RED HACKLE Nothing You Say Goes Any Further
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The Black Watch Museum and Home Headquarters
No. 102 November 2010 THE RED HACKLE Perth and Kinross is proud to be home to the Black Watch Museum and Home Headquarters Delivering Quality to the Heart of Scotland don’t lOSE YOUR VOICE - REGISTER TO VOTE In order to vote you must be registered as an elector. If you are not on the register your views and opinions will count for nothing at election time. You can and should register to vote if you are not already registered. If you have changed your name, please let us know. Members of HM Forces and their spouses or civil partners can register either by means of a service declaration or choose to be registered as an ordinary elector instead. Remember, 16 and 17 year olds who register are entitled to vote as soon as they turn 18. P.S. Did you know that registering to vote can do more than protect your democratic rights? It can also help you open a bank account or get a mortgage, loan or mobile phone. For information on registering to vote: Phone the Freefone Helpline on 0800 393783 e-mail: [email protected] or write to the Electoral Registration Officer, Moray House, 16-18 Bank Street, Inverness IV1 1QY HAVE YOUR SAY No. 102 42nd 73rd November 2010 THE RED HACKLE The Chronicle of The Black Watch (Royal Highland Regiment), its successor The Black Watch, 3rd Battalion The Royal Regiment of Scotland, The Affiliated Regiments and The Black Watch Association Private Sam Morgan receives his Afghanistan campaign medal during the visit or the Royal Colonel to Balhousie Castle on 1 June 2010. -
Film from Both Sides of the Pacific Arw
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2012 Apr 26th, 1:00 PM - 2:15 PM Painting the Enemy in Motion: Film from both sides of the Pacific arW Avery Fischer Lakeridge High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Film and Media Studies Commons, and the History Commons Let us know how access to this document benefits ou.y Fischer, Avery, "Painting the Enemy in Motion: Film from both sides of the Pacific arW " (2012). Young Historians Conference. 9. https://pdxscholar.library.pdx.edu/younghistorians/2012/oralpres/9 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Painting the Enemy in Motion: Film from both sides of the Pacific War Avery Fischer Dr. Karen Hoppes HST 202: History of the United States Portland State University March 21, 2012 Painting the Enemy in Motion: Film from both sides of the Pacific War On December 7, 1941, American eyes were focused on a new enemy. With the Japanese attack on Pearl Harbor, no longer were Americans concerned only with the European front, but suddenly an attack on American soil lead to a quick chain reaction. By the next day, a declaration of war was requested by President Roosevelt for "a date that will live on in infamy- the United States of America was suddenly and deliberately attacked by naval and air forces of the Empire of Japan .. -
Gangs and Counter-Gangs
Gangs and Counter-gangs MAJOR. FRANK KITSON M.B.E., M.C. WITH A FOREWORD BY GENERAL SIR GEORGE ERSKINE G.C.B., K.B.E., D.S.O. LIEUTENANT-GOVERNOR AND COMMANDER IN CHIEF, JERSEY FORMERLY C. IN C, KENYA LONDON BARRIE AND ROCKLIFF © Frank Kitson 1960 First published 1960 by Barrie and Rockliff (Barrie Books Ltd.) 2 Clements' Inn, Strand, ACKNOWLEDGEMENTS London W.C.2 Many people have helped me to produce this book and I should like to Printed and bound in Great Britain by acknowledge the help I have received from them. I cannot mention them Robert Cunningham and Sons Ltd. all by name but I should like to record my gratitude to certain individuals. Alva, Scotland First I must acknowledge the great debt I owe to the officer who was responsible for my going to Kenya in the first place. Had it not been for him I would have missed the two best years of my army service and there would have been no book to write. I only discovered a few months ago that the officer concerned was Major J. Harington, D.s.o., M.B.E. Next I should like to thank Lt.-Colonel R. D. Poole for suggesting that I should write the book and for putting me in touch with a publisher who was prepared to show me how to present my story. My particular thanks are due to the Hon. A. G. Samuel, Mr L. A. Ullstein and the staff of Barrie and Rockliff for their never-failing guidance during the whole time I have been producing the book. -
Kipling, Masculinity and Empire
Kunapipi Volume 18 Issue 1 Article 10 1996 America's Raj: Kipling, Masculinity and Empire Nicholas J. Cull Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Cull, Nicholas J., America's Raj: Kipling, Masculinity and Empire, Kunapipi, 18(1), 1996. Available at:https://ro.uow.edu.au/kunapipi/vol18/iss1/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] America's Raj: Kipling, Masculinity and Empire Abstract The posters for Gunga Din promised much: 'Thrills for a thousand movies, plundered for one mighty show'. That show was a valentine to the British Raj, in which three sergeants (engagingly played by Cary Grant, Victor McLaglen, and Douglas Fairbanks, Jr.) defeat marauding hoards of 'natives' with the aid of their 'Uncle Tom' water bearer, Gunga Din (Sam Jaffe)[Plate VII]. Audiences loved it. Its racism notwithstanding, even an astute viewer like Bertolt Brecht confessed: 'My heart was touched ... f felt like applauding and laughed in all the right places'. 1 Outwardly the film had little ot do with the United States. Most of the cast were British-born and its screenplay claimed to be 'from the poem by Rudyard Kipling' .2 Yet the film was neither British or faithful ot Kipling, but solidly American: directed by George Stevens for RKO, with a screenplay by Oxford-educated Joel Sayre and Stevens's regular collaborator Fred Guiol.3 This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol18/iss1/10 America's Raj: Kipling, Masculinity, and Empire 85 NICHOLAS J. -
John Ford Film Series at Museum of Modern Art
I THE MUSEUM OF MODERN ART No. 50 n WEST 53 STREET. NEW YORK 19. N. Y. For Immediate Release ffUFHONl: CIRCLI B-8900 JOHN FORD FILM SERIES AT MUSEUM OF MODERN ART JOHN FORD: NINE FILMS, a new auditorium series at the Museum of Modern Art, 11 West 53 Street, will begin with THE IRON HCRSE, June 7-13, daily showings at 3 pm. The 1921* silent film, an epic of the first American trans-continental railroad, features George O'Brien and Madge Bellamy, With the program changing each Sunday, the review of films by Mr, Ford, the eminent American director, will continue daily at 3 and 5:30: June lk-20, FOUR SONS (19ft), with Margaret Mann, Francis X. Bushman, Jr; June 21-27, THE INFORMER (1935), with Victor McLaglen; June 28-July h, STAGECOACH (1929), with John Wayne, Claire Trevor, John Carradine; July 5-11, YOUNG MR. LINCOLN (1939), with Henry Fonda, Alice Brady; July 12-18, LONG VOYAGE HOME (19^0), with John Wayne, Thomas Mitchell, Barry Fitzgerald; July 19-25, T"E GRAPES OF WRATH (19lO), with Henry Fonda, Jane Darwell, John Carradine; July 26-Aufust 1, MY DARLING CLEMINTINE (19^6), with Henry Fonda, Linda Darnell, Victor Mature; August 2-8, THE QUIET MAN (1952), with John Wayne, Maureen OfHara, Barry Fitzgerald. THE QUIET MAN will be shown at 3 pm only, Richard Griffith, Curator of the Film Library, says of the new Museum series: "To choose nine films by John Ford for this exhibition will seem to the great director's admirers an act of impertinence. -
Defence Clothing (DC)
UK/SC/6380 Issue 06 06 November 2015 Technical Specification for BADGES and EMBROIDERY GOLD/SILVER GILT Defence Clothing (DC) PROPERTY OF MINISTRY OF DEFENCE Page 1 of 49 UK/SC/6380 Issue 06 06 November 2015 PREFACE TABLE 1 – PRODUCT LIST Item Name BRAID, CORD, LACE, BADGES and EMBROIDERY GOLD AND/OR SILVER GILT Development File No. Product Support File No. NATO Stock Numbers See Tables 7 to 11 Any colour shown in this document is for representation and must not be used for colour matching. IPR STATEMENT This specification contains information which is proprietary to the Secretary of State for Defence and shall remain the property of the Secretary of State. It is issued in strict confidence and must not be seen by any unauthorised person. The specification is supplied solely for the purpose of Information/Tender/Contract and shall not be copied or reproduced or used for any other purpose whatsoever without the express prior written permission of the Secretary of State as represented by the Intellectual property rights group. Technical documents in this specification refer to the edition current at the date of tender or contract unless otherwise stated. CROWN COPYRIGHT RESERVED Page 2 of 49 UK/SC/6380 Issue 06 06 November 2015 TABLE 2 – ISSUE RECORD Issue No Comments Issue Date 6 Ground cloth colours reviewed corrected/clarified and 06 November 2015 cloth Pattern No’s added throughout specification. Descriptions reviewed througout and user names ammended/corrected as appropriate. Title of Table 7 corrected Addition of NSN’s 8455-99-: 843-1122 843-1123 843-1125 843-1130 843-1137 974-2067 Pattern No for NSN 8455-99-974-1169 updated. -
Mutual Aesthetics Joseph D
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2016 Mutual Aesthetics Joseph D. Sherry Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Other Film and Media Studies Commons, and the Visual Studies Commons Recommended Citation Sherry, Joseph D., "Mutual Aesthetics" (2016). Honors Projects Overview. 117. https://digitalcommons.ric.edu/honors_projects/117 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. MUTUAL AESTHETICS VISUAL STYLE IN THE FILMS OF F.W. MURNAU AND JOHN FORD, 1928-1941 By Joseph D. Sherry An Honors Project Submitted in Partial Fulfillment Of the Requirements for Honors In The Film Studies Program The School of Arts and Sciences Rhode Island College 2016 Sherry 1 Introduction F.W. Murnau wrote, “All great arts have had great artists born to understand them as no other men can, and the motion picture is the single art expression of our age.”1 Murnau made this remark shortly after his masterpiece, Sunrise: A Song of Two Humans (1927), was released by Fox Film Corporation. Sunrise’s production riveted the entire studio lot due to its scope and Murnau’s international reputation; its subsequent critical success solidified Murnau’s place in Fox’s top-tier of directors. But John Ford, also one of Fox’s top-tier directors, once brusquely remarked, “It’s no use talking to me about art . -
Issue 3.Indb
Music through The history of the Alumni the decades Koan memories p. 25 p. 19 p 23 COMMENT page 16 LIFESTYLE page 18 BOOKS page 20 SCI &TECH page 26 40 years of headlines Fabulous fashion or faux-pas? What will be you reading in a decade? Th e rise of technology The Boar turns the big 4-0 » Looking as fresh as ever, despite being nearly as old as Warwick university itself. Sponsored by: theboar.org 16 Editor: Dan Mountain [email protected] Twitter @BoarComment COMMENT fb.com/groups/BoarComment 40 Years of Headlines Chris Hyatt 1973 - Mobile Phoney? Martin Cooper invents the first portable mobile phone 1974 - Watergate scandal. Nixon “impeaches” himself by resigning 1976 - First Bite of the Apple. Ste- ve Jobs and Steve Wozniak found Apple 1977 - Light Speed. Star Wars be- comes highest grossing film fran- chise in history 1978 - Grave Error. A laughable attempt is made to steal Charles Chaplin’s coffin. It is recovered 15km away 1979 - Dawning of a New Era. Margaret Thatcher becomes first female Prime Minister 1980 - Let It Not Be. John Lennon shot dead 1982 - Heartfelt Recovery. First permanent artifical heart implant- ed in a human 1983 - Any space for women on the shuttle? Sally Ride becomes first American woman in space 1984 - Off The Wall results! MJ wins record of The Year for “Beat It” and Album of The Year for » “The Morning After” Cartoon by Charley-Kai John “Thriller” at Grammys 1986 - Clouded Judgement: Cloud of Judgement. Nuclear disaster at Chernobyl The State of the Boar Address 1989 - Chinese get Square. -
Um Período Maneirista Na Obra De John Ford
Um período maneirista na obra de John Ford Jorge Carrega FCT/CIAC-Universidade do Algarve [email protected] Resumo: Partindo de uma contextualização histórica, este artigo pretende efetuar uma análise formal da obra de John Ford com o objetivo de identificar as origens de uma estética anticlássica, que marcou a filmografía do realizador entre finais das décadas de 1920 e 1940, propondo a existencia de um período maneirista na obra daquele que foi um dos maiores cineastas do cinema clássico de Hollywood. Palavras-chave: John Ford, cinema de Hollywood, maneirismo, expressionismo. Resumen: Desde un contexto histórico, este artículo pretende realizar un análisis formal de la obra de John Ford, con el fin de identificar los orígenes de una estética anticlássica, que marca la filmografía del director entre finales de las décadas de 1920 y 1940, y proponer la existência de un período manierista en la obra de uno de los grandes nombres del cine clásico de Hollywood. Palabras clave: John Ford, cine de Hollywood, manierismo, expresionismo. Revista Comunicación, Nº10, Vol.1, año 2012, PP.775-786 ISSN 1989-600X 775 Um período maneirista na obra de John Ford 1. Introdução John Ford é unanimemente considerado um dos maiores cineastas da história do cinema e o seu nome é hoje sinónimo do western. Contudo, a obra de Ford é mais complexa do que a sua lenda parece afirmar. Aquele que muitos consideram o cineasta clássico por excelência, ou o post-Griffith, Griffith, para utilizar a expressão de Ethan Morden (Morden, 1989: 281), assinou ao longo da sua carreira um curioso ciclo de obras que denunciam um maneirismo latente, resultado da tensão inevitável entre o modelo estético e formal imposto pelo sistema de produção dos estúdios de Hollywood e a pulsão criativa do próprio realizador. -
Wee Willie Winkie (1937) and Susannah of the Mounties (1939): Different Imperial Frontiers, Same Shirley Temple?
Wee Willie Winkie (1937) and Susannah of the Mounties (1939): Different Imperial Frontiers, Same Shirley Temple? Richard A. Voeltz Cameron University in Lawton, Oklahoma, USA Abstract The Paper really has two themes. One will be an exploration of how Hollywood dealt with imperial themes involving British India (really Afghanistan) with the Lancers and the Canadian west with the “Mounties”. Here the disarming relationship of child film star Shirley Temple with “savage native peoples” comes into play. A second more central theme centers on the film career of Shirley Temple herself and her roles in Wee Willie Winkie and Susannah of the Mounties. Her apogee of popularity reached its peak in the period 1937-1939, the time frame for both films. Although she made some films in 1940, Susannah really marked an end to a certain period of her career as puberty beckoned. The peculiar gender relationship with the principle male characters (Victor McLaglen and Randolph Scott) will then be explored, showing how her “non-threatening white sexuality” did not impinge on the two masculine imperial frontier domains. All this points to Shirley Temple as a cultural icon and as a commercial and sexual commodity in American popular culture. [Keywords: Imperial, Hollywood, Shirley Temple; gender relationship; icon, commodity, popular culture] In the A&E Television Network Biography series the actress Gloria Stuart (late of Titanic fame) relates a humorous anecdote about how the comedian Harpo Marx once asked if “he could buy Shirley Temple” because she was so cute, charming and precious.(Biography) Shirley Temple’s short, meteoric career in Depression-era America, a time when audiences found welcome escape in her delightful charm, youth, spirit, singing, and dancing, and the fact that she almost single-handedly saved 20th Century Fox Studio and perhaps even Hollywood itself (or at least the mythology tells us that), need not be extensively related here, but some general observations about her extraordinary career warrant attention. -
July 2012 News Letter
Volume III Issue 2 July 2012 U.S. COAST GUARD PIPE BAND NEWSLETTER Official Publication of the United States Coast Guard Pipe Band www.uscgpipeband.org * Active * Reserve * Retired * Auxiliary * Inside this Issue: U.S. Coast Guard Pipe Band participates in the National Law Enforcement Officers Memorial 2012 events in Washington, D.C. Letter from the President By CDR Ken Hines, USCGR (Ret.) From the Editor As the premiere maritime law enforcement agency in the United States, we sometimes forget that the United From the Pipe Major States Coast Guard shares the same excitement, and dangers, with other State, Local, and Federal law enforcement officers. 14 Coast Guard shipmates paid the ultimate sacrifice and are forever remembered at BoD - Behind the Scenes the National Law Enforcement Memorial in Washington, DC. For this reason, and with the great assistance of D8 WR Coordinator Dan Jackson (also a member of the St. Louis County Police Department Pipes & Funding Committee Up & Drums and our event intel guy), CDR Warren Whitley, Senior Chief Steve Cochran, and LT Mike Doria, Running your USCG Pipe Band participated for the first time in the Police Week events. Our Public Affairs Coordinator… SERVICE IS HIS MOTTO Solicitation for a New Quartermaster Past & Future Events Awards & Recognition DO YOU KNOW, CWO3 Michael Henry, USCG (Ret) Photo by Band Photographer Nicole Tuminello, USCG AUX As a first time event for the USCGPB, turnout was exceptional with 20 members of the band taking time to Officers & Directors travel and represent the Coast Guard. Monday, 14 May dawned cloudy with light to moderate rain, but the rain stopped long enough for the Pipe Major M.L. -
Films Saved from Twentieth Century
Hf NO. 41 The Museum of Modern Art FOR IMMEDIATE RELEASE 11 West 53 Street, New York, N.Y. 10019 Tel. 955-6100 Cable: Modemart TOM MIX, CLARA BOW, AND OTHER EARLY STARS ON MUSEUM SCREEN "Riders of the Purple Sage" and "Just Tony," two early silent films of Tom Mix, and "Call Her Savage," starring Clara Bow, the early sex siren, will be part of a special series of "rescued" films to be shown at The Museum of Modern Art. The program, starting April 10, 1971, consists of Twentieth Century-Fox films preserved by the Museum, which have not been seen here since their original release. "Riders of the Purple Sage," a 1925 Zane Grey romance, was made by Fox four times between 1914 and 1941. Of the Tom Mix version Eileen Bowser, Associate Curator in charge of the Museum's Film Archive, points out "the camera is permitted to get closer than usual to the actor: he avoided close-ups as a rule, not only to show off to the full his splendid riding and roping skills, but also because he made little pretense of being a dramatic actor." Mix, according to Mrs. Bowser, outranked all other cowboy stars in popularity. He made his debut on film in 1919, but prior to that time he had been a star of touring Wild West shows, and he was billed as "Tom Mix Ex-U. S. Marshall, Expert Roper and Bronco Buster." The second picture starring Mix, "Just Tony," is of 1922 vintage. Named after the celebrated horse Mix rode,which plays an important role in the story, it was made on location in Nevada in the Valley of the Eagles.