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RESTORATION RESTORATION 660 Mason Ridge Center Dr
REGRETS, REALITY, REGRETS, REALITY, RESTORATION RESTORATION Regrets: whose life is not plagued by at least a few of these nagging leftovers from the past? The things we regret doing—or not doing, as the case may be—can wear us down, reshaping our lives and our sense of self, in the process. Left unattended, regrets erode our self-esteem, our willingness to press on, even our ability to think clearly. Everything becomes shrouded by the guilt, the pain we’ve caused, the sense that lives have been ruined, or at least dreadfully altered, by our foolish mistakes. 660 Mason Ridge Center Dr. What’s happened in our lives, however, does not have to dictate the present—or the future. We can move beyond the crippling anguish and pain our decisions St. Louis, Missouri 63141-8557 may have caused. Still, restoration—true restoration— is not purely a matter of willpower and positive think- ing. It’s turning to the One who has taken all our griefs, 1-800-876-9880 • www.lhm.org sorrows, anxieties, blunders, and misdeeds to the cross and where, once and for all time, He won for us an ultimate victory, through His death and resurrection. In Jesus there is a way out of your past. There is no 6BE159 sin beyond pardon. Even as Peter was devastated by his callousness toward the Savior’s predicament and arrest, he was restored—by the grace of God—to a REGRETS, REALITY, life that has made a difference in the lives of untold millions through the centuries. 6BE159 660 Mason Ridge Center Dr. -
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. -
Camp Mohawk's 100 Year Celebration on Labor Day
Camp Mohawk’s 100 Year Celebration On Labor Day weekend, over 200 alumni and staff returned to the Litchfield hills to celebrate Camp Mohawk’s Centennial. Representatives from seven decades of Mohawk’s history gathered to reunite with old friends and to explore the changes that have come to camp in the years since they last visited. Bonnie Jones Schorske was the earliest recorded camper, first attending Mohawk in 1956. In keeping with the vastness of the Mohawk spirit, attendees hailed from 23 U.S. states (including California, Washington, Oregon, Arizona, and Colorado). Three alumni traveled internationally to attend the festivities: Rick “Star” Burdick from England, Lisbet Forsting from Sweden, and Dr. Liz Terracino from Switzerland. Not all attendees were former campers or staff: Elizabeth Bader and Robert Messrop visited in memory of Elizabeth’s mother, who was a camper in 1929. Friday evening featured a “Meet and Greet” in Moore Lodge (built in 2015 on the site of the former Quad). Alumni socialized with friends old and new, while browsing the debut of Camp Mohawk’s archive, displayed by Archivist Kathryn Krase. Items included postcards, photos, newsletters and other documents from Camp’s 100-year history. The evening ended with a Friendship Fire at the waterfront, followed by singing, reminiscing and laughter. Over 100 alumni stayed on camp, braving the bugs and bunks beds. All five units were occupied, as well as the Infirmary and Coutant Rising, which replaced many of the Cedars cabins as housing for specialty staff in 2017. Saturday morning was programmed like a typical day at camp. -
Learning in Zion: Two Addresses Merrill J
BYU President Merrill J. Bateman at a BYU devotional, January 1996. Courtesy Mark A. Philbrick/BYU. Learning in Zion: Two Addresses Merrill J. Bateman I. Secular Learning in a Spiritual Environment Twenty-five years ago, I arrived on the campus of Brigham Young University as a newly recruited economics professor. I had received a Ph.D. from one of the more respected graduate programs in the country, completed my military obligation, and was now embarking on an academic career. A few months later, I received a telephone call from a faculty member in another department. The person introduced himself, welcomed me to campus, and then asked if I would answer some questions from a survey he was taking. Although I was somewhat surprised by the call, I agreed. He then asked, "What brand of economics do you teach? Do you subscribe to increased governmental controls for the United States economy? Do sacred truths have any relevance in economic modeling, and do they influence your teaching in the classroom?" My graduate training helped me answer the first two questions, but I confess that I had trouble with the third. My graduate training had emphasized that the well-being of a nation depends on freedom to trade, freedom to choose, information flows, the development of technology, and the specialization of the factors of production. I also knew that the most efficient combinations of the above require free markets. When government controls are imposed, market signals are disturbed, and efficiency is reduced, causing a reduction of goods and services. Consequently, I understood that capitalism was a much more productive system than socialism or communism. -
NATIONAL FUTURE FARMER Is Published Quarterly by the Future Farmers of America, Inc., at S10 Rhode Island Avenue
The National I T Mm I The Official Magazine of the Future Farmers of America You'll out- plow them all... Switch implements in seconds. With Farmall Fast-Hitch, you can be plowing one minute, disking, harrowing or planting the next. F-H plow is available with either 12 or 14-inch bottoms. with FARMALL Just back in - and GO/ Settle back in the cushioned seat of the Farmall Fast-Hitch is completely free-floating. Your plow Super C. In seconds, you Fast-Hitch to a 2- takes its full cut, doesn't dip, lift or shift with bottom plow — ready to do the best job of plow- tractor movement. Follow contours with ease ing you've ever seen. You tilt your F-H plow and accuracy. Now, precision plowing is at your hydraulically to open a land and make your back fingertips! furrow. Then level the bottoms hydraulically to Prove to yourself you can farm the high yield, make uniform furrows, round after round, what- low effort way— on every 2-plow, 2-row job. See cranks ever the lay of the land. No to turn, no how Fast-Hitch — with three double-acting cylin- bolts to change! ders — gives you automatic hitching plus complete The depth you set is the depth you get! The F-H time and work saving control of your choice of 23 plow is pulled from a single draft point, ahead of F-H implements. and under the tractor rear axle. Simply raise Call your IH dealer soon. Give Farmall Super C or lower the draft point hydraulically. -
Redalyc.ACTRICES DEL CINE MUDO QUE NO SUPERARON LA
Aposta. Revista de Ciencias Sociales E-ISSN: 1696-7348 [email protected] Luis Gómez Encinas ed. España Ballesteros García, Rosa María ACTRICES DEL CINE MUDO QUE NO SUPERARON LA BARRERA DEL SONORO Aposta. Revista de Ciencias Sociales, núm. 71, octubre-diciembre, 2016, pp. 147-191 Luis Gómez Encinas ed. Móstoles, España Disponible en: http://www.redalyc.org/articulo.oa?id=495952433006 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto aposta revista de ciencias sociales ISSN 1696-7348 Nº 71, Octubre, Noviembre y Diciembre 2016 ACTRICES DEL CINE MUDO QUE NO SUPERARON LA BARRERA DEL SONORO ACTRESSES OF THE SILENT FILMS THAT THEY DIDN'T GET OVERCOME THE SOUND BARRIER Rosa María Ballesteros García Universidad de Málaga (SEIM/UMA) Recibido: 19/09/2015 - Aceptado: 8/04/2016 Formato de citación: Ballesteros García, R.M. (2016). “Actrices del cine mudo que no superaron la barrera del sonoro”. Aposta. Revista de Ciencias Sociales , 71, 147-191, http://apostadigital.com/revistav3/hemeroteca/ballesteros8.pdf Resumen El presente artículo tiene como objetivo recuperar una serie de actrices, ídolos de la etapa del cine mudo, que no lograron mantenerse al iniciarse el proceso al hablado. Ponemos el objetivo en algunas de las actrices más representativas a quienes el progreso técnico iba a condenar al ostracismo al no adecuarse su voz (aún sin la muleta del doblaje) a los inevitables cambios estructurales y auditivos. -
Jared W. Holeman Mr. Stambaugh English IV
Holeman 1 Jared W. Holeman Mr. Stambaugh English IV: Early British Literature (C) December 1st, 2016 Oppressed in Society, Imprisoned in Mind Living as a second class citizen can destroy one’s psyche and crush one’s dreams to the point where only two options remain: resist, or die. In William Shakespeare’s The Tragedy of Hamlet, Prince of Denmark, the two female characters, Ophelia and Queen Gertrude, live lives without much personal choice or freedom. The institutionalized misogyny of elizabethan England, the time period in which play was written, rules every aspect of their lives and imprisons in them in their minds, despite the play being set in Denmark. They do not think their own thoughts nor live their own lives. At first glance they seem to be entirely resigned to their subservient position to the men of the play. Upon looking deeper, a few sarcastic remarks and insertions of opinion reveal an entirely secret part of their personalities, a hidden disobedient nature. These hidden personas can not remain tucked away for ever and eventually explode outward through violent and severe actions with grave consequences. With little social power and faced with constant attacks on their intellect and thoughts, Hamlet’s women use sarcastic remarks and internal resistance to provide themselves with some mental power over the men in their lives, until they take grave action to win themselves a more tangible freedom. Early on in the play, Polonius disregards Ophelia's thoughts on whether Hamlet’s interest royal prince’s lustful desire or the amorous longings of a lovestruck gentlemen. -
Orthogenique, Volume 4
orthogenique summer 2008 volume 4 volume oorthogenique volume 4 summer 2008 Julia Many thanks to the people who sub- scribd to this issue of Orthogenique. Your donations are greatly appreciated. All others who wish to subscribe to this The next issue is scheduled for a January magazine can do so with the order form release. Anyone who wishes to contribute at the back of this issue. artwork or writing to Orthogenique can do so by giving the piece to Michelle Z. or Michelle P. A special section will be made in the back of the magazine to showcase the artisitc or writing talents of the contributors. Our lives are linear. Time moves on and pushes us relentlessly. We move in one direction to new destinations, new heights, and on new paths. These paths lead us to our future, hold us in our present and connect us to our past. These connections map our lives. What we choose to leave behind, maps our identities. Our lives are linear, but the paths we create are not necessarily orderly or logical, nor are the things that remind us of our connections. I see a glimpse of the summer sky – zoom – my mind moves to a time of childhood, traveling in a flash through a power line like the electric images of some cheesy 1980’s special effects extravaganza. My mind takes me to vacation trips in the car, staring out the window at the power lines as we pass. Zoom - My mind arrives to lying on my back at dusk waiting for my mom to call me in for the night. -
LAST of the MOHICANS Based on the Novel by James Fenimore
/WK LAST OF THE MOHICANS Based on the novel by James Fenimore Cooper 1936 Screenplay by Philip Dunne Adapted by Michael Mann and Christopher Crowe Screenplay by Michael Mann j«^>\ SECOND DRAFT 7/31/90 Rev. 11/29/90 /f»SV 1757 "It was a feature peculiar to the Colonial Wars of North America that soldiers...expended months struggling against the rapids or the mountains in quest of an opportunity to exhibit their courage in martial conflict. Emulating the craft and self denial of the native warriors, they learned to overcome every difficulty; and it would seem that in time, there was no recess of the woods so dark, nor any secret place so lovely, that it might claim exemption from the inroads of those who had pledged their blood to satiate their vengeance. "It was in this scene of strife and bloodshed that the incidents we shall attempt to relate occurred, during the third year of the war which England and France waged for the possession of a country that neither was destined to retain." James Fenimore Cooper /&*> Rev. 11/29/90 X* 1 FADE IN T The screen is a microcosm of leaf, crystal drops of precipitation, a stone, wood, emerald-green moss. It's a landscape in miniature. We HEAR the forest. Some distant birds. Their sound seems to reverberate as if in a cavern. A piece of sunlight refracts within the drops of water, paints a patch of moss yellow. The whisper of wind is joined by another sound that mixes with it. A distant rustling. -
The Open Field Spring 2021 Edition
The Open Field Spring 2021 Edition The Open Field is a literary magazine devoted to publishing poetry, prose, mixed-genre writing, and visual art by the undergraduate community at the University of Maine. Editors: Nola Prevost Lily Comeau-Waite Faculty Advisor: Hollie Adams Thanks to: Brian Jansen The University of Maine English Department Cover Image by Nola Prevost CONTENTS POETRY Iris LeCates For Ohio To the Pills He Took 1:48 P.M. The Architect Shania Soler Essay Neily Raymond Self-Education #1: Love Self-Education #3: Nature in the Home Zoe Karpman Because We Can’t Always Send Ourselves The Siren Of Calcium and Marrow Avery Maietta Something Lighter Camerin M. Seigars Lost in the morning Arend Thibodeau For One Love Paranoid April Messier make your body an ear In Tune Tyler D’Ambrosio The News is on TV E.W. Grey What I would have liked to tell you Born anew Jacqui Weaver His Ultimate Demise Chris Weber Falling Down in the Woods on a Drunken Evening Dakota Hutchins The Day a Virus Controlled the World Are We Human? Or Are We Dancer Raw Dough Paige McHatten purple house Samantha Sudol Unwritten Colors Katelyn Gilcrease Inequity of Reason Katherine Scott Together Sensations of Suburbia Dear Grandma Marla Tanous A Midnight Dance Time & Tide Do You See? Liron D. Estrach A Captain’s Oath Matthew Koehler Prometheus VISUAL ART Suzie Milkowich Power of Three Haid Tanous The Glowing Maiden Varda Donald Patten Corner Table Still Life Fruit Bowl Still Life Pears on a Stripped Surface FICTION Liron D. Estrach Peaceful Knight Bad Apples Kenyon Geiger Precipice at the Theological Hall Shania N. -
Motion Pictures 1894 to 1912
From the collection of the o Prefingep ^ - V Jjibrary t vv P San Francisco, California 2007 Digitized by tine Internet Arciiive in 2007 witii funding from IVIicrosoft Corporation http://www.archive.org/details/motionpict18941912librrich Motion Pictures 1894-1912 Motion Pictures 1894-1912 Identified from the Records of the United States Copyright Office by Howard Lamarr Walls o 953 COPYRIGHT OFFICE i!V THE LIBRARY OF CONGRESS L. C. card, 53-60033 For sale by the Register of Copyrights, Library of Congress, Washington 25, D. C. Price J2 Copyright Office - The Labrary of Congress MOTION PICTURES. 1894-1912 Page 1 ERRATA AND ADDENDA 71 The following lists of corrections and additions to Motion Pictures . 1894-1912 have been compiled by the staff of the Copyright Office from information gathered and generously contributed by Miss Eliz- abeth Franklin of the Academy of Motion Picture Arts and Sciences during the course of twosununers' work on the paper print collec- tion of the Library of Congress. The corrections cover both typo- graphical errors and variances between information on the paper prints and in the record books of the office. Mr. Howard L. Walls was limited to the record books in making his original selection. Most of the additions consist of films not readily identifiable as such from the record book entries, since before 1912 motion pic- tures were registered simply as photographs. date January 9, 1894, ERRATA Belshazzar, copyright Page Page /enty-four motion pic- 16 DISCOVERIES OF BODIES. For DISCOV- 29Augl900: D18581. Registration number ERIES read DISCOVERY. should be D18582. ss J, photographs, be- 23 GIRLS SWIMMING. -
Biography of D.W. Griffith David Wark Griffith Was Born in La Grange
Biography of D.W. Griffith David Wark Griffith was born in La Grange, Kentucky on January 22, 1875. After stints as both writer and actor of poetry and plays, Griffith first entered the motion picture industry as an actor for Edison Studios in 1907. He moved over to Biograph in 1908 for the salary of $5 a day. Griffith's work at Biograph would forever change the way movies were made. Biograph was one of the first motion picture studios in America, when films were sold outright by the foot, and not rented as they are today. Films were silent and no more than one reel in length (a running time of about 12 minutes). At a price of 10-cents a foot, the cost of a reel of film was about $100. When Griffith first came to Biograph, the studio was only selling about 20 copies of each new film and was in poor financial condition. Biograph was in pressing need of a director. The job was offered to Griffith at an increase in salary, but he was reluctant to take it. He was working steadily and was afraid that if he failed he would lose his job as an actor. Henry Marvin, founder of Biograph, assured Griffith that if he did fail as a director, his acting chores would continue. Griffith reluctantly accepted. Griffith had only a rudimentary understanding of film making. He knew that film directors were no more than sheepherders, moving the actors from one place to another on the screen. The cameraman was king. Biograph had two: Arthur Marvin, brother of Griffith’s boss, and a German immigrant named G.W.