TERRACOTTA JACK O LANTERN GOURD 9.5" melty monster face squash Halloween RARE

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Seller: sidewaysstairsco ✉️ (1,180) 100%, Location: Santa Ana, California, US, Ships to: US & many other countries, Item: 204406215482 TERRACOTTA JACK O LANTERN GOURD 9.5" melty monster face squash Halloween RARE. Check out our other new and used items>>>>>HERE! (click me) FOR SALE: A must-have for the Halloween fanatic and collector 9.5" TERRACOTTA GOURD MONSTER JACK-O'-LANTERN DETAILS: Rustic charm with a Tim Burton-esque twist! Prepare to be mesmerized by the haunting allure of this monster-mouthed terracotta jack-o'-lantern , a chilling masterpiece that seems to have sprung from the very minds of Tim Burton and Henry Selick themselves. Drawing inspiration from the creative artistic minds of Burton and Selick, this gourd-style jack-o'-lantern exudes an air of eerie enchantment. The hefty (3.75 lb.) squash monster has classic jack-o'-lantern eyes and nose cut outs but watch out for it's ferocious mouth and jagged teeth. The 9-1/2" terracotta jack-o'-lantern Halloween decoration resembles a heavy-bottomed gourd with mesmerizing paint drip-like warts, giving it an almost enchanting, otherworldly appearance. The cleverly sculpted details also make it seem as if the anthropomorphic pumpkin squash is gently melting like a candle, an eerily cool touch that adds to its allure. Comprised of high-quality, beautiful terracotta ceramic (terra cotta). Seasonal, hard to find, and retired! Utilizing various avenues of analysis returned zero results regarding information about the terracotta gourd monster jack-o'-lantern. Because information is lacking we're unsure of when this Halloween time decoration was created, where it was originally sold, or even what company or artist made it. One thing is sure though, this quality terracotta jack-o'-lantern is truly a rare find - and likely retired and limited as product research yielded no information. Versatile Display Options! For indoor or outdoor use. Place this terracotta masterpiece anywhere your heart desires – from your garden or front porch, where it will greet and bewitch your guests, to your foyer or living room, where it will serve as a haunting focal point during Halloween gatherings. Looks great sitting over a small candle (votive, small pillar), flameless candle, or get dynamic with a remote-controlled color-changing LED light. Light/candle not included. Dimensions: Approximately 9.5" (H) x 8.75" (W) (inches). Weight: Approximately 3 lbs. 12 oz. (pounds, ounces) CONDITION: In excellent, pre-owned condition. Light wear and pen marking on bottom. Please see photos. Light used for photos is not included. To ensure safe delivery all items are carefully packaged before shipping out. THANK YOU FOR LOOKING. QUESTIONS? JUST ASK. *ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.* "Halloween or Hallowe'en (less commonly known as Allhalloween,[5] All Hallows' Eve,[6] or All Saints' Eve)[7] is a celebration observed in many countries on 31 October, the eve of the Western Christian feast of All Saints' Day. It begins the observance of Allhallowtide,[8] the time in the liturgical year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed.[9][10][11][12] One theory holds that many Halloween traditions were influenced by Celtic harvest festivals, particularly the Gaelic festival Samhain, which are believed to have pagan roots.[13][14][15][16] Some go further and suggest that Samhain may have been Christianized as All Hallow's Day, along with its eve, by the early Church.[17] Other academics believe Halloween began solely as a Christian holiday, being the vigil of All Hallow's Day.[18][19][20][21] Celebrated in Ireland and Scotland for centuries, Irish and Scottish immigrants took many Halloween customs to North America in the 19th century,[22][23] and then through American influence Halloween had spread to other countries by the late 20th and early 21st century.[24][25] Popular Halloween activities include trick-or-treating (or the related guising and souling), attending Halloween costume parties, carving pumpkins or turnips into jack-o'-lanterns, lighting bonfires, apple bobbing, divination games, playing pranks, visiting haunted attractions, telling scary stories, and watching horror or Halloween-themed films.[26] Some people practice the Christian religious observances of All Hallows' Eve, including attending church services and lighting candles on the graves of the dead,[27][28][29] although it is a secular celebration for others.[30][31][32] Some Christians historically abstained from meat on All Hallows' Eve, a tradition reflected in the eating of certain vegetarian foods on this vigil day, including apples, potato pancakes, and soul cakes.[33][34][35][36] Etymology "Halloween" (1785) by Scottish poet Robert Burns, recounts various legends of the holiday. The word Halloween or Hallowe'en ("Saints' evening"[37]) is of Christian origin;[38][39] a term equivalent to "All Hallows Eve" is attested in Old English.[40] The word hallowe[']en comes from the Scottish form of All Hallows' Eve (the evening before All Hallows' Day):[41] even is the Scots term for "eve" or "evening",[42] and is contracted to e'en or een;[43] (All) Hallow(s) E(v)en became Hallowe'en. History Christian origins and historic customs Halloween is thought to have influences from Christian beliefs and practices.[44][45] The English word 'Halloween' comes from "All Hallows' Eve", being the evening before the Christian holy days of All Hallows' Day (All Saints' Day) on 1 November and All Souls' Day on 2 November.[46] Since the time of the early Church,[47] major feasts in Christianity (such as Christmas, Easter and Pentecost) had vigils that began the night before, as did the feast of All Hallows'.[48][44] These three days are collectively called Allhallowtide and are a time when Western Christians honour all saints and pray for recently departed souls who have yet to reach Heaven. Commemorations of all saints and martyrs were held by several churches on various dates, mostly in springtime.[49] In 4th-century Roman Edessa it was held on 13 May, and on 13 May 609, Pope Boniface IV re-dedicated the Pantheon in Rome to "St Mary and all martyrs".[50] This was the date of Lemuria, an ancient Roman festival of the dead.[51] In the 8th century, Pope Gregory III (731–741) founded an oratory in St Peter's for the relics "of the holy apostles and of all saints, martyrs and confessors".[44][52] Some sources say it was dedicated on 1 November,[53] while others say it was on Palm Sunday in April 732.[54][55] By 800, there is evidence that churches in Ireland[56] and Northumbria were holding a feast commemorating all saints on 1 November.[57] Alcuin of Northumbria, a member of Charlemagne's court, may then have introduced this 1 November date in the Frankish Empire.[58] In 835, it became the official date in the Frankish Empire.[57] Some suggest this was due to Celtic influence, while others suggest it was a Germanic idea,[57] although it is claimed that both Germanic and Celtic-speaking peoples commemorated the dead at the beginning of winter.[59] They may have seen it as the most fitting time to do so, as it is a time of 'dying' in nature.[57][59] It is also suggested the change was made on the "practical grounds that Rome in summer could not accommodate the great number of pilgrims who flocked to it", and perhaps because of public health concerns over Roman Fever, which claimed a number of lives during Rome's sultry summers.[60][44] On All Hallows' Eve, Christians in some parts of the world visit cemeteries to pray and place flowers and candles on the graves of their loved ones.[61] Top: Christians in Bangladesh lighting candles on the headstone of a relative. Bottom: Lutheran Christians praying and lighting candles in front of the central crucifix of a graveyard. By the end of the 12th century, the celebration had become known as the holy days of obligation in Western Christianity and involved such traditions as ringing church bells for souls in purgatory. It was also "customary for criers dressed in black to parade the streets, ringing a bell of mournful sound and calling on all good Christians to remember the poor souls".[62] The Allhallowtide custom of baking and sharing soul cakes for all christened souls,[63] has been suggested as the origin of trick-or-treating.[64] The custom dates back at least as far as the 15th century[65] and was found in parts of England, Wales, Flanders, Bavaria and Austria.[66] Groups of poor people, often children, would go door-to-door during Allhallowtide, collecting soul cakes, in exchange for praying for the dead, especially the souls of the givers' friends and relatives. This was called "souling".[65][67][68] Soul cakes were also offered for the souls themselves to eat,[66] or the 'soulers' would act as their representatives.[69] As with the Lenten tradition of hot cross buns, soul cakes were often marked with a cross, indicating they were baked as alms.[70] Shakespeare mentions souling in his comedy The Two Gentlemen of Verona (1593).[71] While souling, Christians would carry "lanterns made of hollowed-out turnips", which could have originally represented souls of the dead;[72][73] jack-o'-lanterns were used to ward off evil spirits.[74][75] On All Saints' and All Souls' Day during the 19th century, candles were lit in homes in Ireland,[76] Flanders, Bavaria, and in Tyrol, where they were called "soul lights",[77] that served "to guide the souls back to visit their earthly homes".[78] In many of these places, candles were also lit at graves on All Souls' Day.[77] In Brittany, libations of milk were poured on the graves of kinfolk,[66] or food would be left overnight on the dinner table for the returning souls;[77] a custom also found in Tyrol and parts of Italy.[79][77] Christian minister Prince Sorie Conteh linked the wearing of costumes to the belief in vengeful ghosts: "It was traditionally believed that the souls of the departed wandered the earth until All Saints' Day, and All Hallows' Eve provided one last chance for the dead to gain vengeance on their enemies before moving to the next world. In order to avoid being recognized by any soul that might be seeking such vengeance, people would don masks or costumes".[80] In the Middle Ages, churches in Europe that were too poor to display relics of martyred saints at Allhallowtide let parishioners dress up as saints instead.[81][82] Some Christians observe this custom at Halloween today.[83] Lesley Bannatyne believes this could have been a Christianization of an earlier pagan custom.[84] Many Christians in mainland Europe, especially in France, believed "that once a year, on Hallowe'en, the dead of the churchyards rose for one wild, hideous carnival" known as the danse macabre, which was often depicted in church decoration.[85] Christopher Allmand and Rosamond McKitterick write in The New Cambridge Medieval History that the danse macabre urged Christians "not to forget the end of all earthly things".[86] The danse macabre was sometimes enacted in European village pageants and court masques, with people "dressing up as corpses from various strata of society", and this may be the origin of Halloween costume parties.[87][88][89][72] In Britain, these customs came under attack during the Reformation, as Protestants berated purgatory as a "popish" doctrine incompatible with the Calvinist doctrine of predestination. State-sanctioned ceremonies associated with the intercession of saints and prayer for souls in purgatory were abolished during the Elizabethan reform, though All Hallow's Day remained in the English liturgical calendar to "commemorate saints as godly human beings".[90] For some Nonconformist Protestants, the theology of All Hallows' Eve was redefined; "souls cannot be journeying from Purgatory on their way to Heaven, as Catholics frequently believe and assert. Instead, the so-called ghosts are thought to be in actuality evil spirits".[91] Other Protestants believed in an intermediate state known as Hades (Bosom of Abraham).[92] In some localities, Catholics and Protestants continued souling, candlelit processions, or ringing church bells for the dead;[46][93] the Anglican church eventually suppressed this bell-ringing.[94] Mark Donnelly, a professor of medieval archaeology, and historian Daniel Diehl write that "barns and homes were blessed to protect people and livestock from the effect of witches, who were believed to accompany the malignant spirits as they traveled the earth".[95] After 1605, Hallowtide was eclipsed in England by Guy Fawkes Night (5 November), which appropriated some of its customs.[96] In England, the ending of official ceremonies related to the intercession of saints led to the development of new, unofficial Hallowtide customs. In 18th–19th century rural Lancashire, Catholic families gathered on hills on the night of All Hallows' Eve. One held a bunch of burning straw on a pitchfork while the rest knelt around him, praying for the souls of relatives and friends until the flames went out. This was known as teen'lay.[97] There was a similar custom in Hertfordshire, and the lighting of 'tindle' fires in Derbyshire.[98] Some suggested these 'tindles' were originally lit to "guide the poor souls back to earth".[99] In Scotland and Ireland, old Allhallowtide customs that were at odds with Reformed teaching were not suppressed as they "were important to the life cycle and rites of passage of local communities" and curbing them would have been difficult.[22] In parts of Italy until the 15th century, families left a meal out for the ghosts of relatives, before leaving for church services.[79] In 19th-century Italy, churches staged "theatrical re-enactments of scenes from the lives of the saints" on All Hallow's Day, with "participants represented by realistic wax figures".[79] In 1823, the graveyard of Holy Spirit Hospital in Rome presented a scene in which bodies of those who recently died were arrayed around a wax statue of an angel who pointed upward towards heaven.[79] In the same country, "parish priests went house-to-house, asking for small gifts of food which they shared among themselves throughout that night".[79] In Spain, they continue to bake special pastries called "bones of the holy" (Spanish: Huesos de Santo) and set them on graves.[100] At cemeteries in Spain and France, as well as in Latin America, priests lead Christian processions and services during Allhallowtide, after which people keep an all night vigil.[101] In 19th-century San Sebastián, there was a procession to the city cemetery at Allhallowtide, an event that drew beggars who "appeal[ed] to the tender recollectons of one's deceased relations and friends" for sympathy.[102] Gaelic folk influence An early 20th-century Irish Halloween mask displayed at the Museum of Country Life Today's Halloween customs are thought to have been influenced by folk customs and beliefs from the Celtic-speaking countries, some of which are believed to have pagan roots.[103] Jack Santino, a folklorist, writes that "there was throughout Ireland an uneasy truce existing between customs and beliefs associated with Christianity and those associated with religions that were Irish before Christianity arrived".[104] The origins of Halloween customs are typically linked to the Gaelic festival Samhain.[105] Samhain is one of the quarter days in the medieval Gaelic calendar and has been celebrated on 31 October – 1 November[106] in Ireland, Scotland and the Isle of Man.[107][108] A kindred festival has been held by the Brittonic Celts, called Calan Gaeaf in Wales, Kalan Gwav in Cornwall and Kalan Goañv in Brittany; a name meaning "first day of winter". For the Celts, the day ended and began at sunset; thus the festival begins the evening before 1 November by modern reckoning.[109] Samhain is mentioned in some of the earliest Irish literature. The names have been used by historians to refer to Celtic Halloween customs up until the 19th century,[110] and are still the Gaelic and Welsh names for Halloween. Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland.[111] Samhain marked the end of the harvest season and beginning of winter or the 'darker half' of the year.[112][113] It was seen as a liminal time, when the boundary between this world and the Otherworld thinned. This meant the Aos Sí, the 'spirits' or 'fairies', could more easily come into this world and were particularly active.[114][115] Most scholars see them as "degraded versions of ancient gods [...] whose power remained active in the people's minds even after they had been officially replaced by later religious beliefs".[116] They were both respected and feared, with individuals often invoking the protection of God when approaching their dwellings.[117][118] At Samhain, the Aos Sí were appeased to ensure the people and livestock survived the winter. Offerings of food and drink, or portions of the crops, were left outside for them.[119][120][121] The souls of the dead were also said to revisit their homes seeking hospitality.[122] Places were set at the dinner table and by the fire to welcome them.[123] The belief that the souls of the dead return home on one night of the year and must be appeased seems to have ancient origins and is found in many cultures.[66] In 19th century Ireland, "candles would be lit and prayers formally offered for the souls of the dead. After this the eating, drinking, and games would begin".[124] Throughout Ireland and Britain, especially in the Celtic-speaking regions, the household festivities included divination rituals and games intended to foretell one's future, especially regarding death and marriage.[125] Apples and nuts were often used, and customs included apple bobbing, nut roasting, scrying or mirror-gazing, pouring molten lead or egg whites into water, dream interpretation, and others.[126] Special bonfires were lit and there were rituals involving them. Their flames, smoke, and ashes were deemed to have protective and cleansing powers.[112] In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect them.[110] It is suggested the fires were a kind of imitative or sympathetic magic – they mimicked the Sun and held back the decay and darkness of winter.[123][127][128] They were also used for divination and to ward off evil spirits.[74] In Scotland, these bonfires and divination games were banned by the church elders in some parishes.[129] In Wales, bonfires were also lit to "prevent the souls of the dead from falling to earth".[130] Later, these bonfires "kept away the devil".[131] photograph A plaster cast of a traditional Irish Halloween turnip (rutabaga) lantern on display in the Museum of Country Life, Ireland[132] From at least the 16th century,[133] the festival included mumming and guising in Ireland, Scotland, the Isle of Man and Wales.[134] This involved people going house-to-house in costume (or in disguise), usually reciting verses or songs in exchange for food. It may have originally been a tradition whereby people impersonated the Aos Sí, or the souls of the dead, and received offerings on their behalf, similar to 'souling'. Impersonating these beings, or wearing a disguise, was also believed to protect oneself from them.[135] In parts of southern Ireland, the guisers included a hobby horse. A man dressed as a Láir Bhán (white mare) led youths house-to-house reciting verses – some of which had pagan overtones – in exchange for food. If the household donated food it could expect good fortune from the 'Muck Olla'; not doing so would bring misfortune.[136] In Scotland, youths went house-to-house with masked, painted or blackened faces, often threatening to do mischief if they were not welcomed.[134] F. Marian McNeill suggests the ancient festival included people in costume representing the spirits, and that faces were marked or blackened with ashes from the sacred bonfire.[133] In parts of Wales, men went about dressed as fearsome beings called gwrachod.[134] In the late 19th and early 20th century, young people in Glamorgan and Orkney cross-dressed.[134] Elsewhere in Europe, mumming was part of other festivals, but in the Celtic-speaking regions, it was "particularly appropriate to a night upon which supernatural beings were said to be abroad and could be imitated or warded off by human wanderers".[134] From at least the 18th century, "imitating malignant spirits" led to playing pranks in Ireland and the Scottish Highlands. Wearing costumes and playing pranks at Halloween did not spread to England until the 20th century.[134] Pranksters used hollowed-out turnips or mangel wurzels as lanterns, often carved with grotesque faces.[134] By those who made them, the lanterns were variously said to represent the spirits,[134] or used to ward off evil spirits.[137][138] They were common in parts of Ireland and the Scottish Highlands in the 19th century,[134] as well as in Somerset (see Punkie Night). In the 20th century they spread to other parts of Britain and became generally known as jack-o'-lanterns.[134] Spread to North America The annual New York Halloween Parade in Greenwich Village, Manhattan, is the world's largest Halloween parade, with millions of spectators annually, and has its roots in New York’s queer community.[139] Lesley Bannatyne and Cindy Ott write that Anglican colonists in the southern United States and Catholic colonists in Maryland "recognized All Hallow's Eve in their church calendars",[140][141] although the Puritans of New England strongly opposed the holiday, along with other traditional celebrations of the established Church, including Christmas.[142] Almanacs of the late 18th and early 19th century give no indication that Halloween was widely celebrated in North America.[22] It was not until after mass Irish and Scottish immigration in the 19th century that Halloween became a major holiday in America.[22] Most American Halloween traditions were inherited from the Irish and Scots,[23][143] though "In Cajun areas, a nocturnal Mass was said in cemeteries on Halloween night. Candles that had been blessed were placed on graves, and families sometimes spent the entire night at the graveside".[144] Originally confined to these immigrant communities, it was gradually assimilated into mainstream society and was celebrated coast to coast by people of all social, racial, and religious backgrounds by the early 20th century.[145] Then, through American influence, these Halloween traditions spread to many other countries by the late 20th and early 21st century, including to mainland Europe and some parts of the Far East.[24][25][146] Symbols At Halloween, yards, public spaces, and some houses may be decorated with traditionally macabre symbols including skeletons, ghosts, cobwebs, headstones, and scary looking witches. Development of artifacts and symbols associated with Halloween formed over time. Jack-o'-lanterns are traditionally carried by guisers on All Hallows' Eve in order to frighten evil spirits.[73][147] There is a popular Irish Christian folktale associated with the jack-o'-lantern,[148] which in folklore is said to represent a "soul who has been denied entry into both heaven and hell":[149]     On route home after a night's drinking, Jack encounters the Devil and tricks him into climbing a tree. A quick-thinking Jack etches the sign of the cross into the bark, thus trapping the Devil. Jack strikes a bargain that Satan can never claim his soul. After a life of sin, drink, and mendacity, Jack is refused entry to heaven when he dies. Keeping his promise, the Devil refuses to let Jack into hell and throws a live coal straight from the fires of hell at him. It was a cold night, so Jack places the coal in a hollowed out turnip to stop it from going out, since which time Jack and his lantern have been roaming looking for a place to rest.[150] In Ireland and Scotland, the turnip has traditionally been carved during Halloween,[151][152] but immigrants to North America used the native pumpkin, which is both much softer and much larger, making it easier to carve than a turnip.[151] The American tradition of carving pumpkins is recorded in 1837[153] and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.[154] Decorated house in Weatherly, Pennsylvania The modern imagery of Halloween comes from many sources, including Christian eschatology, national customs, works of Gothic and horror literature (such as the novels Frankenstein; or, The Modern Prometheus and Dracula) and classic horror films such as Frankenstein (1931) and The Mummy (1932).[155][156] Imagery of the skull, a reference to Golgotha in the Christian tradition, serves as "a reminder of death and the transitory quality of human life" and is consequently found in memento mori and vanitas compositions;[157] skulls have therefore been commonplace in Halloween, which touches on this theme.[158] Traditionally, the back walls of churches are "decorated with a depiction of the Last Judgment, complete with graves opening and the dead rising, with a heaven filled with angels and a hell filled with devils", a motif that has permeated the observance of this triduum.[159] One of the earliest works on the subject of Halloween is from Scottish poet John Mayne, who, in 1780, made note of pranks at Halloween; "What fearfu' pranks ensue!", as well as the supernatural associated with the night, "bogles" (ghosts),[160] influencing Robert Burns' "Halloween" (1785).[161] Elements of the autumn season, such as pumpkins, corn husks, and scarecrows, are also prevalent. Homes are often decorated with these types of symbols around Halloween. Halloween imagery includes themes of death, evil, and mythical monsters.[162] Black cats, which have been long associated with witches, are also a common symbol of Halloween. Black, orange, and sometimes purple are Halloween's traditional colors.[163] Trick-or-treating and guising Main article: Trick-or-treating Trick-or-treaters in Sweden Trick-or-treating is a customary celebration for children on Halloween. Children go in costume from house to house, asking for treats such as candy or sometimes money, with the question, "Trick or treat?" The word "trick" implies a "threat" to perform mischief on the homeowners or their property if no treat is given.[64] The practice is said to have roots in the medieval practice of mumming, which is closely related to souling.[164] John Pymm wrote that "many of the feast days associated with the presentation of mumming plays were celebrated by the Christian Church."[165] These feast days included All Hallows' Eve, Christmas, Twelfth Night and Shrove Tuesday.[166][167] Mumming practiced in Germany, Scandinavia and other parts of Europe,[168] involved masked persons in fancy dress who "paraded the streets and entered houses to dance or play dice in silence".[169] Girl in a Halloween costume in 1928, Ontario, Canada, the same province where the Scottish Halloween custom of guising was first recorded in North America In England, from the medieval period,[170] up until the 1930s,[171] people practiced the Christian custom of souling on Halloween, which involved groups of soulers, both Protestant and Catholic,[93] going from parish to parish, begging the rich for soul cakes, in exchange for praying for the souls of the givers and their friends.[67] In the Philippines, the practice of souling is called Pangangaluluwa and is practiced on All Hallow's Eve among children in rural areas.[26] People drape themselves in white cloths to represent souls and then visit houses, where they sing in return for prayers and sweets.[26] In Scotland and Ireland, guising – children disguised in costume going from door to door for food or coins – is a traditional Halloween custom.[172] It is recorded in Scotland at Halloween in 1895 where masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[152][173] In Ireland, the most popular phrase for kids to shout (until the 2000s) was "Help the Halloween Party".[172] The practice of guising at Halloween in North America was first recorded in 1911, where a newspaper in Kingston, Ontario, Canada, reported children going "guising" around the neighborhood.[174] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book-length history of Halloween in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America".[175] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Halloween customs in the United States are borrowed directly or adapted from those of other countries".[176] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[177] The earliest known use in print of the term "trick or treat" appears in 1927, in the Blackie Herald, of Alberta, Canada.[178] An automobile trunk at a trunk-or-treat event at St. John Lutheran Church and Early Learning Center in Darien, Illinois The thousands of Halloween postcards produced between the turn of the 20th century and the 1920s commonly show children but not trick-or-treating.[179] Trick-or-treating does not seem to have become a widespread practice in North America until the 1930s, with the first US appearances of the term in 1934,[180] and the first use in a national publication occurring in 1939.[181] A popular variant of trick-or-treating, known as trunk-or-treating (or Halloween tailgating), occurs when "children are offered treats from the trunks of cars parked in a church parking lot", or sometimes, a school parking lot.[100][182] In a trunk-or-treat event, the trunk (boot) of each automobile is decorated with a certain theme,[183] such as those of children's literature, movies, scripture, and job roles.[184] Trunk-or-treating has grown in popularity due to its perception as being more safe than going door to door, a point that resonates well with parents, as well as the fact that it "solves the rural conundrum in which homes [are] built a half-mile apart".[185][186] Costumes Main article: Halloween costume Halloween costumes were traditionally modeled after figures such as vampires, ghosts, skeletons, scary looking witches, and devils.[64] Over time, the costume selection extended to include popular characters from fiction, celebrities, and generic archetypes such as ninjas and princesses. Halloween shop in Derry, Northern Ireland, selling masks Dressing up in costumes and going "guising" was prevalent in Scotland and Ireland at Halloween by the late 19th century.[152] A Scottish term, the tradition is called "guising" because of the disguises or costumes worn by the children.[173] In Ireland and Scotland, the masks are known as 'false faces',[38][187] a term recorded in Ayr, Scotland in 1890 by a Scot describing guisers: "I had mind it was Halloween . . . the wee callans were at it already, rinning aboot wi’ their fause-faces (false faces) on and their bits o’ turnip lanthrons (lanterns) in their haun (hand)".[38] Costuming became popular for Halloween parties in the US in the early 20th century, as often for adults as for children, and when trick-or-treating was becoming popular in Canada and the US in the 1920s and 1930s.[178][188] Eddie J. Smith, in his book Halloween, Hallowed is Thy Name, offers a religious perspective to the wearing of costumes on All Hallows' Eve, suggesting that by dressing up as creatures "who at one time caused us to fear and tremble", people are able to poke fun at Satan "whose kingdom has been plundered by our Saviour". Images of skeletons and the dead are traditional decorations used as memento mori.[189][190] "Trick-or-Treat for UNICEF" is a fundraising program to support UNICEF,[64] a United Nations Programme that provides humanitarian aid to children in developing countries. Started as a local event in a Northeast Philadelphia neighborhood in 1950 and expanded nationally in 1952, the program involves the distribution of small boxes by schools (or in modern times, corporate sponsors like Hallmark, at their licensed stores) to trick-or-treaters, in which they can solicit small-change donations from the houses they visit. It is estimated that children have collected more than $118 million for UNICEF since its inception. In Canada, in 2006, UNICEF decided to discontinue their Halloween collection boxes, citing safety and administrative concerns; after consultation with schools, they instead redesigned the program.[191][192] The yearly New York's Village Halloween Parade was begun in 1974; it is the world's largest Halloween parade and America's only major nighttime parade, attracting more than 60,000 costumed participants, two million spectators, and a worldwide television audience.[193] Since the late 2010s, ethnic stereotypes as costumes have increasingly come under scrutiny in the United States.[194] Such and other potentially offensive costumes have been met with increasing public disapproval.[195][196] Pet costumes According to a 2018 report from the National Retail Federation, 30 million Americans will spend an estimated $480 million on Halloween costumes for their pets in 2018. This is up from an estimated $200 million in 2010. The most popular costumes for pets are the pumpkin, followed by the hot dog, and the bumblebee in third place.[197] Games and other activities In this 1904 Halloween greeting card, divination is depicted: the young woman looking into a mirror in a darkened room hopes to catch a glimpse of her future husband. There are several games traditionally associated with Halloween. Some of these games originated as divination rituals or ways of foretelling one's future, especially regarding death, marriage and children. During the Middle Ages, these rituals were done by a "rare few" in rural communities as they were considered to be "deadly serious" practices.[198] In recent centuries, these divination games have been "a common feature of the household festivities" in Ireland and Britain.[125] They often involve apples and hazelnuts. In Celtic mythology, apples were strongly associated with the Otherworld and immortality, while hazelnuts were associated with divine wisdom.[199] Some also suggest that they derive from Roman practices in celebration of Pomona.[64] Children bobbing for apples at Hallowe'en The following activities were a common feature of Halloween in Ireland and Britain during the 17th–20th centuries. Some have become more widespread and continue to be popular today. One common game is apple bobbing or dunking (which may be called "dooking" in Scotland)[200] in which apples float in a tub or a large basin of water and the participants must use only their teeth to remove an apple from the basin. A variant of dunking involves kneeling on a chair, holding a fork between the teeth and trying to drive the fork into an apple. Another common game involves hanging up treacle or syrup-coated scones by strings; these must be eaten without using hands while they remain attached to the string, an activity that inevitably leads to a sticky face. Another once-popular game involves hanging a small wooden rod from the ceiling at head height, with a lit candle on one end and an apple hanging from the other. The rod is spun round and everyone takes turns to try to catch the apple with their teeth.[201] Image from the Book of Hallowe'en (1919) showing several Halloween activities, such as nut roasting Several of the traditional activities from Ireland and Britain involve foretelling one's future partner or spouse. An apple would be peeled in one long strip, then the peel tossed over the shoulder. The peel is believed to land in the shape of the first letter of the future spouse's name.[202][203] Two hazelnuts would be roasted near a fire; one named for the person roasting them and the other for the person they desire. If the nuts jump away from the heat, it is a bad sign, but if the nuts roast quietly it foretells a good match.[204][205] A salty oatmeal bannock would be baked; the person would eat it in three bites and then go to bed in silence without anything to drink. This is said to result in a dream in which their future spouse offers them a drink to quench their thirst.[206] Unmarried women were told that if they sat in a darkened room and gazed into a mirror on Halloween night, the face of their future husband would appear in the mirror.[207] The custom was widespread enough to be commemorated on greeting cards[208] from the late 19th century and early 20th century. Another popular Irish game was known as púicíní ("blindfolds"); a person would be blindfolded and then would choose between several saucers. The item in the saucer would provide a hint as to their future: a ring would mean that they would marry soon; clay, that they would die soon, perhaps within the year; water, that they would emigrate; rosary beads, that they would take Holy Orders (become a nun, priest, monk, etc.); a coin, that they would become rich; a bean, that they would be poor.[209][210][211][212] The game features prominently in the James Joyce short story "Clay" (1914).[213][214][215] In Ireland and Scotland, items would be hidden in food – usually a cake, barmbrack, cranachan, champ or colcannon – and portions of it served out at random. A person's future would be foretold by the item they happened to find; for example, a ring meant marriage and a coin meant wealth.[216] Up until the 19th century, the Halloween bonfires were also used for divination in parts of Scotland, Wales and Brittany. When the fire died down, a ring of stones would be laid in the ashes, one for each person. In the morning, if any stone was mislaid it was said that the person it represented would not live out the year.[110] Telling ghost stories, listening to Halloween-themed songs and watching horror films are common fixtures of Halloween parties. Episodes of television series and Halloween-themed specials (with the specials usually aimed at children) are commonly aired on or before Halloween, while new horror films are often released before Halloween to take advantage of the holiday. Haunted attractions Main article: Haunted attraction (simulated) Humorous tombstones in front of a house in California Humorous display window in Historic 25th Street, Ogden, Utah Haunted attractions are entertainment venues designed to thrill and scare patrons. Most attractions are seasonal Halloween businesses that may include haunted houses, corn mazes, and hayrides,[217] and the level of sophistication of the effects has risen as the industry has grown. The first recorded purpose-built haunted attraction was the Orton and Spooner Ghost House, which opened in 1915 in Liphook, England. This attraction actually most closely resembles a carnival fun house, powered by steam.[218][219] The House still exists, in the Hollycombe Steam Collection. It was during the 1930s, about the same time as trick-or-treating, that Halloween-themed haunted houses first began to appear in America. It was in the late 1950s that haunted houses as a major attraction began to appear, focusing first on California. Sponsored by the Children's Health Home Junior Auxiliary, the San Mateo Haunted House opened in 1957. The San Bernardino Assistance League Haunted House opened in 1958. Home haunts began appearing across the country during 1962 and 1963. In 1964, the San Manteo Haunted House opened, as well as the Children's Museum Haunted House in Indianapolis.[220] The haunted house as an American cultural icon can be attributed to the opening of The Haunted Mansion in Disneyland on 12 August 1969.[221] Knott's Berry Farm began hosting its own Halloween night attraction, Knott's Scary Farm, which opened in 1973.[222] Evangelical Christians adopted a form of these attractions by opening one of the first "hell houses" in 1972.[223] The first Halloween haunted house run by a nonprofit organization was produced in 1970 by the Sycamore-Deer Park Jaycees in Clifton, Ohio. It was cosponsored by WSAI, an AM radio station broadcasting out of Cincinnati, Ohio. It was last produced in 1982.[224] Other Jaycees followed suit with their own versions after the success of the Ohio house. The March of Dimes copyrighted a "Mini haunted house for the March of Dimes" in 1976 and began fundraising through their local chapters by conducting haunted houses soon after. Although they apparently quit supporting this type of event nationally sometime in the 1980s, some March of Dimes haunted houses have persisted until today.[225] On the evening of 11 May 1984, in Jackson Township, New Jersey, the Haunted Castle (Six Flags Great Adventure) caught fire. As a result of the fire, eight teenagers perished.[226] The backlash to the tragedy was a tightening of regulations relating to safety, building codes and the frequency of inspections of attractions nationwide. The smaller venues, especially the nonprofit attractions, were unable to compete financially, and the better funded commercial enterprises filled the vacuum.[227][228] Facilities that were once able to avoid regulation because they were considered to be temporary installations now had to adhere to the stricter codes required of permanent attractions.[229][230][231] In the late 1980s and early 1990s, theme parks entered the business seriously. Six Flags Fright Fest began in 1986 and Universal Studios Florida began Halloween Horror Nights in 1991. Knott's Scary Farm experienced a surge in attendance in the 1990s as a result of America's obsession with Halloween as a cultural event. Theme parks have played a major role in globalizing the holiday. Universal Studios Singapore and Universal Studios Japan both participate, while Disney now mounts Mickey's Not-So-Scary Halloween Party events at its parks in Paris, Hong Kong and Tokyo, as well as in the United States.[232] The theme park haunts are by far the largest, both in scale and attendance.[233] Food Pumpkins for sale during Halloween On All Hallows' Eve, many Western Christian denominations encourage abstinence from meat, giving rise to a variety of vegetarian foods associated with this day.[234] A candy apple Because in the Northern Hemisphere Halloween comes in the wake of the yearly apple harvest, candy apples (known as toffee apples outside North America), caramel apples or taffy apples are common Halloween treats made by rolling whole apples in a sticky sugar syrup, sometimes followed by rolling them in nuts. At one time, candy apples were commonly given to trick-or-treating children, but the practice rapidly waned in the wake of widespread rumors that some individuals were embedding items like pins and razor blades in the apples in the United States.[235] While there is evidence of such incidents,[236] relative to the degree of reporting of such cases, actual cases involving malicious acts are extremely rare and have never resulted in serious injury. Nonetheless, many parents assumed that such heinous practices were rampant because of the mass media. At the peak of the hysteria, some hospitals offered free X-rays of children's Halloween hauls in order to find evidence of tampering. Virtually all of the few known candy poisoning incidents involved parents who poisoned their own children's candy.[237] One custom that persists in modern-day Ireland is the baking (or more often nowadays, the purchase) of a barmbrack (Irish: báirín breac), which is a light fruitcake, into which a plain ring, a coin, and other charms are placed before baking.[238] It is considered fortunate to be the lucky one who finds it.[238] It has also been said that those who get a ring will find their true love in the ensuing year. This is similar to the tradition of king cake at the festival of Epiphany. A jack-o'-lantern Halloween cake with a witches hat List of foods associated with Halloween:     Barmbrack (Ireland)     Bonfire toffee (Great Britain)     Candy apples/toffee apples (Great Britain and Ireland)     Candy apples, candy corn, candy pumpkins (North America)     Chocolate     Monkey nuts (peanuts in their shells) (Ireland and Scotland)     Caramel apples     Caramel corn     Colcannon (Ireland; see below)     Halloween cake     Sweets/candy     Novelty candy shaped like skulls, pumpkins, bats, worms, etc.     Roasted pumpkin seeds     Roasted sweet corn     Soul cakes     Pumpkin Pie Christian religious observances The Vigil of All Hallows' is being celebrated at an Episcopal Christian church on Hallowe'en On Hallowe'en (All Hallows' Eve), in Poland, believers were once taught to pray out loud as they walk through the forests in order that the souls of the dead might find comfort; in Spain, Christian priests in tiny villages toll their church bells in order to remind their congregants to remember the dead on All Hallows' Eve.[239] In Ireland, and among immigrants in Canada, a custom includes the Christian practice of abstinence, keeping All Hallows' Eve as a meat-free day and serving pancakes or colcannon instead.[240] In Mexico children make an altar to invite the return of the spirits of dead children (angelitos).[241] The Christian Church traditionally observed Hallowe'en through a vigil. Worshippers prepared themselves for feasting on the following All Saints' Day with prayers and fasting.[242] This church service is known as the Vigil of All Hallows or the Vigil of All Saints;[243][244] an initiative known as Night of Light seeks to further spread the Vigil of All Hallows throughout Christendom.[245][246] After the service, "suitable festivities and entertainments" often follow, as well as a visit to the graveyard or cemetery, where flowers and candles are often placed in preparation for All Hallows' Day.[247][248] In Finland, because so many people visit the cemeteries on All Hallows' Eve to light votive candles there, they "are known as valomeri, or seas of light".[249] Halloween Scripture Candy with gospel tract Today, Christian attitudes towards Halloween are diverse. In the Anglican Church, some dioceses have chosen to emphasize the Christian traditions associated with All Hallow's Eve.[250][251] Some of these practices include praying, fasting and attending worship services.[1][2][3]     O LORD our God, increase, we pray thee, and multiply upon us the gifts of thy grace: that we, who do prevent the glorious festival of all thy Saints, may of thee be enabled joyfully to follow them in all virtuous and godly living. Through Jesus Christ, Our Lord, who liveth and reigneth with thee, in the unity of the Holy Ghost, ever one God, world without end. Amen. —Collect of the Vigil of All Saints, The Anglican Breviary[252] Votive candles in the Halloween section of Walmart Other Protestant Christians also celebrate All Hallows' Eve as Reformation Day, a day to remember the Protestant Reformation, alongside All Hallow's Eve or independently from it.[253] This is because Martin Luther is said to have nailed his Ninety-five Theses to All Saints' Church in Wittenberg on All Hallows' Eve.[254] Often, "Harvest Festivals" or "Reformation Festivals" are held on All Hallows' Eve, in which children dress up as Bible characters or Reformers.[255] In addition to distributing candy to children who are trick-or-treating on Hallowe'en, many Christians also provide gospel tracts to them. One organization, the American Tract Society, stated that around 3 million gospel tracts are ordered from them alone for Hallowe'en celebrations.[256] Others order Halloween-themed Scripture Candy to pass out to children on this day.[257][258] Belizean children dressed up as Biblical figures and Christian saints Some Christians feel concerned about the modern celebration of Halloween because they feel it trivializes – or celebrates – paganism, the occult, or other practices and cultural phenomena deemed incompatible with their beliefs.[259] Father Gabriele Amorth, an exorcist in Rome, has said, "if English and American children like to dress up as witches and devils on one night of the year that is not a problem. If it is just a game, there is no harm in that."[260] In more recent years, the Roman Catholic Archdiocese of Boston has organized a "Saint Fest" on Halloween.[261] Similarly, many contemporary Protestant churches view Halloween as a fun event for children, holding events in their churches where children and their parents can dress up, play games, and get candy for free. To these Christians, Halloween holds no threat to the spiritual lives of children: being taught about death and mortality, and the ways of the Celtic ancestors actually being a valuable life lesson and a part of many of their parishioners' heritage.[262] Christian minister Sam Portaro wrote that Halloween is about using "humor and ridicule to confront the power of death".[263] In the Roman Catholic Church, Halloween's Christian connection is acknowledged, and Halloween celebrations are common in many Catholic parochial schools in the United States.[264][265] Many fundamentalist and evangelical churches use "Hell houses" and comic-style tracts in order to make use of Halloween's popularity as an opportunity for evangelism.[266] Others consider Halloween to be completely incompatible with the Christian faith due to its putative origins in the Festival of the Dead celebration.[267] Indeed, even though Eastern Orthodox Christians observe All Hallows' Day on the First Sunday after Pentecost, The Eastern Orthodox Church recommends the observance of Vespers or a Paraklesis on the Western observance of All Hallows' Eve, out of the pastoral need to provide an alternative to popular celebrations.[268] Analogous celebrations and perspectives Judaism According to Alfred J. Kolatch in the Second Jewish Book of Why, in Judaism, Halloween is not permitted by Jewish Halakha because it violates Leviticus 18:3, which forbids Jews from partaking in gentile customs. Many Jews observe Yizkor communally four times a year, which is vaguely similar to the observance of Allhallowtide in Christianity, in the sense that prayers are said for both "martyrs and for one's own family".[269] Nevertheless, many American Jews celebrate Halloween, disconnected from its Christian origins.[270] Reform Rabbi Jeffrey Goldwasser has said that "There is no religious reason why contemporary Jews should not celebrate Halloween" while Orthodox Rabbi Michael Broyde has argued against Jews' observing the holiday.[271] Purim has sometimes been compared to Halloween, in part due to some observants wearing costumes, especially of Biblical figures described in the Purim narrative.[272] Islam Sheikh Idris Palmer, author of A Brief Illustrated Guide to Understanding Islam, has ruled that Muslims should not participate in Halloween, stating that "participation in Halloween is worse than participation in Christmas, Easter, ... it is more sinful than congratulating the Christians for their prostration to the crucifix".[273] It has also been ruled to be haram by the National Fatwa Council of Malaysia because of its alleged pagan roots stating "Halloween is celebrated using a humorous theme mixed with horror to entertain and resist the spirit of death that influence humans".[274][275] Dar Al-Ifta Al-Missriyyah disagrees provided the celebration is not referred to as an 'eid' and that behaviour remains in line with Islamic principles.[276] Hinduism Hindus remember the dead during the festival of Pitru Paksha, during which Hindus pay homage to and perform a ceremony "to keep the souls of their ancestors at rest". It is celebrated in the Hindu month of Bhadrapada, usually in mid-September.[277] The celebration of the Hindu festival Diwali sometimes conflicts with the date of Halloween; but some Hindus choose to participate in the popular customs of Halloween.[278] Other Hindus, such as Soumya Dasgupta, have opposed the celebration on the grounds that Western holidays like Halloween have "begun to adversely affect our indigenous festivals".[279] Neopaganism There is no consistent rule or view on Halloween amongst those who describe themselves as Neopagans or Wiccans. Some Neopagans do not observe Halloween, but instead observe Samhain on 1 November,[280] some neopagans do enjoy Halloween festivities, stating that one can observe both "the solemnity of Samhain in addition to the fun of Halloween". Some neopagans are opposed to the celebration of Hallowe'en, stating that it "trivializes Samhain",[281] and "avoid Halloween, because of the interruptions from trick or treaters".[282] The Manitoban writes that "Wiccans don't officially celebrate Halloween, despite the fact that 31 Oct. will still have a star beside it in any good Wiccan's day planner. Starting at sundown, Wiccans celebrate a holiday known as Samhain. Samhain actually comes from old Celtic traditions and is not exclusive to Neopagan religions like Wicca. While the traditions of this holiday originate in Celtic countries, modern day Wiccans don't try to historically replicate Samhain celebrations. Some traditional Samhain rituals are still practised, but at its core, the period is treated as a time to celebrate darkness and the dead – a possible reason why Samhain can be confused with Halloween celebrations."[280] Geography Main article: Geography of Halloween Halloween display in Kobe, Japan The traditions and importance of Halloween vary greatly among countries that observe it. In Scotland and Ireland, traditional Halloween customs include children dressing up in costume going "guising", holding parties, while other practices in Ireland include lighting bonfires, and having firework displays.[172][283][284] In Brittany children would play practical jokes by setting candles inside skulls in graveyards to frighten visitors.[285] Mass transatlantic immigration in the 19th century popularized Halloween in North America, and celebration in the United States and Canada has had a significant impact on how the event is observed in other nations.[172] This larger North American influence, particularly in iconic and commercial elements, has extended to places such as Brazil, Ecuador, Chile,[286] Australia,[287] New Zealand,[288] (most) continental Europe, Finland,[289] Japan, and other parts of East Asia." (wikipedia.org) "Charles Henry Selick Jr. (/ˈsɛlɪk/; born November 30, 1952) is an American film director, producer, screenwriter, production designer, and animator who is best known for directing the stop-motion animation films The Nightmare Before Christmas (1993) and James and the Giant Peach (1996) from Disney, Monkeybone (2001) from 20th Century Fox, Coraline (2009) from Focus Features, and Wendell & Wild (2022) from Netflix. He studied at the Program in Experimental Animation at California Institute of the Arts, under the guidance of Jules Engel. Selick is also known for his collaborations with voice actor and artist Joe Ranft. Early life Selick was born in Glen Ridge, New Jersey, the son of Melanie (née Molan) and Charles H. Selick.[1][2] He was raised in Rumson.[3] Selick did little but draw from ages 3 to 12. His fascination with animation came at a young age, when he saw Lotte Reiniger's stop-motion film The Adventures of Prince Achmed and the animated creatures of The 7th Voyage of Sinbad by Ray Harryhausen. He graduated from Rumson-Fair Haven High School in 1970.[4] After studying science at Rutgers University in New Brunswick and art at Syracuse University and Central Saint Martins College of Art and Design in London, Selick eventually enrolled at the California Institute of the Arts (CalArts) to study animation. His two student films there, Phases and Tube Tales, were nominated for Student Academy Awards.[5] Film work Disney After his academic studies, he went to work for Walt Disney Studios as an "in-betweener" and animator trainee on such films as Pete's Dragon and The Small One. He became a full-fledged animator under Glen Keane on The Fox and the Hound. During his time at Disney, he met and worked around the likes of Rick Heinrichs, Jorgen Klubien, Brad Bird, John Musker, Dan Haskett, Sue and Bill Kroyer, Ed Gombert, Andy Gaskill and Tim Burton. Burton served as producer on Selick's first two films as director, the Disney-produced The Nightmare Before Christmas and James and the Giant Peach. Years later, Selick claimed he learned a lot to improve his drawing, animation, and storytelling skills from Disney legend Eric Larson. Further work Selick's third feature was Monkeybone, a live-action/stop-motion adaptation of an underground comic by 20th Century Fox. The film was a flop both commercially and critically. Selick, who animated the fictional sea creatures in Wes Anderson's The Life Aquatic with Steve Zissou, signed on as animation director on Anderson's Fantastic Mr. Fox.[6] In February 2006, Selick left the project, to work on Coraline for Laika.[7] Selick, who kept in contact with Anderson, said the director would act out scenes in Fantastic Mr. Fox while in Paris and send them to the animators via iPhone.[8] Coraline (2009) Selick's first feature with Laika was Coraline, based on the novel Coraline by acclaimed author Neil Gaiman, and released in 2009. It was the first stereoscopic stop-motion animated film.[9] The film received generally positive reviews from critics. Coraline was nominated for an Academy Award, a BAFTA, and a Golden Globe, all for Best Animated Feature. Work with Pixar Selick left Laika in 2009.[10] In 2010, Selick joined with Pixar and The Walt Disney Company in a long-term contract to exclusively produce stop-motion films.[11] This not only returned Selick to his original roots, but also reunited Selick with numerous former friends and co-animators. His new studio, called Cinderbiter Productions, was self-described as "a new stop motion company whose mandate is to make great, scary films for young 'uns with a small, tight-knit crew who watch each other's backs."[12] Selick and Cinderbiter's first film under this deal, a project called ShadeMaker, was set to be released on October 4, 2013.[13] In 2011, the film was green-lit for production and retitled The Shadow King.[14] In August 2012, it was reported that, after spending a reported $50 million, Walt Disney Pictures canceled the project,[15] due to "a creative and scheduling standpoint, the pic wasn't where it needed to be to meet its planned release date." Selick now had the option to shop the project to another studio.[14][16] Selick later revealed in interviews that the film suffered from interference from the then CCO of Pixar John Lasseter, who Selick claimed came in and constantly changed elements of the script and production that ended up ballooning the budget.[17] In a 2022 interview, Selick said that he had reacquired the rights for The Shadow King from Disney and that he may revive the project.[18] On April 28, 2012, it was announced that Disney had optioned the rights for Neil Gaiman's novel The Graveyard Book. Later that same day, it was announced that Selick would direct the film after work was completed on ShadeMaker. It was unknown if the adaptation would be live-action or stop motion.[19] After the studio and Selick parted ways over scheduling and development, it was announced in January 2013 that Ron Howard would direct the film.[20] In February 2013, it was reported in a press release by Selick that K5 International would be handling sales for The Shadow King at the European Film Market.[21] It was unknown when the film would actually be released. In August 2016, a rep for Selick said the film was "in turnaround again" while Selick continued work on his other two projects: A Tale Dark and Grimm and Wendell and Wild.[22] On October 16, 2013, Selick announced a live-action film adaptation of Adam Gidwitz's children's novel A Tale Dark and Grimm.[23] Wendell & Wild (2022) On November 3, 2015, it was reported that Selick was developing Wendell & Wild, a new stop-motion feature with Jordan Peele and Keegan-Michael Key based on an original story by Selick.[24] In 2018, the film was picked up by Netflix.[25] The film was released on October 28, 2022, on Netflix.[26] Upcoming projects In June 2017, Selick was reported to direct the pilot and subsequent episodes of a Little Nightmares TV adaptation produced by the Russo brothers.[27] Filmography Short films Year     Title     Credited as     Notes Director     Writer     Producer 1975     Tube Tales     Yes     Yes     Yes     1977     Phases     Yes     Yes     Yes     1981     Seepage     Yes     Yes     No     1991     Slow Bob in the Lower Dimensions     Yes     Yes     Yes     2005     Moongirl     Yes     Yes     No     Also voice actor Feature films Year     Title     Credited as     Notes Director     Producer     Writer 1993     The Nightmare Before Christmas     Yes     No     No     1996     James and the Giant Peach     Yes     Co-producer     No     2001     Monkeybone     Yes     Executive     No     2009     Coraline     Yes     Yes     Yes     Also production designer 2022     Wendell & Wild     Yes     Yes     Yes     [26] Animator     The Small One (1978)     Animalympics (1980) (uncredited)     The Fox and the Hound (1981) (uncredited)     Winnie the Pooh and a Day for Eeyore (1983) (uncredited)     Mickey's Christmas Carol (1983) (uncredited)     The Black Cauldron (1985) (uncredited)     The Great Mouse Detective (1986) (uncredited) Others     Pete's Dragon (1977) (inbetweener)     The Watcher in the Woods (1980) (designer of the alien)     Tron (1982) (uncredited storyboard artist)     Twice Upon a Time (1983) (sequence director)     Return to Oz (1985) (storyboard artist)     Nutcracker: The Motion Picture (1986) (visual adaptation)     The Brave Little Toaster (1987) (uncredited storyboard artist)     MTV ID's: "Gravity", "Masks '87", "Dollhouse M", "Bath for Dad", "Haircut M", "Xerox Bug" (1987–1990)     Who Framed Roger Rabbit (1988) (inbetweener)     The Life Aquatic with Steve Zissou (2004) (animation by) Preservation In 2012, the Academy Film Archive preserved several of Selick's short films: Phases, Seepage, and Tube Tales." (wikipedia.org) "Anthropomorphism is the attribution of human traits, emotions, or intentions to non-human entities.[1] It is considered to be an innate tendency of human psychology.[2] Personification is the related attribution of human form and characteristics to abstract concepts such as nations, emotions, and natural forces, such as seasons and weather. Both have ancient roots as storytelling and artistic devices, and most cultures have traditional fables with anthropomorphized animals as characters. People have also routinely attributed human emotions and behavioral traits to wild as well as domesticated animals.[3] Etymology Anthropomorphism and anthropomorphization derive from the verb form anthropomorphize,[a] itself derived from the Greek ánthrōpos (ἄνθρωπος, lit. "human") and morphē (μορφή, "form"). It is first attested in 1753, originally in reference to the heresy of applying a human form to the Christian God.[b][1] Examples in prehistory From the beginnings of human behavioral modernity in the Upper Paleolithic, about 40,000 years ago, examples of zoomorphic (animal-shaped) works of art occur that may represent the earliest known evidence of anthropomorphism. One of the oldest known is an ivory sculpture, the Löwenmensch figurine, Germany, a human-shaped figurine with the head of a lioness or lion, determined to be about 32,000 years old.[5][6] It is not possible to say what these prehistoric artworks represent. A more recent example is The Sorcerer, an enigmatic cave painting from the Trois-Frères Cave, Ariège, France: the figure's significance is unknown, but it is usually interpreted as some kind of great spirit or master of the animals. In either case there is an element of anthropomorphism. This anthropomorphic art has been linked by archaeologist Steven Mithen with the emergence of more systematic hunting practices in the Upper Palaeolithic.[7] He proposes that these are the product of a change in the architecture of the human mind, an increasing fluidity between the natural history and social intelligences[clarification needed], where anthropomorphism allowed hunters to identify empathetically with hunted animals and better predict their movements.[c] In religion and mythology Main article: Anthropotheism In religion and mythology, anthropomorphism is the perception of a divine being or beings in human form, or the recognition of human qualities in these beings. Ancient mythologies frequently represented the divine as deities with human forms and qualities. They resemble human beings not only in appearance and personality; they exhibited many human behaviors that were used to explain natural phenomena, creation, and historical events. The deities fell in love, married, had children, fought battles, wielded weapons, and rode horses and chariots. They feasted on special foods, and sometimes required sacrifices of food, beverage, and sacred objects to be made by human beings. Some anthropomorphic deities represented specific human concepts, such as love, war, fertility, beauty, or the seasons. Anthropomorphic deities exhibited human qualities such as beauty, wisdom, and power, and sometimes human weaknesses such as greed, hatred, jealousy, and uncontrollable anger. Greek deities such as Zeus and Apollo often were depicted in human form exhibiting both commendable and despicable human traits. Anthropomorphism in this case is, more specifically, anthropotheism.[9] From the perspective of adherents to religions in which humans were created in the form of the divine, the phenomenon may be considered theomorphism, or the giving of divine qualities to humans. Anthropomorphism has cropped up as a Christian heresy, particularly prominently with the Audians in third century Syria, but also in fourth century Egypt and tenth century Italy.[10] This often was based on a literal interpretation of Genesis 1:27: "So God created humankind in his image, in the image of God he created them; male and female he created them"....In literature Religious texts There are various examples of personification in both the Hebrew Bible and Christian New Testaments, as well as in the texts of some other religions. Fables Anthropomorphism, also referred to as personification, is a well established literary device from ancient times. The story of "The Hawk and the Nightingale" in Hesiod's Works and Days preceded Aesop's fables by centuries. Collections of linked fables from India, the Jataka Tales and Panchatantra, also employ anthropomorphized animals to illustrate principles of life. Many of the stereotypes of animals that are recognized today, such as the wily fox and the proud lion, can be found in these collections. Aesop's anthropomorphisms were so familiar by the first century CE that they colored the thinking of at least one philosopher:     And there is another charm about him, namely, that he puts animals in a pleasing light and makes them interesting to mankind. For after being brought up from childhood with these stories, and after being as it were nursed by them from babyhood, we acquire certain opinions of the several animals and think of some of them as royal animals, of others as silly, of others as witty, and others as innocent.     — Apollonius of Tyana[23] Apollonius noted that the fable was created to teach wisdom through fictions that are meant to be taken as fictions, contrasting them favorably with the poets' stories of the deities that are sometimes taken literally. Aesop, "by announcing a story which everyone knows not to be true, told the truth by the very fact that he did not claim to be relating real events".[23] The same consciousness of the fable as fiction is to be found in other examples across the world, one example being a traditional Ashanti way of beginning tales of the anthropomorphic trickster-spider Anansi: "We do not really mean, we do not really mean that what we are about to say is true. A story, a story; let it come, let it go."[24] Fairy tales Anthropomorphic motifs have been common in fairy tales from the earliest ancient examples set in a mythological context to the great collections of the Brothers Grimm and Perrault. The Tale of Two Brothers (Egypt, 13th century BCE) features several talking cows and in Cupid and Psyche (Rome, 2nd century CE) Zephyrus, the west wind, carries Psyche away. Later an ant feels sorry for her and helps her in her quest. Modern literature Building on the popularity of fables and fairy tales, children's literature began to emerge in the nineteenth century with works such as Alice's Adventures in Wonderland (1865) by Lewis Carroll, The Adventures of Pinocchio (1883) by Carlo Collodi and The Jungle Book (1894) by Rudyard Kipling, all employing anthropomorphic elements. This continued in the twentieth century with many of the most popular titles having anthropomorphic characters,[25] examples being The Tale of Peter Rabbit (1901) and later books by Beatrix Potter;[f] The Wind in the Willows by Kenneth Grahame (1908); Winnie-the-Pooh (1926) and The House at Pooh Corner (1928) by A. A. Milne; and The Lion, the Witch, and the Wardrobe (1950) and the subsequent books in The Chronicles of Narnia series by C. S. Lewis. In many of these stories the animals can be seen as representing facets of human personality and character.[27] As John Rowe Townsend remarks, discussing The Jungle Book in which the boy Mowgli must rely on his new friends the bear Baloo and the black panther Bagheera, "The world of the jungle is in fact both itself and our world as well".[27] A notable work aimed at an adult audience is George Orwell's Animal Farm, in which all the main characters are anthropomorphic animals. Non-animal examples include Rev.W Awdry's children's stories of Thomas the Tank Engine and other anthropomorphic locomotives. The fantasy genre developed from mythological, fairy tale, and Romance motifs[28] sometimes have anthropomorphic animals as characters. The best-selling examples of the genre are The Hobbit[29] (1937) and The Lord of the Rings[g] (1954–1955), both by J. R. R. Tolkien, books peopled with talking creatures such as ravens, spiders, and the dragon Smaug and a multitude of anthropomorphic goblins and elves. John D. Rateliff calls this the "Doctor Dolittle Theme" in his book The History of the Hobbit[31] and Tolkien saw this anthropomorphism as closely linked to the emergence of human language and myth: "...The first men to talk of 'trees and stars' saw things very differently. To them, the world was alive with mythological beings... To them the whole of creation was 'myth-woven and elf-patterned'."[32] Richard Adams developed a distinctive take on anthropomorphic writing in the 1970s: his debut novel, Watership Down (1972), featured rabbits that could talk—with their own distinctive language (Lapine) and mythology—and included a police-state warren, Efrafa. Despite this, Adams attempted to ensure his characters' behavior mirrored that of wild rabbits, engaging in fighting, copulating and defecating, drawing on Ronald Lockley's study The Private Life of the Rabbit as research. Adams returned to anthropomorphic storytelling in his later novels The Plague Dogs (1977) and Traveller (1988).[33][34] By the 21st century, the children's picture book market had expanded massively.[h] Perhaps a majority of picture books have some kind of anthropomorphism,[25][36] with popular examples being The Very Hungry Caterpillar (1969) by Eric Carle and The Gruffalo (1999) by Julia Donaldson. Anthropomorphism in literature and other media led to a sub-culture known as furry fandom, which promotes and creates stories and artwork involving anthropomorphic animals, and the examination and interpretation of humanity through anthropomorphism. This can often be shortened in searches as "anthro", used by some as an alternative term to "furry".[37] Anthropomorphic characters have also been a staple of the comic book genre. The most prominent one was Neil Gaiman's the Sandman which had a huge impact on how characters that are physical embodiments are written in the fantasy genre.[38][39] Other examples also include the mature Hellblazer (personified political and moral ideas),[40] Fables and its spin-off series Jack of Fables, which was unique for having anthropomorphic representation of literary techniques and genres.[41] Various Japanese manga and anime have used anthropomorphism as the basis of their story. Examples include Squid Girl (anthropomorphized squid), Hetalia: Axis Powers (personified countries), Upotte!! (personified guns), Arpeggio of Blue Steel and Kancolle (personified ships). In film Some of the most notable examples are the Walt Disney characters the Magic Carpet from Disney's Aladdin franchise, Mickey Mouse, Donald Duck, Goofy, and Oswald the Lucky Rabbit; the Looney Tunes characters Bugs Bunny, Daffy Duck, and Porky Pig; and an array of others from the 1920s to present day. In the Disney/Pixar franchises Cars and Planes, all the characters are anthropomorphic vehicles,[42] while in Toy Story, they are anthropomorphic toys. Other Pixar franchises like Monsters, Inc. features anthropomorphic monsters, and Finding Nemo features anthropomorphic marine life creatures (like fish, sharks, and whales). Discussing anthropomorphic animals from DreamWorks franchise Madagascar, Laurie[non sequitur] suggests that "social differences based on conflict and contradiction are naturalized and made less 'contestable' through the classificatory matrix of human and nonhuman relations[clarification needed]".[42] Other DreamWorks franchises like Shrek features fairy tale characters, and Blue Sky Studios of 20th Century Fox franchises like Ice Age features anthropomorphic extinct animals. All of the characters in Walt Disney Animation Studios' Zootopia (2016) are anthropomorphic animals, that is an entirely nonhuman civilization.[43] The live-action/computer-animated franchise Alvin and the Chipmunks by 20th Century Fox centers around anthropomorphic talkative and singing chipmunks. The female singing chipmunks called The Chipettes are also centered in some of the franchise's films. In television Since the 1960s, anthropomorphism has also been represented in various animated television shows such as Biker Mice From Mars (1993–1996) and SWAT Kats: The Radical Squadron (1993–1995). Teenage Mutant Ninja Turtles, first aired in 1987, features four pizza-loving anthropomorphic turtles with a great knowledge of ninjutsu, led by their anthropomorphic rat sensei, Master Splinter. Nickelodeon's longest running animated TV series SpongeBob SquarePants (1999–present), revolves around SpongeBob, a yellow sea sponge, living in the underwater town of Bikini Bottom with his anthropomorphic marine life friends. Cartoon Network's animated series The Amazing World of Gumball (2011–2019) are about anthropomorphic animals and inanimate objects. All of the characters in Hasbro Studios' TV series My Little Pony: Friendship Is Magic (2010–2019) are anthropomorphic fantasy creatures, with most of them being ponies living in the pony-inhabited land of Equestria. The Netflix original series Centaurworld focuses on a warhorse who gets transported to a Dr. Seuss-like world full of centaurs who possess the bottom half of any animal, as opposed to the traditional horse. In the American animated TV series Family Guy, one of the show's main characters, Brian, is a dog. Brian shows many human characteristics – he walks upright, talks, smokes, and drinks Martinis – but also acts like a normal dog in other ways; for example he cannot resist chasing a ball and barks at the mailman, believing him to be a threat. In a similar case, BoJack Horseman, an American Netflix adult animated black comedy series, takes place in an alternate world where humans and anthropomorphic animals live side by side, and centers around the life of BoJack Horseman; a humanoid horse who was a one hit wonder on a popular 1990s sitcom Horsin' Around, living off the show's residuals in present time. Multiple main characters of the series are other animals who possess human body form and other human-like traits and identity as well; Mr. Peanutbutter, a humanoid dog lives a mostly human life—he speaks American English, walks upright, owns a house, drives a car, is in a romantic relationship with a human woman (in this series, as animals and humans are seen as equal, relationships like this are not seen as bestiality but seen as regular human sexuality), Diane, and has a successful career in television—however also exhibits dog traits—he sleeps in a human-size dog bed, gets arrested for having a drag race with the mailman and is once forced to wear a dog cone after he gets stitches in his arm. The PBS Kids animated series Let's Go Luna! centers on an anthropomorphic female Moon who speaks, sings, and dances. She comes down out of the sky to serve as a tutor of international culture to the three main characters: a boy frog and wombat and a girl butterfly, who are supposed to be preschool children traveling a world populated by anthropomorphic animals with a circus run by their parents. The French-Belgian animated series Mush-Mush & the Mushables takes place in a world inhabited by Mushables, which are anthropomrphic fungi, along with other critters such as beetles, snails, and frogs. In video games     This section may require cleanup to meet Wikipedia's quality standards. The specific problem is: Needs more examples and less generally obvious human-comparisons. Please help improve this section if you can. (May 2019) (Learn how and when to remove this template message) See also: Animals in video games Sonic the Hedgehog, a video game franchise debuting in 1991, features a speedy blue hedgehog as the main protagonist. This series' characters are almost all anthropomorphic animals such as foxes, cats, and other hedgehogs who are able to speak and walk on their hind legs like normal humans. As with most anthropomorphisms of animals, clothing is of little or no importance, where some characters may be fully clothed while some wear only shoes and gloves. Another popular example in video games is the Super Mario series, debuting in 1985 with Super Mario Bros., of which main antagonist includes a fictional species of anthropomorphic turtle-like creatures known as Koopas. Other games in the series, as well as of other of its greater Mario franchise, spawned similar characters such as Yoshi, Donkey Kong and many others." (wikipedia.org) "In literature Religious texts There are various examples of personification in both the Hebrew Bible and Christian New Testaments, as well as in the texts of some other religions. Fables From the Panchatantra: Rabbit fools Elephant by showing the reflection of the moon. Anthropomorphism, also referred to as personification, is a well established literary device from ancient times. The story of "The Hawk and the Nightingale" in Hesiod's Works and Days preceded Aesop's fables by centuries. Collections of linked fables from India, the Jataka Tales and Panchatantra, also employ anthropomorphized animals to illustrate principles of life. Many of the stereotypes of animals that are recognized today, such as the wily fox and the proud lion, can be found in these collections. Aesop's anthropomorphisms were so familiar by the first century CE that they colored the thinking of at least one philosopher:     And there is another charm about him, namely, that he puts animals in a pleasing light and makes them interesting to mankind. For after being brought up from childhood with these stories, and after being as it were nursed by them from babyhood, we acquire certain opinions of the several animals and think of some of them as royal animals, of others as silly, of others as witty, and others as innocent.     — Apollonius of Tyana[23] Apollonius noted that the fable was created to teach wisdom through fictions that are meant to be taken as fictions, contrasting them favorably with the poets' stories of the deities that are sometimes taken literally. Aesop, "by announcing a story which everyone knows not to be true, told the truth by the very fact that he did not claim to be relating real events".[23] The same consciousness of the fable as fiction is to be found in other examples across the world, one example being a traditional Ashanti way of beginning tales of the anthropomorphic trickster-spider Anansi: "We do not really mean, we do not really mean that what we are about to say is true. A story, a story; let it come, let it go."[24] Fairy tales Anthropomorphic motifs have been common in fairy tales from the earliest ancient examples set in a mythological context to the great collections of the Brothers Grimm and Perrault. The Tale of Two Brothers (Egypt, 13th century BCE) features several talking cows and in Cupid and Psyche (Rome, 2nd century CE) Zephyrus, the west wind, carries Psyche away. Later an ant feels sorry for her and helps her in her quest. Modern literature John Tenniel's depiction of this anthropomorphic rabbit was featured in the first chapter of Lewis Carroll's Alice's Adventures in Wonderland. From The Emperor's Rout (1831) Building on the popularity of fables and fairy tales, children's literature began to emerge in the nineteenth century with works such as Alice's Adventures in Wonderland (1865) by Lewis Carroll, The Adventures of Pinocchio (1883) by Carlo Collodi and The Jungle Book (1894) by Rudyard Kipling, all employing anthropomorphic elements. This continued in the twentieth century with many of the most popular titles having anthropomorphic characters,[25] examples being The Tale of Peter Rabbit (1901) and later books by Beatrix Potter;[f] The Wind in the Willows by Kenneth Grahame (1908); Winnie-the-Pooh (1926) and The House at Pooh Corner (1928) by A. A. Milne; and The Lion, the Witch, and the Wardrobe (1950) and the subsequent books in The Chronicles of Narnia series by C. S. Lewis. In many of these stories the animals can be seen as representing facets of human personality and character.[27] As John Rowe Townsend remarks, discussing The Jungle Book in which the boy Mowgli must rely on his new friends the bear Baloo and the black panther Bagheera, "The world of the jungle is in fact both itself and our world as well".[27] A notable work aimed at an adult audience is George Orwell's Animal Farm, in which all the main characters are anthropomorphic animals. Non-animal examples include Rev.W Awdry's children's stories of Thomas the Tank Engine and other anthropomorphic locomotives. The fantasy genre developed from mythological, fairy tale, and Romance motifs[28] sometimes have anthropomorphic animals as characters. The best-selling examples of the genre are The Hobbit[29] (1937) and The Lord of the Rings[g] (1954–1955), both by J. R. R. Tolkien, books peopled with talking creatures such as ravens, spiders, and the dragon Smaug and a multitude of anthropomorphic goblins and elves. John D. Rateliff calls this the "Doctor Dolittle Theme" in his book The History of the Hobbit[31] and Tolkien saw this anthropomorphism as closely linked to the emergence of human language and myth: "...The first men to talk of 'trees and stars' saw things very differently. To them, the world was alive with mythological beings... To them the whole of creation was 'myth-woven and elf-patterned'."[32] Richard Adams developed a distinctive take on anthropomorphic writing in the 1970s: his debut novel, Watership Down (1972), featured rabbits that could talk—with their own distinctive language (Lapine) and mythology—and included a police-state warren, Efrafa. Despite this, Adams attempted to ensure his characters' behavior mirrored that of wild rabbits, engaging in fighting, copulating and defecating, drawing on Ronald Lockley's study The Private Life of the Rabbit as research. Adams returned to anthropomorphic storytelling in his later novels The Plague Dogs (1977) and Traveller (1988).[33][34] By the 21st century, the children's picture book market had expanded massively.[h] Perhaps a majority of picture books have some kind of anthropomorphism,[25][36] with popular examples being The Very Hungry Caterpillar (1969) by Eric Carle and The Gruffalo (1999) by Julia Donaldson. Anthropomorphism in literature and other media led to a sub-culture known as furry fandom, which promotes and creates stories and artwork involving anthropomorphic animals, and the examination and interpretation of humanity through anthropomorphism. This can often be shortened in searches as "anthro", used by some as an alternative term to "furry".[37] Anthropomorphic characters have also been a staple of the comic book genre. The most prominent one was Neil Gaiman's the Sandman which had a huge impact on how characters that are physical embodiments are written in the fantasy genre.[38][39] Other examples also include the mature Hellblazer (personified political and moral ideas),[40] Fables and its spin-off series Jack of Fables, which was unique for having anthropomorphic representation of literary techniques and genres.[41] Various Japanese manga and anime have used anthropomorphism as the basis of their story. Examples include Squid Girl (anthropomorphized squid), Hetalia: Axis Powers (personified countries), Upotte!! (personified guns), Arpeggio of Blue Steel and Kancolle (personified ships). In film Big Buck Bunny is a free animated short featuring anthropomorphic characters. Some of the most notable examples are the Walt Disney characters the Magic Carpet from Disney's Aladdin franchise, Mickey Mouse, Donald Duck, Goofy, and Oswald the Lucky Rabbit; the Looney Tunes characters Bugs Bunny, Daffy Duck, and Porky Pig; and an array of others from the 1920s to present day. In the Disney/Pixar franchises Cars and Planes, all the characters are anthropomorphic vehicles,[42] while in Toy Story, they are anthropomorphic toys. Other Pixar franchises like Monsters, Inc. features anthropomorphic monsters, and Finding Nemo features anthropomorphic marine life creatures (like fish, sharks, and whales). Discussing anthropomorphic animals from DreamWorks franchise Madagascar, Laurie[non sequitur] suggests that "social differences based on conflict and contradiction are naturalized and made less 'contestable' through the classificatory matrix of human and nonhuman relations[clarification needed]".[42] Other DreamWorks franchises like Shrek features fairy tale characters, and Blue Sky Studios of 20th Century Fox franchises like Ice Age features anthropomorphic extinct animals. All of the characters in Walt Disney Animation Studios' Zootopia (2016) are anthropomorphic animals, that is an entirely nonhuman civilization.[43] The live-action/computer-animated franchise Alvin and the Chipmunks by 20th Century Fox centers around anthropomorphic talkative and singing chipmunks. The female singing chipmunks called The Chipettes are also centered in some of the franchise's films. In television Since the 1960s, anthropomorphism has also been represented in various animated television shows such as Biker Mice From Mars (1993–1996) and SWAT Kats: The Radical Squadron (1993–1995). Teenage Mutant Ninja Turtles, first aired in 1987, features four pizza-loving anthropomorphic turtles with a great knowledge of ninjutsu, led by their anthropomorphic rat sensei, Master Splinter. Nickelodeon's longest running animated TV series SpongeBob SquarePants (1999–present), revolves around SpongeBob, a yellow sea sponge, living in the underwater town of Bikini Bottom with his anthropomorphic marine life friends. Cartoon Network's animated series The Amazing World of Gumball (2011–2019) are about anthropomorphic animals and inanimate objects. All of the characters in Hasbro Studios' TV series My Little Pony: Friendship Is Magic (2010–2019) are anthropomorphic fantasy creatures, with most of them being ponies living in the pony-inhabited land of Equestria. The Netflix original series Centaurworld focuses on a warhorse who gets transported to a Dr. Seuss-like world full of centaurs who possess the bottom half of any animal, as opposed to the traditional horse. In the American animated TV series Family Guy, one of the show's main characters, Brian, is a dog. Brian shows many human characteristics – he walks upright, talks, smokes, and drinks Martinis – but also acts like a normal dog in other ways; for example he cannot resist chasing a ball and barks at the mailman, believing him to be a threat. In a similar case, BoJack Horseman, an American Netflix adult animated black comedy series, takes place in an alternate world where humans and anthropomorphic animals live side by side, and centers around the life of BoJack Horseman; a humanoid horse who was a one hit wonder on a popular 1990s sitcom Horsin' Around, living off the show's residuals in present time. Multiple main characters of the series are other animals who possess human body form and other human-like traits and identity as well; Mr. Peanutbutter, a humanoid dog lives a mostly human life—he speaks American English, walks upright, owns a house, drives a car, is in a romantic relationship with a human woman (in this series, as animals and humans are seen as equal, relationships like this are not seen as bestiality but seen as regular human sexuality), Diane, and has a successful career in television—however also exhibits dog traits—he sleeps in a human-size dog bed, gets arrested for having a drag race with the mailman and is once forced to wear a dog cone after he gets stitches in his arm. The PBS Kids animated series Let's Go Luna! centers on an anthropomorphic female Moon who speaks, sings, and dances. She comes down out of the sky to serve as a tutor of international culture to the three main characters: a boy frog and wombat and a girl butterfly, who are supposed to be preschool children traveling a world populated by anthropomorphic animals with a circus run by their parents. The French-Belgian animated series Mush-Mush & the Mushables takes place in a world inhabited by Mushables, which are anthropomrphic fungi, along with other critters such as beetles, snails, and frogs. In video games     This section may require cleanup to meet Wikipedia's quality standards. The specific problem is: Needs more examples and less generally obvious human-comparisons. Please help improve this section if you can. (May 2019) (Learn how and when to remove this template message) See also: Animals in video games In Armello, anthropomorphic animals battle for control of the animal kingdom. Sonic the Hedgehog, a video game franchise debuting in 1991, features a speedy blue hedgehog as the main protagonist. This series' characters are almost all anthropomorphic animals such as foxes, cats, and other hedgehogs who are able to speak and walk on their hind legs like normal humans. As with most anthropomorphisms of animals, clothing is of little or no importance, where some characters may be fully clothed while some wear only shoes and gloves. Another popular example in video games is the Super Mario series, debuting in 1985 with Super Mario Bros., of which main antagonist includes a fictional species of anthropomorphic turtle-like creatures known as Koopas. Other games in the series, as well as of other of its greater Mario franchise, spawned similar characters such as Yoshi, Donkey Kong and many others....Exhibitions From November 22, 2009, to April 26, 2010, Burton had a retrospective at the MoMA in New York with over 700 "drawings, paintings, photographs, storyboards, moving-image works, puppets, maquettes, costumes and cinematic ephemera", including many from the filmmaker's personal collection.[73] From MoMA, the "Tim Burton" exhibition traveled directly to Australian Centre for the Moving Image in Melbourne. Running from June 24 to October 10, 2010, the ACMI exhibition incorporated additional material from Burton's Alice in Wonderland, which was released in March 2010.[74] "The Art of Tim Burton" was exhibited at the Los Angeles County Museum of Art from May 29 to October 31, 2011, in the Museum's Resnick Pavilion.[75] LACMA also featured six films of Tim Burton's idol, Vincent Price.[76] "Tim Burton, the exhibition/Tim Burton, l'exposition" was exhibited at the Cinémathèque Française from March 7 to August 5, 2012, in Paris, France.[77] All of Tim Burton's movies were shown during the exhibition. "Tim Burton at Seoul Museum of Art" was exhibited as a promotion of Hyundai Card at Seoul Museum of Art from December 12, 2012, to April 15, 2013, in Seoul, South Korea.[78] This exhibition featured 862 of Burton's works including drawings, paintings, short films, sculptures, music, and costumes that have been used in the making of his feature-length movies. The exhibition was divided into three parts: the first part, "Surviving Burbank", covered his younger years, from 1958 to 1976. The second, "Beautifying Burbank", covers 1977 to 1984, including his time with CalArts and Walt Disney. The last segment, "Beyond Burbank", covers 1985 onward.[79] "Tim Burton and His World" was exhibited at the Stone Bell House from March 3 to August 8, 2014, in Prague, Czech Republic.[80] The exhibition later premiered at the Museu da Imagem e do Som in São Paulo, Brazil, on February 4, 2016, and lasted until June 5.[81] The exhibition was later held in Artis Tree in Taikoo Place, Hong Kong, from November 5, 2016, to January 23, 2017.[82] The exhibition returned to Brazil from May 28 to August 11, 2019, being held at the Centro Cultural Banco do Brasil in Brasília.[83] Burton's first exhibition in the United States in nearly a decade, Lost Vegas: Tim Burton, opened in October 2019 at The Neon Museum in Las Vegas.[84] Filmography See also: Tim Burton filmography and Tim Burton's unrealized projects Directed features Year     Title     Distributor 1985     Pee-wee's Big Adventure     Warner Bros. 1988     Beetlejuice 1989     Batman 1990     Edward Scissorhands     20th Century Fox 1992     Batman Returns     Warner Bros. 1994     Ed Wood     Buena Vista Pictures 1996     Mars Attacks!     Warner Bros. 1999     Sleepy Hollow     Paramount Pictures 2001     Planet of the Apes     20th Century Fox 2003     Big Fish     Sony Pictures Releasing 2005     Charlie and the Chocolate Factory     Warner Bros. Corpse Bride 2007     Sweeney Todd: The Demon Barber of Fleet Street     Paramount Pictures / Warner Bros. 2010     Alice in Wonderland     Walt Disney Studios Motion Pictures 2012     Dark Shadows     Warner Bros. Frankenweenie     Walt Disney Studios Motion Pictures 2014     Big Eyes     The Weinstein Company 2016     Miss Peregrine's Home for Peculiar Children     20th Century Fox 2019     Dumbo     Walt Disney Studios Motion Pictures 2024     Beetlejuice 2     Warner Bros. Awards Academy Awards Year     Nominated work     Category     Result     Ref. 2006     Corpse Bride     Best Animated Feature     Nominated     [85] 2013     Frankenweenie     Nominated BAFTA Awards British Academy of Film Awards Year     Nominated work     Category     Result 2004     Big Fish     Best Direction     Nominated Best Film     Nominated 2013     Frankenweenie     Best Animated Film     Nominated British Academy Children's Awards Year     Nominated work     Category     Result 2005     Charlie and the Chocolate Factory     Best Feature Film     Nominated Daytime Emmy Award Year     Nominated work     Category     Result     Ref. 1990     Beetlejuice     Outstanding Children's Animated Program     Won     [86] Golden Globe Awards Year     Nominated work     Category     Result 2008     Sweeney Todd: The Demon Barber of Fleet Street     Best Director     Nominated Best Motion Picture – Musical or Comedy     Won 2011     Alice in Wonderland     Nominated 2013     Frankenweenie     Best Animated Film     Nominated Primetime Emmy Awards Year     Nominated work     Category     Result     Ref. 2023     Wednesday: "Wednesday's Child Is Full of Woe"     Outstanding Directing for a Comedy Series     Pending     [87] Saturn Awards Year     Nominated work     Category     Result 1990     Beetlejuice     Best Director     Nominated Edward Scissorhands     Best Fantasy Film     Won 1993     Batman Returns     Nominated Best Director     Nominated 1994     The Nightmare Before Christmas     Best Fantasy Film     Won 1997     Mars Attacks!     Best Director     Nominated 2000     Sleepy Hollow     Nominated 2006     Corpse Bride     Best Animated Film     Won 2008     Sweeney Todd: The Demon Barber of Fleet Street     Best Director     Nominated 2013     Frankenweenie     Best Animated Film     Won Other awards Cannes Film Festival     (1994) Nominated—Palme d'Or / Ed Wood National Board of Review Awards     (2008) Won—Best Director / Sweeney Todd: The Demon Barber of Fleet Street Chicago Film Critics Association Awards     (2004) Nominated—Best Director / Big Fish Producers Guild of America Awards     (2006) Nominated — Best Animated Motion Picture / Corpse Bride     (2008) Honored — Scream Awards: Scream Immortal Award, for his unique interpretation of horror and fantasy     (2009) Nominated — Best Animated Motion Picture / 9     (2013) Nominated — Best Animated Motion Picture / Frankenweenie 64th Venice International Film Festival     (2007) Honored—Golden Lion for Lifetime Achievement Inkpot Award     (2009)[88] Lacanian Psychoanalysis Prize     (2010) Won—Alice in Wonderland[89] The Order of the Arts and Letters     (2010) Knighted by Culture Minister of France Moscow International Film Festival     (2012) "Golden George" for his contribution to world cinema. David di Donatello Awards     (2019) "Honorary David di Donatello" Lumière Film Festival     (2022) Lumières Award for Lifetime Achievement[90] Awards received by Burton films Year     Title     Academy Awards     BAFTA Awards     Golden Globe Awards Nominations     Wins     Nominations     Wins     Nominations     Wins 1988     Beetlejuice     1     1     2             1989     Batman     1     1     6         1     1990     Edward Scissorhands     1         4     1     1     1992     Batman Returns     2         2             1994     Ed Wood     2     2     2         3     1 1999     Sleepy Hollow     3     1     3     2         2001     Planet of the Apes             2             2003     Big Fish     1         7         4     2005     Charlie and the Chocolate Factory     1         4         1     Corpse Bride     1                     2007     Sweeney Todd: The Demon Barber of Fleet Street     3     1     2         4     2 2010     Alice in Wonderland     3     2     5     2     3     2012     Frankenweenie     1         1         1     2014     Big Eyes             2         3     1 Total     20     8     40     5     21     4 Reception Critical, public and commercial reception to films Burton has directed as of August 2020. Year     Film     Rotten Tomatoes[91]     Metacritic[92]     CinemaScore[93]     Budget     Box office[94] 1985     Pee-wee's Big Adventure     87% (45 reviews) (7.8/10)     47 (14 reviews)     —     $7 million     $40.9 million (domestic) 1988     Beetlejuice     86% (63 reviews) (7.2/10)     70 (18 reviews)     B     $15 million     $84.6 million[95] 1989     Batman     75% (83 reviews) (6.8/10)     69 (21 reviews)     A     $35 million[96]     $411.5 million 1990     Edward Scissorhands     89% (65 reviews) (7.7/10)     74 (19 reviews)     A–     $20 million     $86 million 1992     Batman Returns     81% (90 reviews) (6.9/10)     68 (23 reviews)     B     $80 million[97]     $282.8 million 1994     Ed Wood     93% (68 reviews) (8/10)     70 (19 reviews)     B+     $18 million[98]     $5.9 million (domestic) 1996     Mars Attacks!     56% (86 reviews) (6/10)     52 (19 reviews)     B     $70 million     $101.4 million 1999     Sleepy Hollow     70% (125 reviews) (6.4/10)     65 (35 reviews)     B–     $100 million[99]     $206.1 million 2001     Planet of the Apes     44% (160 reviews) (5.5/10)     50 (34 reviews)     B–     $100 million[100]     $362.2 million 2003     Big Fish     75% (220 reviews) (7.2/10)     58 (42 reviews)     B+     $70 million[101]     $122.9 million 2005     Charlie and the Chocolate Factory     83% (228 reviews) (7.2/10)     72 (40 reviews)     A–     $150 million[102]     $475 million 2005     Corpse Bride     84% (197 reviews) (7.2/10)     83 (35 reviews)     B+     $40 million     $118.1 million 2007     Sweeney Todd: The Demon Barber of Fleet Street     86% (232 reviews) (7.7/10)     83 (39 reviews)     —     $50 million[103]     $153.4 million 2010     Alice in Wonderland     51% (279 reviews) (5.8/10)     53 (38 reviews)     A–     $200 million[104]     $1.02 billion 2012     Dark Shadows     35% (263 reviews) (5.3/10)     55 (42 reviews)     B–     $150 million[105]     $245.5 million 2012     Frankenweenie     88% (225 reviews) (7.6/10)     74 (38 reviews)     B+     $39 million[106]     $81.5 million 2014     Big Eyes     72% (198 reviews) (6.7/10)     62 (40 reviews)     —     $10 million     $29.3 million 2016     Miss Peregrine's Home for Peculiar Children     64% (259 reviews) (5.9/10)     57 (43 reviews)     B+     $110 million[107]     $296.5 million 2019     Dumbo     46% (371 reviews) (5.55/10)     51 (54 reviews)     A–     $170 million[108]     $353.2 million[109] Total     71.3%     64         $1.434 billion     $4.473 billion " (wikipedia.org) "Trick-or-treating is a traditional Halloween custom for children and adults in some countries. During the evening of Halloween, on October 31, people in costumes travel from house to house, asking for treats with the phrase "trick or treat". The "treat" is some form of confectionery, usually candy/sweets, although in some cultures money is given instead. The "trick" refers to a threat, usually idle, to perform mischief on the resident(s) or their property if no treat is given. Some people signal that they are willing to hand out treats by putting up Halloween decorations outside their doors; houses may also leave their porch lights on as a universal indicator that they have candy; some simply leave treats available on their porches for the children to take freely, on the honor system. The history of trick-or-treating traces back to Scotland and Ireland, where the tradition of guising, going house to house at Halloween and putting on a small performance to be rewarded with food or treats, goes back at least as far as the 16th century, as does the tradition of people wearing costumes at Halloween. There are many accounts from 19th-century Scotland and Ireland of people going house to house in costume at Halloween, reciting verses in exchange for food, and sometimes warning of misfortune if they were not welcomed.[1][2] In North America, the earliest known occurrence of guising – children going from house to house for food or money while disguised in costume[2] – is from 1911, when children were recorded as having done this in the province of Ontario, Canada.[3] The interjection "trick or treat!" was then first recorded in the same Canadian province of Ontario in 1917. While going house to house in costume has long been popular among the Scots and Irish, it is only in the 2000s that saying "trick or treat" has become common in Scotland and Ireland.[4] Prior to this, children in Ireland would commonly say "help the Halloween party" at the doors of homeowners.[4] The activity is prevalent in the Anglospheric countries of the United Kingdom, Ireland, the United States, Canada, and Australia. It also has extended into Mexico. In northwestern and central Mexico, the practice is called calaverita (Spanish diminutive for calavera, "skull" in English), and instead of "trick or treat", the children ask, "¿Me da mi calaverita?" ("[Can you] give me my little skull?"), where a calaverita is a small skull made of sugar or chocolate. History Ancient precursors Traditions similar to the modern custom of trick-or-treating extend all the way back to classical antiquity, although it is extremely unlikely that any of them are directly related to the modern custom. The ancient Greek writer Athenaeus of Naucratis records in his book The Deipnosophists that, in ancient times, the Greek island of Rhodes had a custom in which children would go from door-to-door dressed as swallows, singing a song, which demanded the owners of the house to give them food and threatened to cause mischief if the owners of the house refused.[5][6][7] This tradition was claimed to have been started by the Rhodian lawgiver Cleobulus.[8] Souling Since the Middle Ages, a tradition of mumming on a certain holiday has existed in parts of Britain and Ireland. It involved going door-to-door in costume, performing short scenes or parts of plays in exchange for food or drink. The custom of trick-or-treating on Halloween may come from the belief that supernatural beings, or the souls of the dead, roamed the earth at this time and needed to be appeased. "A soul-cake, a soul-cake, have mercy on all Christian souls for a soul-cake." — a popular English souling rhyme[9] It may otherwise have originated in a Celtic festival, Samhain, held on 31 October–1 November, to mark the beginning of winter, in Ireland, Scotland and the Isle of Man, and Calan Gaeaf in Wales, Cornwall, and Brittany. The festival is believed to have pre-Christian roots. In the 9th century, the Catholic Church made 1 November All Saints' Day. Among Celtic-speaking peoples, it was seen as a liminal time, when the spirits or fairies (the Aos Sí), and the souls of the dead, came into our world and were appeased with offerings of food and drink. Similar beliefs and customs were found in other parts of Europe. It is suggested that trick-or-treating evolved from a tradition whereby people impersonated the spirits, or the souls of the dead, and received offerings on their behalf. S. V. Peddle suggests they "personify the old spirits of the winter, who demanded reward in exchange for good fortune".[10] Impersonating these spirits or souls was also believed to protect oneself from them.[11] Starting as far back as the 15th century, among Christians, there had been a custom of sharing soul-cakes at Allhallowtide (October 31 through November 2).[12][13] People would visit houses and take soul-cakes, either as representatives of the dead, or in return for praying for their souls.[14] Later, people went "from parish to parish at Halloween, begging soul-cakes by singing under the windows some such verse as this: 'Soul, souls, for a soul-cake; Pray you good mistress, a soul-cake!'"[15] They typically asked for "mercy on all Christian souls for a soul-cake".[16] It was known as 'Souling' and was recorded in parts of Britain, Flanders, southern Germany, and Austria.[17] Shakespeare mentions the practice in his comedy The Two Gentlemen of Verona (1593), when Speed accuses his master of "puling [whimpering or whining] like a beggar at Hallowmas".[18] In western England, mostly in the counties bordering Wales, souling was common.[13] According to one 19th century English writer "parties of children, dressed up in fantastic costume […] went round to the farm houses and cottages, singing a song, and begging for cakes (spoken of as "soal-cakes"), apples, money, or anything that the goodwives would give them".[19] Guising "Guising" redirects here. For other uses, see Guising (disambiguation). Halloween shop in Derry, Northern Ireland. Halloween masks are called ‘false faces’ in Ireland and Scotland. In Scotland and Ireland, "guising" – children going from door to door in disguise – is traditional, and a gift in the form of food, coins or "apples or nuts for the Halloween party" (and in more recent times, chocolate) is given out to the children.[4][20][21] The tradition is called "guising" because of the disguises or costumes worn by the children.[2][22] In the West Mid Scots dialect, guising is known as "galoshans".[23] In Scotland, youths went house to house in white with masked, painted or blackened faces, reciting rhymes and often threatening to do mischief if they were not welcomed.[24][25] Guising has been recorded in Scotland since the 16th century, often at New Year. The Kirk Session records of Elgin name men and women who danced at New Year 1623. Six men, described as guisers or "gwysseris" performed a sword dance wearing masks and visors covering their faces in the churchyard and in the courtyard of a house. They were each fined 40 shillings.[26] A record of guising at Halloween in Scotland in 1895 describes masqueraders in disguise carrying lanterns made out of scooped out turnips, visit homes to be rewarded with cakes, fruit, and money.[27] In Ireland, children in costumes would commonly say "Help the Halloween Party" at the doors of homeowners.[4][28] Halloween masks are referred to as "false faces" in Ireland and Scotland.[29][30] A writer using Scots language recorded guisers in Ayr, Scotland in 1890:     I had mind it was Halloween . . . the wee callans were at it already, rinning aboot wi’ their fause-faces (false faces) on and their bits o’ turnip lanthrons (lanterns) in their haun (hand).[30] Guising also involved going to wealthy homes, and in the 1920s, boys went guising at Halloween up to the affluent Thorntonhall, South Lanarkshire.[31] An account of guising in the 1950s in Ardrossan, North Ayrshire, records a child receiving 12 shillings and sixpence, having knocked on doors throughout the neighbourhood and performed.[32] Growing up in Derry, Northern Ireland in the 1960s, The Guardian journalist Michael Bradley recalls children asking, “Any nuts or apples?”.[33] In Scotland and Ireland, the children are only supposed to receive treats if they perform a party trick for the households they go to. This normally takes the form of singing a song or reciting a joke or a funny poem which the child has memorised before setting out.[32][20] While going from door to door in disguise has remained popular among Scots and Irish at Halloween, the North American saying "trick-or-treat" has become common in the 2000s.[4][28] Spread to North America Girl in a Halloween costume in 1928 in Ontario, Canada, the same province where the Scottish Halloween custom of "guising" is first recorded in North America The earliest known occurrence of the practice of guising at Halloween in North America is from 1911, when a newspaper in Kingston, Ontario, Canada reported on children going "guising" around the neighborhood.[3] American historian and author Ruth Edna Kelley of Massachusetts wrote the first book length history of the holiday in the US; The Book of Hallowe'en (1919), and references souling in the chapter "Hallowe'en in America"; "The taste in Hallowe'en festivities now is to study old traditions, and hold a Scotch party, using Burn's poem Hallowe'en as a guide; or to go a-souling as the English used. In short, no custom that was once honored at Hallowe'en is out of fashion now."[34] Kelley lived in Lynn, Massachusetts, a town with 4,500 Irish immigrants, 1,900 English immigrants, and 700 Scottish immigrants in 1920.[35] In her book, Kelley touches on customs that arrived from across the Atlantic; "Americans have fostered them, and are making this an occasion something like what it must have been in its best days overseas. All Hallowe'en customs in the United States are borrowed directly or adapted from those of other countries".[36] While the first reference to "guising" in North America occurs in 1911, another reference to ritual begging on Halloween appears, place unknown, in 1915, with a third reference in Chicago in 1920.[37] The emergence of "Trick or treat!" The interjection "Trick or treat!" — a request for sweets or candy, originally and sometimes still with the implication that anyone who is asked and who does not provide sweets or other treats will be subjected to a prank or practical joke — seems to have arisen in central Canada, before spreading into the northern and western United States in the 1930s and across the rest of the United States through the 1940s and early 1950s.[38] Initially it was often found in variant forms, such as "tricks or treats," which was used in the earliest known case, a 1917 report in The Sault Daily Star in Sault Ste. Marie, Ontario:[39]     Almost everywhere you went last night, particularly in the early part of the evening, you would meet gangs of youngsters out to celebrate. Some of them would have adopted various forms of "camouflage" such as masks, or would appear in long trousers and big hats or with long skirts. But others again didn't. . . . "Tricks or treats" you could hear the gangs call out, and if the householder passed out the "coin" for the "treats" his establishment would be immune from attack until another gang came along that knew not of or had no part in the agreement.[40] As shown by word sleuth Barry Popik,[41] who also found the first use from 1917,[39] variant forms continued, with "trick or a treat" found in Chatsworth, Ontario in 1921,[42] "treat up or tricks" and "treat or tricks" found in Edmonton, Alberta in 1922,[43] and "treat or trick" in Penhold, Alberta in 1924.[44] The now canonical form of "trick or treat" was first seen in 1917 in Chatsworth, only one day after the Sault Ste. Marie use,[45] but "tricks or treats" was still in use in the 1966 television special, It's the Great Pumpkin, Charlie Brown.[41] The thousands of Halloween postcards produced between the start of the 20th century and the 1920s commonly show children but do not depict trick-or-treating.[46] The editor of a collection of over 3,000 vintage Halloween postcards writes, "There are cards which mention the custom [of trick-or-treating] or show children in costumes at the doors, but as far as we can tell they were printed later than the 1920s and more than likely even the 1930s. Tricksters of various sorts are shown on the early postcards, but not the means of appeasing them".[47] Trick-or-treating does not seem to have become a widespread practice until the 1930s, with the first U.S. appearance of the term in 1932,[48] and the first use in a national publication occurring in 1939.[49] Behavior similar to trick-or-treating was more commonly associated with Thanksgiving from 1870 (shortly after that holiday's formalization) until the 1930s. In New York City, a Thanksgiving ritual known as Ragamuffin Day involved children dressing up as beggars and asking for treats, which later evolved into dressing up in more diverse costumes.[50][51] Increasing hostility toward the practice in the 1930s eventually led to the begging aspects being dropped, and by the 1950s, the tradition as a whole had ceased. Increased popularity Almost all pre-1940 uses of the term "trick-or-treat" are from the United States and Canada. Trick-or-treating spread throughout the United States, stalled only by World War II sugar rationing that began in April, 1942 and lasted until June, 1947.[52][53] Magazine advertisement in 1962 Early national attention to trick-or-treating was given in October, 1947 issues of the children's magazines Jack and Jill and Children's Activities,[54] and by Halloween episodes of the network radio programs The Baby Snooks Show in 1946 and The Jack Benny Show and The Adventures of Ozzie and Harriet in 1948.[55] Trick-or-treating was depicted in the Peanuts comic strip in 1951.[56] The custom had become firmly established in popular culture by 1952, when Walt Disney portrayed it in the cartoon Trick or Treat, and Ozzie and Harriet were besieged by trick-or-treaters on an episode of their television show.[57] In 1953 UNICEF first conducted a national campaign for children to raise funds for the charity while trick-or-treating.[58] Although some popular histories of Halloween have characterized trick-or-treating as an adult invention to re-channel Halloween activities away from Mischief Night vandalism, there are very few records supporting this. Des Moines, Iowa is the only area known to have a record of trick-or-treating being used to deter crime.[59] Elsewhere, adults, as reported in newspapers from the mid-1930s to the mid-1950s, typically saw it as a form of extortion, with reactions ranging from bemused indulgence to anger.[60] Likewise, as portrayed on radio shows, children would have to explain what trick-or-treating was to puzzled adults, and not the other way around. Sometimes even the children protested: for Halloween 1948, members of the Madison Square Boys Club in New York City carried a parade banner that read "American Boys Don't Beg."[61] The National Confectioners Association reported in 2005 that 80 percent of adults in the United States planned to give out confectionery to trick-or-treaters,[62] and that 93 percent of children, teenagers, and young adults planned to go trick-or-treating or participating in other Halloween activities.[63] Phrase introduction to the UK and Ireland Despite the concept of trick-or-treating originating in Britain and Ireland in the form of souling and guising, the use of the term "trick or treat" at the doors of homeowners was not common until the 1980s, with its popularisation in part through the release of the film E.T.[64] Guising requires those going door-to-door to perform a song or poem without any jocular threat,[32] and according to one BBC journalist, in the 1980s, "trick or treat" was still often viewed as an exotic and not particularly welcome import, with the BBC referring to it as "the Japanese knotweed of festivals" and "making demands with menaces".[65] In Ireland before the phrase "trick or treat" became common in the 2000s, children would say "Help the Halloween Party".[4] Very often, the phrase "trick or treat" is simply said and the revellers are given sweets, with the choice of a trick or a treat having been discarded. Etiquette Two children trick-or-treating on Halloween in Arkansas, United States Trick-or-treating typically begins at dusk on October 31. Some municipalities choose other dates.[66][67][68][69][70][71] Homeowners wishing to participate sometimes decorate their homes with artificial spider webs, plastic skeletons and jack-o-lanterns. Conversely, those who do not wish to participate may turn off outside lights for the evening or lock relevant gates and fences to keep people from coming onto their property. In most areas where trick-or-treating is practiced, it is considered an activity for children. Some jurisdictions in the United States forbid the activity for anyone over the age of 12.[72] Dressing up is common at all ages; adults will often dress up to accompany their children, and young adults may dress up to go out and ask for gifts for a charity. Local variants U.S. and Canada Children of the St. Louis, Missouri, area are expected to perform a joke, usually a simple Halloween-themed pun or riddle, before receiving any candy; this "trick" earns the "treat".[73] Children in Des Moines, Iowa also tell jokes or otherwise perform before receiving their treat. In some parts of Canada, children sometimes say "Halloween apples" instead of "trick or treat". This probably originated when the toffee apple was a popular type of candy. Apple-giving in much of Canada, however, has been taboo since the 1960s when stories (of almost certainly questionable authenticity) appeared of razors hidden inside Halloween apples; parents began to check over their children's fruit for safety before allowing them to eat it. In Quebec, children also go door to door on Halloween. However, in French-speaking neighbourhoods, instead of "Trick or treat", they will simply say "Halloween", though it traditionally used to be "La charité, s'il-vous-plaît" ("Charity, please").[74] Trunk-or-treat Trunk-or-treating event held at St. John Lutheran Church & Early Learning Center in Darien, Illinois Some organizations around the United States and Canada sponsor a "trunk-or-treat" on Halloween night (or, on occasion, a day immediately preceding Halloween, or a few days from it, on a weekend, depending on what is convenient). Trunk-or-treating is done from parked car to parked car in a local parking lot, often at a school or church. The activity makes use of the open trunks of the cars, which display candy, and often games and decorations. Some parents regard trunk-or-treating as a safer alternative to trick-or-treating,[75] while other parents see it as an easier alternative to walking the neighborhood with their children. This annual event began in the mid-1990s as a "fall festival" for an alternative to trick-or-treating, but became "trunk-or-treat" two decades later. Some have called for more city or community group-sponsored trunk-or-treats, so they can be more inclusive.[76] By 2006 these had become increasingly popular.[77] Portugal and Iberian Peninsule In Portugal, children go from house to house in All Saints Day and All Souls Day, carrying pumpkin carved lanterns called coca,[78] asking everyone they see for Pão-por-Deus singing rhymes where they remind people why they are begging, saying "...It is for me and for you, and to give to the deceased who are dead and buried"[79] or "It is to share with your deceased"[80] In the Azores the bread given to the children takes the shape of the top of a skull.[81] The tradition of pão-por-Deus was already recorded in the 15th century.[82] In Galicia, particularly in the island of A Illa de Arousa, a similar tradition exists where children ask for alms (usually bread, sweets, fruits, chestnuts, money or small toys) with the phrase "unha esmoliña polos defuntiños que van alá" ("a little charity for the little deceased who are there").[83] Scandinavia In Sweden, children dress up as witches and monsters when they go trick-or-treating on Maundy Thursday (the Thursday before Easter) while Danish children dress up in various attires and go trick-or-treating on Fastelavn (or the next day, Shrove Monday). In Norway, the practice is quite common among children, who come dressed up to people's doors asking for, mainly, candy. The Easter witch tradition is done on Palm Sunday in Finland (virvonta). Europe In parts of Flanders, some parts of the Netherlands, and most areas of Germany, Switzerland, and Austria, children go to houses with home-made beet lanterns or with paper lanterns (which can hold a candle or electronic light), singing songs about St. Martin on St. Martin's Day (the 11th of November), in return for treats.[84] The equivalent of "trick-or-treat" in German language is "Süßes oder Saures", asking for sweeties or threatening something less pleasant. In Northern Germany and Southern Denmark, children dress up in costumes and go trick-or-treating on New Year's Eve in a tradition called "Rummelpott [de]".[85] Trick-or-treat for charity UNICEF started a program in 1950 called Trick-or-Treat for UNICEF in which trick-or-treaters ask people to give money for the organization, usually instead of collecting candy. Participating trick-or-treaters say when they knock at doors "Trick-or-treat for UNICEF!"[86] This program started as an alternative to candy. The organization has long produced disposable collection boxes that state on the back what the money can be used for in developing countries. In Canada, students from the local high schools, colleges, and universities dress up to collect food donations for the local Food Banks as a form of trick-or-treating. This is sometimes called "Trick-or-Eat"." (wikipedia.org) "Winter squash is an annual fruit representing several squash species within the genus Cucurbita. Late-growing, less symmetrical, odd-shaped, rough or warty varieties, small to medium in size, but with long-keeping qualities and hard rinds, are usually called winter squash.[1] They differ from summer squash in that they are harvested and eaten in the mature stage when their seeds within have matured fully and their skin has hardened into a tough rind. At this stage, most varieties of this vegetable can be stored for use during the winter. Winter squash is generally cooked before being eaten, and the skin or rind is not usually eaten as it is with summer squash.[2] Cultivars of winter squash that are round and orange are called pumpkins. In New Zealand and Australian English, the term "pumpkin" generally refers to the broader category called "winter squash".[3] Although winter squashes are grown in many regions, they are relatively economically unimportant, with few exceptions.[1] They are grown extensively in tropical America, Japan, Northern Italy, and certain areas of the United States.[1] The calabazas of the West Indies and the forms grown by the people of Mexico and Central America are not uniform, pure varieties but extremely variable in size, shape, and color.[1] Since these species are normally cross-pollinated, it is now difficult to keep a variety pure.[1] Planting and harvesting Squash is a frost-tender plant meaning that the seeds do not germinate in cold soil. Winter squash seeds germinate best when the soil temperature is 21 to 35 °C (70 to 95 °F), with the warmer end of the range being optimal.[4] It is harvested whenever the fruit has turned a deep, solid color and the skin is hard. Most winter squash is harvested in September or October in the Northern Hemisphere, before the danger of heavy frosts.[citation needed] Nutritional value Winter squash, all varieties, rawNutritional value per 100 g (3.5 oz) Energy    143 kJ (34 kcal) Carbohydrates     8.59g Sugars    2.2 g Dietary fiber    1.5g Fat     0.13 g Protein     0.95 g Vitamins    Quantity %DV† Vitamin A equiv. beta-Carotene lutein zeaxanthin     9% 68 μg 8% 820 μg 38 μg Thiamine (B1)    3% 0.04 mg Riboflavin (B2)    5% 0.062 mg Niacin (B3)    3% 0.5 mg Pantothenic acid (B5)    4% 0.188 mg Vitamin B6    12% 0.156 mg Folate (B9)    6% 24 μg Vitamin C    15% 12.3 mg Minerals    Quantity %DV† Calcium    3% 28 mg Iron    4% 0.58 mg Magnesium    4% 15 mg Manganese    8% 0.164 mg Phosphorus    3% 24 mg Potassium    7% 350 mg Other constituents    Quantity Water    90 g Link to USDA Database entry     Units     μg = micrograms • mg = milligrams     IU = International units †Percentages are roughly approximated using US recommendations for adults. Source: USDA FoodData Central Raw winter squash (such as acorn or butternut) is 90% water, 9% carbohydrates, 1% protein, and contains negligible fat (table). In a 100 gram reference amount, it supplies 34 calories and is a moderate source (10-19% of the Daily Value, DV) of vitamin C (15% DV) and vitamin B6 (12% DV), with no other micronutrients in significant content (table). It is also a source of the provitamin A carotenoid, beta-carotene." (wikipedia.org) "Gourds include the fruits of some flowering plant species in the family Cucurbitaceae, particularly Cucurbita and Lagenaria. The term refers to a number of species and subspecies, many with hard shells, and some without. One of the earliest domesticated types of plants, subspecies of the bottle gourd, Lagenaria siceraria, have been discovered in archaeological sites dating from as early as 13,000 BCE. Gourds have had numerous uses throughout history, including as tools, musical instruments, objects of art, film, and food. Terminology Gourd is occasionally used to describe crop plants in the family Cucurbitaceae, like pumpkins, cucumbers, squash, luffa, and melons.[1] More specifically, gourd refers to the fruits of plants in the two Cucurbitaceae genera Lagenaria and Cucurbita,[2][3] or also to their hollow, dried-out shell. There are many different gourds worldwide. The main plants referred to as gourds include several species from the genus Cucurbita (mostly native to North America, including the Malabar gourd and turban squash), Crescentia cujete (the tree gourd or calabash tree, native to the American tropics) and Lagenaria siceraria (bottle gourd, thought to be originally from Africa but present worldwide).[4][5]: 21  Other plants with gourd in their name include the luffa gourd (likely domesticated in Asia), which includes several species from the genus Luffa, as well as the wax gourd, snake gourd, teasel gourd, hedgehog gourd, buffalo gourd/coyote gourd. The bitter melon/balsam apple/balsam pear is also sometimes referred to as a gourd.[5]: 18–19, 21  History L. siceraria or bottle gourd, are native to the Americas, being found in Peruvian archaeological sites dating from 13,000 to 11,000 BCE and Thailand sites from 11,000 to 6,000 BCE.[4] A study of bottle gourd DNA published in 2005 suggests that there are two distinct subspecies of bottle gourds, domesticated independently in Africa and Asia, the latter approximately 4,000 years earlier. The gourds found in the Americas appear to have come from the Asian subspecies very early in history, although a new study now indicates Africa.[6] The archaeological and DNA records show it is likely that the gourd was among the first domesticated species, in Asia between 12,000 and 13,000 years before present, and possibly the first domesticated plant species.[7] Wild, poisonous gourds (Citrullus colocynthis) were unknowingly added to the company of prophets' stew according to a story of Elisha in the Hebrew Bible. Elisha added flour to the stew in order to purify it.[8] Gourds continued to be used throughout history in almost every culture throughout the world. European contact in North America found extensive gourd use, including the use of bottle gourds as birdhouses to attract purple martins, which provided bug control for agriculture. Almost every culture had musical instruments made of gourds, including drums, stringed instruments common to Africa and wind instruments, including the nose flutes of the Pacific.[5]: 23  Research Scientists in India have been working on crossbreeding six members of the Momordica (bitter gourd) genus found in India to reduce the unpleasant taste while retaining the nutritional and medicinal values of the plants. These include Teasle gourd (Momordica dioica), Spine gourd (Momordica subangulata), Sweet gourd (Momordica cochinchinensis), balsam apple (Momordica balsamina) and Momordica sahyadrica." (wikipedia.org) "A pumpkin is a vernacular term for mature winter squash of species and varieties in the genus Cucurbita that has culinary and cultural significance[1][2] but no agreed upon botanical or scientific meaning.[3] The term pumpkin is sometimes used interchangeably with "squash" or "winter squash", and is commonly used for cultivars of Cucurbita argyrosperma, Cucurbita ficifolia, Cucurbita maxima, Cucurbita moschata, and Cucurbita pepo.[1] Native to North America (northeastern Mexico and the southern United States), C. pepo pumpkins are one of the oldest domesticated plants, having been used as early as 7,000 to 5,500 BC. Today, pumpkins of varied species are widely grown for food, as well as for aesthetic and recreational purposes.[4] The pumpkin's thick shell contains edible seeds and pulp. Pumpkin pie, for instance, is a traditional part of Thanksgiving meals in Canada and the United States, and pumpkins are frequently carved as jack-o'-lanterns for decoration around Halloween, although commercially canned pumpkin purée and pumpkin pie fillings are usually made of different pumpkin varieties from those used for jack-o'-lanterns.[5] Etymology and terminology According to the Oxford English Dictionary, the English word pumpkin derives from the Ancient Greek word πέπων (romanized pepōn), meaning 'melon'.[6][7] Under this theory, the term transitioned through the Latin word peponem and the Middle French word pompon to the Early Modern English pompion, which was changed to pumpkin by 17th-century English colonists, shortly after encountering pumpkins upon their arrival in what is now the northeastern United States.[6] An alternate derivation for pumpkin is the Massachusett word pôhpukun, meaning 'grows forth round'.[8] This term would likely have been used by the Wampanoag people (who speak the Wôpanâak dialect of Massachusett) when introducing pumpkins to English Pilgrims at Plymouth Colony, located in present-day Massachusetts.[9] The English word squash is also derived from a Massachusett word, variously transcribed as askꝏtasquash,[10] ashk8tasqash, or, in the closely-related Narragansett language, askútasquash.[11] Researchers have noted that the term pumpkin and related terms like ayote and calabaza are applied to a range of winter squash with varying size and shape.[1] The term tropical pumpkin is sometimes used for pumpkin cultivars of the species Cucurbita moschata.[12] Description Cross section of a Cucurbita maxima pumpkin Pumpkin fruits are a type of botanical berry known as a pepo.[13] Characteristics commonly used to define "pumpkin" include smooth and slightly ribbed skin,[14] and deep yellow to orange color.[14] White, green, and other pumpkin colors also exist.[15] While C. pepo pumpkins generally weigh between 3 and 8 kilograms (6 and 18 lb), Giant pumpkins can exceed a tonne in mass.[16][17] Most are varieties of Cucurbita maxima, and were developed through the efforts of botanical societies and enthusiast farmers.[16] The largest cultivars of the species Curcubita maxima frequently reach weights of over 34 kg (75 lb), with current record weights of over 1,226 kg (2,703 lbs). [18] History [icon]    This section needs expansion. You can help by adding to it. (December 2022) The oldest evidence of Cucurbita pepo pumpkin is fragments found in Mexico that are dated between 7,000 and 5,500 BC.[19] Pumpkins and other squash species, alongside maize and beans, feature in the Three Sisters method of companion planting practiced by many North American indigenous societies.[20] Although larger modern pumpkin cultivars are typically excluded as their weight may damage the other crops.[21] Within decades after Europeans began colonizing North America, illustrations of pumpkins similar to the modern cultivars Small Sugar pumpkin and Connecticut Field pumpkin were published in Europe....Culinary See also: List of squash and pumpkin dishes Pumpkin pie is a popular way of preparing pumpkin Roasted pumpkin Butternut Pumpkin jam in Tabriz, Iranian Azerbaijan Most parts of the pumpkin plant are edible, including the fleshy shell, the seeds, the leaves, and the flowers. When ripe, the pumpkin can be boiled, steamed, or roasted. Pumpkins that are immature may be eaten as summer squash. Shell and flesh In North America, pumpkins are an important part of the traditional autumn harvest, eaten mashed[36] and making its way into soups and purées. Often, pumpkin flesh is made into pie, various kinds of which are a traditional staple of the Canadian and American Thanksgiving holidays.[37] Pumpkin purée is sometimes prepared and frozen for later use.[38] A 2003 review of United States processing and canning practices noted that the most common commercially canned pumpkin varieties were Connecticut field pumpkin, Dickinson pumpkin, Kentucky field pumpkin, Boston marrow, and Golden Delicious.[5] In the Middle East, pumpkin is used for sweet dishes; a well-known sweet delicacy is called halawa yaqtin. In the Indian subcontinent, pumpkin is cooked with butter, sugar, and spices in a dish called kadu ka halwa.[citation needed] Pumpkin is used to make sambar in Udupi cuisine.[citation needed] In Australia and New Zealand, pumpkin is often roasted in conjunction with other vegetables.[citation needed] In Japan, small pumpkins are served in savory dishes, including tempura.[citation needed] In Myanmar, pumpkins are used in both cooking and desserts (candied).[citation needed] In Thailand, small pumpkins are steamed with custard inside and served as a dessert. In Vietnam, pumpkins are commonly cooked in soups with pork or shrimp. In Italy, it can be used with cheeses as a savory stuffing for ravioli.[citation needed] In western and central Kenya, pumpkin flesh is usually boiled or steamed.[39][failed verification] Pumpkin is used in both alcoholic and nonalcoholic beverages.[citation needed] Association of pumpkins with harvest time and pumpkin pie at Canadian and American Thanksgiving reinforce its iconic role. Starbucks turned this association into marketing with its Pumpkin Spice Latte, introduced in 2003.[40] This has led to a notable trend in pumpkin and spice flavored food products in North America.[41] Flowers A pumpkin flower, one of the edible parts of the plant In the southwestern United States and Mexico, pumpkin and squash flowers are a popular and widely available food item. They may be used to garnish dishes, or dredged in a batter then fried in oil. Leaves Pumpkin leaf kimchi In Guangxi province, China, the leaves of the pumpkin plant are consumed as a cooked vegetable or in soups.[citation needed] Korean cuisine makes use of pumpkin leaves, usually of C. moschata varieties.[citation needed] Pumpkin leaves are a popular vegetable in the western and central regions of Kenya; they are called seveve, and are an ingredient of mukimo,[39] Pumpkin leaves are also eaten in Zambia, where they are called chibwabwa and are boiled and cooked with groundnut paste as a side dish.[42] Seeds Main article: Pumpkin seed Pumpkin seeds (matured) Pumpkin seeds, also known as pepitas, are edible and nutrient-rich. They are about 1.5 cm (0.5 in) long, flat, asymmetrically oval, light green in color and usually covered by a white husk, although some pumpkin varieties produce seeds without them. Pumpkin seeds are a popular snack that can be found hulled or semi-hulled at grocery stores. Per ounce serving, pumpkin seeds are a good source of protein, magnesium, copper and zinc.[43] In Myanmar, the seeds are a popular sunflower seed substitute.[citation needed] Pumpkin seeds are popular with Kenyan children, who roast them on a pan before eating them.[39][failed verification] Pumpkin seed oil Main article: Pumpkin seed oil Pumpkin seed oil is a thick oil pressed from roasted seeds that appears red or green in color.[44][45] When used for cooking or as a salad dressing, pumpkin seed oil is generally mixed with other oils because of its robust flavor.[46] Pumpkin seed oil contains fatty acids, such as oleic acid and alpha-linolenic acid....Culture Halloween Main article: Jack o' lantern A pumpkin carved into a jack-o'-lantern for Halloween In the United States, the carved pumpkin was first associated with the harvest season in general, long before it became an emblem of Halloween.[55] The practice of carving produce for Halloween originated from an Irish myth about a man named "Stingy Jack".[4] The practice of carving pumpkin jack-o'-lanterns for the Halloween season developed from a traditional practice in Ireland as well as Scotland and other parts of the United Kingdom of carving lanterns from the turnip, mangelwurzel, or swede (rutabaga).[56][57] These vegetables continue to be popular choices today as carved lanterns in Scotland and Northern Ireland, although the British purchased a million pumpkins for Halloween in 2004 reflecting the spread of pumpkin carving in the United Kingdom.[58] Immigrants to North America began using the native pumpkins for carving, which are both readily available and much larger – making them easier to carve than turnips.[57] Not until 1837 does jack-o'-lantern appear as a term for a carved vegetable lantern,[59] and the carved pumpkin lantern association with Halloween is recorded in 1866.[60] In 1900, an article on Thanksgiving entertaining recommended a lit jack-o'-lantern as part of the festivities that encourage kids and families to join together to make their own jack-o'-lanterns.[55] The traditional American pumpkin used for jack-o-lanterns is the Connecticut field variety.[4][61][62][63] Kentucky Field pumpkin is also among the pumpkin cultivars grown specifically for jack-o-lantern carving.[13] Chunking Pumpkin chunking is a competitive activity in which teams build various mechanical devices designed to throw a pumpkin as far as possible. Catapults, trebuchets, ballistas and air cannons are the most common mechanisms.[citation needed] Pumpkin festivals and competitions Giant Cucurbita maxima pumpkins Growers of giant pumpkins often compete to grow the most massive pumpkins. Festivals may be dedicated to the pumpkin and these competitions. In the United States, the town of Half Moon Bay, California, holds an annual Art and Pumpkin Festival, including the World Champion Pumpkin Weigh-Off.[64] The record for the world's heaviest pumpkin, 1,226 kg (2,703 lb), was established in Italy in 2021.[17] Folklore and fiction There is a connection in folklore and popular culture between pumpkins and the supernatural, such as:     The custom of carving jack-o-lanterns from pumpkins derives from folklore about a lost soul wandering the earth.     In the fairy tale Cinderella, the fairy godmother turns a pumpkin into a carriage for the title character, but at midnight it reverts to a pumpkin.     In some adaptations of Washington Irving's ghost story The Legend of Sleepy Hollow, the headless horseman is said to use a pumpkin as a substitute head. In most folklore the carved pumpkin is meant to scare away evil spirits on All Hallows' Eve (that is, Halloween), when the dead were purported to walk the earth." (wikipedia.org) "Terracotta, also known as terra cotta or terra-cotta[2] (Italian: [ˌtɛrraˈkɔtta]; lit. 'baked earth';[3] from Latin terra cocta 'cooked earth'),[4] is a term used in some contexts for earthenware. That is to say it is a clay-based unglazed or glazed non-vitreous ceramic,[5] fired at relatively low temperatures. Usage and definitions of the term varies, such as:     In art, pottery, applied art, craft, construction and architecture, "terracotta" is a term often used for red-coloured earthenware sculptures or functional articles such as flower pots, water and waste water pipes, tableware, roofing tiles and surface embellishment on buildings. In such applications the material is also called terracotta.[7]     In archaeology and art history, "terracotta" is often used to describe objects such as figurines and loom weights not made on a potter's wheel, with vessels and other objects made on a wheel from the same material referred to as earthenware; the choice of term depends on the type of object rather than the material or shaping technique.[8]     Terracotta is also used to refer to the natural brownish orange color of most terracotta.[9] Glazed architectural terracotta and its unglazed version as exterior surfaces for buildings were used in East Asia for some centuries before becoming popular in the West in the 19th century. Architectural terracotta can also refer to decorated ceramic elements such as antefixes and revetments, which made a large contribution to the appearance of temples and other buildings in the classical architecture of Europe, as well as in the Ancient Near East.[10] This article covers the senses of terracotta as a medium in sculpture, as in the Terracotta Army and Greek terracotta figurines, and architectural decoration. East Asian and European sculpture in porcelain is not covered....Production Main article: Pottery § Production Prior to firing terracotta clays can be easily shaped. Articles can be formed by both an "additive" technique, adding portions of clay to the growing pieces, or a "subtractive" one, carving into a solid lump with a knife or similar tool. A combination of these may also be used: building up the broad shape and then removing pieces, or adding more, to produce details. Other shaping techniques, such as throwing and slip casting are also used.[11][12] After drying, it is placed in a kiln or atop combustible material in a pit, and then fired. The typical firing temperature is around 1,000 °C (1,830 °F), though it may be as low as 600 °C (1,112 °F) in historic and archaeological examples.[13] The iron content, reacting with oxygen during firing, gives the fired body a reddish color, though the overall color varies widely across shades of yellow, orange, buff, red, "terracotta", pink, grey or brown.[13] A final method is to carve fired bricks or other terracotta shapes. This is less common, but features for example in the architecture of Bengal on Hindu temples and mosques. Properties Fired terracotta is not watertight, but surface-burnishing the body before firing can decrease its porousness and a layer of glaze can make it watertight. Some types of terracotta are glazed to decrease permeability. It is suitable for use below ground to carry pressurized water (an archaic use), for garden pots and irrigation or building decoration in many environments, and for oil containers, oil lamps, or ovens. Most other uses, such as for tableware, sanitary piping, or building decoration in freezing environments, require the material to be glazed. Terracotta, if uncracked, will ring if lightly struck.[14] Painted (polychrome) terracotta is typically first covered with a thin coat of gesso, then painted. It has been very widely used but the paint is only suitable for indoor positions and is much less durable than fired colors in or under a ceramic glaze. Terracotta sculpture was very rarely left in its "raw" fired state in the West until the 18th century.... Architecture Main article: Architectural terracotta Terracotta tiles have a long history in many parts of the world. Many ancient and traditional roofing styles included more elaborate sculptural elements than the plain roof tiles, such as Chinese Imperial roof decoration and the antefix of western classical architecture. In India West Bengal made a speciality of terracotta temples, with the sculpted decoration from the same material as the main brick construction. In the 19th century the possibilities of terracotta decoration of buildings were again appreciated by architects, often using thicker pieces of terracotta, and surfaces that are not flat.[29] The American architect Louis Sullivan is well known for his elaborate glazed terracotta ornamentation, designs that would have been impossible to execute in any other medium. Terracotta and tile were used extensively in the town buildings of Victorian Birmingham, England. Terra cotta was marketed as a miracle material, largely impervious to the elements. Terra cotta, however, can indeed be damaged by water penetration or exposure or fail through faulty design or installation. An excessive faith in the durability of the material led to shortcuts in design and execution, which coupled with a belief that the material did not require maintenance tainted the reputation of the material. By about 1930 the widespread use of concrete and Modernist architecture largely ended the use of terracotta in architecture.[30]It has been defined as 'Unglazed fired clay building blocks and moulded ornamental building components.'[31] Terracotta tiles have also been used extensively for floors since ancient times. The quality of terracotta floor tiles depends on the suitability of the clay, the manufacturing methods (kiln-fired being more durable than sun baked), and whether the terracotta tiles are sealed or not. Advantages in sculpture As compared to bronze sculpture, terracotta uses a far simpler and quicker process for creating the finished work with much lower material costs. The easier task of modelling, typically with a limited range of knives and wooden shaping tools, but mainly using the fingers,[32] allows the artist to take a more free and flexible approach. Small details that might be impractical to carve in stone, of hair or costume for example, can easily be accomplished in terracotta, and drapery can sometimes be made up of thin sheets of clay that make it much easier to achieve a realistic effect.[33] Reusable mold-making techniques may be used for production of many identical pieces. Compared to marble sculpture and other stonework the finished product is far lighter and may be further painted and glazed to produce objects with color or durable simulations of metal patina. Robust durable works for outdoor use require greater thickness and so will be heavier, with more care needed in the drying of the unfinished piece to prevent cracking as the material shrinks. Structural considerations are similar to those required for stone sculpture; there is a limit on the stress that can be imposed on terracotta, and terracotta statues of unsupported standing figures are limited to well under life-size unless extra structural support is added. This is also because large figures are extremely difficult to fire, and surviving examples often show sagging or cracks.[34] The Yixian figures were fired in several pieces, and have iron rods inside to hold the structure together." (wikipedia.org) "A monster is a type of fictional creature found in horror, fantasy, science fiction, folklore, mythology and religion. Monsters are very often depicted as dangerous and aggressive with a strange, grotesque appearance that causes terror and fear. Monsters usually resemble bizarre, deformed, otherworldly and/or mutated animals or entirely unique creatures of varying sizes, but may also take a human form, such as mutants, ghosts and spirits, zombies or cannibals, among other things. They may or may not have supernatural powers, but are usually capable of killing or causing some form of destruction, threatening the social or moral order of the human world in the process. Animal monsters are outside the moral order, but sometimes have their origin in some human violation of the moral law (e.g. in the Greek myth, Minos does not sacrifice to Poseidon the white bull which the god sent him, so as punishment Poseidon makes Minos' wife, Pasiphaë, fall in love with the bull. She copulates with the beast, and gives birth to the man with a bull's head, the Minotaur). Human monsters are those who by birth were never fully human (Medusa and her Gorgon sisters) or who through some supernatural or unnatural act lost their humanity (werewolves, Frankenstein's monster), and so who can no longer, or who never could, follow the moral law of human society. Monsters may also be depicted as misunderstood and friendly creatures who frighten individuals away without wanting to, or may be so large, strong and clumsy that they cause unintentional damage or death. Some monsters in fiction are depicted as mischievous and boisterous but not necessarily threatening (such as a sly goblin), while others may be docile but prone to becoming angry or hungry, thus needing to be tamed and taught to resist savage urges, or killed if they cannot be handled or controlled successfully. Monsters pre-date written history, and the academic study of the particular cultural notions expressed in a society's ideas of monsters is known as monstrophy.[1] Monsters have appeared in literature and in feature-length films. Well-known monsters in fiction include Count Dracula, Frankenstein's monster, werewolves, vampires, demons, mummies, and zombies. Etymology A polemical allegory presented as a five-headed monster, 1618 Monster derives from the Latin monstrum, itself derived ultimately from the verb moneo ("to remind, warn, instruct, or foretell"), and denotes anything "strange or singular, contrary to the usual course of nature, by which the gods give notice of evil," "a strange, unnatural, hideous person, animal, or thing," or any "monstrous or unusual thing, circumstance, or adventure."[2] Cultural heritage In the words of Tina Marie Boyer, assistant professor of medieval German literature at Wake Forest University, "monsters do not emerge out of a cultural void; they have a literary and cultural heritage".[3] In the religious context of ancient Greeks and Romans, monsters were seen as signs of "divine displeasure", and it was thought that birth defects were especially ominous, being "an unnatural event" or "a malfunctioning of nature".[4] Monsters are not necessarily abominations however. The Roman historian Suetonius, for instance, describes a snake's absence of legs or a bird's ability to fly as monstrous, as both are "against nature".[5] Nonetheless, the negative connotations of the word quickly established themselves, and by the playwright and philosopher Seneca's time, the word had extended into its philosophical meaning, "a visual and horrific revelation of the truth".[6] In spite of this, mythological monsters such as the Hydra and Medusa are not natural beings, but divine entities. This seems to be a holdover from Proto-Indo-European religion and other belief systems, in which the divisions between "spirit," "monster," and "god" were less evident. Monsters in fiction Prose fiction The history of monsters in fiction is long. For instance, Grendel in the epic poem Beowulf is an archetypal monster: deformed, brutal, and with enormous strength, he raids a human settlement nightly to slay and feed on his victims. The modern literary monster has its roots in examples such as the monster in Mary Shelley's Frankenstein and the vampire in Bram Stoker's Dracula. Monsters are a staple of fantasy fiction, horror fiction, and science fiction (where the monsters are often extraterrestrial in nature). There also exists monster erotica, a subgenre of erotic fiction that involves monsters. Film Main article: Monster movie Pre–World War II monster films Hollywood's interpretation of Frankenstein's monster, played by Boris Karloff During the age of silent films, monsters tended to be human-sized, e.g. Frankenstein's monster, the Golem, werewolves and vampires. The film Siegfried featured a dragon that consisted of stop-motion animated models, as in RKO's King Kong, the first giant monster film of the sound era. Universal Studios specialized in monsters, with Bela Lugosi's reprisal of his stage role, Dracula, and Boris Karloff playing Frankenstein's monster. The studio also made several lesser films, such as Man-Made Monster, starring Lon Chaney Jr. as a carnival side-show worker who is turned into an electrically charged killer, able to dispatch victims merely by touching them, causing death by electrocution. There was also a variant of Dr. Frankenstein, the mad surgeon Dr. Gogol (played by Peter Lorre), who transplanted hands that were reanimated with malevolent temperaments, in the film Mad Love. Werewolves were introduced in films during this period, and similar creatures were presented in Cat People. Mummies were cinematically depicted as fearsome monsters as well. As for giant creatures, the cliffhanger of the first episode of the 1936 Flash Gordon serial did not use a costumed actor, instead using real-life lizards to depict a pair of battling dragons via use of camera perspective. However, the cliffhanger of the ninth episode of the same serial had a man in a rubber suit play the Fire Dragon, which picks up a doll representing Flash in its claws. The cinematic monster cycle eventually wore thin, having a comedic turn in Abbott and Costello Meet Frankenstein (1948). Post–World War II monster films Original Godzilla film poster In the post–World War II era, however, giant monsters returned to the screen with a vigor that has been causally linked to the development of nuclear weapons. One early example occurred in the American film The Beast from 20,000 Fathoms, which was about a dinosaur that attacked a lighthouse. Subsequently, there were Japanese film depictions, (Godzilla, Gamera), British depictions (Gorgo), and even Danish depictions (Reptilicus), of giant monsters attacking cities. A recent depiction of a giant monster is depicted in J. J. Abrams's Cloverfield, which was released in theaters 18 January 2008. The intriguing proximity of other planets brought the notion of extraterrestrial monsters to the big screen, some of which were huge in size (such as King Ghidorah and Gigan), while others were of a more human scale. During this period, the fish-man monster Gill-man was developed in the film series Creature from the Black Lagoon. Card from the Japanese game obake karuta, c. early 19th century[a] Britain's Hammer Film Productions brought color to the monster movies in the late 1950s. Around this time, the earlier Universal films were usually shown on American television by independent stations (rather than network stations) by using announcers with strange personas, who gained legions of young fans. Although they have since changed considerably, movie monsters did not entirely disappear from the big screen as they did in the late 1940s. Occasionally, monsters are depicted as friendly or misunderstood creatures. King Kong and Frankenstein's monster are two examples of misunderstood creatures. Frankenstein's monster is frequently depicted in this manner, in films such as Monster Squad and Van Helsing. The Hulk is an example of the "Monster as Hero" archetype. The theme of the "Friendly Monster" is pervasive in pop-culture. Chewbacca, Elmo, and Shrek are notable examples of friendly "monsters". The monster characters of Pixar's Monsters, Inc. franchise scare (and later entertain) children in order to create energy for running machinery in their home world, while the furry monsters of The Muppets and Sesame Street live in harmony with animals and humans alike. Japanese culture also commonly features monsters which are benevolent or likable, with the most famous examples being the Pokémon franchise and the pioneering anime My Neighbor Totoro. The book series/webisodes/toy line of Monster High is another example. Games Monsters are commonly encountered in fantasy or role-playing games, as well as video games, as enemies for players to fight against. They may include aliens, legendary creatures, extra-dimensional entities or mutated versions of regular animals. Especially in role-playing games, "monster" is a catch-all term for hostile characters that are fought by the player. Sentient fictional races are usually not referred to as monsters. At other times, the term can carry a neutral connotation, such as in the Pokémon franchise, where it is used to refer to cute fictional creatures that resemble real-world animals. Characters in games may refer to all of such creatures as "monsters". In some other games, such as Undertale and Deltarune, "Monsters" (which are usually NPCs) refer to strange beings that are either anthropomorphic animals, undead, robots, humanoids or mythical creatures that share similarities with human beings." (wikipedia.org) "A jack-o'-lantern (or jack o'lantern) is a carved lantern, most commonly made from a pumpkin or a root vegetable such as a rutabaga or turnip.[1] Jack-o'-lanterns are associated with the Halloween holiday. Its name comes from the reported phenomenon of strange lights flickering over peat bogs, called will-o'-the-wisps or jack-o'-lanterns. The name is also tied to the Irish legend of Stingy Jack, a drunkard who bargains with Satan and is doomed to roam the Earth with only a hollowed turnip to light his way. Jack-o'-lanterns carved from pumpkins are a yearly Halloween tradition that developed in the United States when Celtic Americans brought their root vegetable carving tradition with them.[2] It is common to see jack-o'-lanterns used as external and internal decorations prior to and on Halloween. To make a jack-o'-lantern, the top of a pumpkin or turnip is cut off to form a lid, the inside flesh is scooped out, and an image—usually a "scary" or "funny" face—is carved out of the rind to expose the hollow interior. A light source, traditionally a flames from a candle or tealight, is placed within before the lid is closed. Artificial jack-o'-lanterns with electric lights are also marketed. Etymology An assortment of carved pumpkins. The term jack-o'-lantern was originally used to describe the visual phenomenon ignis fatuus (lit., "foolish fire") known as a will-o'-the-wisp in English folklore.[3] Used especially in East England, its earliest known use dates to the 1660s.[4] History A plaster cast of a traditional Irish Jack-o'-Lantern in the Museum of Country Life, Ireland. Rutabaga or turnip were often used. Modern carving of a Cornish Jack-o'-Lantern made from a turnip. Origin The carving of vegetables has been a common practice in many parts of the world. It is believed that the custom of making jack-o'-lanterns at Halloween time began in the British Isles. [5][6][7] In the 19th century, "turnips or mangel wurzels, hollowed out to act as lanterns and often carved with grotesque faces," were used on Halloween in parts of Ireland and the Scottish Highlands.[8] In these Gaelic-speaking regions, Halloween was also the festival of Samhain and was seen as a time when supernatural beings (the Aos Sí), and the souls of the dead, walked the earth. Jack-o'-lanterns were also made at Halloween time in Somerset, England (see Punkie Night) during the 19th century.[8] By those who made them, the lanterns were said to represent either spirits or supernatural beings,[8] or were used to ward off evil spirits.[9] For example, sometimes they were used by Halloween participants to frighten people,[9][10][11] and sometimes they were set on windowsills to keep harmful spirits out of one's home.[10] It has also been suggested that the jack-o'-lanterns originally represented Christian souls in purgatory, as Halloween is the eve of All Saints' Day (1 November)/All Souls' Day (2 November).[12] On January 16 in 1836, the Dublin Penny Journal published a long story on the legend of "Jack-o'-the-Lantern", although this does not mention the lantern being carved from a vegetable.[13] In 1837, the Limerick Chronicle refers to a local pub holding a carved gourd competition and presenting a prize to "the best crown of Jack McLantern". The term "McLantern" also appears in an 1841 publication of the same paper.[citation needed] There is also evidence that turnips were used to carve what was called a "Hoberdy's Lantern" in Worcestershire, England, at the end of the 18th century. The folklorist Jabez Allies outlines other derivations of the name, "Hobany's", which is most likely derived from "Hob and his", with other variations including "Hob-o'-Lantern", "Hobbedy's Lantern" and "Hobbady-lantern".[14] In North America Adaptations of Washington Irving's short story "The Legend of Sleepy Hollow" (1820) often show the Headless Horseman with a pumpkin or jack-o'-lantern in place of his severed head. (In the original story, a shattered pumpkin is discovered next to Ichabod Crane's abandoned hat on the morning after Crane's supposed encounter with the Horseman.) The application of the term to carved pumpkins in American English is first seen in 1834.[15] The carved pumpkin lantern's association with Halloween is recorded in the 1 November 1866 edition of the Daily News (Kingston, Ontario):     The old time custom of keeping up Hallowe'en was not forgotten last night by the youngsters of the city. They had their maskings and their merry-makings, and perambulated the streets after dark in a way which was no doubt amusing to themselves. There was a great sacrifice of pumpkins from which to make transparent heads and face, lighted up by the unfailing two inches of tallow candle.[16] James Fenimore Cooper wrote a nautical novel titled The Jack O'lantern (le Feu-Follet), Or the Privateer (1842). The Jack O'lantern was the name of the ship.[17] The poet John Greenleaf Whittier, who was born in Massachusetts in 1807, wrote the poem "The Pumpkin" (1850):[18]     Oh!—fruit loved of boyhood!—the old days recalling,     When wood-grapes were purpling and brown nuts were falling!     When wild, ugly faces we carved in its skin,     Glaring out through the dark with a candle within! In 1879's Funny Nursery Rhymes, a poem admonishes children to avoid being similar to untrustworthy "Master Jack o' Lantern," described as a "wicked, deceiving boy" similar to a will-o'-the-wisp who "dances, and jumps, and gambols." He is humorously illustrated as a personification of a lantern.[19] Agnes Carr Sage, in the article, "Halloween Sports and Customs" (Harper's Young People (1885):[20]     It is an ancient British custom to light great bonfires (Bone-fire to clear before Winter froze the ground) on Hallowe'en, and carry blazing fagots about on long poles; but in place of this, American boys delight in the funny grinning jack-o'-lanterns made of huge yellow pumpkins with a candle inside. In the United States, the carved pumpkin was first associated with the harvest season in general, long before it became a symbol of Halloween.[21] In 1895, an article on Thanksgiving entertaining recommended a lit jack-o'-lantern as part of the festivities.[21][22] Folklore A commercial "R.I.P." pattern. Halloween jack-o'-lantern. Pumpkin projected onto the wall. The story of the jack-o'-lantern comes in many forms and is similar to the story of Will-o'-the-wisp[23] retold in different forms across Western Europe,[24] including, Italy, Norway, Spain and Sweden.[25] In Switzerland, children will leave bowls of milk or cream out for mythical house spirits called Jack o' the bowl.[26] An old Irish folk tale from the mid-18th century tells of Stingy Jack, a lazy yet shrewd blacksmith who uses a cross to trap Satan. One story says that Jack tricked Satan into climbing an apple tree, and once he was up there, Jack quickly placed crosses around the trunk or carved a cross into the bark, so that Satan couldn't get down.[27] Another version[citation needed] of the story says that Jack was getting chased by some villagers from whom he had stolen. He then met Satan, who claimed it was time for him to die. However, the thief stalled his death by tempting Satan with a chance to bedevil the church-going villagers chasing him. Jack told Satan to turn into a coin with which he would pay for the stolen goods (Satan could take on any shape he wanted); later, when the coin (Satan) disappeared, the Christian villagers would fight over who had stolen it. The Devil agreed to this plan. He turned himself into a silver coin and jumped into Jack's wallet, only to find himself next to a cross Jack had also picked up in the village. Jack closed the wallet tight, and the cross stripped the Devil of his powers; and so he was trapped. In both folktales, Jack lets Satan go only after he agrees to never take his soul. Many years later, the thief died, as all living things do. Of course, Jack's life had been too sinful for him to go to Heaven; however, Satan had promised not to take his soul, and so he was barred from Hell as well.[28] Jack now had nowhere to go. He asked how he would see where to go, as he had no light, and Satan mockingly tossed him a burning coal, to light his way. Jack carved out one of his turnips (which were his favorite food), put the coal inside it, and began endlessly wandering the Earth for a resting place.[28] He became known as "Jack of the Lantern", or jack o'lantern. Cornish folklorist Dr. Thomas Quiller Couch (d. 1884) recorded the use of the term in a rhyme used in Polperro, Cornwall, in conjunction with Joan the Wad, the Cornish version of Will-o'-the-wisp. The people of Polperro regarded them both as pixies. The rhyme goes:[29]     Jack o' the lantern! Joan the wad,     Who tickled the maid and made her mad     Light me home, the weather's bad. Jack-o-lanterns were also a way of protecting one's home against the undead. Superstitious people[30] used them specifically to ward off vampires. They thought this because it was said that the jack-o-lantern's light was a way of identifying vampires who, once their identity was known, would give up their hunt for you. Pumpkin craft A jack-o'-lantern Sections of the pumpkin or turnip are cut out to make holes, often depicting a face, which may be either cheerful, scary, or comical.[31] World records For a long time, Keene, New Hampshire, held the world record for most jack-o'-lanterns carved and lit in one place. The Life is Good Company teamed up with Camp Sunshine,[32] a camp for children with life-threatening illnesses and their families, to break the record. A record was set on October 21, 2006, when 30,128 jack-o'-lanterns were simultaneously lit on Boston Common in downtown Boston, Massachusetts.[33] Highwood, Illinois, tried to set the record on October 31, 2011, with an unofficial count of 30,919 but did not follow the Guinness regulations, so the achievement did not count.[34] On October 19, 2013, Keene broke the Boston record and reclaimed the world record for most lit jack-o'-lanterns on display (30,581). The town has now broken the record eight times since the original attempt." (wikipedia.org)
  • Condition: Used
  • Condition: In excellent, pre-owned condition. Please see photos and description.
  • Type: Jack-O'-Lantern
  • Occasion: Halloween
  • Color: Terracotta
  • Material: Ceramic

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