College Voice Vol. 25 No. 20
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The Tarzan Series of Edgar Rice Burroughs
I The Tarzan Series of Edgar Rice Burroughs: Lost Races and Racism in American Popular Culture James R. Nesteby Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree in Doctor of Philosophy August 1978 Approved: © 1978 JAMES RONALD NESTEBY ALL RIGHTS RESERVED ¡ ¡ in Abstract The Tarzan series of Edgar Rice Burroughs (1875-1950), beginning with the All-Story serialization in 1912 of Tarzan of the Apes (1914 book), reveals deepseated racism in the popular imagination of early twentieth-century American culture. The fictional fantasies of lost races like that ruled by La of Opar (or Atlantis) are interwoven with the realities of racism, particularly toward Afro-Americans and black Africans. In analyzing popular culture, Stith Thompson's Motif-Index of Folk-Literature (1932) and John G. Cawelti's Adventure, Mystery, and Romance (1976) are utilized for their indexing and formula concepts. The groundwork for examining explanations of American culture which occur in Burroughs' science fantasies about Tarzan is provided by Ray R. Browne, publisher of The Journal of Popular Culture and The Journal of American Culture, and by Gene Wise, author of American Historical Explanations (1973). The lost race tradition and its relationship to racism in American popular fiction is explored through the inner earth motif popularized by John Cleves Symmes' Symzonla: A Voyage of Discovery (1820) and Edgar Allan Poe's The narrative of A. Gordon Pym (1838); Burroughs frequently uses the motif in his perennially popular romances of adventure which have made Tarzan of the Apes (Lord Greystoke) an ubiquitous feature of American culture. -
Rethinking Cinco De Mayo | Zinn Education Project
Rethinking Cinco de Mayo | Zinn Education Project zinnedproject.org/2012/05/rethinking-cinco-de-mayo May 4, 2012 May 4, 2018: As the president of the United States continues to fan the flames of bigotry toward Mexicans, here comes Cinco de Mayo. It’s a holiday that has too often allowed people to indulge in racist stereotypes —- not to mention inaccurate history. We encourage you to read Sudie Hofmann’s “If We Knew Our History” column, “Rethinking Cinco de Mayo,” to learn a more truthful, and useful history. By Sudie Hofmann I recently came across a flier in an old backpack of my daughter’s: Wanted: Committee Chairs for this Spring’s Cinco de Mayo All School Celebration. The flier was replete with cultural props including a sombrero, cactus tree, donkey, taco, maracas, and chili peppers. Seeing this again brought back the moment when, years earlier, my daughter had handed the flier to me, and I’d thought, “Oh, no.” The local K-6 elementary school’s Parent Teacher Student Association (PTSA) was sponsoring a stereotypical Mexican American event. There were no Chicana/o students, parents, or staff members who I was aware of in the school community and I was concerned about the event’s authenticity. I presumed the PTSA meant well, and was attempting 1901 poster for Cinco de Mayo: “May 5, 1862 and the siege of to provide a multicultural experience for Puebla” by Jose Guadalupe Posada. students and families, but it seemed they were likely to get it wrong. After making some inquiries, I was told the school wanted to celebrate Cinco de Mayo because it was Mexico’s Independence Day. -
George P. Johnson Negro Film Collection LSC.1042
http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections. -
Favorite Looney Tunes Characters.Xlsx
FAVORITE LOONEY TUNES CHARACTERS - VOTING BRACKETS First Round Second Round Sweet Sixteen Elite Eight Final Four Championship Final Four Elite Eight Sweet Sixteen Second Round First Round Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes 1 Daffy Duck 58 70 Bugs Bunny 1 Daffy Duck 60 67Bugs Bunny 16 Clyde Bunny 13 1 Gruesome Gorilla 16 Daffy Duck 73 79Bugs Bunny 8 Charlie Dog 38 35 Rocky and Mugsy 8 Charlie Dog 10 3 Rocky and Mugsy 9 Henery Hawk 31 34 Slowpoke Rodriguez 9 Daffy Duck 48 56 Bugs Bunny 5 Barnyard Dawg 48 54 Penelope Pussycat 5 Barnyard Dawg 44 41 Penelope Pussycat 12 Drunken Stork 23 15 Blacque Jacque Shellacque 12 Barnyard Dawg 11 5 Penelope Pussycat 4 Pussyfoot 33 49 Marc Antony 4 Miss Prissy 24 28 Marc Antony 13 Miss Prissy 37 18 Babbit and Catstello 13 Division One Daffy Duck 28 67 Bugs Bunny Division Two 6 Granny 57 9 Weasel 6 Granny 29 17 Egghead Jr. 11 Hippety Hopper 14 61 Egghead Jr. 11 Porky Pig 41 41 Yosemite Sam 3 Porky Pig 61 65 Yosemite Sam 3 Porky Pig 41 53 Yosemite Sam 14 Claude Cat 10 6 The Dodo 14 Pepé Le Pew 26Wile E. Coyote 25 20 Taz 7 Spike the Bulldog 59 28 Chester the Terrier 7 Spike the Bulldog 17 9Lola Bunny 10 The Three Bears 12 39 Lola Bunny 10 Pepé Le Pew 44 43 Taz 2 Pepé Le Pew 64 66 Taz 2 Pepé Le Pew 53 60 Taz 15 The Gremlin 7 4 Nasty Canasta 15 CHAMPION Bugs Bunny 1 Wile E. -
The Leopard Men of the Eastern Congo (Ca
The Leopard Men of the Eastern Congo (ca. 1890-1940): history and colonial representation Vicky L. M. Van Bockhaven This thesis is submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the University of East Anglia, School of Art History and World Art Studies, Sainsbury Research Unit. December 2013 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract The research begins with a sculpture representing a “Leopard Man”, threatening to attack a sleeping victim, at the Royal Museum for Central Africa, Belgium. Recently this colonial icon was criticised for presenting a racist image. Leopard men killed on behalf of chiefs in the east of Congo (ca. 1890-1940). The emergence of a mythology of leopard men is analysed in relation to its suppression as an anti-colonial movement in the colony. This research highlights the distinctive potency of ethnographic objects as proof, shaping experiences of the colonised in the colonial museum, in relation to the text-focused study of the colonial discourse. The history of leopard men is reconstructed to break away from an exotic and de-historicised understanding. Two eastern Congolese varieties, anioto and vihokohoko, are studied, from which the RMCA display was derived. The micro- histories of conflict clusters are considered in the context of the Zanzibari slave trade and the Belgian colonisation as forms of empowerment. -
(Read Free Ebook) the Leopard Woman
[PDF-5sr]The Leopard Woman The Leopard Woman The Leopard Woman - Wikipedia Jan Blake "The Leopard Woman" The Leopard Woman (1920) - IMDb Thu, 25 Oct 2018 10:25:00 GMT The Leopard Woman - Wikipedia The Leopard Woman is a 1920 American silent adventure romance drama film starring Louise Glaum, House Peters, and Noble Johnson. Directed by Wesley Ruggles and produced by J. Parker Read, Jr., the screenplay was adapted by H. Tipton Steck and Stanley C. Morse based on the novel The Leopard Woman (1916) by Stewart Edward White Jan Blake "The Leopard Woman" I first heard this story from a storyteller called June Peters. I fell in love with it immediately. Thanks June. xx (Read free ebook) The Leopard Woman The Leopard Woman (1920) - IMDb Although this film was a bit dull, the 39 year old Noble Johnson sprang into the silent 20's as the marginalized community's answer to Charles Chaplin as an actor, and D.W. Griffith as a producer. Download Watch tarzan and the leopard woman Full Movie - Video ... The legend of Tarzan part 38 Tarzan and the Volcanic Diamond Mine Sun, 30 Sep 2018 04:13:00 GMT The Leopard Woman – stories in my life The Leopard Woman – a retelling of a Liberian folktale There was once a man and a woman who prepared themselves for a long journey. The woman strapped their child to her back, along with two gourds, one filled with water, the other with corn. Download Tarzan and the Leopard Woman (1946) - IMDb Meanwhile, "the leopard woman" (Acquanetta) wasn't as mysterious as she was billed nor was she much of an actress, just a pretty face. -
The Silent Films of 1923 Shown at the Empress Cinema, Sutton Coldfield
THE SILENT FILMS OF 1923 SHOWN AT THE EMPRESS CINEMA SUTTON COLDFIELD By Don McCollom Extract from the Sutton Coldfield News of January 1923: EMPRESS CINEMA & CAFÉ: CIVIC OPENING OF THE CINEMA “The opening of the Empress Cinema at Sutton Coldfield took place on Monday afternoon the 1st January 1923 in the presence of a very large gathering. The Empress cinema and Cafe is situated at the entrance to the Lower Parade, and stands on the site of the old and noted Ashby House, a relic of bygone days, and is an excellent representation of how modern construction with efficient and economical design may overcome difficulties that at first appear insurmountable, and so manipulate them to form successful features in the building. The theatre, perfect throughout, is absolutely fireproof, the quality of the brickwork, steel and reinforced concrete being so combined as to ensure this most necessary characteristic. The design throughout being in the Grecian style gives a very pleasant result. The use of white Hollington stone in its construction in conjunction with the purple brick facing on the front elevation gives a most distinguished effect, as does the wide and imposing entrance which is supported on either side with granite columns covered by a large Ornamental Canopy. “The Ornamental Canopy gives the whole building not only an attractive but a magnificent appearance. The arrangements internally are such as will give convenience and comfort to the patrons, special care being bestowed on the lines of projection to the screen so as to avoid as much as possible eye strain. As no seat is less than 24 feet from the screen a clear view is obtainable by everyone. -
8.5 1776 1941 1984 Les Miserables Man
8.5 Adventure of Sherlock Holmes Alvarez Kelly 1776 Smarter Brother, the Amadeus 1941 Adventurers, the Amateur, the 1984 Adventures of Huckleberry Finn Amazing Mrs. Holliday Les Miserables Adventures of Marco Polo, the Amazon Trader, the Man from Independence, the Adventures of Mark and Brian Ambush at Cimarron Pass /locher, Felix Adventures of Martin Eden Amensson, Bibi …For I Have Sinned Advocates, the American Film Institute Salute to 11 Harrowhouse Affair in Reno William Wyler 1776 (musical) Against the Wall American Gigolo 1974- The Year in Pictures Age of Innocence, the American Hot Wax 20,000 Leagues Under the Sea Agency American Job 2001: A Space Odyssey Aiello, Danny American Ninja 2 23 Paces to Baker Street Airport Ames, Leon 240- Robert Applicant Airport 1975 Ames, Michael 3 Women Akins, Claude Among the Living 48 hours Alaska Patrol Amorous Adventure of Moll 5 Against the House Albert, Edward Flanders, the 6 Day Bike Rider Alda, Alan Amos 'n' Andy 60 Minutes Aldrich, Gail Amos, John 633 Squadron Alessandro, Victor An American Album 711 Ocean Drive Alex in Wonderland An American Tail: Fievel Goes 7th Voyage of Sinbad, the Alexander Hamilton West A Peculiar Journey Alfred the Great Anatomy of a Murder A Walk in the Clouds Ali Baba and the Forty Thieves And Justice for All Abbott & Costello Alias Billy the Kid And the Angels Sing Abe Lincoln in Illinois Aliens Anderson, Bill About Last Night Alistair Cooke's America Anderson, Dame Judith Absent- Minded Professor, the All About Eve Anderson, Herbert Academy Awards All Ashore Anderson, -
Becoming “American”: Race, Class, Gender, and Assimilation
BECOMING “AMERICAN”: RACE, CLASS, GENDER, AND ASSIMILATION IDEOLOGIES IN YOUNG ADULT MEXICAN IMMIGRANT FICTION by JANIE IRENE COWAN (Under the Direction of Joel A. Taxel) This dissertation explores representations of race, class, gender and ideologies of assimilation in thirty-two young adult novels involving the Mexican immigrant experience published from 1953-2009. The study draws upon several theories, but is primarily located within the paradigm of critical Marxist educational, cultural, and literary theories including the sociology of school knowledge and critical multiculturalism based upon the work of Raymond Williams, Michael Apple, Joel Taxel, Stephen May and Christine Sleeter. I also draw upon theories of assimilation throughout U.S. history such as e pluribus unum, the melting pot, multiculturalism, transnationalism, and hybridity, with emphasis upon the work of Homi Bhabha that conceptualizes cultural hybridity as spaces of cultural negotiation and rearticulation. To provide further context for the study, I also review representations of Mexican Americans in larger American culture via historical accounts, school textbooks, and the entertainment media of television and film. I address the following research questions: What ideologies of assimilation are suggested in young adult contemporary fiction involving the Mexican immigrant experience? How do they change (or not change) over time? How do the intersections of assimilation ideologies and representations of ethnicity, socioeconomic status, and gender in young adult contemporary -
Photoplay142chic
b U? 1 .i i \r\l\ /I m of Modern Art Scanned from the collection of The Museum of Modern Art Library Coordinated by the Media History Digital Library www.mediahistoryproject.org Funded by a donation from David Sorochty Digitized by the Internet Archive in 2013 http://archive.org/details/photoplay142chic zMary Thur-inan Photoplay Magazine—Advkrtisino Section 3 1 I Th,The worlds best guide book ! totO the enjoyment of music Entertaining Instructive Convenient Are you familiar with the story of the opera of Rigoletto? Of Faust? Of Pagliacci? Do you know the national airs of Denmark and China? Do you know which Kipling ballads have been set to music? Did you know that Chopin was pronounced a genius at eight years of age? Information on all these subjects is to be found within the 510 pages of the Victor Record catalog. It presents in alphabetical order, cross indexed, the thou- sands of Victor Records which comprise the greatest library of music in all the world. But besides that it abounds with interesting musical knowledge which "HIS MASTER'S VOICE" bco- o s p*t orr. adds greatly to your enjoyment of all music. It is a This trademark ami the tradeniarked word every music-lover will and there is "Victrola" identify all our products. Look under book want, a copy the lid! Look on the label' for you at your Victor dealer's. Or write to us and we VICTOR TALKING MACHINE CO. Camden, N. J. will gladly mail a copy to you. Victor Talking Machine Company, Camden,N.j. -
+ Vimeo Link for ALL of Bruce Jackson's and Diane
Virtual December 1, 2020 (41:14) Charles Chaplin: THE GREAT DICTATOR (1940, 125 min) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Cast and crew name hyperlinks connect to the individuals’ Wikipedia entries + Vimeo link for ALL of Bruce Jackson’s and Diane Christian’s film introductions and post-film discussions in the Fall 2020 BFS Vimeo link for our introduction to The Great Dictator Zoom link for all Fall 2020 BFS Tuesday 7:00 PM post-screening discussions: https://buffalo.zoom.us/j/92994947964?pwd=dDBW cDYvSlhPbkd4TkswcUhiQWkydz09 Meeting ID: 929 9494 7964 Passcode: 703450 National Film Registry – 1997 Nominated for five Academy Awards: Carmen Dragon…orchestrator Oustanding Production, Best Actor, Best original Meredith Willson…conductor screenplay, Best Supporting Act (Oakie) and Best Original Score. Charles Chaplin…Hynkel - Dictator of Tomania / A Jewish Barber Directed, written and produced by Charles Jack Oakie…Napaloni - Dictator of Bacteria Chaplin Reginald Gardiner…Schultz Original Music by Charles Chaplin and Meredith Henry Daniell…Garbitsch Willson Billy Gilbert…Herring Cinematography by Karl Struss and Roland Grace Hayle…Madame Napaloni Totheroh Carter DeHaven…Bacterian Ambassador Film Editing by Willard Nico and Harold Rice Paulette Goddard…Hannah Art Direction by J. Russell Spencer Maurice Moscovitch…Mr. Jaeckel Set Decoration by Edward G. Boyle Emma Dunn…Mrs. Jaeckel Special Effects by Ralph Hammeras Bernard Gorcey…Mr. Mann Special Photographic Effects by Jack Cosgrove Paul Weigel… Mr. Agar Stunts by Buster Wiles Chester Conklin…Barber's Customer Meredith Willson…musical director Esther Michelson…Jewish Woman Chaplin—THE GREAT DICTATOR—2 Hank Mann…Storm Trooper Stealing Fruit nominated for best actor, the academy Florence Wright…Blonde Secretary decided to remove Chaplin's name from the Eddie Gribbon…Tomanian Storm Trooper competitive classes and instead award him a Rudolph Anders…Tomanian Commandant at Special Award. -
Tarzan of the Apes: the First Motion Picture Adaptation (1918)
Single Cycle Degree programme in LINGUE E LETTERATURE EUROPEE, AMERICANE E POSTCOLONIALI Final Thesis Tarzan of the Apes: The First Motion Picture Adaptation (1918) Supervisor Prof. Simone Francescato Assistant supervisor Prof. Thomas Devine Graduand Letizia Negrisolo Matriculation Number 848940 Academic Year 2017 / 2018 1 Table of Contents Introduction………………………………………………….…………………………………………………………p.4 Chapter One Adaptation 1.1. What is Adaptation?………………………………………………………………………………………..…p.8 1.2. The Adaptation from Book to Film……………………………………………………………………p.12 1.3 Adaptation in the 1910s-1920s………………………..…………………………………………..……p.18 1.4. How to Read Adaptations………………………………………………………………………..……….p.21 Chapter Two Edgar Rice Burroughs’s Tarzan of the Apes 2.1. Edgar Rice Burroughs and Tarzan’s Success…………………………………………………...…p.24 2.2. The Novel.……………………………………………………………………………………………………….p.28 2.3. Burroughs’s Tarzan………………………………………………………………………………………….p.31 2.4. The Book’s Ending and Its Cultural Context……………………………………..………………..p.41 2.5. Tarzan vs. Mowgli: Two Feral Children in Comparison………………………………………p.46 Chapter Three Tarzan of the Apes (1918): An Analysis 3.1 The Cinematic Adaptations of Tarzan………………………………………………………………..p.58 3.2. Al Bohl’s documentary Tarzan Lord of the Louisiana Jungle……………….………………p.63 3.3. On the Differences Between the Film and the Book…………………….…………………..…p.70 3.4. The Film’s Reception and Reviews…………………………………………………...…………….…p.75 3.5. Darwinism and Self-Development…………………………………………………………………….p.79 2 3.6. Gender and Masculinity……………………………………………………………………………………p.87