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Cutting Patterns in DW Griffith's Biographs
Cutting patterns in D.W. Griffith’s Biographs: An experimental statistical study Mike Baxter, 16 Lady Bay Road, West Bridgford, Nottingham, NG2 5BJ, U.K. (e-mail: [email protected]) 1 Introduction A number of recent studies have examined statistical methods for investigating cutting patterns within films, for the purposes of comparing patterns across films and/or for summarising ‘average’ patterns in a body of films. The present paper investigates how different ideas that have been proposed might be combined to identify subsets of similarly constructed films (i.e. exhibiting comparable cutting structures) within a larger body. The ideas explored are illustrated using a sample of 62 D.W Griffith Biograph one-reelers from the years 1909–1913. Yuri Tsivian has suggested that ‘all films are different as far as their SL struc- tures; yet some are less different than others’. Barry Salt, with specific reference to the question of whether or not Griffith’s Biographs ‘have the same large scale variations in their shot lengths along the length of the film’ says the ‘answer to this is quite clearly, no’. This judgment is based on smooths of the data using seventh degree trendlines and the observation that these ‘are nearly all quite different one from another, and too varied to allow any grouping that could be matched against, say, genre’1. While the basis for Salt’s view is clear Tsivian’s apparently oppos- ing position that some films are ‘less different than others’ seems to me to be a reasonably incontestable sentiment. It depends on how much you are prepared to simplify structure by smoothing in order to effect comparisons. -
ESSE 2017 URSULINE ACADEMY of DALLAS a Bout the Covers
ESSE 2017 URSULINE ACADEMY OF DALLAS A bout the Covers The paintings displayed on the covers and title page of Esse this year were selected because of the stories they portray. These three pieces, while reflecting similar motifs, differ in the emotions they represent: a gesture, a connection, and a thought. With the con- ESSE tinuous symbol of the hand, each piece delivers a personal story that allows viewers to create stories for themselves. Literary-Art Magazine Artwork is a form of expressing one’s thoughts and emotions. As these artists share some ideas and memories of their own, Ursuline Academy they draw in an audience to look further into what meanings these creations hold. Perhaps an object holds significant meaning, a con- nection invokes a certain feeling, or a pattern resurfaces an old memory. With every creation in this magazine, viewers are challenged to Volume LI 2016-2017 search for the meanings behind each piece and possibly discover a new meaning for themselves. 4900 Walnut Hill Lane Through the language of art, each artist conveys her unique voice and challenges the audience to look at something in a new way. We each have our own stories and memories, and through art, we share these moments with others. Dallas, TX 75229 469-232-1800 -Miranda Walker ‘17 Art Editor Fax: 469-232-1836 www.ursulinedallas.org Front Cover: |Anna Rehagen ‘18 |Tea Stains |Acrylic on canvas Back Cover: Justine Walker ‘20 Ocean Sounds |Elenor Post ‘19 Acrylic on canvas |We Rise Together |Acrylic on canvas Dedication Letter from the Editor To our Archivist, Sybil Tucker: Ursuline Academy impacts each student in an extraordinary and individual way. -
09/30/2016 Daily Program Listing II 07/27/2016 Page 1 of 119
Daily Program Listing II 43.1 Date: 07/27/2016 09/01/2016 - 09/30/2016 Page 1 of 119 Thu, Sep 01, 2016 Title Start Subtitle Distrib Stereo Cap AS2 Episode 00:00:01 Newsline APTEX (S) (CC) N/A #7109 00:30:00 In Good Shape WNVC (S) (CC) N/A #332 01:00:00 New Tanglewood Tales: Backstage with Rising Artists APTEX (S) (CC) N/A #104H New Tanglewood Tales: Backstage with Rising Artists features members of the Boston Symphony Orchestra, including flutist Elizabeth Rowe; concertmaster Malcolm Lowe; percussionist Dan Bauch, and members of the bass section and trumpet section working with the fellows. Tension is involved in preparing for The Festival of Contemporary Music. The fellows blow off steam at a big dance party. 01:30:00 Music Voyager APTEX (S) (CC) N/A #704H The Exumas The islands of Exuma are the picture perfect description of a Caribbean paradise. Stories, myths and legends fuse with everyday life across the 365 islands within the Exumas. With Mirissa Neff, as guide, one begins to understand that the treasure is scattered in the beauty of the Exumas- from the natural Blue Holes and the fresh conch salad to the roasted grouper and lobster and crabs. She follows the island legends to discover that the land and ocean blend perfectly into the story of the Exumas. 02:00:00 Xerox Rochester International Jazz Festival APTEX (S) (CC) N/A #704H Antonio Sanchez & Migration Four-time Grammy Award winner Antonio Sanchez is considered by many critics and musicians alike as one of the most prominent drummers, bandleaders and composers of his generation. -
The Creditor by AUGUST STRINDBERG PERSONS THELKA
The Creditor BY AUGUST STRINDBERG PERSONS THELKA. ADOLF [her husband, a painter]. GUSTAV [her divorced husband]. TWO LADIES A WAITER THE CREDITOR A PLAY BY AUGUST STRINDBERG [SCENE: A small watering-place. Time, the present. Stage directions with reference to the actors. A drawing-room in a watering-place; furnished as above. Door in the middle, with a view out on the sea; side doors right and left; by the side door on the left the button of an electric bell; on the right of the door in the center a table, with a decanter of water and a glass. On the left of the door in the center a what-not; on the right a fireplace in front; on the right a round table and arm-chair; on the left a sofa, a square table, a settee; on the table a small pedestal with a draped figure--papers, books, arm-chairs. Only the items of furniture which are introduced into the action are referred to in the above plan. The rest of the scenery remains unaffected. It is summer, and the day-time.] SCENE I. [Adolf sits on the settee on the left of the square table; his stick is propped up near him.] ADOLF. And it's you I've got to thank for all this. 1 GUSTAV [walks up and down on the right, smoking a cigar]. Oh, nonsense. ADOLF. Indeed, I have. Why, the first day after my wife went away, I lay on my sofa like a cripple and gave myself up to my depression; it was as though she had taken my crutches, and I couldn't move from the spot. -
SCREENING MOTHERS: Representations of Motherhood in Australian Films from 1900 to 1988
SCREENING MOTHERS: Representations of motherhood in Australian films from 1900 to 1988 CAROLINE M. PASCOE B.A. (Honours) M.A. UNIVERSITY OF SYDNEY A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy September 1998 ii The work presented in this thesis is, to the best of my knowledge and belief, original, except as acknowledged in the text. The material has not been submitted, either in whole or in part, for a degree at this or any other university. CAROLINE MYRA PASCOE iii ABSTRACT Although the position of mothers has changed considerably since the beginning of the twentieth century, an idealised notion of motherhood persists. The cinema provides a source of information about attitudes towards mothering in Australian society which is not diminished by the fact that mothers are often marginal to the narrative. While the study recognises that cinematic images are not unconditionally authoritative, it rests on the belief that films have some capacity to reflect and influence society. The films are placed in an historical context with regard to social change in Australian society, so that the images can be understood within the context of the time of the making and viewing of the films. The depictions of the mother are scrutinised with regard to her appearance, her attitude, her relationship with others and the expectations, whether explicit or implicit, of her role. Of particular significance is what happens to her during the film and whether she is punished or rewarded for her behaviour. The conclusions reached after analysis are used to challenge those ideas which assume that portrayals of motherhood are unchangeable and timeless. -
The Art of the Moving Picture the Macmillan Company Nbw York Boston • Chicago • Dallas
»¥«P5*1 THE ARJ or me MOVING PICTURE VACHEL LINDSAY THE ART OF THE MOVING PICTURE THE MACMILLAN COMPANY NBW YORK BOSTON • CHICAGO • DALLAS ATLANTA • SAN FRANCISCO MACMILLAN & CO., Limited LONDON • BOMBAY CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, Ltd. TORONTO Theatr* Artt Library THE ART OF THE MOVING PICTURE BY VACHEL LINDSAY We are no other than a moving row Of magic shadow-shapes that come and go Round with this sun-illumined lantern held In midnight by the Master of the Show. — Fitzgerald. Nefo fgotfe THE MACMILLAN COMPANY 1916 All rights reserved Copyright, 1915, By THE MACMILLAN COMPANY. Set up and electrotyped. Published December, 1915. Reprinted June, 1916. Nortooorj 10reB8 J. S. Cushing Co. — Berwick & Smith Co. Norwood, Mass., U.S.A. Theater Arts Library L6f DeDfcatcd TO GEORGE MATHER RICHARDS IN MEMORY OF THE ART STUDENT DAYS WE SPENT TOGETHER WHEN THE METROPOLITAN MUSEUM WAS OUR PICTURE-DRAMA CONTENTS BASIS I. THIS OUTLINE IS PROPOSED AS A FOR PHOTOPLAY CRITICISM IN AMERICA CHAPTER PAGE 1 I. The Point of View .... 8 II. The Photoplay of Action . 17 III. The Intimate Photoplay . IV. The Motion Picture of Fairy Splendor 30 V. The Picture of Crowd Splendor 39 VI. The Picture of Patriotic Splendor 51 VII. The Picture of Religious Splendor 68 VIII. Sculpt ure-in-Motion .... 79 IX. Painting-in-Motion .... 97 X. Furniture, Trappings, and Inventions in Motion 113 XI. Architecture-in-Motion 133 XII. Thirty Differences between the Photo PLAYS AND THE STAGE 151 XIII. Hieroglyphics 171 II. MORE PERSONAL SPECULATIONS AND AFTERTHOUGHTS NOT BROUGHT FOR- WARD SO DOGMATICALLY XIV. -
Rudestam Final Draft 6-17
UNIVERSITY OF CALIFORNIA SANTA CRUZ “WHISKEY IS FOR DRINKING:” WATER PASSIONS AND WATER POLITICS IN THE AMERICAN WEST A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in SOCIOLOGY by Kirsten Sara Rudestam June 2017 The dissertation of Kirsten Rudestam is approved: _____________________________________ Professor Deborah Gould, chair _____________________________________ Professor Miriam Greenberg _____________________________________ Professor Andrew Szasz _____________________________________ Professor Anna Tsing _______________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Kirsten Sara Rudestam 2017 Table of Contents List of Figures iv List of Acronyms v Abstract vi Acknowledgements viii Chapter 1 Introduction: Water Stories and Water Justice 1 Chapter 2 Changing Values of Water 30 Chapter 3 Traveling Affect: The Threat of Fish vs. Farmers 62 Chapter 4 A Peculiar River 84 Chapter 5 Affective Encounters: Salmon, Lamprey and Spotted Frogs 137 Chapter 6 Water Governance 197 Chapter 7 Conclusion: Water Ethics and Water Connections 265 Bibliography 276 iii List of Figures Figure 1: Map of Deschutes 31 Figure 2: Map of DBBC 39 Figure 3: The Blue Whale 106 Figure 4: PGE Fish Tower 146 iv List of Acronyms BOR – Bureau of Reclamation COID – Cental Oregon Irrigation District DBBC – Deschutes Basin Board of Control DRA -- Deschutes River Alliance DRC – Deschutes River Conservancy ESA – Endangered Species Act FERC – Federal Energy Regulatory Commission -
The Art of the Moving Picture the Macmillan Company
mmmmm THE ARJ or me MOVING PICTURE VACHEL LINDSAY v ?tf* lltiill Ur L~> T +(- - )*Cl ff J"? THE ART OF THE MOVING PICTURE THE MACMILLAN COMPANY NEW YORK • BOSTON • CHICAGO • DALLAS ATLANTA • SAN FRANCISCO MACMILLAN & CO., Limited LONDON • BOMBAY • CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, Ltd. TORONTO THE ART OF THE MOVING PICTURE BY VACHEL LINDSAY We are no other than a moving row Of magic shadow-shapes that come and go Bound with this sun-illumined lantern held In midnight by the Master of the Show. — Fitzgerald. Nifa fgorft THE MACMILLAN COMPANY 1915 All rights reserved COPTEIGHT, 1915, By THE MACMILLAN COMPANY. Set up and electrotyped. Published December, 1915. NortaooB $kbb J. 8. Cushing Co. — Berwick & Smith Co. Norwood, Mass., U.S.A. 2>eOfcate£> TO GEORGE MATHER RICHARDS IN MEMORY OF THE ART STUDENT DAYS WE SPENT TOGETHER WHEN THE METROPOLITAN MUSEUM WAS OUR PICTURE-DRAMA CONTENTS I. THIS OUTLINE IS PROPOSED AS A BASIS FOR PHOTOPLAY CRITICISM IN AMERICA I. The Point of View .... 1 II. The Photoplay of Action . 8 III. The Intimate Photoplay 17 IV. The Motion Picture of Fairy Splendor 30 V. The Picture of Crowd Splendor 39 VI. The Picture of Patriotic Splendor 51 VII. The Picture of Religious Splendor 68 VIII. Sculpt ure-in-Motion .... 79 IX. Painting-in-Motion .... 97 X. Furniture, Trappings, and Inventions in Motion 113 XI. Architecture-in-Motion 133 XII. Thirty Differences between the Photo PLAYS AND THE STAGE 151 XIII. Hieroglyphics 171 II. MORE PERSONAL SPECULATIONS AND AFTERTHOUGHTS NOT BROUGHT FOR- WARD SO DOGMATICALLY XIV. -
Floor Debate March 17, 2017
Transcript Prepared By the Clerk of the Legislature Transcriber's Office Floor Debate March 17, 2017 [LB34 LB46A LB46 LB68 LB127 LB133 LB155 LB308 LB340 LB432 LB479 LR73 LR74] SENATOR KRIST PRESIDING SENATOR KRIST: Good morning, ladies and gentlemen, and welcome to the George W. Norris Legislative Chamber for the forty-ninth day of the One Hundred Fifth Legislature, First Session. Our chaplain for today is Senator Craighead representing the 6th Legislative District. Please rise. SENATOR CRAIGHEAD: (Prayer offered.) SENATOR KRIST: Thank you, Senator Craighead. I call to order the forty-ninth day of the One Hundred Fifth Legislature, First Session. Senators, please record your presence. Roll call. Mr. Clerk, please record. CLERK: I have a quorum present, Mr. President. SENATOR KRIST: Thank you, Mr. Clerk. Are there any corrections for the Journal? CLERK: I have no corrections, Mr. President. SENATOR KRIST: Any messages, reports, or announcements? CLERK: Mr. President, an amendment to be printed to LB340 by Senator Murante. New resolution: Senator Brewer offers LR73. That will be laid over. Acknowledgment of receipts of agency reports available on the legislative Web site, and finally the list of registered lobbyists as required by state law to be inserted in the Journal. That's all that I have. (Legislative Journal pages 735-736.) [LB340 LR73] SENATOR KRIST: The doughnuts are in honor of the birth of a six-pound, seven-ounce, Tamzin Elizabeth Craven, the first grandchild of Senator Ebke, born yesterday. And she has pictures in case you're interested. We'll now proceed to the first item on the agenda. -
The Art of the Moving Picture by Vachel Lindsay
The Art Of The Moving Picture by Vachel Lindsay The Art Of The Moving Picture by Vachel Lindsay had them scurrying to learn their A, B, C's, but they are drifting back to their old ways again, and nightly are forming themselves in cues at the doorways of the "Isis," the "Tivoli," and the "Riviera," the while it is sadly noted that "'the pictures' are driving literature off the parlor table." With the creative implications of this new pictorial art, with the whole visual-minded race clamoring for more, what may we not dream in the way of a new renaissance? How are we to step in to the possession of such a destiny? Are the institutions with a purely literary theory of life going to meet the need? Are the art schools and the art museums making themselves ready to assimilate a new art form? Or what is the type of institution that will ultimately take the position of leadership in culture through this new universal instrument? What possibilities lie in this art, once it is understood and developed, to plant new conceptions of civic and national idealism? How far may it go in cultivating concerted emotion in the now ungoverned crowd? Such questions as these can be answered only by minds with the imagination to page 1 / 231 see art as a reality; with faith to visualize for the little mid-western "home town" a new and living Pallas Athena; with courage to raze the very houses of the city to make new and greater forums and "civic centres." For ourselves in Denver, we shall try to do justice to the new Muse. -
American in the Western
The Representation of Landscape and the (Native) American in the Western A Comparative Analysis of the American settler and the Native American as depicted on the Prairie in American Western Films between 1911 and 2017 Master Thesis Literary Studies: English Thom Hofman Supervisor: Prof Dr Peter Liebregts Second Reader: Dr Michael Newton Hofman 2 Table of Contents Acknowledgements ................................................................................................................................. 3 Introduction ............................................................................................................................................. 4 Chapter 1: The Birth of the Western and the Popularity of the Talky .................................................... 8 1.1.1 The Birth of a New Genre for a New Medium ....................................................................... 8 1.1.2. Cultural Clashes on the Prairie ............................................................................................. 10 1.2.1. A Steady Flow of Money: The B Western ............................................................................ 13 1.2.2 The American Cavalry and Native American Friends ........................................................... 14 Chapter 2: The Pinnacle of Popularity and Subsequent Protests ......................................................... 19 2.1.1. The Heyday of the Western ................................................................................................. 19 2.1.2. -
Journal of Film Preservation
Revue de la Fédération Published by the Revista de la Internationale International Federation Federación Internacional 64 des Archives du Film of Film Archives de Archivos Fílmicos 4 / 2002 Preservation of Film Journal April / avril / abril 2002 64 FIAF Film Preservation Award / Prix FIAF de la préservation de films / Premio FIAF de la preservación de films 2FirstFIAF Film Preservation Award to Martin Scorsese Iván Trujillo 4The Nightof ‘The Nightof the Hunter’ Jeffrey Couchman Open Forum Cover: Martin Scorsese receives 9Preserving Film Outside the Vaults:A Reporton Projection, the FIAF Preservation Award from Shipping and Temporary Storage Facilities Iván Trujillo. New York Film Festival, Paolo Cherchi Usai 3 October 2001 Historical Column / Chronique historique / Columna histórica 16 Cinéaste, Collector, Nacional Socialist: Frank Hensel and the Reichsfilmarchiv Rolf Aurich 22 La collection coloniale de la Cinemateca Portuguesa – Museu do Cinema Joana Pimentel Documentation & Cataloguing / Documentation et catalogage / Documentación y catalogación 31 CINÉ-TV : Un logiciel pour gérer les collections des cinémathèques Pierre Véronneau 35 ‘Treasures from the Film Archives’ and International Film Cataloging Data Exchange Sarah Ziebell Mann Technical Column / Chronique technique / Columna técnica 38 Preserving Digital Film Thomas C. Christensen 41 Vinegar Affected Films of the VFA in 2000 Ngo hieu Chi 43 Pilot Experiments With L-Ascorbic Acid Developer Johan Prijs Journal of Film Preservation Technical Books Review / Compte rendu d’ouvrages