Jack O' Judgment
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 April 1875
WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 april 1875. Overleden: Hollywood, USA, 10 februari 1932 Opleiding: St. Peter's School, Londen; kostschool, Camberwell, Londen, tot 12 jarige leeftijd. Carrière: Wallace was de onwettige zoon van een acteur, werd geadopteerd door een viskruier en ging op 12-jarige leeftijd van huis weg; werkte bij een drukkerij, in een schoen- winkel, rubberfabriek, als zeeman, stukadoor, melkbezorger, in Londen, 1886-1891; corres- pondent, Reuter's, Zuid Afrika, 1899-1902; correspondent, Zuid Afrika, London Daily Mail, 1900-1902 redacteur, Rand Daily News, Johannesburg, 1902-1903; keerde naar Londen terug: journalist, Daily Mail, 1903-1907 en Standard, 1910; redacteur paardenraces en later redacteur The Week-End, The Week-End Racing Supplement, 1910-1912; redacteur paardenraces en speciaal journalist, Evening News, 1910-1912; oprichter van de bladen voor paardenraces Bibury's Weekly en R.E. Walton's Weekly, redacteur, Ideas en The Story Journal, 1913; schrijver en later redacteur, Town Topics, 1913-1916; schreef regelmatig bijdragen voor de Birmingham Post, Thomson's Weekly News, Dundee; paardenraces columnist, The Star, 1927-1932, Daily Mail, 1930-1932; toneelcriticus, Morning Post, 1928; oprichter, The Bucks Mail, 1930; redacteur, Sunday News, 1931; voorzitter van de raad van directeuren en filmschrijver/regisseur, British Lion Film Corporation. Militaire dienst: Royal West Regiment, Engeland, 1893-1896; Medical Staff Corps, Zuid Afrika, 1896-1899; kocht zijn ontslag af in 1899; diende bij de Lincoln's Inn afdeling van de Special Constabulary en als speciaal ondervrager voor het War Office, gedurende de Eerste Wereldoorlog. Lid van: Press Club, Londen (voorzitter, 1923-1924). Familie: getrouwd met 1. -
The Daffodil Mystery
1 CHAPTER THE CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV CHAPTER XV CHAPTER XVI CHAPTER XVII CHAPTER XVIII CHAPTER XIX CHAPTER XX CHAPTER XXI CHAPTER XXII CHAPTER XXIII CHAPTER XXIV CHAPTER XXV CHAPTER XXVI CHAPTER XXVII CHAPTER XXVIII The Daffodil Mystery, by Edgar Wallace 2 CHAPTER XXIX CHAPTER XXX CHAPTER XXXI CHAPTER XXXII CHAPTER XXXIII CHAPTER XXXIV CHAPTER XXXV CHAPTER XXXVI CHAPTER XXXVII CHAPTER THE The Daffodil Mystery, by Edgar Wallace The Project Gutenberg eBook, The Daffodil Mystery, by Edgar Wallace This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Daffodil Mystery Author: Edgar Wallace Release Date: March 26, 2007 [eBook #20912] Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK THE DAFFODIL MYSTERY*** E-text prepared by David Clarke, Mary Meehan, and the Project Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net) THE DAFFODIL MYSTERY by EDGAR WALLACE Ward, Lock & Co., Limited London and Melbourne Made and Printed in Great Britain CONTENTS I. AN OFFER REJECTED II. THE HUNTER DECLINES HIS QUARRY III. THE MAN WHO LOVED LYNE IV. MURDER The Daffodil Mystery, by Edgar Wallace 3 V. FOUND IN LYNE'S POCKET VI. THE MOTHER OF ODETTE RIDER VII. THE WOMAN IN THE CASE VIII. -
Edgar Wallace (1875–1932)
Edgar Wallace (1875–1932) Richard Horatio Edgar Wallace eða bara Edgar Wallace eins og hann kallaði sig var enskur rithöfundur, blaðamaður og handritshöfundur sem skrifaði 175 skáldsögur, 24 leikrit og fjölda greina í blöð og tímarit. Þá er búið að gera vel á annað hundruð kvikmyndir eftir sögum hans og er enn að bætast við þá tölu. Munu það vera fleiri kvikmyndir en gerðar hafa verið eftir sögum nokkurs annars höfundar. Til marks um vinsældir hans, þá vildi einn útgefandi bóka hans meina að fjórðungur allra bóka sem lesnar voru á Englandi á þriðja áratug 20. aldar væru eftir hann. Í dag er Wallace kannski helst kunnur fyrir að hafa í samvinnu við Draycott Dell skrifað handritið að fyrstu kvikmyndinni um King Kong sem og smásöguna sem handritið og síðar skáldsagan byggir á. Með þekktum bókum eftir Wallace má nefna The Four Just Men, The Ringer og The Door with the Seven Locks (Dyrnar með lásunum sjö). Edgar Wallace fæddist í London 1. apríl árið 1875. Foreldrar hans voru leikarar, Richard Horatio Edgar (sem vissi reyndar aldrei af tilvist hans) og Mary Jane Blair. Mary hafði misst mann sinn árið 1868 og átti eina dóttur fyrir þegar hún varð ófrísk af Edgar eiginlega fyrir slysni. Störfuðu þau Richard bæði hjá sama leikflokki sem rekinn var af móður Richards. Til að forðast hneyksli lét Mary engan vita af óléttunni og fékk leyfi um tíma frá hópnum til að geta eignast barnið í kyrrþey. Bað hún ljósmóðurina sem stundaði hana að finna fyrir sig fólk sem væri tilbúið að fóstra soninn strax eftir fæðingu gegn greiðslum. -
Download Journal in Pdf Format
statewatch monitoring the state and civil liberties in the UK and Europe vol 7 no 3 May - June 1997 “Voluntary” repatriation and the surveillance of EU-wide demonstrations The The meeting of the Council of Justice and Home Affairs EU Member States who have established “support programmes.. Ministers (JHA Council) on 26-27 May in Brussels began at 2.30 [for] the voluntary return of legally as well as illegally resident in the afternoon on Monday 26 May and by 5.30 the Ministers third-country nationals” are to send details to the General were reported to have finished all their business and were Secretariat of the Council in Brussels each year. This drinking champagne prior to the formal signing of a Convention information will include: the designated authorities carrying out on corruption. In the three-hour meeting they had discussed 11 the “programme”; the numbers; “requirements” placed on “the points on the main agenda and nodded through 23 items without country of origin” and on the “returnees”; the level of debate. It was an apparently lacklustre JHA Council with little “assistance” (eg: travel costs, removal costs, and “repatriation media interest or coverage. allowance”) (Article 1). The aim to is achieve “possible Four of the items passed without debate were on: voluntary approximation" of the “programmes”. While: repatriation, a Joint Action on public order, implementation of The Member States.. which have not introduced these programmes the Dublin Convention, and the “analysis files” of Europol. shall examine the results and usefulness thereof. (Article 4) If there was any doubt as to the long-term direction of EU policy “Voluntary” repatriation the Amsterdam Treaty says that measures will be taken to The Decision on “the exchange of information concerning combat: assistance for the voluntary repatriation of third-country nationals" is reminiscent of the evolution of EU policy on illegal immigration and illegal residence including repatriation of extradition. -
Brave New World: Imperial and Democratic Nation-Building in Britain Between the Wars
Image Brave New World: Imperial and Democratic Nation-Building in Britain between the Wars Edited by Laura Beers and Geraint Thomas Brave New World Imperial and Democratic Nation- Building in Britain between the Wars Brave New World Imperial and Democratic Nation- Building in Britain between the Wars Edited by Laura Beers and Geraint Thomas LONDON INSTITUTE OF HISTORICAL RESEARCH Published by UNIVERSITY OF LONDON SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU First published in print in 2011. This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY- NCND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978 1 909646 45 2 (PDF edition) ISBN 978 1 905165 58 2 (hardback edition) Contents List of contributors vii Preface by Ross McKibbin ix Acknowledgements xiii Introduction 1 1. Political modernity and ‘government’ in the construction of inter-war democracy: local and national encounters Geraint Thomas 39 2. Whig lessons, Conservative answers: the literary adventures of Sir J. A. R. Marriott Gary Love 67 3. The ‘Will to Work’: industrial management and the question of conduct in inter-war Britain Daniel Ussishkin 91 4. Representing the people? The Daily Mirror, class and political culture in inter-war Britain Adrian Bingham 109 5. ‘A timid disbelief in the equality to which lip-service is constantly paid’: gender, politics and the press between the wars Laura Beers 129 6. Conservative values, Anglicans and the gender order in inter-war Britain Lucy Delap 149 7. -
The Situation and Tendencies of the Cinema in Africa
Studies in Visual Communication Volume 2 Issue 1 Spring 1975 Article 5 1975 The Situation and Tendencies of the Cinema in Africa Jean Rouch Recommended Citation Rouch, J. (1975). The Situation and Tendencies of the Cinema in Africa. 2 (1), 51-58. Retrieved from https://repository.upenn.edu/svc/vol2/iss1/5 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/svc/vol2/iss1/5 For more information, please contact [email protected]. The Situation and Tendencies of the Cinema in Africa This contents is available in Studies in Visual Communication: https://repository.upenn.edu/svc/vol2/iss1/5 viewpoints; (3) an analysis of new tendencies and the conditions for the development of a true African cinema. As to reference documents: It is important to note here the considerable difficulties of documentation in the field of African cinema. I apologize for many errors and omissions that are inevitable in this type of study; but I think that THE SITUATION AND TENDENCIES above all this report is a foundation, which after the OF THE CINEMA IN AFRICA necessary corrections and rectifications will give researchers access to information for their studies. PART I* I have gathered these data by using: the classic litera ture- unfortunately very slight- on African cinema (Georges JEAN ROUCH Sadoul, Leprophon, Thevenot); a review of the first and only translated by STEVE FELD international conference on "Cinema in Sub-Saharan Africa," organized in Brussels during the World Fair in July 1958; The cinema began to take hold in Africa from the first different UNESCO reports (in particular the report of years that followed its invention. -
Cinema at the End of Empire: a Politics of Transition
cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3. -
An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: an Interpretive History of Blacks in American Film by Donald Bogle Dominique M
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-11-2011 An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: An Interpretive History of Blacks in American Film By Donald Bogle Dominique M. Hardiman Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Hardiman, Dominique M., "An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: An Interpretive History of Blacks in American Film By Donald Bogle" (2011). Research Papers. Paper 66. http://opensiuc.lib.siu.edu/gs_rp/66 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. 1 AN INTERACTIVE STUDY GUIDE TOMS, COONS, MULATTOS, MAMMIES, AND BUCKS: AN INTERPRETIVE HISTORY OF BLACKS IN AMERICAN FILM BY DONALD BOGLE Written by Dominique M. Hardiman B.S., Southern Illinois University, 2011 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Masters of Science Degree Department of Mass Communications & Media Arts Southern Illinois University April 2011 ii RESEARCH APPROVAL AN INTERACTIVE STUDY GUIDE TOMS, COONS, MULATTOS, MAMMIES, AND BUCKS: AN INTERPRETIVE HISTORY OF BLACKS IN AMERICAN FILM By Dominique M. Hardiman A Research Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Science in the field of Professional Media & Media Management Approved by: Dr. John Hochheimer, Chair Graduate School Southern Illinois University Carbondale April 11, 2011 1 ACKNOWLEDGEMENTS This Research would not have been possible without the initial guidance of Dr. -
The Green Rust, by Edgar Wallace 2 CHAPTER XXXI CHAPTER XXXII the Green Rust, by Edgar Wallace
1 CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV CHAPTER XV CHAPTER XVI CHAPTER XVII CHAPTER XVIII CHAPTER XIX CHAPTER XX CHAPTER XXI CHAPTER XXII CHAPTER XXIII CHAPTER XXIV CHAPTER XXV CHAPTER XXVI CHAPTER XXVII CHAPTER XXVIII CHAPTER XXIX CHAPTER XXX The Green Rust, by Edgar Wallace 2 CHAPTER XXXI CHAPTER XXXII The Green Rust, by Edgar Wallace The Project Gutenberg EBook of The Green Rust, by Edgar Wallace This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Green Rust Author: Edgar Wallace Release Date: March 28, 2008 [EBook #24929] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK THE GREEN RUST *** Produced by D Alexander, Martin Pettit and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) THE GREEN RUST BY EDGAR WALLACE WARD, LOCK & CO., LIMITED LONDON AND MELBOURNE MADE IN ENGLAND Printed in Great Britain by Butler & Tanner Ltd., Frome and London THE GREEN RUST Novels by EDGAR WALLACE published by WARD, LOCK AND CO., LTD. The "Sanders" Stories SANDERS OF THE RIVER BOSAMBO OF THE RIVER BONES LIEUTENANT BONES SANDI, THE KING-MAKER THE PEOPLE OF THE RIVER THE KEEPERS OF THE KING'S PEACE Mystery Stories The Green Rust, by Edgar Wallace 3 THE DAFFODIL MYSTERY THE DARK EYES OF LONDON BLUE HAND MR. -
Bosambo of the River
Bosambo Of The River By Edgar Wallace Bosambo Of The River I. — ARACHI THE BORROWER MANY years ago the Monrovian Government sent one Bosambo, a native of the Kroo coast and consequently a thief, to penal servitude for the term of his natural life. Bosambo, who had other views on the matter, was given an axe and a saw in the penal settlement—which was a patch of wild forest in the back country—and told to cut down and trim certain mahogany trees in company with other unfortunate men similarly circumstanced. To assure themselves of Bosambo's obedience, the Government of Liberia set over him a number of compatriots, armed with weapons which had rendered good service at Gettysburg, and had been presented to the President of Liberia by President Grant. They were picturesque weapons, but they were somewhat deficient in accuracy, especially when handled by the inexpert soldiers of the Monrovian coast. Bosambo, who put his axe to an ignoble use, no less than the slaying of Captain Peter Cole—who was as black as the ten of clubs, but a gentleman by the Liberian code—left the penal settlement with passionate haste. The Gettysburg relics made fairly good practice up to two hundred yards, but Bosambo was a mile away before the guards, searching the body of their dead commander for the key of the ammunition store, had secured food for their lethal weapons. The government offered a reward of two hundred and fifty dollars for Bosambo, dead or alive. But, although the reward, was claimed and paid to the half-brother of the Secretary of War, it is a fact that Bosambo was never caught. -
A Journal of African Studies
UCLA Ufahamu: A Journal of African Studies Title Apartheid and Cinema Permalink https://escholarship.org/uc/item/77k54213 Journal Ufahamu: A Journal of African Studies, 13(1) ISSN 0041-5715 Author Ssali, Ndugu Mike Publication Date 1983 DOI 10.5070/F7131017123 Peer reviewed eScholarship.org Powered by the California Digital Library University of California APARTHEID AND CINEMA by Ndugu Mike Ssali The first cinema show was exhibited to a special group of white South Africans on April 19, 1895 in Johannesburg. 1 That makes South Africa one of the first partakers of the 'motion picture' novelty. Cinema has since remained part of the South African social and cultural fabric, although only one scholar, Thelma Gutsche , has studied in any detail the history of the cinema in that country. This paper proposes to discuss and analyze two major as pects of the subject that have been overlooked by film histor ians. The first is a historical survey of those films which the South African power structure allowed the Blacks to see and participate in. The second objective is to examine how and why those films were selected, and the social impact they were in tended to have on the Black community in South Africa. URBAN SCENE SETTING The Dutch East India Company's employees established a settlement at the Cape of Good Hope in 1652. After two bloody campaigns against the Khoikhoi, 1659-60 and 1763-74, the Dutch went on to defeat the Xhosa in front-ier wars in 1779-81 and 1793. But in 1795 the British displaced the Dutch at the Cape. -
The Crime Thriller in Context Kate Watson
The Crime Thriller in Context Kate Watson As this book collection attests, the thriller is a wide-ranging category. As this chapter will show (and summarize), the sub- genre of the crime thriller has a large corpus and different national traditions, and, consequently, it does not have a singular literary or national history. Crime thriller narratives can be found across many mediums, including literature, television, graphic novels, and film. Added to this, there are many sub-genres of the thriller that incorporate narratives of crime/s. These are: legal thrillers (and the earlier police procedural), spy thrillers, futuristic thrillers, psychological thrillers, political thrillers, racing thrillers, heist thrillers, cyberpunk thrillers, the ‘troubling’ thriller, and the faction thriller, among others (Scaggs 108). Martin Priestman groups these versions of the crime thriller into the noir thriller and the anti- conspiracy thriller (34).1 In fact, there is a continual revision and evolution of the crime thriller over time. To begin: what does it mean exactly to ‘thrill’? Typically, a thriller is connected with a visceral response and frisson. A ‘thrill’ is connected to emotion: it can incite excitement, be suspenseful, salacious, and sensational. It can also be pleasurable, chilling, and terrifying or invoke anxiety, ambiguity, and fear. For these reasons, the crime thriller is closely connected to and has a crossover with the psychological thriller. So, how can the popular sub-genre of the crime thriller be defined? This chapter will consider the definitions of the ‘crime novel/thriller’ and ‘detective fiction.’ Indeed, each of these terms are broad and encompass many sub-genres in each.