2015 | Atom Egoyan was in Turkey for the first time

 Source: AGOS

Photo: Berge Arabian

‘No depiction of catastrophe will ever make up for a 100 years of denial’

Maral Dink 07.04.2015

CULTURE AND ARTS

Last week, renowned Canadian film director Atom Egoyan was in Turkey for the first time. Although he had received many invitations from film festivals before, he had preferred not to come. He had legitimate reasons, fears and concerns. ‘Ararat’, the film he shot 13 years ago, had faced intense reaction and repression in Turkey; and could not be screened.

There was a special reason for Egoyan’s visit: He had been asked to be best man at Sera Dink and Eric Nazarian’s wedding. His concerns accompanied his curiosity as he set out towards Turkey. He returned as a host to the country his ancestors had been exiled from. He was surprised, happy and full of emotion. History was being written: “History is not always made by large public statements, but by the conversation between individuals.” We spoke to Egoyan, and discussed the Diaspora and Turkey, and also ‘Ararat’.

This is the first question I have in mind: Why didn’t you come to Turkey before?

I received many invitations from the Istanbul Film Festival. I always asked that the festival send me a letter saying that I can speak freely about the Armenian Genocide and I never got this letter. So I never came. But when I think deeper than that, many Armenians had a resistance to come. I felt that there was a lot of issues that are unresolved in our own minds, which continue to be unresolved. My wife Arsinée Khanjian has been making this trip for many years. I have been incredibly impressed with her openness and yet it was still difficult to understand what she was observing from afar. When the invitation came from Sera Dink and Eric Nazarian’s wedding for us to be best man and maid of honour, I couldn’t say no. I felt this was the perfect opportunity to come. Because I was coming for a family matter, a personal matter. There wasn’t an agenda except celebrating the love of these two extraordinary people. I am very thankful for that. In the days that I spent here, the whole world has opened up. I had heard about it from Arsinée, I was aware that there was a dialogue happening here. But I didn’t understand the nature of it until I arrived.

What is the difference between observing from afar and observing from close-up?

I think for many Armenians who are in the Diaspora, we forget that we have relationships with Turks at all. We forget that because history has cut us off from this culture, and we are frozen in a moment. In a way, we need to be frozen in that moment, because that has become our identity. However, when you are here you understand that there are huge changes and shifts in society. You understand that there are Armenians who have been living with Turks for the past century. There is an organic process occurring where there is a development in this relationship. In the Diaspora, as I said, we are frozen in a moment, and we are also frozen within an agenda. It is part of our formation in the Diaspora that we have to have our host countries acknowledge the history of what happened. But what we saw now, in 2015, is that after the Pope made this strong statement, and after Germany, Austria and Belgium recognized the Genocide, that this pressure is not enough. We have seen that with the Pope statement, Erdoğan has basically said, “It doesn’t matter, I don’t need to listen”. And you realize that this idea of pressuring Turkey from the outside can only go so far. There is now work to be done within the country. As Diasporans, we cannot be involved in that process unless we have a relationship with the community here.

 Was there a deeper reason for you to prefer not to come until now?

 I did not want to feel small. I have spent so much of my life trying to build an identity, and trying to find a place within my own country. I tried so much to assert who I am. I didn’t want to come back here and feel insignificant. I did not want to come here and feel that all the work we have done in Canada, in the USA, or in France and in Argentina is somehow going to be demolished. In Turkey, I would suddenly be back in a place that I would feel fear; a fear that history has moved on, a fear that everything that I have tried to claim is completely insignificant. But here I saw change, and I met some incredible people.

How could you feel the change in Turkey in such a short period of time you were here?

Because a few things happened to me. I came to this building of the Hrant Dink Foundation and Agos. I saw that we have been here for a really long time. I didn’t feel alien. With Arsinée, we were in a restaurant, we heard a conversation between a Kurdish student and his teacher, and at one point the teacher used the word genocide. It was the first time I heard that word used in Turkey by someone else. I turned around and I said, “I am sorry, I don’t know you, but I have to get involved in this conversation.” And we had this amazing afternoon. He was Kurdish, he was from Diyarbakır, he used the word Diyarbekir, and he said Dikranagerdzi. He was talking about this incredible journey that he had made as a Kurd. He told me when he had found out about the Armenian Genocide. And I understood the fact that until the 1990s the Kurds didn’t even hear about this question. I understood for the first time that there was this process where there was a whole movement towards the civil society that we in the Diaspora don’t understand. I’ll give you a good example. When we saw the images in the streets after the Hrant Dink assassination of these large groups of people saying, “We are Hrant! We are Armenians!” In Diaspora, we all understood this to mean that these crowds were saying, “We recognize the Genocide”. We did not understand that these crowds were saying, “We are Hrant, because we want freedom of expression,” and “We are Hrant, because we want to be able to ask questions”. We are very focused on one issue. But now, 100 years later, we can understand that we also have to focus on the community, where there is still the fear that if the mentality of society does not change, this can happen again. There is still ongoing pressure. We don’t feel this in the Diaspora. But it is dialogue that will change this country, and the truth will be known.

Based on your experience, how do you see the Kurds’ process of facing the Armenian Genocide?

 There has been an incredible openness. This young man’s, this Kurdish intellectual’s sincerity was so clear. He was saying that Kurds began to ask questions about the Armenian Genocide after what they experienced in the 80s and 90s. It was extraordinary that he also mentioned their role as accomplices. This is something that they carry as well. He was telling me that sometimes he has talked to people who feel they were punished for being accomplices. It was very open. I was suspicious to be honest. Were they using the issue to gain credit before the international community by using the Armenian issue? It takes a single conversation with somebody who is sincere to erase that suspicion. Why did I meet this person? That can only happen here. If I made a film of it, no one would believe me, but it happened.

Did you come across anything in Turkey that caused disappointment?

 I went to an exhibition of Ottoman photography. I was looking for traces of Armenian life. But there was hardly any mention of minorities, and only one mention of Armenians, and that was the 1905 assassination attempt on Sultan Abdul Hamid II. In other words, it was a continuation of the official narrative that portrayed Armenians as terrorists. I then went to a cinema museum. There I saw a statute of a person who was a hero, because he was the first Turk, the first non-ethnic, to have opened a cinema, because everyone before him was a member of an ethnic minority. I thought to myself, ‘What a strange reason to celebrate’. I saw something else there, a poster of a film that was made in 1922. Half the cast is Armenian with Armenian names. This was incredible; you realize how important the Armenian presence was even after 1915. Armenians were still involved in every aspect of the society. The life in Istanbul was very different from the life in provinces, where we were completely eradicated. But they were like public ghosts. I, too, was afraid for many years to come here and become a public ghost.

What is the main difference between the commemoration of the Genocide in the USA and European countries, and its commemoration in Turkey?

In the Diaspora we don’t trust other people to remember for us. We feel we have to remember ourselves; no one can remember us in the way we want to be remembered. This means the process of remembering for us has become more ideological than organic. The process here is perhaps more organic because it is in relationship to the perpetrator also coming to terms. What happens in the West? Politicians remember, they make wonderful speeches, but it is not part of their emotional construction. The Genocide is not part of their narrative. They don’t ask themselves big questions. For instance, in Canada there has been a question raised about Genocide against the First Nations. At no point, do we think the Native Indian leaders would align themselves with Armenians. It’s a separate issue in our minds. We are not building this social construct together, which you could do here.

How has the Centennial of the Genocide been in terms of artistic production?

It is an amazing year; we won Best National Pavilion at the Venice Biennale. It’s amazing that we are able to have an artist like Sarkis showing at the Pavilion of Turkey. We are culturally on track of reconstructing ourselves after this devastation that took place 100 years ago. On the other hand, art isn’t created as part of a program. It is created because individuals feel a certain thing at a certain point in their life at a certain stage in their development as an artist. We expect that suddenly, at the centennial of the Genocide, to have a film on the Genocide that can define everything. But we forget that the destruction continues. And no depiction of catastrophe will ever make up for a 100 years of denial. There is a long history of holocaust films. Some of them are really strong, some of them are terrible. Armenians don’t have access to that tradition. We are still doing what we need to do, but we are still coming to terms with the fact that denial is a defining aspect of our experience. When people say it is a difficult subject to deal with, it is because we need to do so much. 

Would you consider making a film about the Genocide?

No. It is interesting that my next film, ‘Remember’ deals with some of these issues through the Holocaust. The protagonist is a Holocaust survivor who has Alzheimer’s. He finds out that a Nazi is responsible for killing his family at Auschwitz. He goes on a mission to kill this person, but he keeps forgetting why. Sometimes he finds himself in hotel room with a gun, but he doesn’t know why.

Which moment you had in Istanbul will be the most unforgettable?

The strongest impression is being best man, and shaking hands with members of the Armenian community. To me it was so emotional. Not only being at the wedding, but also to be in this extraordinary position where I was welcoming everybody in their home, in their church. I looked at every single face, they lived in this community and they managed to exist together. Sharing this moment of joy and union, that was monumental for me.

"History is sometimes made by the conversation between individuals.”rat’, my own film, is not about the Genocide, but about denial. It is about the transmission of trauma from one generation to the next through denial. Maybe at the time the most confusing aspect of ‘Ararat’ for the Armenian community was that for 40 minutes they did not see any historical scene at all. They saw the story of two families, a story of exile. They saw a story of an Armenian family, an internal problem between mother and son; and they are wondering, “Why am I watching this film? What does it have to do with the genocide?” But by the end of the film we have shown them four generations. The whole film concentrates on this moment between two families, two singular figures who recreate a piece of history through their own intimacy. History is not always made by large public statements, but by the conversation between individuals. In particular, between parents and their children, that is where the central transmission happens. But it can also happen in a conversation like the one I had with that Kurdish stranger. Often the sense of history changes with such small moments. If art can be used to create a consciousness at some level, then it has served its purpose. This is not an ideological purpose. ‘Ararat’ is the opposite of propaganda. 13 years later, the question posed in the film is still relevant: “How can we reconcile with the history when there is no recognition?” So what has changed? 13 years ago, in my own country, Canada, the Genocide had not been recognized. It was recognized the year after the film came out. The work of art will seal the issue.

ARARAT (2002)

tagline: "In a world full of denial how do you determine who's telling the truth?"
directed by: Atom Egoyan
starring: Simon Abkarian, Charles Aznavour, Christopher Plummer, Arsinée Khanjian

Ararat (

Word Origins | Film, Sinema from Infographic Guide to Turkish Cinema

 

FİLİM – FİLM i. (İng. film)

1. Fotoğrafçılık, sinemacılık ve radyografide resim çekmek için kullanılan şeffaf selüloz şerit veya levha.

2. Sinemacılıkta bir konunun bütününü taşıyan şerit veya şeritler: “Eğitim filmi.” “Propaganda filmi.”

3. Verici sinema makinesiyle gösterilen temsil.

4. Işığı kesmek, içerinin görünmesini engellemek için camlara veya renklendirmek için duvar vb. bir yüzeye yapıştırılan çok ince levha.

5. argo. İlgi çeken, kendine baktıran görünüş veya olay: “İçki başlarına vurunca seyret sen filmi.”

ѻ Filim (Filmini) çekmek – Filmini almak:

1. Sinema kamerasıyle bir hareket veya görünüşü tespit etmek.

2. tıp. Radyoskopi yoluyle bir organın görünüşünü bu iş için hazırlanmış bir film üzerine geçirmek. Filim çevirmek:

1. Beyaz perdede oynatılmak üzere bir eseri filme geçirmek.

2. Böyle bir eserde rol almak.

3. argo. İşin alayında ve gösterişinde olup gönül eğlendirmek. Filim hîlesi: Bir olayı ışık, görüntü ve teknik imkânlar yardımıyle seyirci üzerinde istenen etkiyi yapacak şekilde değiştirerek gösterme. Filim mi oynuyor?: Bir kimsenin dikkatle bakmasından rahatsız olunduğu zaman söylenir: “Ne bakıyorsun, filim mi oynuyor?” Filim oynamak: Bir filim sinemada gösterilmek. Filim oynatmak: Bir sinema filmini beyaz perdede göstermek. Filme almak: Bir görünüş veya oluşu sinema makinesiyle tespit etmek.

SİNEMA i.

(Fr. cinéma < cinématographe “hareketli görüntü kaydı”)

1. Bir hareket sâniyede 24 kısma ayrılarak resimlendikten sonra bu resimlerin oluş sırası ile ve aynı hızla gözün önünden geçirilmesi hâlinde bakanın hareketi kesintisizmiş gibi görmesine dayanan göz aldanmasından faydalanılarak hareketleri, olayları sanki tekrar oluyormuşçasına perdede gösterme, canlandırma.

2. Bununla ilgili sanat kolu, yedinci sanat.

3. teşmil. Hazırlanmış olan filimlerin perdeye aksettirilerek gösterildiği salon, binâ, mahal.

SİNEMACI i.

1. Sinema sâhibi olan, sinema işleten kimse.

2. Sinema ile ilgili bir işte çalışan yapımcı, yönetmen vb. kimse.

SİNEMACILIK i.

1. Sinema ile ilgili işlerin tamâmı, sinema sanâyii.

2. Sinema işletme işi.

SİNEMA ENDÜSTRİSİ (SANÂYİİ) birl. i.

Filim yapımını, dağıtımını, işletilmesini yapan, sine-ma araçlarını üreten endüstri.

SİNEMASAL sıf.

Sinema ile ilgili, sinema gibi, sinemaya benzer, sinemaya özgü: Kadının toplumsal yaşamdaki rolünü, toplumsal yapı içinde varoluş ve savaşını sinemasal renklerle yansıtacak (Fotoğraf Dergisi).

SİNEMASKOP i.

(Fr. cinémascope) [Firma adından] Filme alınan bir hareketi geniş bir perdeye aksettirirken makineye takılan bir mercek düzeneği sâyesinde asıl büyüklüğünde ve üç boyutlu imiş gibi gösterme tekniği.

SİNEMATEK i.

(Fr. sinémathèque) Sinema filimlerinin kültür, eğitim ve sanat amaçlı olarak korunduğu yer veya kurum.

SİNEMATİK sıf.

(Fr. cinématique < Yun.) Kinematik.

SİNEMATOGRAF i.

(Fr. cinématographe < Yun.) Görüntüleri filme almaya yarayan âlet: Mâzîsi sesli bir sinematograf sür’atiyle hayâlinden geçiyordu (Ömer Seyfeddin). Nedim Bey de bohçaları taşır… tamam bir sinematograf geçidi… haydi siz hazırlanınız da gidelim (Hüseyin Suat).

SİNEMATOGRAFİ i.

(Fr. cinématographe < EYun.)

1. Sinema filmi alanındaki çalışmaların tümü.

2. Bu çalışmaları yapanların işi, uğraşı, sinemacılık.

3. Sinema çalışmaları, sinema tekniği, sanayisi ve sanatıyla ilgili konular: Bu kadar kalıcı izler bırakan güçlü bir senaryo, güçlü bir sinematografi, güçlü bir oyunculuk da var “Zenne”de (Milliyet Sanat).

SİNEMATOGRAFİK sıf. (Fr. cinématographique) Sinemayla ilişkin, sinemaya uygun: Devlet sırrıyla birlikte insanın / sinematografik bir hayatı olabilir (İsmet Özel).

Flick a motion picture. "a Hollywood action flick

Film a motion picture; a movie. "a horror film"

Movie NORTH AMERICAN a story or event recorded by a camera as a set of moving images and shown in a theater or on television; a motion picture.

"cartoon films and sci-fi movies"

motion pictures generally or the motion-picture industry.

plural noun: the movies

"we decided to go to the movies"

Cinema BRITISH a theater where movies are shown for public entertainment; a movie theater. "I was weaned on a diet of Hollywood fantasy at my local cinema"

the production of movies as an art or industry. "the history of American cinema"

Silver Screen informal the movie industry; movies collectively. "stars of the silver screen"

Big screen informal the movies. "the play was adapted for the big screen"

Cinema cin·e·ma ˈsi-nə-mə   British also  -ˌmä

Synonyms of cinema

MOTION PICTURE —usually used attributively

a motion-picture theater

MOVIES especially  : the film industry

the art or technique of making motion pictures as in film the art or business of making a movie felt that the cinema was one of the most challenging and fulfilling forms of artistic expression

Synonyms of cinema

Cinema noun ˈsi-nə-mə

Definition of cinema

1 as in film the art or business of making a movie

felt that the cinema was one of the most challenging and fulfilling forms of artistic expression

Synonyms & Similar Words

Film | filmmaking | movie | pictures | Hollywood | screen | moviemaking | silver screen | big screen | filmdom

as in theatre a building or part of a building where movies are shown

got a job cleaning the cinemas at the multiplex

theatre | playhouse | theater | multiplex | nickelodeon

AN ETYMOLOGY OF FILM RELATED WORDS

cinema (n.) 1899, "movie hall," from French cinéma, shortened from cinématographe "device for projecting a series of photographs in rapid succession so as to produce the illusion of movement," coined 1890s by Lumiere brothers, who invented the technology, from Latinized form of Greek kinēmat-, combining form of kinēma "movement," from kinein "to move" (from PIE root *keie- "to set in motion"). For the second element in the French compound, see -graphy.

The word was earlier in English in its fuller form, cinematograph (1896), but this has been displaced by the short form. Other old words for such a system were vitascope (Edison, 1895), animatograph (1898). The meaning "movies collectively, especially as an art form" recorded by 1914. Cinéma vérité is 1963, from French.

cinematography (n.) 1896, with  -y (4) + cinematograph "device for projecting a series of photographs in rapid succession so as to produce the illusion of movement" (1896), which has been displaced in English by its shortened form, cinema (q.v.). Related: Cinematographic.

odeon (n.) 1902, in the classical sense, from Greek ōideion "building for musical performance," from Greek ōidē "song, ode" (see ode). The chain of lavish cinema theaters operated under that name by 1930 (the name had been used earlier for cinema theaters in France and Italy).

cinematic (adj.) 1914, "of or pertaining to movies," from French cinématique (by 1902), from cinéma (see cinema). Earlier (1883) it was a variant form of kinematic (see kinematics). Related: Cinematically.

CinemaScope (n.) 1953, proprietary name for wide-screen movie technology; see cinema + scope (n.2).

cinematographer (n.) 1897, "one who takes cinematic pictures," agent noun from cinematograph "motion picture projector" (see cinema).

Cinerama (n.) proprietary name for a form of cinema film projected on a wide, curved screen, 1951, from cinema + -rama. Purists point out that the proper formation would be *Cinorama.

kinema (n.) former alternative spelling of cinema, with the Greek k-.

cine abbreviation of cinema used in compounds or as a stand-alone, 1928, perhaps partly from French ciné (1917).

*keie- also keiə-, Proto-Indo-European root meaning "to set in motion."

It might form all or part of: behest; cinema; cinematography; citation; cite; excite; hest; hight; hyperkinetic; incite; kinase; kinematics; kinesics; kinesiology; kinesis; kinesthesia; kinesthetic; kinetic; kineto-; kino-; oscitant; recital; recitation; recite; resuscitate; solicit; solicitous; suscitate; telekinesis.

It is the hypothetical source of/evidence for its existence is provided by: Sanskrit cyavate "stirs himself, goes;" Greek kinein "to move, set in motion; change, stir up," kinymai "move myself;" Latin ciere (past participle citus, frequentative citare) "to set in motion, summon;" Gothic haitan "call, be called;" Old English hatan "command, call." 

Roxy  cinema chain built by U.S. entertainment mogul Samuel L. "Roxy" Rothafel (1882-1936).

screenwriter (n.) "writer of film scripts," 1921, from screen (n.) in the cinema sense + writer.

cliff-hanger (n.) also cliffhanger, "suspenseful situation," 1950, a transferred use from an earlier meaning "movie serial" (1933), from cliff + hang (v.). In some U.S. continued-next-week silent cinema serials in the "Perils of Pauline" days, the episode often ended with the heroine "hanging over a cliff from a fraying rope through which the villain was sawing with a dull knife, to be saved by Crane Wilbur or Milton Sills" [Collier's magazine, July 6, 1946].

New Wave  1960, of cinema (from French Nouvelle Vague, late 1950s); 1976 as a name for the more restrained and melodic alternative to punk rock.

scrim (n.) 1792, "thin, strong cloth used as upholstery lining," a word of unknown origin. Later, in theater and cinema, applied to gauze cloth used to screen or soften light (1928).

screen (n.) mid-14c., screne, "upright piece of furniture providing protection from heat of a fire, drafts, etc.," probably from a shortened (Anglo-French? compare Anglo-Latin screna) variant of Old North French escren, Old French escran "fire-screen, tester of a bed" (early 14c.). This is of uncertain origin, though probably from a Germanic source, perhaps from Middle Dutch scherm "screen, cover, shield," or Frankish *skrank "barrier," from Proto-Germanic *skirmjanan (source also of Old High German skirm, skerm "protection," Old Frisian skirma "protect, defend;" from PIE root *sker- (1) "to cut").

The sense of "anything interposed to conceal from view" is by c. 1600. The meaning "net-wire frame used in windows and doors" is recorded from 1859. Meaning "flat vertical surface for reception of projected images" is from 1810, originally in reference to magic lantern shows; later of movies. Transferred sense of "cinema world collectively" is attested from 1914; hence screen test "filmed test of performing abilities" (1918), etc.

The meaning "small fluorescent display on a TV set" is by 1946, extended to the display on a computer monitor by 1970, hence the monitor itself. The computer screen saver is attested by 1990. The meaning "window of an automobile" is by 1904. As a type of maneuver in sports, by 1934 (U.S. football, screen-pass). Screen printing recorded from 1918. Screen-door is from 1840. Screen-time "time spent watching a computer or television screen" is by 1999.

film (n.) Old English filmen "membrane, thin skin, foreskin," from West Germanic *filminjan (source also of Old Frisian filmene "skin," Old English fell "hide"), extended from Proto-Germanic *fello(m) "animal hide," from PIE root *pel- (3) "skin, hide."

Sense of "a thin coat of something" is 1570s, extended by 1845 to the coating of chemical gel on photographic plates. By 1895 this also meant the coating plus the paper or celluloid. Hence "a motion picture" (1905); sense of "film-making as a craft or art" is from 1920.

film (v.) c. 1600, "to cover with a film or thin skin," from film (v.). Intransitive sense is from 1844. Meaning "to make a movie of" is from 1899. Related: Filmed; filming.

film-maker (n.) also, filmmaker, 1859 as a solution used in developing photographs, later "a producer of film for cameras" (by 1889), from film (n.) + maker. As "producer of a cinematographic work, movie-maker," from 1905.

film-strip (n.) also filmstrip, 1930, from film (n.) + strip (n.).

film noir (n.) 1958, from French, literally "black film," from noir (12c.), from Latin niger (see Negro).

*pel- (3) Proto-Indo-European root meaning "skin, hide."

It forms all or part of: erysipelas; fell (n.2) "skin or hide of an animal;" film; pell; pellagra; pellicle; pelt (n.) "skin of a fur-bearing animal;" pillion; surplice.

It is the hypothetical source of/evidence for its existence is provided by: Greek pella, Latin pellis "skin;" Old English filmen "membrane, thin skin, foreskin."

microfilm (n.) "photographic film containing microphotographs of the pages of a book, etc.," 1927, coined from micro- + film (n.). The verb is by 1940, from the noun. Related: Microfilmed; microfilming.

filmography (n.) 1962, from film (n.) + ending from bibliography, etc.

documentary (adj.) 1788, "pertaining to or derived from documents," from document (n.) + -ary. Meaning "factual, meant to provide a record of something" is by 1921, originally in reference to film, from French film documentaire (by 1919). The noun (short for documentary film) is attested by 1935.

paparazzi (n.) 1961, from Italian Paparazzo (plural paparazzi) surname of the freelance photographer in Federico Fellini's 1959 film "La Dolce Vita." The surname itself is of no special significance in the film; it is said to be a common one in Calabria, and Fellini is said to have borrowed it from a travel book, "By the Ionian Sea," in which occurs the name of hotel owner Coriolano Paparazzo.

reel (n.1) "cylinder or frame turning on an axis," especially one on which thread, yarn, string, etc. is wound after being spun, Middle English rele, from late Old English reol, hreol "reel for winding thread," from Proto-Germanic *hrehulaz; probably related to hrægel "garment," and Old Norse hræll "spindle" (from PIE *krek- "to weave, beat;" source also of Greek krokus "nap of cloth").

Specifically of the fishing rod attachment from 1726. Of a film projector apparatus from 1896, hence in movie jargon "a length of film wound on one reel" as a part of a whole motion picture. With a number (two-reeler, typical of short comedy, etc.) indicating film length (by 1912). Reel-to-reel as a type of tape deck is attested from 1958.

bodacious (adj.) 1837 (implied in bodaciously), Southern U.S. slang, perhaps from bodyaciously "bodily, totally," or a blend of bold and audacious, which suits the earliest attested sense of the word. Popularized anew by the 1982 Hollywood film "An Officer and a Gentleman."

indie (n.) "independent record company," 1945, shortening of independent. Among the earliest mentioned were Continental, Majestic, and Signature. Used of film production companies since 1920s, of theaters from 1942; extended by 1984 to a type of pop music issued by such labels.

splice (n.) 1620s, "the joining together of two ropes by interweaving the untwisted strands of each," first attested in the writing of Capt. John Smith, from splice (v.). The motion picture film sense is from 1923. In old colloquial use, "marriage union, wedding" (1830).

prequel (n.) "a film, book, etc., portraying events which precede those of an existing film, book, etc.," 1973, from pre- "before," based on sequel (n.).

mondo (adj.) "very much, extreme," 1979, from Italian mondo "world" (from Latin mundus; see mundane); specifically from "Mondo cane," title of a 1961 film, literally "world for a dog" (English title "A Dog's Life"), depicting eccentric human behavior. The word was abstracted from the title and taken as an intensifier.

tuner (n.) "one who tunes (musical instruments)," 1801, agent noun from tune (v.). Earlier it meant "musician, singer" (1570s). It is attested from 1909 as "device for varying the frequency of a radio or (later) television." As industry jargon for "musical play or film" by 1991.

dub (v.2) "add or alter sound on film," 1929, shortening of double (v.); so called because it involves making an additional recording of voices and combining it with the soundtrack. The type of re-mixed reggae music was so called from 1974, probably for the same reason. Related: Dubbed; dubbing.

dub (v.2) "add or alter sound on film," 1929, shortening of double (v.); so called because it involves making an additional recording of voices and combining it with the soundtrack. The type of re-mixed reggae music was so called from 1974, probably for the same reason. Related: Dubbed; dubbing.

rewind (v.) also re-wind, "wind again, wind back," 1717, from re- "back, again" + wind (v.1). The noun meaning "mechanism for rewinding film or tape" is recorded from 1938; the sense of "act or process of winding backwards" is by 1964. Related: Rewound; rewinding.

remake (v.) also, re-make, "make anew, reconstruct," 1630s, from re- "back, again" + make (v.). Related: Remade; remaking. As a noun, in reference to movies, "a new making of a film or script (typically with different actors)," by 1933 ("Smilin' Through"). The verb was used of movies by 1910s).

gaffer (n.) 1580s, "elderly rustic," apparently (based on continental analogies) a contraction of godfather (compare gammer). Originally a term of respect, also applied familiarly; from "old man" it was extended by 1841 to foremen and supervisors, which sense carried over in early 20c. to "electrician in charge of lighting on a film set."

rerun (v.) also re-run, 1804, "to run (over) again," in reference to races, etc., from re- "back, again" + run (v.). Specifically as "to show (a motion picture, etc.) again" by 1962. The noun, in reference to film, is recorded from 1934; of television programs from 1955. Related: Reran; rerunning.

musical (n.) "film or theatrical piece (other than opera) in which music figures prominently," 1937, from musical (adj.) in musical play. Earlier as a noun it meant "musical instrument" (c. 1500), "musical performance" (1570s); "musical party" (1823, a sense now in musicale).

flick (n.) mid-15c., "light blow or stroke," probably imitative of a light blow with a whip. Earliest recorded use is in phrase not worth a flykke "useless." Meaning "quick turn of the wrist" is from 1897 in sports. As slang for "film," it is first attested 1926, a back-formation from flicker (v.), from their flickering appearance.

pre-release (adj.) "of the period before the date fixed for release," 1916, in reference to motion pictures, from pre- + release (n.). As a noun, "a film or record available on a limited basis before general release," by 1919. As a verb, "to release on a limited basis before the date fixed for release," by 1917 (implied in pre-released).

verity (n.) late 14c., from Anglo-French and Old French verite "truth, sincerity, loyalty" (12c.), from Latin veritatem (nominative veritas) "truth, truthfulness," from verus "true" (from PIE root *were-o- "true, trustworthy"). Modern French vérité, literally "truth," was borrowed into English 1966 as a term for naturalism or realism in film, etc.

Hells Angels (n.) motorcycle club, the name first attested 1957. They were called Black Rebels in the 1954 film "The Wild One." Earlier Hell's Angels had been used as the title of a film about World War I air combat (1930).

projectionist (n.) "one who operates a film projector," 1916, from projection + -ist.

Ice-Capade (n.) 1941, originally a film title, from ice (n.) + a punning play on escapade.

off-camera (adv.) "outside the range of a film or television camera," 1944, from off (prep.) + camera.

snuff (v.1) "to cut or pinch off the burned part of a candle wick," mid-15c., snoffen, from noun snoffe "burned part of a candle wick" (late 14c.), a word of unknown origin, perhaps related to snuff (v.2).

The meaning "to die" is from 1865; that of "to kill" is from 1932; snuff-film, pornography involving the actual killing of a woman, originally an urban legend, is from 1975.

Bollywood  "film industry based in Mumbai, India," 1977, from Bombay (old name of Mumbai) + Hollywood.

gimp (n.1) 1925, "a crippled leg," also "a crippled person" (1929), perhaps by association with limp, or a corruption of gammy (see game (adj.)).

Use in reference to S&M style full-body leather clothing, or a person dressed in such clothing, traces to the 1994 film Pulp Fiction, featuring a character called The Gimp who was costumed in this way.

featurette (n.) "short feature film," 1942, from feature (n.) in the cinematography sense + -ette.

screenwriter (n.) "writer of film scripts," 1921, from screen (n.) in the cinema sense + writer.

wrap (n.) late 15c., "fine cloth used as a cover or wrapping for bread," from wrap (v.). As a type of women's garment, recorded from 1827. Meaning "plastic film or cellophane used as a wrap" is from 1930. Meaning "end of a filming session" is attested from 1970. Meaning "sandwich material folded up in flour tortilla" is by 1998. Figurative phrase under wraps "in concealment" is recorded from 1939.

Potemkin  by 1938 in reference to Grigory Aleksandrovich Potemkin (1739-1791), favorite of Catherine II of Russia, especially in reference to the sham villages supposedly erected under his orders for the empress' tour of Crimea (1787) to create an impression of prosperity and progress. The silent film "Battleship Potemkin" dates from 1925, depicting (with elaboration) events of 1905 and the mutiny aboard a Russian battleship named for the Tsarist minister.

preview (n.) "a foretaste," 1880, from preview (v.); specifically "a showing of a book, film, etc. before public release" by 1920.

replay (v.) "to play again" in any sense, 1630s, from re- "again" + play (v.). By 1862, in sporting jargon (curling), "to play (a match) again." Of sound recordings (later video, etc.), "reproduce what has been recorded," by 1912. Related: Replayed; replaying.

The noun is from 1895 as "a replayed match" in sports. The meaning "action of replaying" a sound recording, film, later also video, etc., is by 1953.

undeveloped (adj.) 1736, from un- (1) "not" + past participle of develop (v.). In reference to film, it is attested from 1939.

weepy (adj.) 1825, from weep + -y (2). Related: Weepily; weepiness. Weepie (n.) "sentimental film" is from 1928.

out-take (n.) also outtake, "rejected part of a film," 1960, from out- + take (n.) in the movie sense. Related: Out-takes.

Cannes  city on the French Riviera, perhaps from a pre-Indo-European word *kan, meaning "height." The film festival dates from 1946.

celluloid (n.) transparent plastic made from nitro-celluloses and camphor, 1871, trademark name (reg. U.S.), a hybrid coined by U.S. inventor John Wesley Hyatt (1837-1900) from cellulose + Greek-based suffix -oid.

Its use as a photographic film was noted by 1889. As an adjective, "of or pertaining to motion pictures," by 1922; as a noun, figuratively, "motion pictures" from 1934. Abbreviated form cell "sheet of celluloid" is from 1933 (see cel).

Stromboli (n.) 1660s as the name of a volcanic island north of Sicily, formerly called Strongyle in English. Applied to various Italian-influenced foods starting circa 1950, due to the impact of Roberto Rossellini's film Stromboli.

The name is from Greek strongylē "round," from strongylos "round spherical, compact," which is perhaps related to strangos "tied together," but the sense is not obvious. The island probably was so called for its conic shape.

splice (v.) 1520s, "unite or join together (two ropes) by interweaving the strands of their ends," originally a sailors' word, from Middle Dutch splissen "to splice" (Dutch splitsen), from Proto-Germanic *spli- (from PIE root *(s)plei- "to split, splice;" see flint). The Dutch word was borrowed in French as épisser.

Of things other than rope from 1620s. Used of motion picture film from 1912; of DNA from 1975. Related: Spliced; splicing; splicer.

oldie (n.) 1874, "an old person;" 1940, "an old tune or film;" from old + -ie. Related: Oldies, which is attested by 1961 as a radio format.

location (n.) 1590s, "position, place; fact or condition of being in a particular place," from Latin locationem (nominative locatio) "a placing," noun of action from past-participle stem of locare "to place, put, set," from locus "a place" (see locus). Meaning "act of placing or settling" is from 1620s. Of tracts of land, "act of fixing the boundaries of by survey," 1718, hence "a bounded or marked-off parcel of ground" (1792). The Hollywood sense of "place outside a film studio where a scene is filmed" is from 1914.

script (v.) 1935, "adapt (a written work) for broadcasting or film," from script (n.). Figurative sense, "following prescribed directions," is by 1977. Related: Scripted; scripting.

Mae West  type of inflatable life jacket, 1940, military slang, in reference to the screen name of the buxom U.S. film star (1892-1980).

microfiche (n.) "flat piece of film containing micrographs of the pages of a book, etc.," 1950, from French microfiche, from micro- + French fiche "slip of paper" (see fiche).

visual (adj.) early 15c., "pertaining to the faculty of sight;" also "coming from the eye or sight" (as a beam of light was thought to do), from Late Latin visualis "of sight," from Latin visus "a sight, a looking; power of sight; things seen, appearance," from visus, past participle of videre "to see" (see vision). Meaning "perceptible by sight" is from late 15c; sense of "relating to vision" is first attested c. 1600. The noun meaning "photographic film or other visual display" is first recorded 1944.

take (n.) "that which is taken," in any sense, 1650s, from take (v.). The movie-making sense of "continuous section of film recorded at one time" is by 1916.

The specific sense of "money taken in" is by 1850 in reference to church collections (by 1931 in reference to money taken in from a single performance). The criminal sense of "money acquired by theft" is from 1888. The verb take in the sense of "cheat, defraud" is attested from 1920. On the take "amenable to bribery" is by 1930.

feature (n.) early 14c., "make, form, fashion" (obsolete), from Anglo-French feture, from Old French faiture "deed, action; fashion, shape, form; countenance," from Latin factura "a formation, a working," from past participle stem of facere "make, do, perform" (from PIE root *dhe- "to set, put").

Sense of "facial characteristic" is mid-14c.; that of "any distinctive part" first recorded 1690s. Entertainment sense is from 1801; in journalism by 1855. Meaning "a feature film" is from 1913. Latin factura also is the source of Spanish hechura, Portuguese feitura, Italian fattura.

loop (n.) late 14c., "a fold or doubling of cloth, rope, leather, cord, etc.," of uncertain origin. OED favors a Celtic origin (compare Gaelic lub "bend," Irish lubiam), which in English was perhaps influenced by or blended with Old Norse hlaup "a leap, run" (see leap (v.)). As a feature of a fingerprint, 1880. In reference to magnetic recording tape or film, first recorded 1931. Computer programming sense "sequence of instructions executed repeatedly" first attested 1947.

Sabrina  fem. proper name, personified as a nymph by Milton in "Comus" (1634). The name is from a Welsh tale of a maiden drowned in the river Severn by her stepmother; the legend is found in Geoffrey of Monmouth and Giraldus Cambrensis. It appears to be the Romanized form of the name of the River Severn (Welsh Hafren, Habren), which is Celtic and of unknown origin; it perhaps means "boundary." Sabrina neckline is from the 1954 film "Sabrina" starring Audrey Hepburn. Sabrina-work (1871) was a millinery term for a variety of application embroidery.

spine-chiller (n.) "mystery film," 1940, from spine + agent noun from chill (v.). Spine-tingler in same sense is from 1942, both suggesting a pleasurably frightened condition. Compare blood-curdling.

dark-room (n.) also darkroom, in photography, "room from which any light that would affect a photographic plate or film has been excluded," 1841, from dark (adj.) + room (n.).

dolce vita (n.) "life of pleasure," 1961, Italian, from the title of Fellini's 1960 film. The Italian elements are from Latin dulcis "sweet" (see dulcet) +  Latin vita "life," from PIE root *gwei- "to live."

footage (n.) "the length of film used in a scene, etc.," 1916, from foot (n.) as a measure of length + -age. Earlier the word was used to describe a piece-work system to pay miners.

art (adj.) "produced with conscious artistry" (as opposed to popular or folk), 1890, from art (n.), possibly from influence of German kunstlied "art song." Art film is from 1960; art rock from 1968.

short (n.) 1580s, the short "the result, the total," from short (adj.). The meaning "electrical short circuit" is by 1906 (see short circuit). The meaning "contraction of a name or phrase" is by 1845 (in for short). The general sense of "whatever is deficient in number, quality, etc." is by 1868.

By 1823 as "a short drink." The slang meaning "car" is attested from 1897; originally "street car," so called because street cars (or the rides taken in them) were "shorter" than railroad cars. By 1929 as "a short film."

Manchuria large part of China east of Mongolia and north of Korea, named for the Manchu (literally "pure") people + -ia. Related: Manchurian. Manchurian Candidate is 1959 as a novel, 1962 as a film.

seven-year itch (n.) 1899, American English, some sort of skin condition (sometimes identified with poison ivy infection) that either lasts seven years or returns every seven years. Jocular use for "urge to stray from marital fidelity" is attested from 1952, as the title of the Broadway play (made into a film, 1955) by George Axelrod (1922-2003), in which the lead male character reads an article describing the high number of men have extra-marital affairs after seven years of marriage.

pushmi-pullyu (n.) fictional two-headed mammal from "Dr. Dolittle" (1922), coined by Hugh Lofting from the expressions push me, pull you. Popularized by the 1967 film version of the book.

B  second letter of the Latin alphabet, corresponding to Greek beta, Phoenician beth, literally "house." 

Often indicating "second in order." B-movie is by 1939, usually said to be so called from being the second, or supporting, film in a double feature. Some film industry sources say it was so called for being the second of the two films major studios generally made in a year, and the one cast with less headline talent and released with less promotion. And early usage varies with grade-B movie, suggesting a perceived association with quality.

B-side of a gramophone single is by 1962 (flip-side is by 1949). B-girl, abbreviation of bar girl, U.S. slang for a woman paid to encourage customers at a bar to buy her drinks, is by 1936.

Shangri-La (n.) imaginary earthly paradise, by 1938, from Shangri-La, name of Tibetan utopia in James Hilton's novel "Lost Horizon" (1933, film version 1937). In Tibetan, la means "mountain pass."

Star Wars (n.) name of a popular science fiction film (released May 25, 1977); also the informal name for a space-based missile defense system proposed in 1983 by U.S. president Ronald Reagan.

masala  spice blends, particularly in Indian cookery. In English by 1833 (as musala.) Masala film, an Indian movie with multiple genre elements, named for the spice blend, by 1990.

Cinerama (n.) proprietary name for a form of cinema film projected on a wide, curved screen, 1951, from cinema + -rama. Purists point out that the proper formation would be *Cinorama.

preview (v.) c. 1600, "to see beforehand," from pre- "before" + view (v.). Marked "rare" in Century Dictionary (1895). The meaning "to show (a film, etc.) before its public opening" is from 1928. Related: Previewed; previewing.

reverse (adj.) c. 1300, "opposite, contrary in position or direction, turned backward," from Old French revers "reverse, cross, opposite" (13c.) and directly from Latin reversus, past participle of revertere "turn back, turn about, come back, return" (see revert). In reference to a gear mechanism enabling a vehicle to go backward without changing the rotation of the engine, by 1875. Reverse angle (shot, etc.) in film-making is from 1934. Reverse discrimination is attested from 1962, American English. Reverse dictionary, one in which the words are arranged alphabetically by last letter to first, is by 1954.

studio (n.) 1819, "work-room of a sculptor or painter," usually one with windows to admit light from the sky, from Italian studio "room for study," from Latin studium (see study (v.)).

Later extended to photographers' rooms. The motion picture sense of "room in which a film is shot" is attested by 1911, and was extended to the offices and outbuildings and eventually to the companies that run them. It was extended to radio broadcasting when that took off in 1922; the television sense is by 1938. Studio apartment attested by 1903, American English.

Tony (1) masc. proper name, short for Anthony. Tony Curtis, as a style of men's haircut (usually with a D.A. at the back), is by 1956, from the screen name of U.S. film star Bernard Schwarz (1925-2010).

-inator  word-forming element typically indicating "extreme; ultimate" when appended to verbs, names or titles; by 1992, likely abstracted from Terminator, the title of a popular 1984 film starring Arnold Schwarzenegger. Schwarzenegger went on to a political career and early -inator coinages often referred to him. See terminator (the suffix misdivides the word; the -in- belongs to the Latin stem).

Earlier Kelvinator (1916), name of a type of home refrigerator, is from William Thomson, 1st Baron Kelvin, who developed the concept of absolute zero and for whom the Kelvin temperature scale is named. The name was thought appropriate for a company that manufactured ice-boxes and refrigerators.

track (v.) 1560s, "follow the traces or footsteps of," from track (n.). From 1580s as "mark (a path)." Hence "ascertain by means of existing traces." As "follow the course of (a distant moving object) by telescope" (later radar), by 1920. The meaning "leave a footprint trail" as with wet or muddy feet is by 1838, U.S. colloquial.

Of wheels of a vehicle, "run in the same track of" (another wheel), by 1826, also used of the gait of horses. Of a stylus following in a record groove, by 1929 (compare the noun). Of film and TV cameras, "move in relation to the subject of a shot," by 1959. Related: Tracked; tracking.

oater (n.) "Western film" (featuring horse-riding cowboys and Indians), 1946, American English, from oat, as the typical food of horses. Oats opera (on the model of soap opera) is by 1937 in U.S. slang.

serial (n.) 1845, "a tale published in successive numbers of a periodical," from serial (adj.). Short for serial novel, etc. By 1914 as "a film shown in episodes," later extended to radio programs, etc.

stand-in (n.) "one who substitutes for another," 1928, in film-making, from the verbal phrase, attested from 1904 in show business slang in the sense "to substitute, to fill the place of another," from the verbal phrase; see stand (v.) + in (adv.).

thread (v.) mid-14c., threden, "put thread through the eye of a needle," from thread (n.). By 1873 of sewing machines; in reference to film cameras from 1913. Hence also figuratively, "pass through with the carefulness of one threading a needle." By 1590s as "furnish (a screw) with a thread."

The dancing move called thread the needle is attested by that name from 1844; thread-needle as a children's game is by 1751; threading needles as a dancing or acrobatic feat is 17c. Related: Threaded; threading. Threader as a surname is attested from mid-14c., "one who makes bowstrings."

Guido  masc. proper name, Italian, literally "leader," of Germanic origin (see guide (v.)). As a type of gaudy machoism often associated with Italian-Americans, 1980s, teen slang, from the name of character in Hollywood film "Risky Business" (1983).

soundtrack (n.) also sound-track, "the sound component of a film," originally contained in a narrow band on the left side of the filmstrip, 1929, from sound (n.1) + track (n.), perhaps suggested by that word's earlier use in reference to phonographs.

palimony (n.) "compensation claimed by the deserted party at the separation of an unmarried couple cohabiting," 1979, coined from pal (n.) + alimony. Popularized, if not introduced, during lawsuit against U.S. film star Lee Marvin (1924-1987).

adult (adj.) 1530s (but not common until mid-17c.) "grown, mature," from Latin adultus "grown up, mature, adult, ripe," past participle of adolescere "grow up, come to maturity, ripen," from ad "to" (see ad-) + alescere "be nourished," hence, "increase, grow up," inchoative of alere "to nourish," from a suffixed form of PIE root *al- (2) "to grow, nourish."

The meaning "mature in attitude or outlook" is from 1929. As a euphemism for "pornographic," it dates to 1958 and does no honor to the word. In the old British film-rating system, A indicated "suitable for exhibit to adult audiences," and thus, implicitly, unsuitable for children (1914).

catfish (v.) "assume a fake persona on social media for the purpose of deceiving or attracting another person," by 2013, from the successful 2010 film "Catfish," concerning such an experience, and especially the subsequent TV show of the same name which aired from 2012 on MTV.

The film takes its title from an anecdote of fishermen putting a catfish in the tank with a shipment of live cod to keep the cod active in transit and tastier at the table. The anecdote, though attractive to sermonizers, seems to have no basis in reality. It sometimes is traced to a 1988 sermon by evangelical pastor Charles R. Swindoll, but it has been used in sermons since the 1920s and the anecdote seems to have appeared first in print in two popular publications of 1913: Henry W. Nevinson's "The Catfish," in "Essays in Rebellion," and Charles Marriott's novel "The Catfish," in which it is a symbol for a woman who keeps a man active.

The article went on to speak of the world's catfish—anything or anybody that introduced into life the 'queer, unpleasant, disturbing touch of the kingdom of Heaven.' 'Well,' thought George, amusedly, 'Mary was his Catfish. She kept his soul alive. ...' " ["The Catfish"]

Publisher's Weekly (June 7, 1913) write in its review of the novel that "The story deals with the influence which one woman may exert over one man when man and woman meet in their quickest sympathy of mind and heart and instinct." Related: Catfishing; catfished.

frame (n.) c. 1200, "profit, benefit, advancement;" mid-13c. "a structure composed according to a plan," from frame (v.) and in part from Scandinavian cognates (Old Norse frami "advancement"). In late 14c. it also meant "the rack."

Meaning "sustaining parts of a structure fitted together" is from c. 1400. Meaning "enclosing border" of any kind is from c. 1600; specifically "border or case for a picture or pane of glass" from 1660s. The meaning "human body" is from 1590s. Of bicycles, from 1871; of motor cars, from 1900. Meaning "separate picture in a series from a film" is from 1916. From 1660s in the meaning "particular state" (as in Frame of mind, 1711). Frame of reference is 1897, from mechanics and graphing; the figurative sense is attested from 1924.

roll (n.1) c. 1200, rolle, "rolled-up piece of parchment or paper, scroll" (especially one inscribed with an official record), from Old French rolle "document, parchment scroll, decree" (12c.), Medieval Latin rotulus "a roll of paper" (source also of Spanish rollo, Italian rullo), from Latin rotula "small wheel," diminutive of rota "wheel" (see rotary). Dutch rol, German Rolle, Danish rulle, etc. are from French.

The meaning "a register, a list, a catalogue" is from late 14c., common from c. 1800. The general sense of "quantity of material rolled up" also is from late 14c. Specific cookery meaning "small quantity of dough which is rolled before baking" is recorded from mid-15c. The meaning "quantity of paper money" is from 1846; the sense of "quantity of (rolled) film" is from 1890.

cheesecake (n.) also cheese-cake, mid-15c., from cheese (n.1) + cake (n.). Originally a cake or tart containing cheese, later one made with sweetened soft curds, etc. It was used figuratively for "soft, effeminate" from 18c.

The modern slang meaning dates from 1933; a "Time" magazine article from 1934 defined it as "leg-pictures of sporty females." In its early years this sense of the word often was associated with film star Marlene Dietrich. "A number of fanciful theories about its origins have been put forward, none of which carry sufficient conviction to bear repeating" [John Ayto, "The Diner's Dictionary"].

release (n.) early 14c., relēs, "abatement of distress; means of deliverance," from Old French relais, reles (12c.), a back-formation from relesser, relaissier "to relinquish, quit, let go, leave behind, abandon, acquit" (see release (v.)). In law, mid-14c., "transferring of property or a right to another;" late 14c. as "release from an obligation; remission of a duty, tribute, etc."

In archery, the meaning "act and manner of releasing" (a bow, etc.) is from 1871. The sense of "action of publication" is from 1907; as "a news item or official statement (to the press)" is by 1927. The meaning "action of making a film available to theaters" is from 1912, later of musical recordings, etc. The sense of "written authorization or permission for publication" is by 1965.

Hollywood (n.) region near Los Angeles, named for the ranch that once stood there, which was named by Deida Wilcox, wife of Horace H. Wilcox, Kansas City real estate man, when they moved there in 1886. They began selling off building lots in 1891 and the village was incorporated in 1903. Once a quiet farming community, by 1910 barns were being converted into movie studios. The giant sign was set up in 1923, originally reading Hollywoodland, another real estate developer's promotion. The name Hollywood was used generically for the film industry by 1922, and for "American movies" from 1926.

multiple (adj.) “involving many parts or relations; consisting of more than one complete individual," 1640s, from French multiple (14c.), from Late Latin multiplus "manifold," from Latin multi- "many, much" (see multi-) + -plus "-fold" (see -plus).

The noun is from 1680s in arithmetic, "a number produced by multiplying another by a whole number," from the adjective. Multiple choice in reference to a question in which the subject selects an answer from several options is attested by 1915. Multiple exposure "repeated exposure of the same frame of film" is recorded by 1891. In psychology, multiple personality is attested by 1886. The chronic, progressive disease multiple sclerosis is so called by 1877, because it occurs in patches (see sclerosis).

sheen (n.) "shining, luster, brightness, splendor" 1602 (in "Hamlet" iii.2), noun use of adjective sheene "beautiful, bright," from Old English scene, sciene "beautiful; bright, brilliant," from Proto-Germanic *skauniz "conspicuous" (source also of Old Frisian skene, Middle Dutch scone, Dutch schoon, Old High German skoni, German schön "fair, beautiful;" Gothic skaunjai "beautiful"), from PIE root *keu- "to see, observe, perceive." It is related to show (v.), and OED calls it "virtually a verbal noun to shine."

The meaning "thin film of oil on water" is from 1970. As an adjective now only in poetic or archaic use, but in Middle English used after a woman's name, or as a noun, "fair one, beautiful woman."

Oscar  masc. proper name, Old English Osgar "god's spear," from gar "spear" (see gar) + os "god" (only in personal names), for which see Aesir.

The statuette awarded for excellence in film acting, directing, etc., given annually since 1928 was first so called in 1933. The common explanation of the name is that it sprang from a 1931 remark by Margaret Herrick, secretary at Academy of Motion Picture Arts and Sciences, on seeing the statuette: "He reminds me of my Uncle Oscar." Thus the award would be named for Oscar Pierce, U.S. wheat farmer and fruit grower. The popularity of the name seems to trace to columnist Sidney Skolsky, and there are other stories of its origin.

Goldwynism (n.) 1937, in reference to the many humorous contradictory remarks credited to U.S. film producer Samuel G. Goldwyn (1882-1974); the best-known, arguably, being "include me out."

Goldwyn is perhaps less popular as the originator of such phrases in American English than baseball player Lawrence Peter "Yogi" Berra (1925-2015), but there doesn't seem to be a noun form based on Berra's name in popular use. Ringo Starr ("Hard Days Night") also was discovered to have the talent. Also see bull (n.3). Also compare spoonerism, malapropism, marrowsky, Three Rs, The surname typically represents Old English goldwyn, literally "gold-friend."

sneak (v.) 1550s (implied in sneakish), "creep or steal about privately; move or go in a stealthy, slinking way" (intransitive); perhaps from some dialectal survival of Middle English sniken "to creep, crawl" (c. 1200), which is from Old English snican "to sneak along, creep, crawl," from Proto-Germanic *sneikanan, which is related to the root of snail and snake (n.).

The transitive sense of "insert stealthily" is by 1640s. That of "partake of or get surreptitiously" is from 1883. Related: Sneaking. To sneak up on someone or something is by 1869.

As an adjective, in reference to feelings, suspicions, etc., "not openly vowed, undemonstrative," from 1748. Sneak-thief, one who enters through unsecured doors and windows to steal, is recorded by 1859; the movies sneak-preview of a film before official release is from 1938.

stag (n.) "adult male of the deer," especially one at 4 or 5 years, late 12c., stagge, which is probably from Old English stagga "a stag," from Proto-Germanic *stag-, from PIE root *stegh- "to stick, prick, sting," and probably so called for its tines. The Old Norse equivalent was used of male foxes, tomcats, and dragons; and the Germanic root word perhaps originally meant "male animal in its prime."

The adjectival meaning "pertaining to or composed of males only" (as in stag party, attested by 1853) is American English slang from 1837 (in stag dance). Compare bull-dance, slang for one performed by men only (1841); gander (n.) also was used in the same sense. Stag film "pornographic movie" is attested from 1968. The stag beetle (1680s) is so called for its branched mandibles, resembling the antlers of a stag.

jungle (n.) 1776, "dense growth of trees and other tangled vegetation," such as that of some regions  in India, from Hindi jangal "desert, forest, wasteland, uncultivated ground," from Sanskrit jangala-s "arid, sparsely grown with trees," a word of unknown origin.

Extended by 1849 to other places overgrown by vegetation in a wild, tangled mass. Figurative sense "wild, tangled mass" of anything is from 1850. Meaning "place notoriously lawless and violent" is first recorded 1906, from Upton Sinclair's novel. Meaning "hobo camp" is from 1908.

Asphalt jungle (1949) is from William R. Burnett's novel title, made into a film 1950 by John Huston; blackboard jungle (1954) is from Evan Hunter's novel title and 1955 movie. Jungle fever "remittent malignant fever prevalent in India and tropical regions" is from 1803. Jungle gym appears in advertisements from 1921, originally one word, made by Junglegym Inc., Chicago, U.S. Jungle bunny, derogatory for "black person," is attested by 1966.

keystone (n.) "stone in the middle of an arch (typically the uppermost stone), which holds up the others," 1630s, earlier simply key (1520s), from key (n.1) in figurative sense of "that which holds together other parts," or from its Middle English architectural sense "projecting ornament of at the intersections of ribs of vaulted or flat ceilings" (mid-14c.). Being the last put in, it is regarded as "keying," or locking together, the whole structure.

Figurative sense "chief element of a system" is from 1640s. Pennsylvania was called the Keystone State because of its position (geographical and political) in the original American confederation, occupying the middle (7th) place in the "arch" of states along the Atlantic, between eastern states and southern ones. Keystone cops were the bumbling police in the slapstick silent movies produced by Keystone Studios, formed in 1912 in Edendale, Calif., by Canadian-born U.S. film director Mack Sennett (1884-1960).

twitterpated (adj.) 1942, apparently first attested in the Walt Disney movie "Bambi" (there also was a song by that name but it was not in the studio release of the film), a past-participle adjective formed from twitter in the "tremulous excitement" noun sense (1670s) + pate (n.2) "head" (compare flutterpated, 1894).

Flower, Bambi, Thumper: Twitterpated?

Friend Owl: Yes. Nearly everybody gets twitterpated in the springtime. For example: You're walking along, minding your own business. You're looking neither to the left, nor to the right, when all of a sudden you run smack into a pretty face. Woo-woo! You begin to get weak in the knees. Your head's in a whirl. And then you feel light as a feather, and before you know it, you're walking on air. And then you know what? You're knocked for a loop, and you completely lose your head!

Thumper: Gosh, that's awful.

horror (n.) early 14c., "feeling of disgust;" late 14c., "emotion of horror or dread," also "thing which excites horror," from Old French horror (12c., Modern French horreur) and directly from Latin horror "dread, veneration, religious awe," a figurative use, literally "a shaking, trembling (as with cold or fear), shudder, chill," from horrere "to bristle with fear, shudder," from PIE root *ghers- "to bristle" (source also of Sanskrit harsate "bristles," Avestan zarshayamna- "ruffling one's feathers," Latin eris (genitive) "hedgehog," Welsh garw "rough").

Also formerly in English "a shivering," especially as a symptom of disease or in reaction to a sour or bitter taste (1530s); "erection of the hairs on the skin" (1650s); "a ruffling as of water surface" (1630s). As a genre in film, 1934. Chamber of horrors originally (1849) was a gallery of notorious criminals in Madame Tussaud's wax exhibition. Other noun forms are horribility (14c., now rare or disused), horribleness (late 14c.), horridity (1620s), horridness (1610s).

freeze (v.) alteration of freese, friese, from Middle English fresen, from Old English freosan (intransitive) "turn to ice" (class II strong verb; past tense freas, past participle froren), from Proto-Germanic *freusan "to freeze" (source also of Dutch vriezen, Old Norse frjosa, Old High German friosan, German frieren "to freeze," and related to Gothic frius "frost"), from Proto-Germanic *freus-, equivalent to PIE root *preus- "to freeze," also "to burn" (source also of Sanskrit prusva, Latin pruina "hoarfrost," Welsh rhew "frost," Sanskrit prustah "burnt," Albanian prus "burning coals," Latin pruna "a live coal").

Of weather, "be cold enough to freeze," 13c. Meaning "perish from cold" is c. 1300. Transitive sense "harden into ice, congeal as if by frost" first recorded late 14c.; figurative sense late 14c., "make hard or unfeeling." Intransitive meaning "become rigid or motionless" attested by 1720. Sense of "fix at a certain level" is from 1933; of assets, "make non-transactable," from 1922. Freeze frame is from 1960, originally "a briefly Frozen Shot after the Jingle to allow ample time for Change over at the end of a T.V. 'Commercial.' " ["ABC of Film & TV," 1960].

sweater (n.) 1520s, "one who works hard;" 1550s, "one who perspires," agent noun from sweat (v.). From 1680s as "a sudorific, that which causes to sweat." Also in 18c. colloquial use, "street ruffian who bullies by violent intimidation" (1712). It is attested by 1843 as "one who exacts hard work at very low wages, one who overworks and underpays" (see sweatshop).

As "woolen vest or jersey," by 1882, originally worn by rowers in training, from earlier sweaters "clothes worn (by a man or horse) to produce sweating and reduce weight" (1828), plural agent noun from sweat (v.).

As a fashion garment for women, it seems to have been established by 1920, after the lifting of wartime restrictions. Sweater girl is attested by 1939, a studio-nickname for Lana Turner (1920-1995), from her brief appearance at 16 in a tight sweater in the Warner Bros. film "They Won't Forget," a scandal-drama released in 1937.

Miss Turner also is glad to have lost her nickname of the Sweater Girl. It disappeared when she went to the more dignified MGM. She doesn't wear sweaters now. ["Stop, Look--And Whistle," weekly news magazine profile of Turner, December 1939]

gaslight (n.) Also gas-light, "light, or a provision for light, produced by combustion of coal gas; a gas-jet," 1808, from (illuminating) gas (n.1) + light (n.). Used through the 19th and into the early 20th century as street and domestic lighting. Related: Gas-lighted; gas-lighting; gaslighting.

As a verb meaning "to deliberately make a person believe that they are insane," by 1961, perhaps 1956. This sense is from the 1944 film Gaslight, in which a 19th century woman (played by Ingrid Bergman, who won an Academy Award) appears to be going mad. It is later revealed that her criminal husband has been convincing her that she is insane in order to discredit her observations of his activities. Among the observable clues has been the dimming of their home's gaslighting whenever (as she later learns) the husband goes secretly into the attic: he has convinced her that she is imagining this, until a family friend sees it, too, which confirms the clue that uncovers the crime.

Brian: Tell me. Is there anyone else in the house now, except us and Elizabeth?

Paula: No. Why?

Brian: The gas just went down.

Paula: You saw that too!

Brian: Why, yes.

Paula: Oh, then it really happens! I thought I imagined it!

Brian: But all it means is someone else has turned it on.

Paula: Oh, no, no. I thought that too. But every night, I’ve been all over the house, there’s never been another light turned on. At last, I can tell this to someone! Every night when my husband goes out…

Brian: …The light goes down?

Paula: Yes.

Brian: And then what?

Paula: Well, then, I think I hear things. I watch and wait. Later on, the gas goes up again.

Brian: And he comes back?

Paula: Yes. Quite soon after. Always quite soon after.

[ Gaslight, 1944]

The word seems to have received a boost in feminist literature in late 1970s.

… I had been told that my tonsillectomy was “not that bad” or that the dentist whose hands were between my legs was “fixing my teeth,” … My own favorite embodiment of this horror, still enjoyed by late-show insomniacs, is the 1944 film Gaslight, a tale which so impressed the public imagination that even today the word “gaslight” is used to describe an attempt to destroy another’s perceptions of reality and, ultimately, sanity itself. [Florence Rush, "The Best Kept Secret: Sexual Abuse of Children," 1980]

The sense evolved by 2016 to also mean "dismiss or discredit someone's viewpoint."

trailer (n.) that which or one who trails, in any sense of the verb, 1580s, originally "hound or huntsman that follows a trail," agent noun from trail (v.); the general sense of "something that trails" is by 1610s.

It is attested by 1890 as "vehicle pulled by another," originally a small carriage drawn along by a bicycle, soon transferred to carriages designed to be drawn behind engine-powered vehicles. Trailer-hitch is attested by 1953.

The meaning "advertisement run alongside a motion picture" is attested by 1916; trailer as "length of blank film at the end of a reel" is by 1913 and might have suggested this use. The verb trail in the sense "draw attention to" a forthcoming program (1941) is a back-formation in British English.

The use of automobile "trailer coaches" for recreational camping (trailer camp is by 1921) led to their being parked permanently and used for residence (trailer park "mobile home community" is recorded by 1936) especially in U.S. in the housing boom after World War II. Trailer court for "mobile home community" is attested by 1939; trailer home is by 1940. The derogatory trailer trash (n.) for the sort of people supposed to regularly inhabit mobile home communities is attested by 1986, likely suggested by white trash.

rebel (n.) "one who refuses obedience to a superior or controlling power or principle; one who resists an established government; person who renounces and makes war on his country for political motives," mid-14c., originally in reference to rebellion against God, from rebel (adj.).

By mid-15c. in the general sense of "obstinate or refractory person." The meaning "supporter of the American cause in the War of Independence" is by May 1775; sense of "supporter of the Southern cause in the American Civil War" is attested from April 15, 1861.

The Civil War's rebel yell is attested from 1862, but the thing itself is older and was said to have been picked up by (then) southwestern men in their periodic wars against the Indians.

The Southern troops, when charging or to express their delight, always yell in a manner peculiar to themselves. The Yankee cheer is more like ours; but the Confederate officers declare that the rebel yell has a particular merit, and always produces a salutary and useful effect upon their adversaries. A corps is sometimes spoken of as a 'good yelling regiment.' [A.J.L. Fremantle, "The Battle of Gettysburg and the Campaign in Pennsylvania," in Blackwood's Edinburgh Magazine, Sept. 1863]

Rebel without a cause is from the title of the 1955 Warner Bros. film, a title said to have been adopted from psychiatrist Robert M. Linder's 1944 classic "Rebel Without a Cause," which follows the successful analysis and hypnosis of a criminal psychopath but otherwise has nothing to do with the movie.

cunt (n.2)

ca. 1920, "stupid person; lowlife." Now chiefly British, some of the earliest uses are by Americans. Ultimately derived from cunt (n.1) it is probable that in this sense it is adopted from the French use of the equivalent word con, and was taken up by soldiers during the first World War.

French con in this sense becomes (barely) printable around the end of the 19c., and appears originally to have been an insult for an effete man. It soon adopted also a sense of "un crétin." Originally a word so rude it was often censored even in speech (frequently spelled aloud instead of said), over time the French con became almost exclusive to this sense of a stupid person, and by 1984 a film titled P'tit Con ("Li'l Fool") based on a comic book, was not at all controversial.

The word is used almost as freely in some dialects, where it is more of a bantering term and not necessarily used to insult. Scottish author Irvine Welsh's 1998 play You'll Have Had Your Hole opens on a kidnapped character screaming for assistance: "Somebody! Get me fuckin oot ay this! Help ays! Some cunt!" As of 2024, Irish author Blindboy Boatclub tempts audiences to his podcast with the tagline: "Listen to The Blindboy Podcast you beautiful cuuuuuunts." Meanwhile, in American use it is typically perceived as an intense slur against women. Also compare berk (n.).

vamp (n.2) "seductive woman who exploits men," 1915, popular shortening of vampire, which exists in this sense by 1909 in the novel A Fool There Was by Porter Emerson Browne, based on a Kipling poem written in conjunction with a painting called "The Vampire" by Kipling's cousin Philip Burne-Jones. The poem and painting were first exhibited together in 1897.

A fool there was and he made his prayer

     (Even as you and I!)

To a rag and a bone and a hank of hair

(We called her the woman who did not care)

But the fool, he called her his lady fair

     (Even as you and I.)

[Kipling, from "The Vampire"]

The 1915 film A Fool There Was, based on the novel, is credited with bringing the term vamp into the mainstream after Theda Bara's debut role as The Vampire propelled her to stardom. The word was in print in reference to dangerous women within a month of the movie's premier.

"So you're going to turn vampire for revenge?" I inquired.

"Me for the vamp stuff," she assured me earnestly.

[William Slavens McNutt, "The Rocky Road of Rectitude," in Munsey's, February 1915]

Previously the word was used as a pejorative for men, perhaps shortened from vamper, originally indicating dishonest men who stole or cheated through trickery (in this sense, by 1864). The male word may have influenced the clipping of the female vampire.

N.B. The print OED citation of Chesterton using the word vamp in this sense in 1911 cannot be confirmed; the sentence quoted might be from 1926.

silent (adj.) c. 1500, "without speech, not speaking," from Latin silentem (nominative silens) "still, calm, quiet," present participle of silere "be quiet or still" (see silence (n.)). The meaning "free from noise or sound" is from 1580s.

Of letters in a word, "not sounded or pronounced," c. 1600. In the looser sense of "of few words," by 1840. In reference to films exhibited without recorded sound, 1909; this as opposed to talking pictures, which were described (Carl Herbert, "The Truth About Talking Pictures," The Moving Picture World, March 20, 1909) as of three types: phonograph recordings played along with the film, or live actors, either behind the projection screen improvising "more or less plausible dialogue" to what is on it, or reading dialogue specially prepared for the movie.

The phrase strong, silent (type) is attested from 1905. Silent majority in the political sense of "mass of people whose moderate views are not publicly expressed and thus overlooked" is first attested 1955 in a British context and was used by John F. Kennedy but is most associated in U.S. with the rhetoric of the Nixon administration (1969-74).

It is time for America's silent majority to stand up for its rights, and let us remember the American majority includes every minority. America's silent majority is bewildered by irrational protest. [Spiro T. Agnew, May 9, 1969]

In Victorian use, the phrase meant "the dead" (by 1874; compare Roman use of the noun plural of "silent" to mean "the dead"). In one 14c. text, the Latin phrase meaning "one who is silent" is translated by a beere stille.

it (pron.) Old English hit, neuter nominative and accusative of third person singular pronoun, from Proto-Germanic demonstrative base *khi- (source also of Old Frisian hit, Dutch het, Gothic hita "it"), from PIE *ko- "this" (see he). Used in place of any neuter noun, hence, as gender faded in Middle English, it took on the meaning "thing or animal spoken about before."

The h- was lost due to being in an unemphasized position, as in modern speech the h- in "give it to him," "ask her," is heard only "in the careful speech of the partially educated" [Weekley].

It "the sex act" is from 1610s; meaning "sex appeal (especially in a woman)" attested by 1904 in works of Rudyard Kipling, popularized 1927 as title of a book by Elinor Glyn, and by application of It Girl to silent-film star Clara Bow (1905-1965). In children's games, the meaning "the one who must tag or catch the others" is attested from 1842.

From Old English as nominative of an impersonal verb or statement when the thing for which it stands is implied (it rains, it pleases me). After an intransitive verb, used transitively for the action denoted, from 1540s (originally in fight it out). A common Elizabethan idiom (as in Rowley "Trip it, gipsies, trip it fine") and Fuller's 1650 natural and geographical account of Palestine notes that "Authors have affirmed that hyssope doth tree it in Judea."

That's it "there is no more" is from 1966; this is it "the anticipated or dreaded moment has arrived" is from 1942. All there is to it "the whole of the matter" is by 1883.

action (n.) mid-14c., accioun, "cause or grounds for a lawsuit," from Anglo-French accioun, Old French accion, action (12c.) "action; lawsuit, case," from Latin actionem (nominative actio) "a putting in motion; a performing, a doing; public acts, official conduct; lawsuit, legal action" (source also of Spanish accion, Italian azione), noun of action from past-participle stem of agere "to do" (from PIE root *ag- "to drive, draw out or forth, move").

Spelling with the restored Latin -t- begins in 15c. The meaning "active exertion, activity" is from late 14c. The sense of "something done, an act, deed" is late 14c. The meaning "military fighting" is from 1590s. The meaning "way in which (a firearm, etc.) acts" is from 1845. As a film director's command, it is attested from 1923.

The meaning "noteworthy or important activity" in a modern sense by 1933, as in the figurative phrase a piece of the action (by 1965), perhaps from a sense of action in card-playing jargon attested by 1914.

No "action" can be had on a bet until the card bet upon appears. If it does not appear after a turn has been made, the player is at liberty to change his bet, or to remove it altogether. Each bet is made for the turn only, unless the player chooses to leave it until he gets some action on it. [from "Faro" in "Hoyle's Games," A.L. Burt Company, New York: 1914]

But there are uses of action as far back as c. 1600 that seem to mean "noteworthy activity." The meaning "excitement" is recorded from 1968. In action "in a condition of effective operation" is from 1650s. Phrase actions speak louder than words is attested from 1731. Action-packed is attested from 1953, originally of movies.

geek (n.) "sideshow freak," by 1911, U.S. carnival and circus slang, perhaps a variant of geck, geke "a fool, dupe, simpleton" (1510s), apparently from Dutch gek or Low German geck, from an imitative verb found in North Sea Germanic and Scandinavian meaning "to croak, cackle," and also "to mock, cheat" (Dutch gekken, German gecken, Danish gjække, Swedish gäcka). Compare gowk.

Green's Dictionary of Slang credits "one Wagner, of Charleston, West Virginia, who had a celebrated touring snake-eating act" as the popularizer of the name for the particular style of "wild man" act in which a performer (often suggested to be something sub-human) would eat or bite apart live snakes, bugs, chickens, etc.

By 1949 it was also defined as "any disliked person." In the 1970s the term gained currency as an insult for a kind of worthless, wimpy but pretentiously macho person, popularized by the catchphrase of pro wrestler "Classy" Freddie Blassie (1918-2003) who described all his enemies as "pencil neck geeks." Blassie had picked up the word when he began wrestling as a circus performer in the 1930s. After his retirement he released a novelty record titled Pencil Neck Geek, which became a hit on the Dr. Demento Show.

You see, if you take a pencil that won't hold lead,

Looks like a pipe cleaner attached to a head,

Add a buggy whip body with a brain that leaks,

You got yourself a grit eatin', pencil neck geek.

[Song "Pencil Neck Geek." By Johnny Legend (Martin Margulies) and Pete Cicero, 1977.]

By 1980, geek was used in teenager slang in reference to a "weird person" or a "studious person" and perhaps influenced by freak in this sense. The original freak show origins of the word were still widely known and the concept was colored by these associations, such as a geek being unclean, uncouth, disfigured, violent, etc. Throughout the 1980s the term was always used insultingly, even by studious people and tech-lovers; often interchangeable with wuss, dork, dipshit, etc.

In the popular 1984 film Sixteen Candles, Anthony Michael Hall's girl-crazy, tech-loving, socially despised character was only credited with the name "The Geek" and the term's popularity was boosted. The film Revenge of the Nerds was released the same summer, featuring similar character types, which circumstance likely contributed to geek and nerd becoming more or less synonymous.

From c. 1989 the appellation became neutral in college slang, taking on a sense of "a person having knowledgeability or capability." In the 1990s it was often paired with another word (film geek, computer geek, etc.) and no longer necessarily used with a sense of disparagement.

special (adj.) c. 1200, "given or granted in unusual circumstances, exceptional;" also "specific" as opposed to general or common; from Old French special, especial "special, particular, unusual" (12c., Modern French spécial) and directly from Latin specialis "individual, particular" (source also of Spanish especial, Italian speziale), from species "appearance, kind, sort" (see species).

The meaning "marked off from others by some distinguishing quality; dear, favored" is recorded from c. 1300. Also from c. 1300 is the sense of "selected for an important task; specially chosen." It is attested from mid-14c. as "extraordinary, distinguished, having a distinctive character," on the notion of "used for special occasions;" hence "excellent; precious."

From late 14c. as "individual, particular; characteristic." The specific meaning "limited as to function, operation, or purpose" is from 14c., but developed especially in the 19c.; the sense of "in addition to the usual or ordinary" (as in special edition) is by 1840.

Special effects in the Hollywood sense is by 1922, produced in the theater, not the studio:

Many were the well-deserved congratulations received by Mr. Charles Williams regarding the wonderful presentation of "The Four Horsemen of the Apocalypse" at the Futurist, Birmingham. The special effects included rain produced by sprinklers, the noises of the battlefield by the aid of blank maroons and revolver cartridges, and orchestral effects under the guidance of Mr. Alex Cohen which undoubtedly contributed largely to the marked success of the presentation. [The Film Renter & Moving Picture News, Dec. 16, 1922]

Special interest in the U.S. political sense of "group or industry seeking advantages for itself" is from 1910. Special education in reference to teaching those whose learning is impeded by some mental or physical handicap is from 1972. Special pleading is recorded by 1680s, a term that had a sound legal meaning once but now is used generally and imprecisely.

Special pleading. (a) The allegation of special or new matter, as distinguished from a direct denial of matter previously alleged on the other side. ... (c) In popular use, the specious but unsound or unfair argumentation of one whose aim is victory rather than truth. [Century Dictionary]

stooge (n.) 1913, "stage assistant, actor who assists a comedian," a word of uncertain origin, perhaps an alteration of student (with the mispronunciation STOO-jent) in sense of "apprentice."

The meaning "lackey, person used for another's purpose" is recorded by 1937. The Three Stooges film slapstick act debuted on screen in 1930, originally as "Ted Healy and His Stooges."

girl (n.) c. 1300, gyrle "child, young person" (of either sex but most frequently of females), of unknown origin. One guess [OED] leans toward an unrecorded Old English *gyrele, from Proto-Germanic *gurwilon-, diminutive of *gurwjoz (apparently also represented by Low German gære "boy, girl," Norwegian dialectal gorre, Swedish dialectal gurre "small child," though the exact relationship, if any, between all these is obscure), from PIE *ghwrgh-, also found in Greek parthenos "virgin." But this involves some objectionable philology. Liberman (2008) writes:

Girl does not go back to any Old English or Old Germanic form. It is part of a large group of Germanic words whose root begins with a g or k and ends in r. The final consonant in girl is a diminutive suffix. The g-r words denote young animals, children, and all kinds of creatures considered immature, worthless, or past their prime.

Another candidate is Old English gierela "garment" (for possible sense evolution in this theory, compare brat). A former folk-etymology derivation from Latin garrulus "chattering, talkative" is now discarded. Like boy, lass, lad it is of more or less obscure origin. "Probably most of them arose as jocular transferred uses of words that had originally different meaning" [OED]. Specific meaning of "female child" is late 14c. Applied to "any young unmarried woman" since mid-15c. Meaning "sweetheart" is from 1640s. Old girl in reference to a woman of any age is recorded from 1826. Girl next door as a type of unflashy attractiveness is recorded by 1953 (the title of a 20th Century Fox film starring June Haver).

Doris [Day] was a big vocalist even before she hit the movies in 1948. There, as the latest movie colony "girl next door," sunny-faced Doris soon became a leading movie attraction as well as the world's top female recording star. "She's the girl next door, all right," said one Hollywood admirer. "Next door to the bank." [Life magazine, Dec. 22, 1958]

Girl Friday "resourceful young woman assistant" is from 1940, a reference to "Robinson Crusoe." Girl Scout is from 1909. For the usual Old English word, see maiden.

score (n.) late Old English scoru "twenty," from Old Norse skor "mark, notch, incision; a rift in rock," also, in Icelandic, "twenty," from Proto-Germanic *skur-, from PIE root *sker- (1) "to cut."

The notion probably is of counting large numbers (of a passing flock of sheep, etc.) by making a notch in a stick for each 20. The prehistoric sense of the Germanic word, then, likely was "straight mark like a scratch, line drawn by a sharp instrument." That way of counting, called vigesimalism, is widespread and also exists in France and left its trace in the language: In Old French, "twenty" (vint) or a multiple of it could be used as a base, as in vint et doze ("32"), dous vinz et diz ("50"). Vigesimalism was or is a feature of Welsh, Irish, Gaelic and Breton (as well as non-IE Basque), and it is speculated that the English and the French learned it from the Celts. Compare tally (n.).

By early 13c. it is attested in the sense of "a financial record" (perhaps one kept by tallies), and it is attested from early 14c. as "reckoning, total amount." The specific sense of "a reckoning or account kept by means of tallies" is clearly attested by c. 1400, especially (1590s) "mark made (by chalk, on a taproom door, etc.) to keep count of a customer's drinks."

This was extended by c. 1600 to "amount due, one's debt," and by 1670s to "mark made for purpose of recording a point in a game or match," and thus "aggregate of points made by contestants in certain games and matches" (1742, in whist).

Meaning "printed piece of music" is recorded by 1701, said to be from the practice of connecting related staves by scores (in the "line drawn" sense). Especially "music composed for a film" (1927). In underworld slang, "money obtained in a crime," 1914. Meaning "an act of obtaining narcotic drugs" is by 1951.

make (v.) Old English macian "to give being to, give form or character to, bring into existence; construct, do, be the author of, produce; prepare, arrange, cause; behave, fare, transform," from West Germanic *makōjanan "to fashion, fit" (source also of Old Saxon makon, Old Frisian makia "to build, make," Middle Dutch and Dutch maken, Old High German mahhon "to construct, make," German machen "to make"), from PIE root *mag- "to knead, fashion, fit." If so, sense evolution perhaps is via prehistoric houses built of mud. It gradually replaced the main Old English word, gewyrcan (see work (v.)).

Make time "go fast" is 1849; make tracks in this sense is from 1834. To make a federal case out of  (something) was popularized in 1959 movie "Anatomy of a Murder;" to make an offer (one) can't refuse is from Mario Puzo's 1969 novel "The Godfather." To make (one's) day is by 1909; menacing make my day is from 1971, popularized by Clint Eastwood in film "Sudden Impact" (1983). Related: Made; making.

shooting (n.) Old English scotung, "action of one who shoots" (an arrow from a bow), verbal noun from the source of shoot (v.). By 1640s as "the sport of killing game with a gun;" the modern athletic contest sense is by 1885. By 1873 as "an incident in which someone is shot with a firearm." The film-camera sense is by 1920.

Shooting iron "firearm" is by 1775 (Sam Adams) in American English colloquial; shooting gallery is from 1836, originally a long room having a target at one end and arranged for firearms practice; shooting match as "marksmanship contest" is from 1750. Shooting star "meteor" is recorded by 1590s (the verb shoot with reference to meteors is from late 13c.; shot star for "shooting star" is attested from 1630s).

run (v.) Old English, "move swiftly by using the legs, go on legs more rapidly than walking," also "make haste, hurry; be active, pursue or follow a course," and, of inanimate things, "to move over a course."

The modern verb is a merger of two related Old English words, in both of which the initial two letters sometimes switched places. The first is intransitive rinnan, irnan "to run, flow, run together" (past tense ran, past participle runnen), which is cognate with Middle Dutch runnen, Old Saxon, Old High German, Gothic rinnan, German rinnen "to flow, run."

The second is Old English transitive weak verb ærnan, earnan "ride, run to, reach, gain by running" (probably a metathesis of *rennan), from Proto-Germanic *rannjanan, causative of the root *ren- "to run." This is cognate with Old Saxon renian, Old High German rennen, German rennen, Gothic rannjan.

Watkins says both are from PIE *ri-ne-a-, nasalized form of root *rei- "to run, flow," but Boutkan's sources find this derivation doubtful based on the poor attestation of supposed related forms, and he lists it as of "No certain IE etymology."

Of streams, etc., "to flow," from late Old English. From c. 1200 as "take flight, retreat hurriedly or secretly." Phrase run for it "take flight" is attested from 1640s.

bimbo (n.) a word of vague etymology, apparently a convergence of multiple words, given wide application in late 19c. and settling into its main modern meaning "floozie" from early 1920s, with a revival in 1980s.

Bimbo first appears as the name of an alcoholic punch, mentioned in newspapers from New York state (1837), Boston (1842), and New Orleans (1844, but as having come from Boston). It is usually made with arrack or rum or brandy, sometimes all of them. It is likely derived from earlier bumbo (1748) a synonym for punch (n.2) which may be from 17c. slang ben-bowse (strong drink) and in which case connected with rum. This sense of the word quickly fades, though it occasionally is on menus as late as 1895. The spelling change from bumbo to bimbo might have been the result of slang bumbo appearing in the 1823 edition of Grose's Classical Dictionary of the Vulgar Tongue, with the meaning "the negro name for the monosyllable [cunt]."

From 1860-1910, Bimbo as a proper name is frequent: It is the name or part of the name of several race horses, dogs, and monkeys, a circus elephant (perhaps echoing jumbo), and a jester character in a play. It is in the title of a three-act musical farce ("Bimbo of Bombay"), and the name of a popular "knockabout clown"/actor in England and several other stage clowns. Also it appears as a genuine surname, and "The Bimbos" were a popular brother-sister comedy acrobatics team in vaudeville.

A separate bimbo seems to have entered American English c. 1900, via immigration, as an Italian word for a little child or a child's doll, evidently a contraction of bambino "baby."

By 1919 it began to be used generally of a stupid or ineffectual man, a usage Damon Runyon traced to Philadelphia prize-fight slang. He wrote, that July, in a column printed in several newspapers, of a hotel lobby fist-fight between "Yankee Schwartz, the old Philadelphia boxer," and another man, which Schwartz wins.

"No Bimbo can lick me," he said, breathlessly, at the finish.

"What's a Bimbo?" somebody asked "Tiny" Maxwell, on the assumption that "Tiny" ought to be familiar with the Philadelphia lingo.

"A bimbo," said "Tiny," "is t-t-two degrees lower than a coo-coo—cootie."

The word does turn up in Philadelphia papers' accounts of prizefights (e.g. "Fitzsimmons Is No Bimbo," Evening Public Ledger, May 25, 1920). The male word bimbo continues to appear as a derogatory term for a thug or bully through the 1940s (compare bozo.)

By 1920 the female word with a sense of "floozie" had developed, perhaps boosted by "My Little Bimbo Down on Bamboo Isle," a popular 1920 song in which the singer (imploring the audience not to alert his wife) tells of his shipwreck "on a Fiji-eeji Isle" and his "bimbo down on that bamboo isle... she's got the other bimbos beat a mile." An article in Variety from 1920, reviewing a performance by singer Margaret Young of a song simply referred to as "Bimbo" tells: "The wise crackers laughed every time the title was mentioned for the slangists know that Bimbo has a unique meaning." This may be a reference to the earlier bumbo monosyllable. Other references through the 1920s suggest a sense similar to flapper or vamp, including Mae West's sexually aggressive Diamond Lil character being called a "Bowery bimbo."

The female word fell from common use after the 1930s, and in the 1967 Dictionary of American Slang, only the shortened form bim (attested by 1924) was regarded as worthy of an entry. It began to revive circa 1975; in the R rated 1983 film Flashdance it was the misogynistic villain's insult of choice for the female dancers. Its resurrection during 1980s U.S. political sex scandals led to derivatives including diminutive bimbette (1983) and male form himbo (1988).

monster (n.) Origin and meaning of monster early 14c., monstre, "malformed animal or human, creature afflicted with a birth defect," from Old French monstre, mostre "monster, monstrosity" (12c.), and directly from Latin monstrum "divine omen (especially one indicating misfortune), portent, sign; abnormal shape; monster, monstrosity," figuratively "repulsive character, object of dread, awful deed, abomination," a derivative of monere "to remind, bring to (one's) recollection, tell (of); admonish, advise, warn, instruct, teach," from PIE *moneie- "to make think of, remind," suffixed (causative) form of root *men- (1) "to think."

Abnormal or prodigious animals were regarded as signs or omens of impending evil. Extended by late 14c. to fabulous animals composed of parts of creatures (centaur, griffin, etc.). Meaning "animal of vast size" is from 1520s; sense of "person of inhuman cruelty or wickedness, person regarded with horror because of moral deformity" is from 1550s. As an adjective, "of extraordinary size," from 1837. In Old English, the monster Grendel was an aglæca, a word related to aglæc "calamity, terror, distress, oppression." Monster movie "movie featuring a monster as a leading element," is by 1958 (monster film is from 1941).

damn (v) Middle English dampnen, also damnen, dammen, late 13c. as a legal term, "to condemn, declare guilty, convict;" c. 1300 in the theological sense of "doom to punishment in a future state," from Old French damner "damn, condemn; convict, blame; injure," derivative of Latin damnare "to adjudge guilty; to doom; to condemn, blame, reject," from noun damnum "damage, hurt, harm; loss, injury; a fine, penalty," from Proto-Italic *dapno-, possibly from an ancient religious term from PIE *dap- "to apportion in exchange" [Watkins] or *dhp-no- "expense, investment" [de Vaan]. The -p- in the English word disappeared 16c.

The legal meaning "pronounce judgment upon" evolved in the Latin word. The optative expletive use likely is as old as the theological sense. Damn and its derivatives generally were avoided in print from 18c. to 1930s (the famous line in the film version of "Gone with the Wind" was a breakthrough and required much effort by the studio). Meaning "judge or pronounce (a work) to be bad by public expression" is from 1650s; to damn with faint praise is from Pope.

The noun is recorded from 1610s, "utterance of the word 'damn.'" To be not worth a damn is from 1817. To not give (or care) a damn is by 1760. The adjective is 1775, short for damned; Damn Yankee, the characteristic Southern U.S. term for "Northerner," is attested by 1812 (as damned). Related: Damning.