DOCSLIB.ORG

Biograph Co., Production

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

GUIDE TO THE BIOGRAPH COLLECTION MUSEUM OF MODERN ART DEPARTMENT OF FILM THE CELESTE BARTOS INTERNATIONAL FILM STUDY CENTER Compiled by Ronald S. Magliozzi and Alice Black Department of Film and Video Museum of Modern Art New York 1 MUSEUM OF MODERN ART DEPARTMENT OF FILM THE BIOGRAPH COLLECTION Initial processing completed December 31, 1996, by Alice Black, under the supervision of Ronald S. Magliozzi. Final arrangement and description in process from October 1999, by Ronald S. Magliozzi. As part of the Film Study Center's Special Collections, the material in the Biograph Collection has been culled from a number of sources. Catalogued together these documents trace the production history of this early American studio from its inception as the American Mutoscope Company in December 1895, through its development from the American Mutoscope and Biograph Company to the Biograph Company in the Spring of 1909. The company was formed by four men: William Kennedy Laurie Dickson, Herman Casler, Harry Norton Marvin and Elias Bernard Koopman who created and marketed their unique projection system, the Biograph. By the early 1900's the prosperity of the Biograph company posed a significant threat to the market dominated by Thomas A. Edison. A successful court challenge against Edison's powerful patent lead to the establishment of the United Film Services Protective Association to protect their interests against the exhibitors in 1907. Home to director D.W.Griffith, Biograph became one of the most successful studios of the period. The material gathered in the Biograph Collection documents the studio's early business activities as well as production practices of the later period. Boxes 1 through 3 contain title and assembly sheets for 1912 through 1916 releases and reissues. These are organized in numerical and alphabetical series. There is also a separate listing of films made for the "Klaw and Erlanger" series. Established by Biograph in 1913, this contract was to have produced two features a week from theatrical plays owned by the two theatre magnates. In theory, the higher production value of these films would allow Klaw and Erlanger to charge a higher rate of admission, but owing to the lack of audience interest the original plan was never fulfilled. The majority of these title sheets are typed with hand-written corrections. Included in the series are a number of foreign language versions for export markets. Box 3 also contains The American Mutoscope and Biograph Co., NY Picture Catalogue, 1st Edition, November 1902 (Film Study Center Spec Coll 80.1 AM35). For reference use the microfilm copy 0176s. NOTE: this volume should not be confused with The American Mutoscope and Biograph Co. “Photo Catalogs” that are stored in Boxes 13-22, and available for reference on microfilm reel #2 of Thomas A. Edison Papers: A Guide to Motion Picture Catalogs by American Producers and Distributors, 1894-1912 (microfilm 0146s, stored in the Library). Boxes 4 through 7 contain the Biograph ledgers. These books record a variety of information; lists of script and story ideas bought by the company; names and addresses of scriptwriters; footage counts; lab reports and stock room inventories. Biograph production records (ledger 4, box 4) are available on microfilm 0125 (stored in the Library). 2 Box 8 contains the correspondence and other business documents which trace the origins of the American Mutoscope and Biograph Co. This material records the company's dealings with its shareholders and other institutions. Included is the Henry Marvin collection of contracts, inspection records, correspondence and financial records. Boxes 9,10, 11 and 12 contain restored title cards and publicity materials in the form of "Biograph Bulletins." Much of this fragile and oversized material are stored in the flat tan archive boxes. Also included are contemporary documents relating to scholarly research involving the Biograph collection. Many of the bulletins are reprinted in two volumes (Library or FSC) or on microfilm (Queens Library). Boxes 13-22 contain the American Mutoscope and Biograph Co. “photo catalog”. This is a sales catalog which documents films produced between 189? and 1902. Each entry consists of three photographic images from the film, its production number, title, length and a code word for ordering purposes. Boxes 13-17 house reference copies; boxes 18-22 house the original pages which are NOT FOR REFERENCE. For reference use microfilm reel #2 of the Thomas A. Edison Papers: A Guide to Motion Picture Catalogs by American Producers and Distributors, 1894-1912. This is microfilm 0146s stored in the Library. A catalogue and microfilm of The D.W.Griffith Papers 1897-1954 compiled by the Museum are also available in the Library. These papers have been organized into three series: business and personal correspondence, financial records and scrapbooks. Additional material can be found in the Archive file "D.W.GRIFFITH—Biographs." Access to this file is RESTRICTED. It contains contemporary correspondence, film lists, programs which relate to the Musuem of Modern Art's collection of films. Included are the lists of prints made for Jay Leyda at New York University and the Werner Deutsch Westdeutsches Fernsehen. 3 Table of Contents: (for detailed description see main text of this catalog) MICROFILMS. AMERICAN MUTOSCOPE AND BIOGRAPH CO., NY PICTURE CATALOGUE 1ST Edition, Nov 1902- (80.1 AM35) microfilm 0176s (location: Library) BIOGRAPH BULLETINS, 2 Mar 1907-7 Nov 1912 (83.41 B52) microfilm (location: MoMA Queens) BIOGRAPH PRODUCTION RECORDS vol. 1 and 2, 1899-1912 (83.41 B52pI/83.41 B52pII) microfilm 0125 (Library) THOMAS A. EDISON PAPERS: A GUIDE TO MOTION PICTURE CATALOGS BY AMERICAN PRODUCERS AND DISTRIBUTORS, 1894-1908. Edited by Charles Musser. Frederick, MD: University Publications of America, 1985. (80.15 M857) microfilm 0146s, reel #2 (Library) BOX 1 - BIOGRAPH TITLE SHEETS Files [1-1] through [1-9] BOX 2 - BIOGRAPH TITLE SHEETS Files [2-10] through [2-12] KLAW AND ERLANGER SERIES, ASSEMBLY SHEETS Files [2-13] through [2-21] BOX 3 - BIOGRAPH ASSEMBLY SHEETS KLAW AND ERLANGER SERIES Files [3-22] through [3-36] PLOT SYNOPSIS AND CAST LISTS File [3-37] TITLE SHEETS, MISC. File [3-38] through [3-42] TITLE SHEETS, TRAILERS File [3-43] through [3-53] BIOGRAPH PICTURE CATALOG, November 1902 File [3-54] BIOGRAPH FILM CATALOGUE SUPPLEMENT NO1 File [3-55] GEORGE KLEINE PROGRAM File [3-56] JUDITH OF BETHULIA PRESS File [3-57] MOTION PICTURE PATENTS CO. ENVELOPE File [3-58] PENNANT FOR HELEN BRAY File [3-59] NY DRAMATIC MIRROR ADVERTISEMENT 1913 File [3-60] NOTE: LEDGERS MAY NOT BE PHOTOCOPIED. USERS SHOULD BE PREPARED TO COPY INFORMATION BY HAND. BOX 4 - BIOGRAPH LEDGER # 3-5 #3 “Biograph Stories” #4 “Biograph production records” v1 and v2, 1899-1912 (83.41 B52p1/ 83.41 B52pII) NOT FOR REFERENCE-USE MICROFILM 0125 #5 “production records #2051-4052” BOX 5 - BIOGRAPH LEDGER # 6-12 #6 “Film orders” 1908-1919 #7 booklet for cameraman’s use 4 #8 “photographed by A. Marvin” #9 “list of supplies” #10 “subjects copyrighted 1902” #11 “shooting schedule 1914” #12 “films in vault in Bronx” BOX 6 - BIOGRAPH LEDGER # 13-21 #13 “copyright book” #14 “1908 (camera access….)” #15 “copyright book “[as #13] #16 “mutoscope reels 1901-1904” #17 “mutoscope reels 1903-1908” #18 [production records #2551-4018, 1905] #19 “Film orders 1916-1917” #20 unidentified #21 THERE IS NO #21 BOX 7 - BIOGRAPH LEDGER Files [7-1] and [7-2] #22 “unidentified vault/lab register” #23 “record of negatives 1908-1911” MISC. AMERICAN MUTOSCOPE & BIOGRAPH CO. CORRESPONDENCE Files [7-3] through [7-23] BOX 8 - MISC. AMERICAN MUTOSCOPE & BIOGRAPH CO. CORRESPONDENCE Files [8-1] through [8-14] LIST OF BIOGRAPH STORY REGISTERS File [8-15] HENRY MARVIN COLLECTION RECORDS File [8-16] RECORD OF SCREENPLAYS 1900-1916 File [8-17] THORNTON/COLE/BIOGRAPH CORRESPONDENCE File [8-18] PAT LOUGHNEY CORRESPONDENCE File [8-19] THOMAS R. GUNNING DISSERTATION File [8-20] BOX 9 - BIOGRAPH TITLE CARDS MISC Files [9-1] through [9-17] CORRESPONDENCE 1996 File [9-18] PHOTOCOPY OF DWG ADVERTISEMENT File [9-19] BOX 10- BIOGRAPH BULLETINS NOT FOR REFERENCE-USE MICROFILM OR BOUND VOLUMES BOX 11 - BIOGRAPH TITLE PROOFS BOX 12 - PAUL KILLIAM REPRODUCTION TITLE CARDS BOX 13 - AMERICAN MUTOSCOPE AND BIOGRAPH CO. [PHOTO CATALOG] #1-499 5 BOX 14 – AMERICAN MUTOSCOPE AND BIOGRAPH CO. [PHOTO CATALOG] #500-1001 BOX 15 – AMERICAN MUTOSCOPE AND BIOGRAPH CO. [PHOTO CATALOG] #1002-1502 BOX 16 – AMERICAN MUTOSCOPE AND BIOGRAPH CO. [PHOTO CATALOG] #1503-2002 BOX 17 – AMERICAN MUTOSCOPE AND BIOGRAPH CO. [PHOTO CATALOG] #2003-2502 BOX 18 – AMERICAN MUTOSCOPE AND BIOGRAPH CO. [PHOTO CATALOG] originals. #1-499 NOT FOR REFERENCE – USE BOX 13 or MICROFILM BOX 19 – AMERICAN MUTOSCOPE AND BIOGRAPH CO. [PHOTO CATALOG] originals.#500-1001 NOT FOR REFERENCE – USE BOX 14 or MICROFILM BOX 20 – AMERICAN MUTOSCOPE AND BIOGRAPH CO. [PHOTO CATALOG] originals.#1002-1502 NOT FOR REFERENCE – USE BOX 15 or MICROFILM BOX 21 – AMERICAN MUTOSCOPE AND BIOGRAPH CO. [PHOTO CATALOG] originals. #1503-2002 NOT FOR REFERENCE – USE BOX 16 or MICROFILM BOX 22 – AMERICAN MUTOSCOPE AND BIOGRAPH CO. [PHOTO CATALOG] originals. #2003-2502 NOT FOR REFERENCE – USE BOX 17 or MICROFILM 6 EXPLANATION OF ABBREVIATIONS TLS = typed letter signed by writer TL = typed letter with no handwritten signature TM = typed manuscript TMHN = typed manuscript with handwritten notation HW = handwritten document 7 BOX 1 - ACQUISITION AND USER RECORDS File 1-0 BIOGRAPH TITLE SHEETS Files 1-1 through 1-9 1 - 0 Acquisition and user records. Catalogue disk Note: dates given in brackets have been added by the cataloguer from copyright records; all other dates are those that appear on the documents 1 – 1 Title sheets, 1909,1911-1912 releases. FRAGILE 3620 Pippa Passes or the Song of Conscience. 27 Sept 1915. TMHN 1 p.
Recommended publications
  • Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations

    Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations

    Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel
  • UC Riverside UC Riverside Electronic Theses and Dissertations

    UC Riverside UC Riverside Electronic Theses and Dissertations

    UC Riverside UC Riverside Electronic Theses and Dissertations Title Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture Permalink https://escholarship.org/uc/item/65f2825x Author Young, Mark Thomas Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Sonic Retro-Futures: Musical Nostalgia as Revolution in Post-1960s American Literature, Film and Technoculture A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Mark Thomas Young June 2015 Dissertation Committee: Dr. Sherryl Vint, Chairperson Dr. Steven Gould Axelrod Dr. Tom Lutz Copyright by Mark Thomas Young 2015 The Dissertation of Mark Thomas Young is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS As there are many midwives to an “individual” success, I’d like to thank the various mentors, colleagues, organizations, friends, and family members who have supported me through the stages of conception, drafting, revision, and completion of this project. Perhaps the most important influences on my early thinking about this topic came from Paweł Frelik and Larry McCaffery, with whom I shared a rousing desert hike in the foothills of Borrego Springs. After an evening of food, drink, and lively exchange, I had the long-overdue epiphany to channel my training in musical performance more directly into my academic pursuits. The early support, friendship, and collegiality of these two had a tremendously positive effect on the arc of my scholarship; knowing they believed in the project helped me pencil its first sketchy contours—and ultimately see it through to the end.
  • Cutting Patterns in DW Griffith's Biographs

    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.
  • AUDIO BOOKS, MOVIES & MUSIC 3 Quarter 2013 Reinert-Alumni

    AUDIO BOOKS, MOVIES & MUSIC 3 Quarter 2013 Reinert-Alumni

    AUDIO BOOKS, MOVIES & MUSIC 3rd Quarter 2013 Reinert-Alumni Library Audio Books Brown, Daniel, 1951- The boys in the boat : [nine Americans and their epic quest for gold at the 1936 Berlin Olympics] / Daniel James Brown. This is the remarkable story of the University of Washington's 1936 eight-oar crew and their epic quest for an Olympic gold medal. The sons of loggers, shipyard workers, and farmers, the boys defeated elite rivals first from eastern and British universities and finally the German crew rowing for Adolf Hitler in the Olympic games in Berlin, 1936. GV791 .B844 2013AB Bradford, Barbara Taylor, 1933- Secrets from the past : a novel / Barbara Taylor Bradford. Moving from the hills above Nice to the canals and romance of Venice and the riot-filled streets of Libya, Secrets From The Past is a moving and emotional story of secrets, survival and love in its many guises. PS3552.R2147 S45 2013AB Deaver, Jeffery. The kill room / Jeffery Deaver. "It was a 'million-dollar bullet,' a sniper shot delivered from over a mile away. Its victim was no ordinary mark: he was a United States citizen, targeted by the United States government, and assassinated in the Bahamas. The nation's most renowned investigator and forensics expert, Lincoln Rhyme, is drafted to investigate. While his partner, Amelia Sachs, traces the victims steps in Manhattan, Rhyme leaves the city to pursue the sniper himself. As details of the case start to emerge, the pair discovers that not all is what it seems. When a deadly, knife-wielding assassin begins systematically eliminating all evidence-- including the witnesses-- Lincoln's investigation turns into a chilling battle of wits against a cold-blooded killer" -- containter.
  • Annual Report and Accounts 2004/2005

    Annual Report and Accounts 2004/2005

    THE BFI PRESENTSANNUAL REPORT AND ACCOUNTS 2004/2005 WWW.BFI.ORG.UK The bfi annual report 2004-2005 2 The British Film Institute at a glance 4 Director’s foreword 9 The bfi’s cultural commitment 13 Governors’ report 13 – 20 Reaching out (13) What you saw (13) Big screen, little screen (14) bfi online (14) Working with our partners (15) Where you saw it (16) Big, bigger, biggest (16) Accessibility (18) Festivals (19) Looking forward: Aims for 2005–2006 Reaching out 22 – 25 Looking after the past to enrich the future (24) Consciousness raising (25) Looking forward: Aims for 2005–2006 Film and TV heritage 26 – 27 Archive Spectacular The Mitchell & Kenyon Collection 28 – 31 Lifelong learning (30) Best practice (30) bfi National Library (30) Sight & Sound (31) bfi Publishing (31) Looking forward: Aims for 2005–2006 Lifelong learning 32 – 35 About the bfi (33) Summary of legal objectives (33) Partnerships and collaborations 36 – 42 How the bfi is governed (37) Governors (37/38) Methods of appointment (39) Organisational structure (40) Statement of Governors’ responsibilities (41) bfi Executive (42) Risk management statement 43 – 54 Financial review (44) Statement of financial activities (45) Consolidated and charity balance sheets (46) Consolidated cash flow statement (47) Reference details (52) Independent auditors’ report 55 – 74 Appendices The bfi annual report 2004-2005 The bfi annual report 2004-2005 The British Film Institute at a glance What we do How we did: The British Film .4 million Up 46% People saw a film distributed Visits to
  • Papéis Normativos E Práticas Sociais

    Papéis Normativos E Práticas Sociais

    Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs.
  • “CORE VALUES” of IRIS GLOBAL Rolland Baker B

    “CORE VALUES” of IRIS GLOBAL Rolland Baker B

    TOWARD A BIBLICAL “STRATEGY” OF MISSION: THE EFFECTS OF THE FIVE CHRISTIAN “CORE VALUES” OF IRIS GLOBAL Rolland Baker B.A., Vanguard University, 1985 M.A., Vanguard University, 1986 Faculty Mentors Gary Greig, Ph.D. Andrew Park, Ph.D. Jon Mark Ruthven, Ph.D. A FINAL PROJECT SUBMITTED TO THE DOCTORAL STUDIES COMMITTEE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MINISTRY UNITED THEOLOGICAL SEMINARY DAYTON, OHIO December, 2013 United Theological Seminary Dayton, Ohio Faculty Approval Page Doctor of Ministry Final Project TOWARD A BIBLICAL “STRATEGY” OF MISSION: THE EFFECTS OF THE FIVE CHRISTIAN “CORE VALUES” OF IRIS GLOBAL by Rolland Baker United Theological Seminary, 2013 Faculty Mentors Gary Greig, Ph.D. Andrew Park, Ph.D. Jon Mark Ruthven, Ph.D. Date: _______________________ Approved: ____________________________ ____________________________ ____________________________ ____________________________ Associate Dean of Doctoral Studies Copyright © 2013 Rolland Baker All rights reserved. TABLE OF CONTENTS ABSTRACT...................................................................................................................... iii ACKNOWLEDGMENTS................................................................................................. iv DEDICATION................................................................................................................... vi INTRODUCTION.............................................................................................................. 1 CHAPTER 1. MINISTRY
  • The English Factory Novel

    The English Factory Novel

    1 THE ENGLISH FACTORY NOVEL BY LENA JOSEPHINE MYERS A. B. University of Illinois, 1913 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN ENGLISH IN THE GRADUATE SCHOOL OF THE UNIVERSITY OF ILLINOIS 19 18 Digitized by the Internet Archive in 2013 http://archive.org/details/englishfactorynoOOmyer_0 . ^\^% UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL 19liT I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPERVISION RY £u*^. ^kytsitL ENTITLED 7L-/Jll, BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR OF CAyA THE DEGREE /frltuA^ M(// In Charge of Thesis Head of Department Recommendation concurred in* — Committee on Final Examination* *Required for doctor'* degree but not for master's 408302 I The Table of Contents Introduction p«l-2 Chapter I A Resume of the English Factory Hovel p. 3 - 70 Chapter II The Relation of the Factory Novel to Its Age (a) A Brief Summary of the Social and Political Movements of the Period p. 71- 75 (b) The Historical Development of the Factory Novel p. 75- 78 (c) The Influence of the Factory Novel on Social Conditions p. 78- 92 (d) The Relation of the Factory Novel to Contem- porary Literature p. 92- 97 Chapter III The Characteristics and Problems of the Factory Novel p. 98 -112 Chapter IV The Factory Novel as a Work of Art Its Rank and Value p. 113-123 Conclusion p. 124-129 Bibliography A. English Novels Dealing with Factories p. 130 B. A Suggested List of American Novels Dealing with Fac- tories and Kindred Subjects p.
  • Law Enforcement Problems of the 1920S & 1930S, Bay Meadows

    Law Enforcement Problems of the 1920S & 1930S, Bay Meadows

    Winter 2011 LaThe Journal of the SanPeninsula Mateo County Historical Association, Volume xl, No. 2 Law Enforcement Problems of the 1920s & 1930s, Bay Meadows Remembered and Daly City Centennial Table of Contents The Most Corrupt County: The Era of Prohibition and Gambling ................................................................ 3 by Carmen J. Blair Bay Meadows Remembered ............................................................................. 14 by Jon Rubin Daly City-Colma: Leaves of History .................................................................. 21 by Samuel C. Chandler The San Mateo County Historical Association operates the San Mateo County History Museum and research archives at the old San Mateo County Courthouse located in Our Vision Redwood City, California, and administers two county historical sites, the Sanchez To discover the past Adobe in Pacifica and the Woodside Store in Woodside. and imagine the future. The San Mateo County Historical Association Board of Directors Our Mission Peggy Bort Jones, Chairwoman; Keith Bautista, Immediate Past Chairman; Patrick Ryan, To enrich, excite and Vice Chairman; Phill Raiser, Secretary; Brian Sullivan, Treasurer; Alpio Barbara; Paul educate through Barulich; Roberta Carcione; Herm Christensen; Shawn DeLuna; Ted Everett; Umang understanding, Gupta; John Inglis; Wally Jansen; Doug Keyston; Les Koonce; Karen S. McCown; Tom preserving and McGraw; Gene Mullin; Bob Oyster; Anne Peter; Cynthia L. Schreurs; Paul Shepherd and interpreting the history Mitchell P. Postel, President. of San Mateo County. President’s Advisory Board Accredited by the Albert A. Acena; Arthur H. Bredenbeck; Frank Baldanzi; John Clinton; Robert M. Desky; American Association T. Jack Foster, Jr.; Georgi LaBerge; Greg Munks; John Schrup and Tom Siebel. of Museums La Peninsula Carmen J. Blair, Managing Editor Publications Committee: Joan M. Levy, Publications Chairwoman; Albert A.
  • The Silent Film Project

    The Silent Film Project

    The Silent Film Project Films that have completed scanning – Significant titles in bold: May 1, 2018 TITLE YEAR STUDIO DIRECTOR STAR 1. [1934 Walt Disney Promo] 1934 Disney 2. 13 Washington Square 1928 Universal Melville W. Brown Alice Joyce 3. Adventures of Bill and [1921] Pathegram Robert N. Bradbury Bob Steele Bob, The (Skunk, The) 4. African Dreams [1922] 5. After the Storm (Poetic [1935] William Pizor Edgar Guest, Gems) Al Shayne 6. Agent (AKA The Yellow 1922 Vitagraph Larry Semon Larry Semon Fear), The 7. Aladdin And The 1917 Fox Film C. M. Franklin Francis Wonderful Lamp Carpenter 8. Alexandria 1921 Burton Holmes Burton Holmes 9. An Evening With Edgar A. [1938] Jam Handy Louis Marlowe Edgar A. Guest Guest 10. Animals of the Cat Tribe 1932 Eastman Teaching 11. Arizona Cyclone, The 1934 Imperial Prod. Robert E. Tansey Wally Wales 12. Aryan, The 1916 Triangle William S. Hart William S. Hart 13. At First Sight 1924 Hal Roach J A. Howe Charley Chase 14. Auntie's Portrait 1914 Vitagraph George D. Baker Ethel Lee 15. Autumn (nature film) 1922 16. Babies Prohibited 1913 Thanhouser Lila Chester 17. Barbed Wire 1927 Paramount Rowland V. Lee Pola Negri 18. Barnyard Cavalier 1922 Christie Bobby Vernon 19. Barnyard Wedding [1920] Hal Roach 20. Battle of the Century 1927 Hal Roach Clyde Bruckman Oliver Hardy, Stan Laurel 21. A Beast at Bay 1912 Biograph D.W. Griffith Mary Pickford 22. Bebe Daniels & Ben Lyon 1931- Bebe Daniels, home movies 1935 Ben Lyon 23. Bell Boy 13 1923 Thomas Ince William Seiter Douglas Maclean 24.
  • South Pacific

    South Pacific

    THE MUSICO-DRAMATIC EVOLUTION OF RODGERS AND HAMMERSTEIN’S SOUTH PACIFIC DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By James A. Lovensheimer, M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor Arved Ashby, Adviser Professor Charles M. Atkinson ________________________ Adviser Professor Lois Rosow School of Music Graduate Program ABSTRACT Since its opening in 1949, Rodgers and Hammerstein’s Pulitzer Prize- winning musical South Pacific has been regarded as a masterpiece of the genre. Frequently revived, filmed for commercial release in 1958, and filmed again for television in 2000, it has reached audiences in the millions. It is based on selected stories from James A. Michener’s book, Tales of the South Pacific, also a Pulitzer Prize winner; the plots of these stories, and the musical, explore ethnic and cutural prejudice, a theme whose treatment underwent changes during the musical’s evolution. This study concerns the musico-dramatic evolution of South Pacific, a previously unexplored process revealing the collaborative interaction of two masters at the peak of their creative powers. It also demonstrates the authors’ gradual softening of the show’s social commentary. The structural changes, observable through sketches found in the papers of Rodgers and Hammerstein, show how the team developed their characterizations through musical styles, making changes that often indicate changes in characters’ psychological states; they also reveal changing approaches to the musicalization of the novel. Studying these changes provides intimate and, occasionally, unexpected insights into Rodgers and Hammerstein’s creative methods.
  • Connecticut Goes Republican by Jim Baran United "In Our Desire for Peace

    Connecticut Goes Republican by Jim Baran United "In Our Desire for Peace

    Gftmnprtmtt Satlu ©amjmfi Serving Storrs Since 1896 VOL. LXX NO. 43 STORRS, CONNECTICUT Wednesday, November 8, 1972 nixon re-elected in landslide; Connecticut goes republican by Jim Baran united "in our desire for peace... peace President Nixon, in one of the most with honor." president takes triumphant landslide victories «ver "We are moving swiftly toward that enjoyed by a Presidential candidate, great goal... we are on the eve of what defeated Sen. George S. McGovern could be the greatest generation of Tuesday night in the presidential race by peace that man has ever known," Nixon Connecticut by the overwhelming margin of 503 said, while sitting alone before the electoral votes. cameras in the Lincoln Sitting Room of In the 59-year old politician's last the White House. 250,000 votes major campaign, culminating a 26-year The South Dakota Senator, career as a candidate for public office, acknowledging his defeat following the by Paulette Thibodeau Nixon won 62% of the nation's popular President's address and that "It hurts to HARTFORD Traditionally votes and 48 pf the 50 states' electoral lose," conceded the election late Democratic, Connecticut went votes. Tuesday night but said that he felt sure Republican last night giving Nixon its McGovern received 37% of the vote, that his campaign "would bear fruit for support for the first time in any of his winning only Massachusetts and the years to come." elections. After a more than 250,000 District of Columbia for 17 electoral "We are not going to shed any tears plurality was almost assured, celebration votes as the meager reward for his 22 tonight about the great joys this at the state Republican Headquarters in months of arduous campaigning.