of the ship as standing next to the clock in the first-class smoking room, lamenting his failure to build a strong and safe ship.

Although this has become one of the most famous legends of the sinking of the Titanic, this story, which was published in a 1912 book ( Thomas Andrews: Shipbuilder) and therefore perpetuated, came from John Stewart, a steward on the ship who in fact left the ship in boat no.15 at approximately 1:40 a.m. There were testimonies of sightings of Andrews after that moment. It appears that Andrews stayed in the smoking room for some time to gather his thoughts, then he continued assisting with the evacuation. Another reported sighting was of Andrews frantically throwing deck chairs into the ocean for passengers to use as floating devices. Andrews was last seen leaving the ship at the last moment.

• as: Smith planned to make the Titanic his final voyage before retiring. He retreats into the on the as the ship sinks, dying when the windows implode from the water whilst he clings to the ship's wheel. There are conflicting accounts as to whether he died in this manner or later froze to death in the water near the capsized collapsible lifeboat 'B'.

• as: Ismay is portrayed as a rich, ignorant upper-class man. In the film, he uses his position as managing director to influence Captain Smith to go faster with the prospect of an earlier arrival in New York and favorable press attention; while this action appears in popular portrayals of the disaster, it is unsupported by evidence. After the collision, he struggles to comprehend that his 'unsinkable' ship is doomed. Ismay later boards Collapsible C (one of the last lifeboats to leave the ship) just before it is lowered. He was branded a coward by the press and public for surviving the disaster while many women and children had drowned. • as: A first-class passenger whom Rose (correctly) calls the richest man on the ship.

The film depicts Astor and his 18-year-old wife () as being introduced to Jack by Rose in the first-class dining saloon. During the introduction, Astor asks if Jack is connected to the 'Boston Dawsons', a question Jack neatly deflects by saying that he is instead affiliated with the Dawsons.

Astor is last seen as the Grand Staircase glass dome implodes and water surges in. • as: The film depicts Gracie making a comment to Cal that 'women and machinery don't mix', and congratulating Jack for saving Rose from falling off the ship, though he is unaware that it was a suicide attempt. Fox had portrayed in the 1958 film. • as: A mining magnate traveling in first-class. He shows off his French mistress Madame Aubert (Fannie Brett) to his fellow passengers while his wife and three daughters wait for him at home. When Jack joins the other first-class passengers for dinner after his rescue of Rose, Guggenheim refers to him as a 'bohemian'. He is seen in the flooding Grand Staircase during the sinking, saying he is prepared to go down as a gentleman.

• Jonathan Evans-Jones as: The ship's bandmaster and violinist who plays uplifting music with his colleagues on the boat deck as the ship sinks. As the final plunge begins, he leads the band in a final performance of, to the tune of Bethany, and dies in the sinking. • as: The ship's chief officer, who lets Cal on board a lifeboat because he has a child in his arms. Before he dies, he tries to get the boats to return to the sinking site to rescue passengers by blowing his whistle. After he freezes to death, Rose uses his whistle to attract the attention of Fifth Officer Lowe, which leads to her rescue. • as: The officer who is put in charge of the bridge on the night the ship struck the iceberg.

During a rush for the lifeboats, Murdoch shoots Tommy Ryan as well as another passenger in a momentary panic, then commits suicide out of guilt. When Murdoch's nephew Scott saw the film, he objected to his uncle's portrayal as damaging to Murdoch's heroic reputation. A few months later, Fox vice-president Scott Neeson went to, where Murdoch lived, to deliver a personal apology, and also presented a £5000 donation to Dalbeattie High School to boost the school's William Murdoch Memorial Prize. Cameron apologized on the DVD commentary, but stated that there were officers who fired gunshots to enforce the. According to Cameron, his depiction of Murdoch is that of an 'honorable man,' not of a man 'gone bad' or of a 'cowardly murderer.' He added, 'I'm not sure you'd find that same sense of responsibility and total devotion to duty today.

This guy had half of his lifeboats launched before his counterpart on the port side had even launched one. That says something about character and heroism.' The film depicts Lightoller informing Captain Smith that it will be difficult to see icebergs without breaking water. He is seen brandishing a gun and threatening to use it to keep order. He can be seen on top of Collapsible B when the first funnel collapses. Lightoller was the most senior officer to have survived the disaster.

• as: The officer in charge of firing flares and manning Lifeboat 2 during the sinking. He is shown on the bridge wings helping the seamen firing the flares. • as: The ship's only officer to lead a lifeboat to retrieve survivors of the sinking from the icy waters. The film depicts Lowe rescuing Rose. • Edward Fletcher as: The ship's only junior officer to have died in the sinking. The film depicts Moody admitting Jack and Fabrizio onto the ship only moments before it departs from Southampton. Moody is later shown following orders to put the ship to full speed ahead, and informs First Officer Murdoch about the iceberg.

He is last seen clinging to one of the davits on the starboard side after having unsuccessfully attempted to launch collapsible A. • James Lancaster as: Second-class passenger Father Byles, a Catholic priest from England, is portrayed praying and consoling passengers during the ship's final moments. • Lew Palter and as and: Isidor is a former owner of R.H. Macy and Company, a former congressman from New York, and a member of the New York and New Jersey Bridge Commission. During the sinking, his wife Ida is offered a place in a lifeboat, but refuses, saying that she will honor her wedding pledge by staying with Isidor. They are last seen lying on their bed embracing each other as water fills their stateroom.

• as: A Scottish baronet who is rescued in. Lifeboats 1 and 2 were emergency boats with a capacity of 40. Situated at the forward end of the boat deck, these were kept ready to launch in case of a person falling overboard. On the night of the disaster, Lifeboat 1 was the fourth to be launched, with 12 people aboard, including Duff-Gordon, his wife and her secretary.

The baronet was much criticized for his conduct during the incident. It was suggested that he had boarded the emergency boat in violation of the 'women and children first' policy and that the boat had failed to return to rescue those struggling in the water. He offered five pounds to each of the lifeboat's crew, which those critical of his conduct viewed as a bribe. The Duff-Gordons at the time (and his wife's secretary in a letter written at the time and rediscovered in 2007) stated that there had been no women or children waiting to board in the vicinity of the launching of their boat, and there is confirmation that lifeboat 1 of the Titanic was almost empty and that First Officer William Murdoch was apparently glad to offer Duff-Gordon and his wife and her secretary a place (simply to fill it) after they had asked if they could get on.

Duff-Gordon denied that his offer of money to the lifeboat crew represented a bribe. The accepted Duff-Gordon's denial of bribing the crew, but maintained that, if the emergency boat had rowed towards the people who were in the water, it might very well have been able to rescue some of them. • as: A world-famous fashion designer and Sir Cosmo's wife. She is rescued in Lifeboat 1 with her husband. She and her husband never lived down rumors that they had forbidden the lifeboat's crew to return to the wreck site in case they would be swamped. • Rochelle Rose as: The Countess is shown to be friendly with Cal and the DeWitt Bukaters.

Despite being of a higher status in society than Sir Cosmo and Lady Duff-Gordon, she is kind, and helps row the boat and even looks after the steerage passengers. Anderson as: The lookout who saw the iceberg. Fleet escapes the sinking ship aboard Lifeboat 6. • as: One of the ship's six quartermasters and at the ship's wheel at the time of collision. He is in charge of. He refuses to go back and pick up survivors after the sinking and eventually the boat is commandeered by Molly Brown.

• Martin East as: The other lookout in the. He survives the sinking.

• Gregory Cooke as: Senior wireless operator on board the Titanic whom Captain Smith ordered to send the distress signal. • as: Junior wireless operator on board the Titanic. • as: The baker appears in the film on top of the railing with Jack and Rose as the ship sinks, drinking brandy from a flask. According to the real Joughin's testimony, he rode the ship down and stepped into the water without getting his hair wet. He also admitted to hardly feeling the cold, most likely thanks to alcohol. • as Chief Engineer Joseph G.

Bell: Bell and his men worked until the last minute to keep the lights and the power on in order for distress signals to get out. Bell and all of the engineers died in the bowels of the Titanic. Cameos Several crew members of the Akademik Mstislav Keldysh appear in the film, including, creator and pilot of the self-propelled Deep Submergence Vehicle.

Anders Falk, who filmed a documentary about the film's sets for the, makes a cameo appearance in the film as a immigrant whom Jack Dawson meets when he enters his cabin; and Karen Kamuda, then President and Vice President of the Society who served as film consultants, were cast as extras in the film. Pre-production Writing and inspiration 'The story could not have been written better.The juxtaposition of rich and poor, the gender roles played out unto death (women first), the stoicism and nobility of a bygone age, the magnificence of the great ship matched in scale only by the folly of the men who drove her hell-bent through the darkness. And above all the lesson: that life is uncertain, the future unknowable.the unthinkable possible.'

— James Cameron James Cameron had a fascination with shipwrecks, and, for him, the RMS Titanic was 'the of shipwrecks.' He was almost past the point in his life when he felt he could consider an undersea expedition, but said he still had 'a mental restlessness' to live the life he had turned away from when he switched from the sciences to the arts in college. So when was made from footage shot of the wreck itself, he decided to seek Hollywood funding to 'pay for an expedition and do the same thing.' It was 'not because I particularly wanted to make the movie,' Cameron said.

'I wanted to dive to the shipwreck.' Cameron wrote a for a Titanic film, met with executives including, and pitched it as ' on the Titanic'. Cameron stated, 'They were like, 'Oooooohkaaaaaay – a three-hour romantic epic? Sure, that's just what we want. Is there a little bit of in that? Any, shoot-outs, or car chases?' I said, 'No, no, no.

It's not like that.' ' The studio was dubious about the idea's commercial prospects, but, hoping for a long-term relationship with Cameron, they gave him a.

Director, writer and producer Cameron convinced Fox to promote the film based on the publicity afforded by shooting the Titanic wreck itself, and organized several dives to the site over a period of two years. 'My pitch on that had to be a little more detailed,' said Cameron. 'So I said, 'Look, we've got to do this whole opening where they're exploring the Titanic and they find the diamond, so we're going to have all these shots of the ship.' Cameron stated, 'Now, we can either do them with elaborate models and motion control shots and and all that, which will cost X amount of money – or we can spend X plus 30 per cent and actually go shoot it at the real wreck.'

The crew shot at the real wreck in the Atlantic Ocean twelve times in 1995 and actually spent more time with the ship than its passengers. At that depth, with a water pressure of 6,000 pounds per square inch, 'one small flaw in the vessel's superstructure would mean instant death for all on board.' Not only were the dives high-risk, but adverse conditions prevented Cameron from getting the high quality footage that he wanted. During one dive, one of the submersibles collided with Titanic 's hull, damaging both sub and ship and leaving fragments of the submersible's propeller shroud scattered around the superstructure.

The external bulkhead of Captain Smith's quarters collapsed, exposing the interior. The area around the entrance to the Grand Staircase was also damaged. Descending to the actual site made both Cameron and crew want 'to live up to that level of reality. But there was another level of reaction coming away from the real wreck, which was that it wasn't just a story, it wasn't just a drama,' he said. 'It was an event that happened to real people who really died. Working around the wreck for so much time, you get such a strong sense of the profound sadness and injustice of it, and the message of it.' Cameron stated, 'You think, 'There probably aren't going to be many filmmakers who go to Titanic.

There may never be another one – maybe a documentarian.' Due to this, he felt 'a great mantle of responsibility to convey the emotional message of it – to do that part of it right, too'. After filming the underwater shots, Cameron began writing the screenplay. He wanted to honor the people who died during the sinking, so he spent six months researching all of the Titanic 's crew and passengers. 'I read everything I could. I created an extremely detailed timeline of the ship's few days and a very detailed timeline of the last night of its life,' he said.

'And I worked within that to write the script, and I got some historical experts to analyze what I'd written and comment on it, and I adjusted it.' He paid meticulous attention to detail, even including a scene depicting the 's role in Titanic 's demise, though this was later cut.

From the beginning of the shoot, they had 'a very clear picture' of what happened on the ship that night. 'I had a library that filled one whole wall of my writing office with Titanic stuff, because I wanted it to be right, especially if we were going to dive to the ship,' he said. 'That set the bar higher in a way – it elevated the movie in a sense. We wanted this to be a definitive visualization of this moment in history as if you'd gone back in a time machine and shot it.' Cameron felt the Titanic sinking was 'like a great novel that really happened', but that the event had become a mere; the film would give audiences the experience of living the history. The treasure hunter Brock Lovett represented those who never connected with the human element of the tragedy, while the blossoming romance of Jack and Rose, Cameron believed, would be the most engaging part of the story: when their love is finally destroyed, the audience would mourn the loss. He said: 'All my films are love stories, but in Titanic I finally got the balance right.

It's not a disaster film. It's a love story with a fastidious overlay of real history.' Cameron framed the romance with the elderly Rose to make the intervening years palpable and poignant.

Essential Social Psychology Crisp Turner Pdf Files

While Winslet and Stuart stated their belief that, instead of being asleep in her bed, the character dies at the end of the film, Cameron said that he would rather not reveal what he intended with the ending because '[t]he answer has to be something you supply personally; individually.' Scale modeling. The reconstruction of the RMS Titanic. The blueprints were supplied by the original ship's builder and Cameron tried to make the ship as detailed and accurate as possible., the RMS Titanic 's builders, opened their private archives to the crew, sharing blueprints that were thought lost.

For the ship's interiors, production designer 's team looked for artifacts from the era. The newness of the ship meant every prop had to be made from scratch. Fox acquired 40 acres of waterfront south of in Mexico, and began building a new studio on May 31, 1996. A of seventeen million gallons was built for the exterior of the reconstructed ship, providing 270 degrees of ocean view. The ship was built to full scale, but Lamont removed redundant sections on the and forward well deck for the ship to fit in the tank, with the remaining sections filled with digital models.

The lifeboats and funnels were shrunken by ten percent. The boat deck and A-deck were working sets, but the rest of the ship was just steel plating. Within was a fifty-foot lifting platform for the ship to tilt during the sinking sequences. Contoh Ptk Sd Lengkap. Towering above was a 162-foot-tall (49 m) tower crane on 600 feet (180 m) of, acting as a combined construction, lighting, and camera platform. The sets representing the interior rooms of the Titanic were reproduced exactly as originally built, using photographs and plans from the Titanic 's builders. The, which features prominently in the film, was recreated to a high standard of authenticity, though it was widened 30% compared to the original and reinforced with steel girders.

Craftsmen from Mexico and Britain sculpted the ornate paneling and plaster-work based on Titanic's' original designs. The carpeting, upholstery, individual pieces of furniture, light fixtures, chairs, cutlery and crockery with the crest on each piece were among the objects recreated according to original designs. Cameron additionally hired two Titanic historians, and, to authenticate the historical detail in the film. Production Principal photography for Titanic began in July 1996 at, with the filming of the modern day expedition scenes aboard the. In September 1996, the production moved to the newly built Fox Baja Studios in, where a full scale RMS Titanic had been constructed. The was built on a hinge which could rise from zero to 90 degrees in a few seconds, just as the ship's stern rose during the sinking.

For the safety of the stuntmen, many props were made of foam rubber. By November 15, the boarding scenes were being shot.

Cameron chose to build his RMS Titanic on the side as a study of weather data revealed it was a prevailing north-to-south wind which blew the funnel smoke aft. This posed a problem for shooting the ship's departure from, as it was docked on its side. Implementation of written directions, as well as props and costumes, had to be reversed; for example, if someone walked to their right in the script, they had to walk left during shooting. In post-production, the film was flipped to the correct direction.

A full-time etiquette coach was hired to instruct the cast in the manners of the upper class gentility in 1912. Despite this, several critics picked up on in the film, not least involving the two main stars. Close-up shot of Cameron's nude sketch of Rose wearing the '. The associated nude scene was one of the first scenes shot, as the main set was not yet ready. Cameron sketched Jack's nude portrait of Rose for a scene which he feels has the backdrop of repression. 'You know what it means for her, the freedom she must be feeling.

It's kind of exhilarating for that reason,' he said. The nude scene was DiCaprio and Winslet's first scene together. 'It wasn't by any kind of design, although I couldn't have designed it better.

There's a nervousness and an energy and a hesitance in them,' Cameron stated. 'They had rehearsed together, but they hadn't shot anything together.

If I'd had a choice, I probably would have preferred to put it deeper into the body of the shoot.' Cameron said he and his crew 'were just trying to find things to shoot' because the big set 'wasn't ready for months, so we were scrambling around trying to fill in anything we could get to shoot.' After seeing the scene on film, Cameron felt it worked out considerably well. Other times on the set were not as smooth. The shoot was an arduous experience that 'cemented Cameron's formidable reputation as 'the scariest man in Hollywood'. He became known as an uncompromising, hard-charging perfectionist' and a '300-decibel screamer, a modern-day with a megaphone and walkie-talkie, swooping down into people's faces on a 162ft crane'. Winslet chipped a bone in her elbow during filming and had been worried that she would drown in the 17m-gallon water tank the ship was to be sunk in.

'There were times when I was genuinely frightened of him. Jim has a temper like you wouldn't believe,' she said. 'God damn it!' He would yell at some poor crew member, 'that's exactly what I didn't want!' ' Her co-star, was familiar with Cameron's work ethic from his earlier experience with him. 'There were a lot of people on the set. Jim is not one of those guys who has the time to win hearts and minds,' he said.

The crew felt Cameron had an evil alter ego and so nicknamed him 'Mij' (Jim spelt backwards). In response to the criticism, Cameron stated, 'Film-making is war.

A great battle between business and aesthetics.' During the Akademik Mstislav Keldysh shoot in Canada, an angry crew member put the into the soup that Cameron and various others ate one night in. It sent more than 50 people to the hospital, including actor Bill Paxton. 'There were people just rolling around, completely out of it. Some of them said they were seeing streaks and psychedelics,' said actor Lewis Abernathy. Cameron managed to vomit before the drug took a full hold.

Abernathy was shocked at the way he looked. 'One eye was completely red, like the eye. A pupil, no iris, beet red. The other eye looked like he'd been sniffing glue since he was four.'

The person behind the poisoning was never caught. The filming schedule was intended to last 138 days but grew to 160. Many cast members came down with colds, flu, or kidney infections after spending hours in cold water, including Winslet. In the end, she decided she would not work with Cameron again unless she earned 'a lot of money'. Several others left the production, and three stuntmen broke their bones, but the decided, following an investigation, that nothing was inherently unsafe about the set. Additionally, DiCaprio said there was no point when he felt he was in danger during filming. Cameron believed in a passionate work ethic and never apologized for the way he ran his sets, although he acknowledged: I'm demanding, and I'm demanding on my crew.

In terms of being kind of militaresque, I think there's an element of that in dealing with thousands of extras and big logistics and keeping people safe. I think you have to have a fairly strict methodology in dealing with a large number of people. The costs of filming Titanic eventually began to mount and finally reached $200 million, a bit over $1 million per minute of screen time. Fox executives panicked and suggested an hour of specific cuts from the three-hour film. They argued the extended length would mean fewer showings, thus less revenue, even though long epics are more likely to help directors win. Cameron refused, telling Fox, 'You want to cut my movie?

You're going to have to fire me! You want to fire me? You're going to have to kill me!'

The executives did not want to start over, because it would mean the loss of their entire investment, but they also initially rejected Cameron's offer of forfeiting his share of the profits as an empty gesture, as they predicted profits would be unlikely. Cameron explained forfeiting his share as complex.

'.the short version is that the film cost proportionally much more than and. Those films went up seven or eight percent from the initial budget. Titanic also had a large budget to begin with, but it went up a lot more,' he said. 'As the producer and director, I take responsibility for the studio that's writing the checks, so I made it less painful for them. I did that on two different occasions. They didn't force me to do it; they were glad that I did.' Post-production Effects Cameron wanted to push the boundary of special effects with his film, and enlisted to continue the developments in digital technology which the director pioneered while working on and.

Many previous films about the RMS Titanic shot water in, which did not look wholly convincing. Cameron encouraged his crew to shoot their 45-foot-long (14 m) of the ship as if 'we're making a commercial for the White Star Line'. Afterwards, digital water and smoke were added, as were extras captured on a stage. Visual effects supervisor Rob Legato scanned the faces of many actors, including himself and his children, for the digital extras and stuntmen.

There was also a 65-foot-long (20 m) model of the ship's stern that could break in two repeatedly, the only miniature to be used in water. For scenes set in the ship's engines, footage of the engines were composited with miniature support frames, and actors shot against a. In order to save money, the first-class lounge was a miniature set incorporated into a greenscreen backdrop behind the actors. The miniature of the Lounge would later be crushed to simulate the destruction of the room and a scale model of a First-Class corridor flooded with jets of water while the camera pans out. Unlike previous Titanic films, Cameron's retelling of the disaster showed the ship breaking into two pieces before sinking entirely. The scenes were an account of the moment's most likely outcome.

Cameron's film was the second Titanic film to show the ship breaking in half; the first was the. An enclosed 5,000,000-US-gallon (19,000,000 L) tank was used for sinking interiors, in which the entire set could be tilted into the water. In order to sink the Grand Staircase, 90,000 US gallons (340,000 L) of water were dumped into the set as it was lowered into the tank. Unexpectedly, the waterfall ripped the staircase from its steel-reinforced foundations, although no one was hurt. The 744-foot-long (227 m) exterior of the RMS Titanic had its first half lowered into the tank, but as the heaviest part of the ship it acted as a against the water; to get the set into the water, Cameron had much of the set emptied and even smashed some of the promenade windows himself. After submerging the dining saloon, three days were spent shooting Lovett's traversing the wreck in the present. The post-sinking scenes in the freezing Atlantic were shot in a 350,000-US-gallon (1,300,000 L) tank, where the frozen corpses were created by applying on actors a powder that crystallized when exposed to water, and wax was coated on hair and clothes.

The climactic scene, which features the breakup of the ship directly before it sinks as well as its final plunge to the bottom of the Atlantic, involved a tilting full-sized set, 150 extras, and 100 stunt performers. Cameron criticized previous Titanic films for depicting the liner's final plunge as a graceful slide underwater. He 'wanted to depict it as the terrifyingly chaotic event that it really was'. When carrying out the sequence, people needed to fall off the increasingly tilting deck, plunging hundreds of feet below and bouncing off of railings and propellers on the way down.

A few attempts to film this sequence with stunt people resulted in some minor injuries, and Cameron halted the more dangerous stunts. The risks were eventually minimized 'by using computer generated people for the dangerous falls'. Editing There was one 'crucial historical fact' Cameron chose to omit from the film – the was close to the Titanic the night she sank but had turned off its radio for the night, did not hear her crew's calls, and did not respond to their distress flares. 'Yes, the [SS]. That wasn't a compromise to mainstream filmmaking. That was really more about emphasis, creating an emotional truth to the film,' stated Cameron.

He said there were aspects of retelling the sinking that seemed important in pre- and post-production, but turned out to be less important as the film evolved. 'The story of the Californian was in there; we even shot a scene of them switching off their Marconi radio set,' said Cameron. 'But I took it out. It was a clean cut, because it focuses you back onto that world. If Titanic is powerful as a metaphor, as a microcosm, for the end of the world in a sense, then that world must be self-contained.'

During the first assembly cut, Cameron altered the planned ending, which had given resolution to Brock Lovett's story. In the original version of the ending, Brock and Lizzy see the elderly Rose at the stern of the boat and fear she is going to commit suicide. Rose then reveals that she had the 'Heart of the Ocean' diamond all along but never sold it, in order to live on her own without Cal's money. She tells Brock that life is priceless and throws the diamond into the ocean, after allowing him to hold it. After accepting that treasure is worthless, Brock laughs at his stupidity. Rose then goes back to her cabin to sleep, whereupon the film ends in the same way as the final version.

In the editing room, Cameron decided that by this point, the audience would no longer be interested in Brock Lovett and cut the resolution to his story, so that Rose is alone when she drops the diamond. He also did not want to disrupt the audience's melancholy after the Titanic 's sinking. The version used for the first featured a fight between Jack and Lovejoy which takes place after Jack and Rose escape into the flooded dining saloon, but the test audiences disliked it. The scene was written to give the film more suspense, and featured Cal (falsely) offering to give Lovejoy, his valet, the ' if he can get it from Jack and Rose. Lovejoy goes after the pair in the sinking first-class dining room. Just as they are about to escape him, Lovejoy notices Rose's hand slap the water as it slips off the table behind which she is hiding. In revenge for framing him for the 'theft' of the necklace, Jack attacks him and smashes his head against a glass window, which explains the gash on Lovejoy's head that can be seen when he dies in the completed version of the film.

In their reactions to the scene, test audiences said it would be unrealistic to risk one's life for wealth, and Cameron cut it for this reason, as well as for timing and pacing reasons. Many other scenes were cut for similar reasons. Music and soundtrack. Featuring the vocals of, this is a recurring somber theme that is associated with the tragic elements of Titanic Problems playing this file? The soundtrack album for Titanic was composed.

For the vocals heard throughout the film, subsequently described by Earle Hitchner of as 'evocative', Horner chose Norwegian singer, commonly known as 'Sissel'. Horner knew Sissel from her album, and he particularly liked how she sang ' ' ('I Know in Heaven There Is a Castle'). He had tried twenty-five or thirty singers before he finally chose Sissel as the voice to create specific moods within the film. Horner additionally wrote the song ' in secret with because Cameron did not want any songs with singing in the film. Agreed to record a demo with the persuasion of her husband. Horner waited until Cameron was in an appropriate mood before presenting him with the song. After playing it several times, Cameron declared his approval, although worried that he would have been criticized for 'going commercial at the end of the movie'.

Cameron also wanted to appease anxious studio executives and 'saw that a hit song from his movie could only be a positive factor in guaranteeing its completion'. Release Initial screening and co-financed Titanic, with Paramount handling the North American distribution and Fox handling the international release. They expected Cameron to complete the film for a release on July 2, 1997. The film was to be released on this date 'in order to exploit the lucrative summer season ticket sales when blockbuster films usually do better'.

In April, Cameron said the film's special effects were too complicated and that releasing the film for summer would not be possible. With production delays, Paramount pushed back the release date to December 19, 1997. 'This fueled speculation that the film itself was a disaster.'

A preview screening in on July 14 'generated positive reviews' and '[c]hatter on the internet was responsible for more favorable about the [film]'. This eventually led to more positive media coverage. The film premiered on November 1, 1997, at the, where reaction was described as '.

Positive reviews started to appear back in the United States; the official Hollywood premiere occurred on December 14, 1997, where 'the big movie stars who attended the opening were enthusiastically gushing about the film to the world media'. Box office Including revenue from the 2012 and 2017 reissues, Titanic earned $659.4 million in North America and $1.528 billion in other countries, for a worldwide total of $2.187 billion. It became the in 1998, and remained so for twelve years, until (2009), also written and directed by Cameron, surpassed it in 2010. On March 1, 1998, it became the first film to earn more than $1 billion worldwide and on the weekend April 13–15, 2012—a century after the original vessel's foundering, Titanic became the second film to cross the $2 billion threshold during its 3D re-release. Estimates that Titanic is of all time in North America when adjusting for ticket price inflation.

The site also estimates that the film sold over 128 million tickets in the US in its initial theatrical run. Initial theatrical run The film received steady attendance after opening in North America on Friday, December 19, 1997. By the end of that same weekend, theaters were beginning to sell out. The film earned $8,658,814 on its opening day and $28,638,131 over the opening weekend from 2,674 theaters, averaging to about $10,710 per venue, and ranking number one at the box office, ahead of the eighteenth James Bond film,. By New Year's Day, Titanic had made over $120 million, had increased in popularity and theaters continued to sell out. Its highest grossing single day was Saturday, February 14, 1998, on which it earned $13,048,711, more than eight weeks after its North American debut.

It stayed at number one for 15 consecutive weeks in North America, a record for any film. The film stayed in theaters in North America for almost 10 months before finally closing on Thursday, October 1, 1998 with a final domestic gross of $600,788,188. Outside North America, the film made double its North American gross, generating $1,242,413,080 and accumulating a grand total of $1,843,201,268 worldwide from its initial theatrical run. Commercial analysis Before Titanic 's release, various film critics predicted the film would be a, especially due to it being the most expensive film ever made at the time. When it was shown to the press in autumn of 1997, 'it was with massive forebodings' since the 'people in charge of the screenings believed they were on the verge of losing their jobs – because of this great of a picture on which, finally, two studios had to combine to share the great load of its making'.

Cameron also thought he was 'headed for disaster' at one point during filming. 'We labored the last six months on Titanic in the absolute knowledge that the studio would lose $100 million. It was a certainty,' he stated. As the film neared release, 'particular venom was spat at Cameron for what was seen as his hubris and monumental extravagance'. A film critic for the wrote that 'Cameron's overweening pride has come close to capsizing this project' and that the film was 'a hackneyed, completely derivative copy of old Hollywood romances'.

'It's hard to forget the director on the stage of the in LA, exultant, pumping a golden Oscar statuette into the air and shouting: 'I'm the king of the world!' As everyone knew, that was the most famous line in Titanic, exclaimed by Leonardo DiCaprio's character as he leaned into the wind on the prow of the doomed vessel.

Cameron's incantation of the line was a giant 'eff off', in front of a television audience approaching a billion, to all the naysayers, especially those sitting right in front of him.' — Christopher Goodwin of on Cameron's response to Titanic 's criticism When the film became a success, with an unprecedented box office performance, it was credited for being a love story that captured its viewers' emotions. The film was playing on 3,200 screens ten weeks after it opened, and out of its fifteen straight weeks on top of the charts, jumped 43% in total sales in its ninth week of release. It earned over $20 million a week for ten weeks, and after 14 weeks was still bringing in more than $1 million a week. 20th Century Fox estimated that seven percent of American teenage girls had seen Titanic twice by its fifth week. Although young women who saw the film several times, and subsequently caused ', were often credited with having primarily propelled the film to its all-time box office record, other reports have attributed the film's success to positive and repeat viewership due to the love story combined with the ground-breaking special effects.

The film's impact on men has also been especially credited. Now considered one of the films that ', 's Ian Hodder stated that men admire Jack's sense of adventure, stowing away on a steamship bound for America. 'We cheer as he courts a girl who was out of his league. We admire how he suggests nude modeling as an excuse to get naked. So when [the tragic ending happens], an uncontrollable flood of tears sinks our composure,' he said.

Titanic 's ability to make men cry was briefly parodied in the 2009 film, where character Tallahassee (), when recalling the death of his young son, states: 'I haven't cried like that since Titanic.' In 2010, the analyzed the stigma over men crying during Titanic and films in general. 'Middle-aged men are not 'supposed' to cry during movies,' stated Finlo Rohrer of the website, citing the ending of Titanic as having generated such tears, adding that 'men, if they have felt weepy during [this film], have often tried to be surreptitious about it.' Professor, of, stated, 'For many men, there is a great deal of pressure to avoid expression of 'female' emotions like sadness and fear. From a very young age, males are taught that it is inappropriate to cry, and these lessons are often accompanied by a great deal of ridicule when the lessons aren't followed.'

Rohrer said, 'Indeed, some men who might sneer at the idea of crying during Titanic will readily admit to becoming choked up during or.' For men in general, 'the idea of sacrifice for a 'brother' is a more suitable source of emotion'. Scott Meslow of stated while Titanic initially seems to need no defense, given its success, it is considered a film 'for 15-year-old girls' by its main detractors. He argued that dismissing Titanic as fodder for 15-year-old girls fails to consider the film's accomplishment: 'that [this] grandiose, 3+ hour historical romantic drama is a film for everyone—including teenage boys.'

Meslow stated that despite the film being ranked high by males under the age of 18, matching the ratings for teenage boy-targeted films like, it is common for boys and men to deny liking Titanic. He acknowledged his own rejection of the film as a child while secretly loving it. 'It's this collection of elements—the history, the romance, the action—that made (and continues to make) Titanic an irresistible proposition for audiences of all ages across the globe,' he stated.

' Titanic has flaws, but for all its legacy, it's better than its middlebrow reputation would have you believe. It's a great movie for 15-year-old girls, but that doesn't mean it's not a great movie for everyone else too.' Quotes in the film aided its popularity. Titanic 's catchphrase 'I'm the king of the world!'

Became one of the film industry's more popular quotations. According to Richard Harris, a psychology professor at, who studied why people like to cite films in social situations, using film quotations in everyday conversation is similar to telling a joke and a way to form solidarity with others.

'People are doing it to feel good about themselves, to make others laugh, to make themselves laugh', he said. Cameron explained the film's success as having significantly benefited from the experience of sharing. 'When people have an experience that's very powerful in the movie theatre, they want to go share it.

They want to grab their friend and bring them, so that they can enjoy it,' he said. 'They want to be the person to bring them the news that this is something worth having in their life. That's how Titanic worked.' Stated, 'The normal repeat viewing rate for a blockbuster theatrical film is about 5%.

The repeat rate for Titanic was over 20%.' The box office receipts 'were even more impressive' when factoring in 'the film's 3-hour-and-14-minute length meant that it could only be shown three times a day compared to a normal movie's four showings'. In response to this, '[m]any theatres started midnight showings and were rewarded with full houses until almost 3:30 am'. Titanic held the record for box office gross for twelve years. Cameron's follow-up film, was considered the first film with a genuine chance at surpassing its worldwide gross, and did so in 2010. For why the film was able to successfully challenge Titanic were given.

For one, 'Two-thirds of Titanic 's haul was earned overseas, and Avatar [tracked] similarly. Avatar opened in 106 markets globally and was no. 1 in all of them' and the markets 'such as Russia, where Titanic saw modest receipts in 1997 and 1998, are white-hot today' with 'more screens and moviegoers' than ever before. Brandon Gray, president of Box Office Mojo, said that while Avatar may beat Titanic 's revenue record, the film is unlikely to surpass Titanic in attendance.

'Ticket prices were about $3 cheaper in the late 1990s.' In December 2009, Cameron had stated, 'I don't think it's realistic to try to topple Titanic off its perch.

Some pretty good movies have come out in the last few years. Titanic just struck some kind of chord.' In a January 2010 interview, he gave a different take on the matter once Avatar 's performance was easier to predict. 'It's gonna happen.

It's just a matter of time,' he said. Author Alexandra Keller, when analyzing Titanic's success, stated that scholars could agree that the film's popularity 'appears dependent on contemporary culture, on perceptions of history, on patterns of consumerism and globalization, as well as on those elements experienced filmgoers conventionally expect of juggernaut film events in the 1990s – awesome screen spectacle, expansive action, and, more rarely seen, engaging characters and epic drama.' Critical reception Titanic garnered mainly positive reviews from film critics, and was positively reviewed by audiences and scholars, who commented on the film's cultural, historical and political impacts.

On website, the film has an approval rating of 88% based on 178 reviews, with a of 8/10. The site's critical consensus reads, 'A mostly unqualified triumph for Cameron, who offers a dizzying blend of spectacular visuals and old-fashioned melodrama.' At, which assigns a weighted mean rating to reviews, the film has a score of 74 based on 34 critics, indicating 'generally favorably reviews'. Audiences polled by gave the film an average grade of 'A+' on an A+ to F scale, one of fewer than 60 films in the history of the service to earn the score. With regard to the film's overall design, stated, 'It is flawlessly crafted, intelligently constructed, strongly acted, and spellbinding.

Movies like this are not merely difficult to make at all, but almost impossible to make well.' He credited the 'technical difficulties' with being 'so daunting that it's a wonder when the filmmakers are also able to bring the drama and history into proportion' and 'found [himself] convinced by both the story and the sad saga'.

He named it his ninth best film of 1997. On the television program, the film received 'two thumbs up' and was praised for its accuracy in recreating the ship's sinking; Ebert described the film as 'a glorious Hollywood epic' and 'well worth the wait,' and found Leonardo DiCaprio 'captivating'. Stated, 'Meticulous in detail, yet vast in scope and intent, Titanic is the kind of epic motion picture event that has become a rarity. You don't just watch Titanic, you experience it.' It was named his second best film of 1997. Almar Haflidason of the wrote that 'the sinking of the great ship is no secret, yet for many exceeded expectations in sheer scale and tragedy' and that 'when you consider that [the film] tops a bum-numbing three-hour running time, then you have a truly impressive feat of entertainment achieved by Cameron'. Joseph McBride of Boxoffice Magazine concluded, 'To describe Titanic as the greatest disaster movie ever made is to sell it short.

James Cameron's recreation of the 1912 sinking of the 'unsinkable' liner is one of the most magnificent pieces of serious popular entertainment ever to emanate from Hollywood.' The romantic and emotionally charged aspects of the film were equally praised. Urban of Urban Cinefile said, 'You will walk out of Titanic not talking about budget or running time, but of its enormous emotive power, big as the engines of the ship itself, determined as its giant propellers to gouge into your heart, and as lasting as the love story that propels it.' Of described the film as, 'A lush and terrifying spectacle of romantic doom. Writer-director James Cameron has restaged the defining catastrophe of the early 20th century on a human scale of such purified yearning and dread that he touches the deepest levels of popular moviemaking.' Of The New York Times commented that 'Cameron's magnificent Titanic is the first spectacle in decades that honestly invites comparison to.'

Of magazine, on the other hand, wrote a mostly negative review, criticizing the lack of interesting emotional elements. Some reviewers felt that the story and dialogue were weak, while the visuals were spectacular. 's review in the Los Angeles Times was particularly scathing. Dismissing the emotive elements, he stated, 'What really brings on the tears is Cameron's insistence that writing this kind of movie is within his abilities. Not only is it not, it is not even close.' , and later claimed that the only reason that the film won Oscars was because of its box office total.

Barbara Shulgasser of gave Titanic one star out of four, citing a friend as saying, 'The number of times in this unbelievably badly written script that the two [lead characters] refer to each other by name was an indication of just how dramatically the script lacked anything more interesting for the actors to say.' Also, filmmaker called it 'the most dreadful piece of work I've ever seen in my entire life'. In his 2012 study of the lives of the passengers on the Titanic, historian said, 'Cameron's film diabolized rich Americans and educated English, anathematizing their emotional restraint, good tailoring, punctilious manners and grammatical training, while it made of the poor Irish and the unlettered'. Titanic suffered backlash in addition to its success. In 2003, the film topped a poll of 'Best Film Endings', and yet it also topped a poll by as 'the worst movie of all time'.

The British film magazine reduced their rating of the film from the maximum five stars and an enthusiastic review, to four stars with a less positive review in a later edition, to accommodate its readers' tastes, who wanted to disassociate themselves from the hype surrounding the film, and the reported activities of its fans, such as those attending multiple screenings. In addition to this, positive and negative parodies and other such spoofs of the film abounded and were circulated on the internet, often inspiring passionate responses from fans of various opinions of the film. Benjamin Willcock of DVDActive.com did not understand the backlash or the passionate hatred for the film.

'What really irks me.,' he said, 'are those who make nasty stabs at those who do love it.' Willcock stated, 'I obviously don't have anything against those who dislike Titanic, but those few who make you feel small and pathetic for doing so (and they do exist, trust me) are way beyond my understanding and sympathy.'

Cameron responded to the backlash, and Kenneth Turan's review in particular. ' Titanic is not a film that is sucking people in with flashy hype and spitting them out onto the street feeling let down and ripped off,' he stated. 'They are returning again and again to repeat an experience that is taking a 3-hour and 14-minute chunk out of their lives, and dragging others with them, so they can share the emotion.' Cameron emphasized people from all ages (ranging from 8 to 80) and from all backgrounds were 'celebrating their own essential humanity' by seeing it. He described the script as earnest and straightforward, and said it intentionally 'incorporates universals of human experience and emotion that are timeless – and familiar because they reflect our basic emotional fabric' and that the film was able to succeed in this way by dealing with.

He did not see it as pandering. 'Turan mistakes archetype for cliche,' he said. 'I don't share his view that the best scripts are only the ones that explore the perimeter of human experience, or flashily pirouette their witty and cynical dialogue for our admiration.' Empire eventually reinstated its original five star rating of the film, commenting, 'It should be no surprise then that it became fashionable to bash James Cameron's Titanic at approximately the same time it became clear that this was the planet's favourite film. In 2017, on the 20th anniversary of its release, the film was selected for preservation in the United States by the as being 'culturally, historically, or aesthetically significant'. An accurate view of the was used to replace Rose's view of the moonless night sky at sea, as in this photo from.

The view was adjusted to match the North Atlantic at 4:20 am on April 15, 1912. The 3D version of Titanic premiered at the in London on March 27, 2012, with and in attendance, and entered general release on April 4, 2012, six days shy of the centenary of RMS Titanic embarking on her maiden voyage. Film critic rated the reissue 3.5 stars out of 4, explaining he found it 'pretty damn dazzling'. He said, 'The 3D intensifies Titanic. You are there. Caught up like never before in an intimate epic that earns its place in the movie time capsule.' Writing for, gave the film an A grade.

He wrote, 'For once, the visuals in a 3-D movie don't look darkened or distracting. They look sensationally crisp and alive.' Of who was very critical in 1997 remained in the same mood, 'I had pretty much the same reaction: fitfully awed, mostly water-logged.' In regards to the 3D effects, he noted the 'careful conversion to 3D lends volume and impact to certain moments. [but] in separating the foreground and background of each scene, the converters have carved the visual field into discrete, not organic, levels.' Ann Hornaday for found herself asking 'whether the film's twin values of humanism and spectacle are enhanced by Cameron's 3-D conversion, and the answer to that is: They aren't.'

She further added that the '3-D conversion creates distance where there should be intimacy, not to mention odd moments in framing and composition.' The film grossed an estimated $4.7 million on the first day of its re-release in North America (including midnight preview showings) and went on to make $17.3 million over the weekend, finishing in third place.

Outside North America it earned $35.2 million finishing second, and improved on its performance the following weekend by topping the box office with $98.9 million. China has proven to be its most successful territory where it earned $11.6 million on its opening day, going on to earn a record-breaking $67 million in its opening week and taking more money in the process than it did in the entirety of its original theatrical run. The reissue ultimately earned $343.4 million worldwide, with $145 million coming from China and $57.8 million from Canada and United States. The 3D conversion of the film was also released in the format in selected international territories, which allows the audience to experience the film's environment using motion, wind, fog, lighting and scent-based special effects. For the 20th anniversary of the film, Titanic was re-released in cinemas in (in both 2D and 3D) for one week beginning December 1, 2017.

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Essential Social Psychology Crisp Turner Pdf Files Online

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Further reading. • Frakes, Randall (1998).

Titanic: James Cameron's Illustrated Screenplay. New York: Harper..

• Cameron, Stephen (1998). Titanic: Belfast's Own. Ireland: Wolfhound Press.. • Mireille Majoor; James Cameron (2003).

Titanic: Ghosts of the Abyss. New York: Scholastic.. • Molony, Senan (2005). Titanic: A Primary Source History.

Canada: Gareth Stevens.. • Marsh, Ed W.; Kirkland, Douglas (1998). James Cameron's Titanic. London: Boxtree.. • Parisi, Paula (1998)..

London: Orion.. • Sandler, Kevin S.; Studlar, Gaylyn, eds. Titanic: Anatomy of a Blockbuster.

Piscataway, NJ: Rutgers University Press.. • Ballard, Robert (1987). The Discovery of the Titanic. Canada: Grand Central Publishing.. • Lynch, Donald (1992).

Titanic: An Illustrated History. New York: Madison Press Books.. • Lubin, David M. 'Titanic' (BFI Modern Classics). London: BFI Publishing.. External links Wikimedia Commons has media related to.

Wikiquote has quotations related to: • • on • at the • at • at • at • at • at •.

Essentials of Social Psychology - Vladimir A. Shop Essential Social Psychology Books. Richard J Crisp, Rhiannon N Turner. These books are NOT available for reading online or for free download in PDF.

More From aggression to altruism, prejudice to persuasion, Essential Social Psychology 3e introduces students to the discoveries and debates that define social psychology today. It covers both classic and cutting edge research studies and provides plenty of real life examples and illustrations to help students to develop a good understanding of the subject whilst building the confidence to apply this knowledge successfully in assignments and exams.

An extensive range of learning aids including a glossary, summary sections and memory maps – combined with an array of features on the student section of the companion website – will help reinforce this learning and check retention at specific milestones throughout the course. New to the third edition: • A new full-colour design • Two brand new chapters on Applied Social Psychology and Social Psychological Methods • Coverage of some developing research perspectives including social neuroscience and evolutionary psychology • New ‘Back to the Real World’ textboxes which situate academic findings in the context of the world around you • An enhanced SAGE edge™ companion website (study.sagepub.com/crispandturner3e) with a suite of features to enhance your learning experience. In the press In their newest edition of Essential Social Psychology, Crisp and Turner present the classic research in Social Psychology and show its relevance to current, real world events.

This clear and easy to read integration of the past and the present makes Essential Social Psychology the perfect textbook for both students and teachers alike. I expect that my students will give me the same feedback on the newest edition as they have for past editions: 'Finally a psychology text that doesn't cure insomnia!'

From aggression to altruism, prejudice to persuasion, Essential Social Psychology 3e introduces students to the discoveries and debates that define social psychology today. It covers both classic and cutting edge research studies and provides plenty of real life examples and illustrations to help students to develop a good understanding of the subject whilst building the confidence to apply this knowledge successfully in assignments and exams. An extensive range of learning aids including a glossary, summary sections and memory maps – combined with an array of features on the student section of the companion website – will help reinforce this learning and check retention at specific milestones throughout the course. Adobe Lightroom Cracked Apk Site. New to the third edition: • A new full-colour design • Two brand new chapters on Applied Social Psychology and Social Psychological Methods • Coverage of some developing research perspectives including social neuroscience and evolutionary psychology • New ‘Back to the Real World’ textboxes which situate academic findings in the context of the world around you • An enhanced SAGE edge™ companion website (study.sagepub.com/crispandturner3e) with a suite of features to enhance your learning experience. Be sure to visit the SAGE edge website at to find a range of teaching and learning material for both lecturers and students. In their newest edition of Essential Social Psychology, Crisp and Turner present the classic research in Social Psychology and show its relevance to current, real world events.

This clear and easy to read integration of the past and the present makes Essential Social Psychology the perfect textbook for both students and teachers alike. I expect that my students will give me the same feedback on the newest edition as they have for past editions: 'Finally a psychology text that doesn't cure insomnia!'

The book gives an accessible and thorough grounding in the key concepts, the fundamentals - the essentials of social psychology, while providing a lively introduction to the major theoretical debates, new approaches, and findings in the discipline. It focuses on theory and basic level empirical demonstrations for of the key phenomena, along with discussion of current research and application to real-world issues. Concise chapters cover the classic and contemporary studies with ample illustrations, an extensive glossary, and memory maps to help students retain the material. Two new chapters on Attribution and Intergroup Processes have been added in the Second Edition. Alternative perspectives are integrated into each chapter to reflect the full range of approaches and encourage critical thinking, and a new and improved Instructor and Student website is available to support teaching and learning.

Richard Crisp is a Professor of Psychology at the Aston Business School. He read Experimental Psychology at the University of Oxford and carried out his doctoral research at Cardiff University. In 1999 he took up his first lecturing position at the University of Birmingham, then in 2007 took up his first Chair in the Centre for the Study of Group Processes at the University of Kent.

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After a three-year term as Head of School, in 2012 he was appointed Chair in Psychology at the University of Sheffield. He moved to his current position at the Aston Business School in 2014. Richard_s research has covered the full range of topics that comprise social psychology, from studies on the formation and reduction of prejudice, to the self and identity processes involved in interpersonal relations, from studies of mere exposure and attitude formation, to studies of social categorization. He has published this work in over 130 articles, chapters and books, including papers in American Psychologist, Psychological Science, Psychological Bulletin and Science. This work has been recognized with awards from scholarly societies including the British Psychological Society Social Psychology Mid-Career Prize and Spearman Medal. Together with Rhiannon Turner he received the 2011 Gordon Allport Intergroup Relations Prize from the Society for the Psychological Study of Social Issues (for the best paper of the year on intergroup relations). He is Editor-In-Chief of the Journal of Applied Social Psychology and former Deputy Chair of the British Psychological Society_s Research Board.

He is an Academician of the Academy of Social Sciences, Fellow of the Association for Psychological Science and Fellow of the British Psychological Society. Rhiannon Turner is a Professor of Psychology at Queen's University Belfast. She did her undergraduate degree at Cardiff University, her MSc at the University of Kent, and her D.Phil. At the University of Oxford. In 2006, she was awarded an ESRC postdoctoral fellowship at the University of Birmingham, before taking up a lectureship at the University of Leeds in 2007.

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She moved to her current position at Queen’s University Belfast in 2012. The main focus of her research is intergroup relations, with a particular interest in direct and indirect forms of contact (such as extended and imagined contact, and nostalgic recall of contact) as means of changing intergroup attitudes and behaviours. This research has been published in journals such as American Psychologist, Journal of Personality and Social Psychology, and Psychological Bulletin, and has been funded by grants from the Economic and Social Research Council, the Leverhulme Trust, the British Academy, and the National Institute for Health Research. She is winner of the British Psychological Society award for Outstanding Doctoral Research Contributions to Psychology (2007) and the Foundation for Personality and Social Psychology’s Robert B.

Essential Social Psychology Crisp Turner Pdf Files 2017

Cialdini Award (2007) for contributions to field research in social psychology. Together with Richard Crisp she received the 2011 Gordon Allport Intergroup Relations Prize from the Society for the Psychological Study of Social Issues (for the best paper of the year on intergroup relations). She is also an associate editor of the Journal of Applied Social Psychology.