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A television network is a telecommunications network for distribution of television program content, whereby a central operation provides programming to many television stations or pay TV providers. Until the mid-1980s, television programming in most countries of the world was dominated by a small number of broadcast networks. Many early television networks (e.g. the BBC, NBC or CBS) evolved from earlier radio networks.

In countries where most networks broadcast identical, centrally originated content to all their stations and where most individual TV transmitters therefore operate only as large "repeater stations", the terms "television network", "television channel" (a numeric identifier or radio frequency), and "television station" have become mostly interchangeable in everyday language, with professionals in TV-related occupations continuing to make a difference between them. Within the industry, a tiering is sometimes created among groups of networks based on whether their programming is simultaneously originated from a central point, and whether the network master control has the technical and administrative capability to take-over the programming of their affiliates in real-time when it deems this necessary — the most common example being national breaking news events.

In North America in particular, many television networks available via cable and satellite television are branded as "channels" because they are somewhat different than traditional networks in the sense defined above, as they are singular operations – they have no affiliates or component stations, but instead are distributed to the public via cable or direct-broadcast satellite companies. Such networks are commonly referred to by terms such as "specialty channels" in Canada or "cable networks" in the U.S.

A network may or may not produce all of its own programming. If not, production houses such as Warner Bros. and Sony Pictures can distribute their content to the different networks, and it is common that a certain production house may have programs on two or more rival networks. Similarly, some networks may import television programs from other countries, or use archival programming to help complement their schedules.

Some stations have the capability to interrupt the network through the local insertion of TV commercials, station IDs, and emergency alerts. Others completely break away from the network for their own programming, known as regional variation. This is common where small networks are members of larger networks. The majority of commercial television stations are self-owned, even though a variety of these instances are the property of a Owned And Operated television network. The commercial television stations can also be linked with a non-commercial educational broadcasting agency. It is also important to note that some countries have installed nationwide television networks, so that individual television stations can act as common repeaters of nationwide programs.

The majority of commercial television stations are self-owned, even though a variety of these instances are the property of a Owned And Operated television network. The commercial television stations can also be linked with a non-commercial educational broadcasting agency. It is also important to note that some countries have installed nationwide television networks, so that individual television stations can act as common repeaters of nationwide programs. On the other hand, televisions networks also undergo the impending experience of major changes related to cultural varieties. The emergence of cable television network has made available in major media markets on television, programs aimed at American bi-cultural Latinos. Such a diverse captive audience presents an occasion for the networks and affiliates to advertise the best programming that needs to be aired. This is explained by author Tim P. Vos in his abstract “A Cultural Explanation of Early Broadcast” where he determines Targeted group/non-targeted group representations and also the cultural specificity employed in the television network entity. He notes: Policymakers did not expressly intend to create a broadcast order dominated by commercial networks. In fact, legislative attempts were made to limit the network’s preferred position.

As to individual stations, modern network operations centers usually use broadcast automation to handle most tasks. These systems are not only used for Broadcast programming and for video server play-out, but use exact atomic time from GPS or other sources to maintain perfect synchronization with upstream and downstream systems, so that programming appears seamless to audience viewers.

Global[link]

A major international television network is the British Broadcasting Corporation, or BBC which is perhaps most well known for its news agency BBC News. Owned by the Crown, the BBC operates primarily in the United Kingdom. It is funded by the television licence paid by British residents that watch broadcast TV and as a result, no commercial advertising appears on their networks. Outside of the UK, advertising is shown because the licence fee only applies to the BBC's British operations. 23,000 people worldwide are employed by the BBC and its subsidiary, BBC Worldwide.

United States[link]

Television in the United States has long been dominated by the Big Three television networks, ABC, CBS and NBC, but Fox, launched in 1986, has gained prominence and is now considered as part of the "Big Four." The Big Three provide a significant amount of television programs to each of their affiliates, including newscasts, prime-time, daytime television and sports television, but still have periods each day when each affiliate can air local programming, such as local news or syndicated programmes. Since the creation of Fox, the number of American television networks has grown, but the amount of programming they provide is often much less: for example, The CW Television Network only broadcasts for ten hours each week, leaving its affiliates free to broadcast a large amount of syndicated programming. Other networks are dedicated to specialist programmes, such as religious broadcasting or services in languages other than English, especially in Spanish.

The largest television network in the United States, however, is the Public Broadcasting Service (PBS), a non-profit, non-commercial educational, publicly owned service. In comparison to the commercial television networks, there is no central unified arm of broadcast programming, meaning that each PBS affiliate has a significant amount of freedom to schedule television shows as they consent to.

Some public television such as Public Broadcasting Service (PBS) carry separate digital network through affiliates such as Georgia Public Broadcasting stations. In fact some programs from PBS were branded on other channels as GPB Kids, and PBS World. The way this works is by having each network sending its signal to many local affiliate television stations across the country. These local stations then air the "network feed," and millions of households across the country tune in. In the case of the largest networks, the signal is sent to over 200 stations. In the case of the smallest networks, the signal may be sent to just a dozen or fewer stations.

The way this works is by having each network sending its signal to many local affiliate television stations across the country. These local stations then air the "network feed," and millions of households across the country tune in. In the case of the largest networks, the signal is sent to over 200 stations. In the case of the smallest networks, the signal may be sent to just a dozen or fewer stations.

With the digital terrestrial television and the mandated DTV transition in the United States, several television networks have been created specifically to be transmitted on the digital subchannels of TV stations. These include Ion Life (which is almost always paired with Ion Television as most of the stations are network-owned), and ThisTV (which is carried on an assortment of unrelated stations).

Providers of pay TV generally on cable television pay the networks a certain amount per subscriber (the highest charge being for ESPN). Direct-broadcast satellite company can sell local television commercials, in which case there may be revenue sharing. Networks that consist entirely of home shopping or infomercials may instead pay the station or cable/satellite provider, which is known as brokered programming. This is especially common with low-power TV stations, and now even more so for the ones that are using this income to make the forced conversion to digital, which in turn provides them with several extra channels to transmit different program sources on.

History[link]

Television broadcasting in the United States was heavily influenced by radio, a precursor to television. Early individual experimental radio stations in the United States began limited operations in the 1910s. In November 1920, in Pittsburgh, Westinghouse launched "the world's first commercially licensed radio station", KDKA.^[1] Other companies built early radio stations in Detroit, Boston, New York City, and other areas. Radio stations received permission to transmit through broadcast licenses obtained through the Federal Radio Commission (FRC), a government entity created in 1926 to regulate the radio industry. With few exceptions, radio stations east of the Mississippi River received official call signs beginning with the letter W; those west of the Mississippi a K. The amount of programs these early stations aired was often limited, in part due to the expense of program creation. The idea of a network system which would distribute programming to many stations simultaneously, saving each station the expense of creating all of its own programs and expanding the total coverage beyond the limits of a single broadcast signal, was devised.

NBC set up the first permanent coast-to-coast radio network in the United States by 1928, using dedicated telephone line technology. The network physically linked individual radio stations, nearly all of which were independent radio owned and operated station, in a vast chain, NBC's audio signal thus transmitted from station to station to listeners across the United States. Other companies, including CBS and Mutual, soon followed suit, each network signing hundreds of individual stations on as affiliates: stations which agreed to broadcast one network's programs.

As radio prospered throughout the 1920s and 1930s, experimental television stations, which broadcast both an audio and a video signal, began sporadic broadcasts. Experimental television station broadcast license were often granted to experienced radio broadcasters, and thus advances in television technology closely followed breakthroughs in radio technology. As interest in television grew, and as early television stations began regular broadcasts, the idea of networking television signals (sending one station's video and audio signal to outlying stations) was born. However, the signal from an electronic television system, containing much more information than a radio signal (6 MHz), required a broadband transmission medium. Transmission by a nationwide series of radio relay towers would be possible but extremely expensive.

Researchers at the AT&T subsidiary Bell Telephone Laboratories patented coaxial cable in 1929, primarily as a telephone improvement device. Its high capacity (transmitting 240 telephone calls simultaneously) also made it ideal for long-distance television transmission, where it could handle a frequency band of 1 megahertz.^[2] German television first demonstrated such an application in 1936 by relaying televised telephone calls from Berlin to Leipzig, 180 km (110 mi) away, by cable.^[3]

AT&T laid the first L-carrier coaxial cable between New York and Philadelphia, with automatic signal booster stations every 10 miles (16 km), and in 1937 they experimented with transmitting televised motion pictures over the line.^[4] Bell Labs gave demonstrations of the New York–Philadelphia television link in 1940–1941. AT&T used the coaxial link to transmit the Republican national convention in June 1940 from Philadelphia to New York City, where it was televised to a few hundred receivers over the NBC station.^[5]

NBC had earlier demonstrated an inter-city television broadcast on February 1, 1940, from its station in New York City to another in Schenectady, New York by General Electric relay antennas, and began transmitting some programs on an irregular basis to Philadelphia and Schenectady in 1941. Wartime priorities suspended the manufacture of television and radio equipment for civilian use from April 1, 1942 to October 1, 1945, temporarily shutting down expansion of television networking. However, in 1944 a short film, "Patrolling the Ether", was broadcast simultaneously over three stations as an experiment.

The DuMont Television Network in 1949. DuMont's network of stations stretched from Boston to St. Louis. These stations were linked together via AT&T's coaxial cable feed, allowing the network to broadcast live television programming to all the stations at the same time. Stations not yet connected received kinescope recordings via physical delivery.

The DuMont Television Network logo.

AT&T made its first postwar addition in February 1946, with the completion of a 225-mile (362 km) cable between New York City and Washington, D.C., although a blurry demonstration broadcast showed that it would not be in regular use for several months. The DuMont Television Network, which had begun experimental broadcasts before the war, launched what Newsweek called "the country's first permanent commercial television network" on August 15, 1946, connecting New York with Washington.^[6] Not to be outdone, NBC launched what it called "the world's first regularly operating television network" on June 27, 1947, serving New York, Philadelphia, Schenectady and Washington.^[7] Baltimore and Boston were added to the NBC television network in late 1947. DuMont and NBC would be joined by CBS and ABC in 1948.

In the 1940s, the term "chain broadcasting" was used when discussing network broadcasts,^[8] as the television stations were linked together in long chains along the East Coast. But as the television networks expanded westward, the interconnected television stations formed great television networks of connected affiliate television stations. In January 1949, with the signon of DuMont's WDTV in Pittsburgh, the midwest and east-coast networks were finally connected by coaxial cable (with WDTV showing the best shows of all four networks)[1]. By 1951, the four networks stretched from coast to coast, carried on the new microwave radio relay network of AT&T Long Lines. Only a few local TV stations remained independent of the networks.

Originally, each of the four major television networks only broadcast a few hours of programs a week to their affiliate stations, mostly between the hours of 7 and 10 PM when most viewers were watching television. Most of a television station's programs were still locally produced. As the networks increased the number of programs they aired, however, officials at the Federal Communications Commission grew concerned that local television might disappear altogether. Eventually, the federal regulator enacted the Prime Time Access Rule, which restricted the amount of time that the networks could air programs; officials hoped the rules would foster the development of quality local programs, but in practice, most local stations did not want to bear the burden of producing many of their own programs, and instead chose to purchase programs from independent producers. Sales of television programs to individual local stations is called broadcast syndication, and today nearly every television station in the United States obtains syndicated programs in addition to network-produced fare.

The Fox Broadcasting Company network, part of Rupert Murdoch's News Corporation, was launched on October 9, 1986 after the company purchased the television assets of Metromedia. In the 2006–2007 television season, The CW Television Network was launched by the merger of The WB Television Network and the UPN network.

Late in the 20th century, cross-country microwave radio relays were replaced by fixed-service satellites. Some terrestrial radio relays remained in service for regional connections.

Regulation[link]

Federal Communications Commission (FCC) regulations in the United States restricted the number of television stations that could be owned by any one network, company or individual (Concentration of media ownership). This led to a system where most local television stations were independently owned, but received programming from the network through a franchising contract, except in a few big cities that had network owned-and-operated stations (O&O) and independent stations. In the early days of television, when there were often only one or two stations broadcasting in an area, the stations were usually affiliated with several networks and were able to choose which television programs to air. Eventually, as more stations were licensed, it became common for each station to be affiliated with only one network and carry all of the "prime-time" network programs. Local stations occasionally break from regularly scheduled network broadcast programming however, especially when there is local breaking news (e.g. severe weather). Moreover, when stations return to network programming from commercial breaks, the station identification is displayed in the first few seconds before switching to the network's logo.

Another FCC regulation, the Prime Time Access Rule, restricted the number of hours of network programming that could be broadcast on the local affiliate stations. This was done to encourage the development of local programming, and to give local residents access to broadcast time. More often, the result included a substantial amount of syndicated programming, usually consisting of old movies, independently produced and syndicated shows, and reruns of network programs. Occasionally, these shows were presented by a local host, especially in programs that showed cartoons and short comedies intended for children. See list of local children's television series (United States).

Canada[link]

A number of different definitions of "network" are used by government agencies, industry, and the general public.

Under the Broadcasting Act, a network is defined as "any operation where control over all or any part of the programs or program schedules of one or more broadcasting undertakings is delegated to another undertaking or person"^[9] and must be licensed by the Canadian Radio-television and Telecommunications Commission (CRTC).

Only four national over-the-air television networks are currently licensed by the CRTC: the government-owned CBC (English) and Radio-Canada (French), French-language private network TVA, and a network focused on Canada's indigenous peoples, APTN. A third French-language service, V, is licensed as a provincial network within Quebec, but not nationally.

Currently, licensed national or provincial networks must be carried by all cable systems (in the country or province, respectively) with a service area above a certain population threshold, as well as all satellite providers. However, they are no longer necessarily expected to achieve over-the-air coverage in all areas (APTN, for example, only has terrestrial coverage in parts of northern Canada).

In addition to these licensed networks, the two main private English-language over-the-air services, CTV and Global, are also generally considered to be "networks" by virtue of their national coverage, although they are not officially licensed as such. CTV was previously a licensed network, but relinquished this licence in 2001 after acquiring most of its affiliates, making operating a network licence essentially redundant (per the above definition).

Smaller groups of stations with common branding are often categorized by industry watchers as television systems, although the public and the broadcasters themselves will often refer to them as "networks" regardless. Some of these systems, such as CTV Two, Citytv, and the now-defunct E!, essentially operate as mini-networks, but have reduced geographical coverage. Others, such as Omni or CTS, have similar branding and a common programming focus, but schedules may vary significantly from one station to the next.

Most local television stations in Canada are now owned and operated directly by their network, with only a very few affiliates still operating.

Europe, Asia, Africa and South America[link]

This section's factual accuracy may be compromised due to out-of-date information. Please help improve the article by updating it. There may be additional information on the talk page. (October 2009)

Most television services outside North America are national networks established by a combination of publicly funded broadcasters and commercial broadcasters.^{[citation needed]} Most nations established television networks in a similar way: the first television service in each country was operated by a public broadcaster, often funded by a TV licensing fee, and most of them later established a second or even third station providing a greater variety of content. Commercial television services also became available when private companies applied for television broadcasting licenses. Often, each new network would be identified with their channel number, so that individual stations would often be numbered One, Two, Three, and so forth.

United Kingdom[link]

The first television network in the United Kingdom was provided by the BBC, but commercial broadcasting was established in order to create a second television network. Rather than creating a single network with local stations owned and operated by a single company (as is the case with the BBC), each local area had a separate television station independently owned and operated, although most of these stations shared a number of programmes. Gradually, each of these stations formed the ITV Network.

When UHF television allowed a greater number of television stations to broadcast, the BBC launched a second network, BBC Two (and the original service was later renamed BBC One). A fourth nationwide commercial network was launched, Channel 4, although Wales introduced a Welsh-language service instead, S4C. A fifth network, currently called Channel 5, was later launched. Since the introduction of digital television, the BBC, ITV, Channel 4 and Channel 5 each introduced a number of digital-only channels. The large amount of remaining channels are operated by satellite and virgin media cable only BSkyB and free to view UKTV who operate a number of channels including Dave, GOLD, Watch, yesterday and other more specific channels

Netherlands[link]

Until 1989, Netherlands Public Broadcasting was the only television network in the Netherlands, with three stations, Nederland 1, Nederland 2 and Nederland 3. Rather than having a single production arm, there are a number of public broadcasting organizations that create programming for each of the three stations, each working relatively independently. Commercial broadcasting in the Netherlands is currently operated by two networks, RTL Nederland and SBS Broadcasting, which together broadcast seven commercial stations.

Russia[link]

Soviet era[link]

The first television network of Soviet Union appeared on 4 November 1967 when the Channel One of USSR Central Television became all-union one. Until 1989 there were six TV channels, all owned by the USSR Gosteleradio. This changed during Gorbachev's Perestroika when the first independent television network, 2×2, was launched.

1990s[link]

Following a breakup of the Soviet Union, USSR Gosteleradio ceased to exist as well as its six channels. Only Channel One had a smooth transition to the Ostankino Channel One and the network itself survived. The other 5 networks were Ground Zero. This free airwave space allowed many private television networks like NTV and TV-6 to appear in the mid-1990s.

2000s[link]

2000s were marked by the increased state intervention in Russian Television. On 14 April 2001 NTV television channel had its management changed following the expulsion of former oligarch and the founder of NTV Vladimir Gusinsky. As a result most of the star reporters left the channel. Later, on 22 January 2002, the second biggest private television network TV-6, where the former NTV staff took refuge, was shut down allegedly because of its editorial policy. Five months later, on 1 June TVS was launched, mostly consisting of NTV/TV-6 staff, only to stop airing 1 year later. Since then four biggest TV networks (Channel one, Russia 1, NTV and Russia 2) are state-owned.

Still, 2000s saw a rise of several independent TV networks like REN (its coverage increased vastly allowing it to become federal channel), Petersburg — Channel Five (overall the same), the relaunched 2×2 and others. Now the TV audience is mainly shared by 5 leading companies: Channel one, Russia 1, NTV, TNT and CTC.

Australia[link]

Australia has two national public networks, the ABC and SBS. The ABC operates eight stations as part of its main network ABC1, one for each state and territory, as well as three digital-only channels, ABC2, ABC3 and ABC News 24. SBS currently operates two stations, SBS One and SBS Two.

The first commercial networks in Australia involved commercial stations in Sydney, Melbourne, Brisbane, Adelaide, and later Perth, sharing programming, with each network forming networks based on their allocated channel numbers: TCN-9 Sydney, GTV-9 Melbourne, QTQ-9 Brisbane, NWS-9 Adelaide and STW-9 Perth together formed the Nine Network, while their equivalents on VHF channels 7 and 10 formed the Seven Network and Network Ten respectively. Until 1989, areas outside of these main cities had access to only a single commercial station, and these rural stations often formed small networks such as Prime Television. Beginning in 1989, however, television markets in rural areas began to aggregate, allowing these rural networks to broadcast over a larger area, often an entire state, and become full-time affiliates to one specific metropolitan network.

Philippines[link]

In the Philippines, in practice, the terms network, station and channel are used interchangeably as programming line-ups are mostly centrally planned from the networks' main offices, and since provincial/regional stations usually just relay the broadcast from their parent company network's flagship station (usually based in the Mega Manila area). Hence VHF networks are sometimes informally referred to by the channel number they are seen on terrestrial TV in the Mega Manila area (e.g. Channel 2 or Dos for ABS-CBN, Channel 5 or Singko for TV5, and Channel 7 or Siyete for GMA Network) while some networks have the channel numbers in their name (e.g. TV5, Studio 23 and Net 25 which are seen on channels 23 and 25 respectively).

Unlike the US where networks get programmes from various production houses, the two largest networks in the Philippines produce all their prime time programmes except for Asianovelas. Other networks adopt block-time programming whose programming arrangements are similar to the relationship between a US network and station. And also Philippines has network wars in which the fans of the 2 major networks defend their favorite channel, or when the 2 major networks produce similar and rival programming, and example of this, is when an ABS-CBN fan tells an insult on GMA (usually being called cheap), and a GMA fan would answer and make another insult (usually the answer is that ABS-CBN is mayabang, arrogant in English), and an exchange of insults would occur, usually on social networking sites, especially Facebook. In terms of programming, for example, after the launch of Showtime, GMA launched Diz Iz It!, but was cancelled due to the former's popularity, and the latter was called a copycat and cheap. But the real definition of the network wars is that the 3 networks battle for ratings supremacy.

References[link]

See also[link]

Look up television network in Wiktionary, the free dictionary.

• Cable television in the United States
• Concentration of media ownership
• List of television networks by country
• Parent company
• Television system

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Audrey Hepburn
Hepburn in a studio publicity portrait for 1957 film Love in the Afternoon
Born	Audrey Kathleen Ruston (1929-05-04)4 May 1929 Ixelles, Belgium
Died	20 January 1993(1993-01-20) (aged 63) Tolochenaz, Vaud, Switzerland
Cause of death	Appendiceal cancer
Resting place	Tolochenaz Cemetery, Tolochenaz, Vaud, Switzerland
Nationality	British
Other names	Edda van Heemstra Audrey Kathleen Hepburn-Ruston
Occupation	Actress, humanitarian
Years active	1948–1992
Spouse	Mel Ferrer (1954–1968) Andrea Dotti (1969–1982)
Partner	Robert Wolders (1980–1993; her death)
Children	Sean Hepburn Ferrer Luca Dotti
Parents	Joseph Victor Anthony Ruston (deceased) Ella van Heemstra (deceased)
Awards	List of awards and honours
Signature
Website
www.audreyhepburn.com

Audrey Hepburn (born Audrey Kathleen Ruston; 4 May 1929 – 20 January 1993) was a British actress and humanitarian. Although modest about her acting ability, Hepburn remains one of the world's most famous actresses of all time who was ranked as the third greatest female screen legend in the history of American cinema. Remembered as both a film and fashion icon of the twentieth century, Hepburn redefined glamour with "elfin" features and a gamine waif-like figure that inspired designs by Givenchy and earned her place in the International Best Dressed List Hall of Fame.^[1][2][3]

Born in Ixelles, a district of Brussels, Hepburn spent her childhood between Belgium, England and the Netherlands, including German-occupied Arnhem during the Second World War, where she studied ballet with Sonia Gaskell in Amsterdam before moving to London in 1948 to continue ballet training with Marie Rambert and perform as a chorus girl in West End musical theatre productions.

After appearing in several British films and starring in the 1951 Broadway play Gigi, Hepburn gained instant Hollywood stardom for playing the Academy Award-winning lead role in Roman Holiday (1953). Later performing in Sabrina (1954), The Nun's Story (1959), Breakfast at Tiffany's (1961), Charade (1963), My Fair Lady (1964) and Wait Until Dark (1967), Hepburn became one of the great screen actresses of Hollywood's Golden Age who received Academy Award, Golden Globe and BAFTA nominations and accrued a Tony Award for her theatrical performance in the 1954 Broadway play Ondine. Hepburn remains one of few people who have won Academy, Emmy, Grammy, and Tony Awards.

She appeared in fewer films as her life went on, devoting much of her later life to UNICEF. Her war-time struggles inspired her passion for humanitarian work and, although contributing to the organisation since 1954, she worked in some of the most profoundly disadvantaged communities of Africa, South America and Asia between 1988 and 1992. She was awarded the Presidential Medal of Freedom in recognition of her work as a UNICEF Goodwill Ambassador in late 1992, but a month later, aged 63, Hepburn died of appendiceal cancer at her home in Switzerland in early 1993.^[4][5][6]

Early life[link]

Audrey Hepburn was born Audrey Kathleen Ruston on 4 May 1929 on Rue Keyenveld in Ixelles, a municipality in Brussels in Belgium.^[7] Her father, Joseph Victor Anthony Ruston (1889–1980), was born in Úžice, Bohemia^[8] to a father of British Isles and Austrian descent^[9] and an Austrian mother.^[10] Ruston had earlier been married to Cornelia Bisschop, a Dutch heiress he met in the Dutch East Indies.^[11] Although born Ruston, he later double-barrelled the surname to the more "aristocratic" Hepburn-Ruston, mistakenly^[12] believing himself descended from James Hepburn, third husband of Mary, Queen of Scots.^[11]

Her mother, Baroness Ella van Heemstra (1900–1984), was a Dutch aristocrat and the daughter of Aarnoud van Heemstra, who was mayor of Arnhem from 1910 to 1920 and served as Governor of Suriname from 1921 to 1928. Ella's mother was Elbrig Willemine Henriette, Baroness van Asbeck (1873-1939), who was a granddaughter of Dirk van Hogendorp.^[10] At age nineteen, Ella had married the knight Hendrik Gustaaf Adolf Quarles van Ufford, but they divorced in 1925. Hepburn had two half-brothers from this marriage: Jonkheer Arnoud Robert Alexander "Alex" Quarles van Ufford (1920–1979) and Jonkheer Ian Edgar Bruce Quarles van Ufford (1924–2010).^[11][13]

Ruston and van Heemstra married in Batavia in September 1926. They moved back to Europe, to Ixelles in Belgium, where Hepburn was born in 1929. In January 1932 the family moved on to Linkebeek, a nearby Brussels municipality.^[14] Although born in Belgium, Hepburn had British citizenship through her father.^[7] Because of her mother's family in the Netherlands and her father's job with a British company,^[15] the family often travelled between the three countries. With her multinational background, she had a talent for languages ​​and went on to speak fluent English, Dutch, French, Spanish and Italian. Hepburn was a playful and imaginative child who discovered a passion for ballet by the age of 5, loved to read and was nicknamed "Monkey Puzzle" by her father.

Childhood and adolescence in World War II[link]

Hepburn's parents were members of the British Union of Fascists in the mid-1930s,^[16] with her father becoming a true Nazi sympathiser.^[17] After her mother discovered him in bed with the nanny of her children,^[18] Hepburn's father left the family abruptly. In the 1960s, Hepburn would finally locate him again in Dublin through the Red Cross. Although he remained emotionally detached, his daughter remained in contact and supported him financially until his death.^[19]

After Joseph had left in 1935, Ella van Heemstra took her children home to Arnhem, though her sons spent much time with their father in The Hague. Ella and Audrey moved to Kent in 1937, where Hepburn was educated at a tiny independent girls' school in the village of Elham, run by the sisters Rigden and then attended by about 14 children.^[20][21] In September 1939, her mother relocated her back home in Arnhem, in the belief that, like in the First World War, the Netherlands would remain neutral and be spared a German attack. Whilst there, Hepburn attended the Arnhem Conservatory from 1939 to 1945 where, in addition to the standard school curriculum, she trained in ballet with Winja Marova. After the Germans invaded the Netherlands in 1940, Hepburn adopted the pseudonym Edda van Heemstra, a derivative of her mother's name Ella,^[22] because an "English sounding" name was considered dangerous during the German occupation. In 1942, her uncle Otto van Limburg Stirum, husband of Ella's older sister Miesje, was executed in retaliation for a sabotage by the resistance movement, while her half-brother Jan was deported to Berlin to work in a German labour camp (Alex went into hiding to avoid the same fate).^[23] After this, Ella, Miesje and Audrey moved in with Baron van Heemstra in nearby Velp. During her wartime struggles, Hepburn suffered from malnutrition, developed acute anæmia, respiratory problems, and œdema.^[24] Hepburn, in a retrospective interview, commented, "I have memories. More than once I was at the station seeing trainloads of Jews being transported, seeing all these faces over the top of the wagon. I remember, very sharply, one little boy standing with his parents on the platform, very pale, very blond, wearing a coat that was much too big for him, and he stepped on to the train. I was a child observing a child."^[25]

Notwithstanding such strife, by 1944, Hepburn had become a proficient ballerina. She had secretly danced for groups of people to collect money for the Dutch resistance. "The best audience I ever had made not a single sound at the end of my performances," she remarked.^[26] After the Allied landing on D-Day, living conditions grew worse and Arnhem was subsequently devastated by Allied artillery fire under Operation Market Garden. During the Dutch famine that followed in the winter of 1944, the Germans had blocked the resupply routes of the Netherlands' already-limited food and fuel supplies as retaliation for railway strikes that were held to hinder German occupation. People starved and froze to death in the streets; Hepburn and many others resorted to making flour out of tulip bulbs to bake cakes and biscuits.^[17][27] One way that Hepburn passed the time was by drawing; some of her childhood artwork can be seen today.^[28] When the country was liberated, United Nations Relief and Rehabilitation Administration trucks followed.^[29] Hepburn said in an interview that she fell ill from putting too much sugar in her oatmeal and eating an entire can of condensed milk.^[30] Hepburn's war-time experiences sparked her devotion to UNICEF, an international humanitarian organisation, in her later career.^[17][27]

Career[link]

Career beginnings and early roles[link]

After the war ended in 1945, Ella and Audrey moved to Amsterdam, where Hepburn took ballet lessons for three years with Sonia Gaskell, arguably the leading figure in Dutch ballet.^[31] In 1948 she appeared for the first time on film, as an air stewardess in an educational travel film made by Charles van der Linden and Henry Josephson, Dutch in Seven Lessons.^[32] Gaskell provided an introduction to Marie Rambert, and in 1948 Hepburn traveled with her mother to London to study ballet at the Ballet Rambert. She supported herself with part-time work as a model. Around that time she decided to drop "Ruston" from her double-barreled surname. When Hepburn asked Rambert about her future, Rambert assured her that she could continue to work there and have a great career, but her relatively tall height of 5 ft 7 in (1.70 m)^[33] coupled with her poor nutrition during the war would keep her from becoming a prima ballerina. Hepburn trusted Rambert's assessment and decided to pursue acting: a career in which she at least had the chance to excel.^[34] After becoming a star, Rambert said of Hepburn, "She was a wonderful learner. If she had wanted to persevere, she might have become an outstanding ballerina."^[35]

Hepburn's mother worked menial jobs in order to support them but Hepburn needed to find employment. Since she had trained in theatre all her life, working as a London chorus girl seemed sensible. "I needed the money; it paid ₤3 more than ballet jobs."^[36] She performed in the musical theatre revues High Button Shoes (1948) at the London Hippodrome and Cecil Landeau's Sauce Tartare (1949) and Sauce Piquante (1950) at the Cambridge Theatre in the West End. Her theatrical work, however, revealed that her voice was not strong and needed to be developed. Hepburn, therefore, took elocution lessons with the actor Felix Aylmer.^[37] After being spotted by a scout for Paramount Pictures on stage,^[35] Hepburn registered with the casting officers of British film studios while working in the West End and appeared in minor roles in the 1951 films One Wild Oat, Laughter in Paradise, Young Wives' Tale and The Lavender Hill Mob. Hepburn's first significant film performance was in Thorold Dickinson's The Secret People (1952), in which she played a prodigious ballerina and performed all of her own dancing sequences. Noticed by the French novelist Colette when on the set of Monte Carlo Baby (1951), Hepburn was also chosen to play the title character in the Broadway play Gigi. Upon first sight of Hepburn, Colette whispered, "Voilà," indicating Hepburn, "there's your Gigi."^[35][38] Opening on 24 November 1951 at the Fulton Theatre, the play ran for 219 performances finishing on 31 May 1952.^[39] Hepburn's debut on Broadway earned her a Theatre World Award.^[39]

[edit] Roman Holiday and increased popularity

Hepburn in a screen test for Roman Holiday (1953) which was also used as promotional material

In the Italian-set Roman Holiday (1953), a film she would later call her dearest movie, Hepburn had her first starring role as Princess Ann, an incognito European princess who, escaping the reins of royalty, falls in love with an American newsman (Gregory Peck). While producers initially wanted Elizabeth Taylor for the role, director William Wyler was so impressed by Hepburn's screen test that he cast her in the lead. Unbeknownst that she was still being filmed after the screen test, Hepburn displayed her ability as she candidly answered questions, relaxed and completely unaware. Wyler later commented, "She had everything I was looking for: charm, innocence and talent. She also was very funny. She was absolutely enchanting and we said, 'That's the girl!'"^[40] Originally, the film was to have had only Gregory Peck's name above its title in large font while she would receive "Introducing Audrey Hepburn" beneath though Peck suggested to Wyler that he elevate her to equal billing so her name appeared before the title and in type as large as his: "You've got to change that because she'll be a big star and I'll look like a big jerk."^[41]

Peck was correct. Hepburn garnered critical and commercial acclaim for her portrayal and supplemented the unexpected Academy Award for Best Actress with her first BAFTA Award for Best Actress in a Leading Role and only Golden Globe Award for Best Actress – Motion Picture Drama in 1953. A. H. Weiler noted in The New York Times that although "she is not precisely a newcomer to films, [Hepburn] the British actress who is being starred for the first time as Princess Ann, is a slender, elfin and wistful beauty, alternately regal and childlike in her profound appreciation of newly found, simple pleasures and love. Although she bravely smiles her acknowledgement of the end of that affair, she remains a pitifully lonely figure facing a stuffy future."^[1] Due to the instant celebrity that came with the film, she was signed to a seven-picture contract with Paramount with twelve months in between films to allow her time for stage work^[42] while spawning what became known as the Audrey Hepburn "look" after her illustration was placed on the September 1953 cover of TIME magazine.^[43]

Following her success in Roman Holiday, she starred in Billy Wilder's romantic Cinderella-story comedy Sabrina (1954) in which wealthy brothers (Humphrey Bogart and William Holden) compete for the affections of their chauffeur's innocent daughter (Hepburn). For her performance, she was nominated for the 1954 Academy Award for Best Actress while winning the BAFTA Award for Best Actress in a Leading Role the same year. Bosley Crowther of The New York Times labeled Hepburn "a young lady of extraordinary range of sensitive and moving expressions within such a frail and slender frame" concluding that "she is even more luminous as the daughter and pet of the servants' hall than she was as a princess last year."^[44] The uncredited Hubert de Givenchy was responsible for many of Hepburn's outfits in the film. Initially disappointed, Givenchy noted that, upon being told that the actress would be "Miss Hepburn", he had expected Katharine Hepburn. When faced with this actress, he told Hepburn he had little time to spare. Nevertheless, she knew exactly how she wanted to look and asked to view his latest collection.^[41] Their collaboration in Sabrina formed a life-long friendship and partnership; she was often a muse for many of his designs and her style became renowned internationally.

Beginning another collaboration that year, this time with actor Mel Ferrer, she starred in the fantasy play Ondine on Broadway. With her lithe and lean frame, Hepburn made a convincing water spirit named Ondine in this sad story about love found and lost with a human (Ferrer). A New York Times critic commented, "Somehow Miss Hepburn is able to translate [its intangibles] into the language of the theatre without artfulness or precociousness. She gives a pulsing performance that is all grace and enchantment, disciplined by an instinct for the realities of the stage." While the leading characters in the play grow apart, the actors found themselves becoming closer. Hepburn and Ferrer got married on September 25, 1954, in Switzerland; their sometimes tumultuous partnership would last for the better part of the next fifteen years. Her performance won her the 1954 Tony Award for Best Performance by a Leading Actress in a Play, the same year she won the Academy Award for Roman Holiday. Hepburn, therefore, stands as one of three actresses to receive the Academy and Tony Awards for Best Actress in the same year (the others being Shirley Booth and Ellen Burstyn).^[45] By the mid-1950s, Hepburn was vastly becoming one of the biggest motion picture stars in Hollywood and received the Golden Globe for World Film Favorite – Female in 1955,^[46] but also a major fashion influence. Her gamine and elfin appearance and widely recognised sense of chic were both admired and imitated. Hepburn was asked to play Anne Frank's counterpart in both the Broadway and film adaptations of Frank's life. Hepburn, however, who was born the same year as Frank, found herself "emotionally incapable" of the task, and at almost thirty years old, too old.^[47] The role was eventually given to Susan Strasberg and Millie Perkins in the play and film respectively.

Hepburn in War and Peace (1956)

Having become one of Hollywood's most popular box-office attractions, she went on to star in a series of successful films during the remainder of the decade, including her BAFTA- and Golden Globe-nominated role as Natasha Rostova in War and Peace (1956), an adaptation of the Tolstoy novel set during the Napoleonic wars with Henry Fonda and husband Mel Ferrer. In 1957, she exhibited her dancing abilities in her debut musical film Funny Face (1957) where Fred Astaire, a fashion photographer, discovers a beatnik bookstore clerk (Hepburn), who, lured by a free trip to Paris, becomes a beautiful model. The same year Hepburn starred in another romantic comedy, Love in the Afternoon, alongside Gary Cooper and Maurice Chevalier. Yet, she stepped away from lighthearted fare when she played Sister Luke in The Nun's Story (1959), which focuses on the character's struggle to succeed as a nun alongside co-star Peter Finch. The role accrued her third Academy Award nomination and earned her a second BAFTA Award. A review in Variety said "Hepburn has her most demanding film role, and she gives her finest performance." Films in Review stated that her performance "will forever silence those who have thought her less an actress than a symbol of the sophisticated child/woman. Her portrayal of Sister Luke is one of the great performances of the screen."^[48] Reportedly, she spent hours in convents and with members of the Church to bring truth to her portrayal: "I gave more time, energy and thought to this than to any of my previous screen performances."^[49] Following this, she received lukewarm reception for starring with Anthony Perkins in the romantic adventure Green Mansions (1959) where she plays – "with grace and dignity" – the "ethereal" Rima, a jungle girl, who falls in love with a Venezuelan traveller played by Perkins^[50] and The Unforgiven (1960), her only western film, where she appears "a bit too polished, too fragile and civilized among such tough and stubborn types" of Burt Lancaster and Lillian Gish in a story of racism against a group of Native Americans.^[51]

[edit] Breakfast at Tiffany's and continued stardom

Hepburn in the opening scene of Breakfast at Tiffany's (1961), wearing the iconic little black dress by Givenchy

Three months after the birth of her son, Sean, in 1960, Hepburn began work on Blake Edwards' Breakfast at Tiffany's (1961), a film very loosely based on the Truman Capote novella. The film was drastically changed from the original version. Capote disapproved of many changes and proclaimed that Hepburn was "grossly miscast"^[52] as Holly Golightly, a quirky New York call girl,^[53] a role he had envisioned for Marilyn Monroe.^[52] Hepburn's portrayal of Golightly was adapted from the original: "I can't play a hooker," she admitted to Marty Jurow, co-producer of the film.^[52] Despite the lack of sexual innuendo in her character,^[52] her portrayal was nominated for the 1961 Academy Award for Best Actress and became an iconic character in American cinema. Often considered her defining role,^[54] Holly Golightly, Hepburn's high fashion style and sophistication within the film became synonymous with her. She named the role "the jazziest of my career"^[55] yet admitted that, "I'm an introvert. Playing the extroverted girl was the hardest thing I ever did."^[56] The little black dress which is worn by Hepburn in the beginning of the film is cited as one of the most iconic items of clothing in the history of the twentieth century and perhaps the most famous little black dress of all time.^{[57][58][59][60]}

Shirley MacLaine and Hepburn in the trailer for The Children's Hour (1961)

Playing opposite Shirley MacLaine and James Garner, her next role in William Wyler's lesbian-themed drama The Children's Hour (1961) saw Hepburn and MacLaine play teachers whose lives become troubled after a student accuses them of being lesbians. The film was one of Hollywood's earliest treatments of the subject of lesbianism,^[54] and perhaps due to the illiberal state of society, the film and Hepburn's performance went seemingly unnoticed both critically and commercially. Bosley Crowther of The New York Times, however, noted that "it is not too well acted" with the exception of Hepburn who "gives the impression of being sensitive and pure" of its "muted theme"^[61] while Variety magazine also complimented Hepburn's "soft sensitivity, marvellous projection and emotional understatement" adding that Hepburn and MacLaine "beautifully complement each other."^[62]

With Cary Grant in Charade (1963)

Her only film with Cary Grant came in the comic thriller Charade (1963). Hepburn, who plays Regina Lampert, finds herself pursued by several men who chase the fortune her murdered husband had stolen. The role earned her third and final competitive BAFTA Award and accrued another Golden Globe nomination though critic Bosley Crowther was less kind: "Hepburn is cheerfully committed to a mood of how-nuts-can-you-be in an obviously comforting assortment of expensive Givenchy costumes."^[63] Grant (59 years old at the time), who had previously withdrawn from the starring male lead roles in Roman Holiday and Sabrina, was sensitive about the age difference between Hepburn (at age 34) and him, making him uncomfortable about the romantic interplay. To satisfy his concerns, the filmmakers agreed to change the screenplay so that Hepburn's character would be the one to romantically pursue his.^[64] Grant, however, loved to humour Hepburn and once said, "All I want for Christmas is another picture with Audrey Hepburn."^[65]

Paris When It Sizzles (1964) reteamed Hepburn with William Holden nearly ten years after Sabrina. The Parisian-set screwball comedy, called "marshmallow-weight hokum",^[66] was "uniformly panned"^[67] but critics were kind to Hepburn's creation of Gabrielle Simpson, the young assistant of a Hollywood screenwriter (Holden) who aids his writer's block by acting out his fantasies of possible plots, describing her as "a refreshingly individual creature in an era of the exaggerated curve."^[66] Critical reception was worsened by a number of problems that plagued the set behind the scenes. Holden tried, without success, to rekindle a romance with the now-married actress; that, combined with his alcoholism made the situation a challenge. Hepburn, after principal photography began, demanded the dismissal of cinematographer Claude Renoir after seeing what she felt were unflattering dailies.^[67] Superstitious, she also insisted on dressing room 55 because that was her lucky number (she had dressing room 55 for Roman Holiday and Breakfast at Tiffany’s) and required that Givenchy, her long-time designer, be given a credit in the film for her perfume.^[67]

"Not since Gone with the Wind has a motion picture created such universal excitement as My Fair Lady," wrote Soundstage magazine in 1964,^[45] yet Hepburn's landing the role of Eliza Doolittle in the 1964 George Cukor film adaptation of the stage musical sparked controversy. Julie Andrews, who had originated the role in the stage show, had not been offered the part because producer Jack Warner thought Hepburn or Elizabeth Taylor more "bankable" propositions.^[68] Initially refusing, Hepburn asked Warner to give it to Andrews but, eventually, Hepburn was cast.^[68] Further friction was created when, although non-singer Hepburn had sung with "throaty charm" in Funny Face and had lengthy vocal preparation for the role in My Fair Lady,^[68] her vocals were dubbed by Marni Nixon.^[69][70] A dubber was required because Eliza Doolittle's songs were not transposed down to accommodate Hepburn's "low-mezzo voice" (as Nixon referred to it).^[68] Upset, when first informed, she walked out. She returned the next day and apologized to everybody for her "wicked behavior".^[68] Although Hepburn had lip synced to her recorded tracks during filming, Nixon looped her vocals in post-production and was given multiple attempts to match Hepburn's lip movements precisely.^[68] Overall, about 90% of her singing was dubbed despite being promised that most of her vocals would be used.^[68] Hepburn's voice remains in one line in "I Could Have Danced All Night", in the first verse of "Just You Wait", and in the entirety of its reprise in addition to sing-talking in parts of "The Rain in Spain" in the finished film.^[68] When asked about the dubbing of an actress with such distinctive vocal tones, Hepburn frowned and said, "You could tell, couldn't you? And there was Rex, recording all his songs as he acted ... next time —" She bit her lip to prevent her saying more.^[56] She later admitted that she would have never have accepted the role knowing that Warner intended to have nearly all of her singing dubbed.^[68] The controversy reached its height when, despite the film's accumulation of eight out of a possible twelve awards at the 37th Academy Awards, Hepburn was left nomination-less in the Best Actress category. Julie Andrews, however, was nominated for her efforts in Mary Poppins (1964), and won it. The media tried to play up a rivalry between the two actresses, even though both women denied any such bad feelings existed and got along well. Despite such strife, many critics greatly applauded Hepburn's "exquisite" performance.^[70] "The happiest thing about [My Fair Lady]," wrote Bosley Crowther in The New York Times "is that Audrey Hepburn superbly justifies the decision of Jack Warner to get her to play the title role."^[69] Her co-star Rex Harrison, who played Professor Higgins, also called Hepburn his favourite leading lady and Gene Ringgold of Soundstage also commented that "Audrey Hepburn is magnificent. She is Eliza for the ages,"^[45] while adding, "Everyone agreed that if Julie Andrews was not to be in the film, Audrey Hepburn was the perfect choice."^[45]

As the decade carried on, Hepburn appeared in an assortment of genres including the heist comedy How to Steal a Million (1966) where she played Nicole, the daughter of a famous art collector whose collection consists entirely of forgeries. Fearing her father's exposure, Nicole sets out to steal one of his priceless statues with the help of Simon Dermott (Peter O'Toole). In 1967, she starred in two films; the first being Two for the Road, a non-linear and innovative British dramedy that traces the course of a couple's troubled marriage. Director Stanley Donen said that Hepburn was more free and happy than he had ever seen her, and he credited that to co-star Albert Finney.^[71] The second, Wait Until Dark, is a suspense thriller in which Hepburn demonstrated her acting range by playing the part of a terrorised blind woman. Filmed on the brink of divorce, it was a difficult film considering husband Mel Ferrer was its producer and she lost fifteen pounds under the stress, but she found solace in co-star Richard Crenna and director Terence Young. Hepburn earned her fifth and final competitive Academy Award nomination for Best Actress; Bosley Crawther affirmed, "Hepburn plays the poignant role, the quickness with which she changes and the skill with which she manifests terror attract sympathy and anxiety to her and give her genuine solidity in the final scenes."^[72]

Final entertainment-related projects[link]

From 1967 onward, after fifteen highly successful years in film, Hepburn decided to devote more time to her family and acted only occasionally. She attempted a comeback in 1976, co-starring with Sean Connery, in the period piece Robin and Marian, which was moderately successful. In 1979, Hepburn took the lead role of Elizabeth Roffe in the international production of Bloodline, re-teaming with director Terence Young (Wait Until Dark). She shared top billing with co-stars Ben Gazzara, James Mason and Romy Schneider. Author Sidney Sheldon revised his novel when it was reissued to tie into the film, making her character a much older woman to better match the actress's age. The film, an international intrigue amid the jet-set, was a critical and box office failure. Hepburn's last starring role in a cinematic film was with Ben Gazzara in the 1981 comedy They All Laughed, directed by Peter Bogdanovich. The film was overshadowed by the murder of one of its stars, Bogdanovich's girlfriend, Dorothy Stratten; the film was released after Stratten's death but only in limited runs. In 1987, she co-starred with Robert Wagner in a tongue-in-cheek made-for-television caper film, Love Among Thieves, which borrowed elements from several of Hepburn's films, most notably Charade and How to Steal a Million.

After finishing her last role in a motion picture in 1988, a cameo appearance as an angel in Steven Spielberg's Always, Hepburn completed only two more entertainment-related projects, both critically acclaimed. Gardens of the World with Audrey Hepburn was a PBS documentary television series, her final performance before cameras filmed on location in seven countries in the spring and summer of 1990. A one-hour special preceded the series, debuting in March 1991, while the series commenced the day after her death (21 January 1993). For the series's debut, Hepburn was posthumously awarded the 1993 Emmy Award for Outstanding Individual Achievement – Informational Programming. Recorded in 1992, her spoken word album, Audrey Hepburn's Enchanted Tales, features readings of classic children's stories and earned her a posthumous Grammy Award for Best Spoken Word Album for Children. She remains one of the few entertainers to win Grammy and Emmy Awards posthumously.

Contributions to UNICEF[link]

Hepburn was appointed Goodwill Ambassador of UNICEF. Then-United States president George H. W. Bush presented her with the Presidential Medal of Freedom in recognition of her work with UNICEF, and the Academy of Motion Picture Arts and Sciences posthumously awarded her the Jean Hersholt Humanitarian Award for her contribution to humanity, with her son accepting on her behalf. Grateful for her own good fortune after enduring the German occupation as a child, she dedicated the remainder of her life to helping impoverished children in the poorest nations. Hepburn's travels were made easier by her wide knowledge of languages; besides being naturally bilingual in English and Dutch, she also was fluent in French, Italian, Spanish, and German.^[73]

Though she had done work for UNICEF in the 1950s, starting in 1954 with radio presentations, this was a much higher level of dedication. Those close to her^[who?] say that the thoughts of dying, helpless children consumed her for the rest of her life. Her first field mission was to Ethiopia in 1988. She visited an orphanage in Mek'ele that housed 500 starving children and had UNICEF send food. Of the trip, she said, "I have a broken heart. I feel desperate. I can't stand the idea that two million people are in imminent danger of starving to death, many of them children, [and] not because there isn't tons of food sitting in the northern port of Shoa. It can't be distributed. Last spring, Red Cross and UNICEF workers were ordered out of the northern provinces because of two simultaneous civil wars... I went into rebel country and saw mothers and their children who had walked for ten days, even three weeks, looking for food, settling onto the desert floor into makeshift camps where they may die. Horrible. That image is too much for me. The 'Third World' is a term I don't like very much, because we're all one world. I want people to know that the largest part of humanity is suffering."^[74]

In August 1988, Hepburn went to Turkey on an immunisation campaign. She called Turkey "the loveliest example" of UNICEF's capabilities. Of the trip, she said, "the army gave us their trucks, the fishmongers gave their wagons for the vaccines, and once the date was set, it took ten days to vaccinate the whole country. Not bad."^{[citation needed]} In October, Hepburn went to South America. In Venezuela and Ecuador, Hepburn told the United States Congress, "I saw tiny mountain communities, slums, and shantytowns receive water systems for the first time by some miracle – and the miracle is UNICEF. I watched boys build their own schoolhouse with bricks and cement provided by UNICEF." Hepburn toured Central America in February 1989, and met with leaders in Honduras, El Salvador, and Guatemala. In April, she visited Sudan with Wolders as part of a mission called "Operation Lifeline". Because of civil war, food from aid agencies had been cut off. The mission was to ferry food to southern Sudan. Hepburn said, "I saw but one glaring truth: These are not natural disasters but man-made tragedies for which there is only one man-made solution – peace."^{[citation needed]} In October, Hepburn and Wolders went to Bangladesh. John Isaac, a UN photographer, said, "Often the kids would have flies all over them, but she would just go hug them. I had never seen that. Other people had a certain amount of hesitation, but she would just grab them. Children would just come up to hold her hand, touch her – she was like the Pied Piper." In October 1990, Hepburn went to Vietnam in an effort to collaborate with the government for national UNICEF-supported immunisation and clean water programmes.