DOCSLIB.ORG

Let's Explore Your Mind

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Let's Explore Your Mind Mind Your Let's Explore Your i Oae Way To Test Fruit- Juke Fashion haa alto wad ua to get back to dainty (amlnlna dressing. Today's modal la truly Victorian with Its qudlnt putted sleeves with soft rows of shirring. And don’t you think tha draped neckline k especially becoming? a sound It lands Itself admirably to tha Jackie, a boy of crinkly crepe Mika and raa awake. Grand- bright satins the smart ma went In and began to make a crinkly erepa all great fu young things are wearing for mat- Awake! Had a nice seep? What inee and bridge, beneath their fur a nice little boy to be ae good! And wraps. would dot him and now danny up It la fust precious In hyacinth- him on' his chair and wash his put satin as •Ittle face an* hannies and then det blue crinkly crepe him hie nice, nice dlnay." THE CODE OF YOUTH TODAY sketched. The dull side of the The baby regarded her with DEMANDS THE POKER. FACE* crepe la used for the main part of large serious eyes. He knew his OF THE the dress. The Shiny surface makes but was THE SUPPRESSION grandma, something the upper bodice and the sleeves. wrong. She wasn't generally ex- DEEPER FEELINGS. I& THIS No. 448 la designed in slscs cited like this. It looked very much Style ATTITUDE COMMENDABLE? and 40 as though the tables were turned, 14, 14, 18, 2 Oyears, 84. 88 and he the solemn sage grandma wa Htsr Inches bust. Poor WtiTE VEi 6ft. the fussy child. tody—she Size 14 requires 2 7-8 yards II- was merely feeling an overpower- lnch, with 1 1-4 yards tl-lnch con- r ing sense of responsibility and she was too anxious to do things right. trasting and 1-4 yard 18-lnch lin- No more doner of ntbif over- Katie brought In the baby's din- ing. ripe or too yoaac fmit now that ner on a tray. Carrots and spin- It would pay you to send for a Next Pratt to childl- day goes the “electric palate’’ ha* bee* cre- ach put through a sieve, a large copy of our Winter Fashion Book, others a swim sad Slat- ike take ated. All jroa have to do la take cup of scalded milk, partly cooled, for It will help you plan your be lander tells Undo that picked the fruit to be tested, apply the a spoonful of finely chopped chick- wardrobe. And you will save the towel gaaeared with oint- ap electryn* as above, and yea aooa en and a bit of Junket. money In using onr low-priced pat- ment from the door of the aara- will know the answer to the acidity Grandma set baby on one of the terns. Book shows large variety of Ha also admits the door of 1 erjr. and Juice character and also the little wooden chairs at his table styles for ladles, misses and chil- so that be his room was open state of ripeness of the fruit. The and balanced herself on the other. IS THE WORLD dren, special styles for stouts, em- hare heard the disturbing! mlfht etectrynx Is so sensitive that It ran And then started the process of broidery, derssmaklng articles, etc. of the French window LESS MORAL sound measure the action of aoe-mll- feeding. Price of BOOK 14 eents. Cousin Amos left open. In llonth of an ampere, or about one- •'I Just know he won’t eat,” she THAN IT Price of PATTERN 15 cents NOW GO ON WITH THE STORY Is tenth of the "wine power” of an werrled. "And I don’t blame him. TO stamps or coin (coin preferred.) ordinary fly. The very sight of this unappetiz- USED BE? Wrap coin carefully. CHAPTER XUI ing food turns one. The things the time Tom opened the they give babies these days are n Send your money and order to By for Marvin to be from room door Linda's damp suit lay borne terrible, I think.” K A YOUNG MAN FIND6 Pattern Department, Wnterbury church? Are you sure you should- Conn. Be i.» the bathroom floor, ready to be And so to hide her nervousness, ON Democrat, Wnterbury. n’t after him?” \ HI6 HOME FIRE> hung from the window, and Linda go she began a running fire of coax- sure to state else. “I’m not at all aure whether to H16 MOTHER AND herself was wrapped In the negli- ing and comment. The baby was SWEET- leave him to do what he laid he’d gee of turquoise mist. hungry at first. He opened his 1 HEART ARE LOCKED IN rather do or whether he’ll aecretly “Oh, Tommy, I're found out mouth like a cave, and HE CAN be lnetllted If I take him at hia yawning \ SEPARATE ROOMS. she exclaimed. after went In. something!" word." spoonful spoonful GAVE ONLY ONE. VfHICH "So’ve I.” Ha drank a little milk—and then HOLLYWOOD "He likea to subdue the fleah,” He slap-slapped through the Not a third of his dinner SHALL IT BE? said Linda. “It’ll do him good to stopped. room, violently turning on the was finished. walk, and he can take a quick dip shower. She heard the spatter of His talked on and coax- JOHN DILLt C®~ alone before luncheon.” grandma RI4HTI032 GOSSIP cold water on hard flesh, a quick ed harder than ever. She was very “All very well,” answered Tom. view. Not all moral toweling, and her Impatient “hur- much upset that he would not eat. AUTHOR’S NOTE: These _Fcrs are given from the sctentlBc point of he “But, Linda, I’m worried. We don’t ry!" came even as emerged, Katie came in and said, "I'll but no decision as to what Is morally seem -to be making any real prog- can he answered with absolute scientific accuracw, grinning at her excitement. feed Mrs Jones. I can juestlona above the of In- ress.” him, always Is without science, Science puts the rights of organized society right GLIMPSES AND “AH right—yours first!’* he said. get him to eat." right possible INTIMATE “We’ve time yet. Tommy. I dlvlduals. “Hurry yourself!" Grandma came into the sitting- the have a feeling—had it all along— ON THE “Mr Statlander picked up room all worn out. She was so school and Is a psy- race would be ended then and INSIDE STUFF floor and that some one thing will suddenly 1. No, it is better. Moral prog- college youth towel from the nursery nervous hands were as mistake. there. The rights of the commun- turn the scale and settle it. What's her shaking ress is like Prof Edwin Grant chological and sociological Into the hamper himself. He are above those of the commun- MOVIE COLONY put It this she wiped her glasses. "Perhaps said I Incidentally, It Is responsible for ity It.” the program for afternoon?" Conklin, Princeton biologist, admits he'll eat for she said. ‘‘He nervous breakdowns. Healthy ity are above those of the individ- Is a little “DeVos and Pratt are playing Katie,” "It goes forward by many "And Mr Statlander will for me.” about,science, of emotions ual. and the rights of the race are -BY DAN THOMAS'--— he tennis—you know we have the never zig zAg; and you never can tell wholesome expression deaf. In one ear, or both, and all that makes above those individual, state or courts. Dolly Alger wanted to have There was complete silence from whether its is a zig or a zag.” The and sentiments is -oesn’t admit It." has all nation. When we consider what Hollywood—Wandering around: her sister play but Fleur vetoed the nursery. In a few minutes is it goes forward. life worth living and made She blinked as'she took this In. point always and is at stake, there can be but one Buck Jonea displaying a new auto- that. She'll be right on deck her- Katie came along the bungalow piracy, state lotteries are art and literature. The Stoic “Oh! How—7 But that—" Slavery, In the intelligent answer. matic_an annymous gift from self. Then, as you know, DeVos hall leading Jackie by the hand. Red Cross, Community Puritan repressed emotion “Answering your highly Intelli- gone—the Ideal: Canton, O.It has a hand- Is bookod for the Stoners’ blowout “Did he eat any more 1" inquired Settlement Houses, Child interest of a lofty spiritual gible questions, I freply, "Yes, It’s Chests, to stand carvcd handle and Is set with this He certainly seems Grandma, anxiously. term invented since the modern youth does It pearl the truth. Shaughnessey told me evening. Welfare—a diamonds and two rubies. — with the gang. You cannot eight as he and lashed to Fleur’s chariot wheels. "All gone,” answered the stolid 1900 by Iowa university have well He overtook Statlamjer and beautiful life out of The Evalyn Knapp and Regis Toomey, Not an Katie. bite.” as an of get great In walked down the lawn and ordinarily impressionable “Every come in accepted part Lo^al the fields for DeVos or a hard-boiled egg. now working In chap, either, I should think. I sup- I said nothing. She was hurt and life—so many good things it gives an oyster Statlander not only didn’t hear Because she “State Trooper,’’ complaining that pose it’s her money. You can’t I could see. The ua crick in the neck to watch 3.
Load more

Recommended publications
  • 9781474451062 - Chapter 1.Pdf
    Produced by Irving Thalberg 66311_Salzberg.indd311_Salzberg.indd i 221/04/201/04/20 66:34:34 PPMM 66311_Salzberg.indd311_Salzberg.indd iiii 221/04/201/04/20 66:34:34 PPMM Produced by Irving Thalberg Theory of Studio-Era Filmmaking Ana Salzberg 66311_Salzberg.indd311_Salzberg.indd iiiiii 221/04/201/04/20 66:34:34 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Ana Salzberg, 2020 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Monotype Ehrhardt by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 5104 8 (hardback) ISBN 978 1 4744 5106 2 (webready PDF) ISBN 978 1 4744 5107 9 (epub) The right of Ana Salzberg to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66311_Salzberg.indd311_Salzberg.indd iivv 221/04/201/04/20 66:34:34 PPMM Contents Acknowledgments vi 1 Opening Credits 1 2 Oblique Casting and Early MGM 25 3 One Great Scene: Thalberg’s Silent Spectacles 48 4 Entertainment Value and Sound Cinema
    [Show full text]
  • HOLLYWOOD – the Big Five Production Distribution Exhibition
    HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • Hooray for Hollywood!
    Hooray for Hollywood! The Silent Screen & Early “Talkies” Created for free use in the public domain American Philatelic Society ©2011 • www.stamps.org Financial support for the development of these album pages provided by Mystic Stamp Company America’s Leading Stamp Dealer and proud of its support of the American Philatelic Society www.MysticStamp.com, 800-433-7811 PartHooray I: The Silent forScreen andHollywood! Early “Talkies” How It All Began — Movie Technology & Innovation Eadweard Muybridge (1830–1904) Pioneers of Communication • Scott 3061; see also Scott 231 • Landing of Columbus from the Columbian Exposition issue A pioneer in motion studies, Muybridge exhibited moving picture sequences of animals and athletes taken with his “Zoopraxiscope” to a paying audience in the Zoopraxographical Hall at the 1893 Columbian Exposition. Although these brief (a few seconds each) moving picture views titled “The Science of Animal Locomotion” did not generate the profit Muybridge expected, the Hall can be considered the first “movie theater.” Thomas Alva Edison William Dickson Motion Pictures, (1847–1947) (1860–1935) 50th Anniversary Thomas A. Edison Pioneers of Communication Scott 926 Birth Centenary • Scott 945 Scott 3064 The first motion picture to be copyrighted Edison wrote in 1888, “I am experimenting Hired as Thomas Edison’s assistant in in the United States was Edison upon an instrument which does for the 1883, Dickson was the primary developer Kinetoscopic Record of a Sneeze (also eye what the phonograph does for the of the Kintograph camera and Kinetoscope known as Fred Ott’s Sneeze). Made January ear.” In April 1894 the first Kinetoscope viewer. The first prototype, using flexible 9, 1894, the 5-second, 48-frame film shows Parlour opened in New York City with film, was demonstrated at the lab to Fred Ott (one of Edison’s assistants) taking short features such as The Execution of visitors from the National Federation of a pinch of snuff and sneezing.
    [Show full text]
  • Hollywood Be Thy Name
    UC_Weisenfeld.qxd 11/1/06 2:58 PM Page 19 one .“’Taint What You Was, It’s What You Is Today” Hallelujah and the Politics of Racial Authenticity In 1928 King Vidor, one of Metro-Goldwyn-Mayer’s most successful directors, find- ing himself between projects, decided to spend some time in Europe. Having directed a number of important and successful silent films for the studio—most notably The Big Parade (1925), a tremendously popular World War I epic, and The Crowd (1928), a study of the life of an average man in the large urban environment of New York City—Vidor returned home when the studio asked him to direct his first sound film. Despite his initial predictions that “sound pictures [would] do away entirely with the art of motion pictures,” Vidor soon began to see the possibilities that the new technology presented and was especially excited that sound would make it possible for him to direct a film that he had long wanted to make.1 Synchronous sound, in which the dialogue or singing corresponds with the movements of the actors’ lips, had only begun to make its way into American feature films since the 1927 release of Warner Bros.’ landmark film The Jazz Singer, itself very much about complex processes of racializing religion in America.2 Just as the projection of con- structions of race had been part of the development of the silent motion picture, as D. W. Griffith’s 1915 The Birth of a Nation had ably demonstrated, so the addition of sound had been bound up in conjunctions of religion and race from the outset.
    [Show full text]
  • Urban Noise and Anti-Noise in Silent Cinema
    The Crowd uses “sound-suspense images”—a technique unique to the late silent period—to critically represent the urban noisescape. This essay details the technological, ideological, and aesthetic developments that made these images possible, and it considers the codification of Hollywood sound practices that soon made them obsolete. The Roar of The Crowd: Urban Noise and Anti-Noise in Silent Cinema DENNIS HANLON s Jonathan Sterne notes in his history of recorded sound, “In modern life sound A becomes a problem: an object to be contemplated” (9). Once an undifferentiated aspect of the human environment, man-made sound, with increasing industrialization and urbanization, increased exponentially, detaching itself from the general ambience and becoming something to be noticed, inveighed against, and, ultimately, regulated. This essay examines how one film in particular, King Vidor’s The Crowd, released in 1928, contemplates this problem with extraordinary creativity, seizing the opportunity presented by a particular constellation of technological, ideological, and stylistic norms unique to late silent cinema to critically represent the modern urban noisescape. Vidor, whose career spanned more than forty years, is generally considered one of the most innovative Hollywood directors of the silent and early sound periods. Among his better-known films are the anti-war melodrama The Big Parade; Hallelujah!, a musical with an all-black cast; and The Fountainhead, an adaptation of Ayn Rand’s Mosaic 42/2 0027-1276-07/073016$02.00©Mosaic 74 Mosaic 42/2 (June 2009) novel. Vidor was nominated for Best Director at the first Academy Awards for his work on The Crowd, which has long been considered one of the masterpieces of American silent cinema.
    [Show full text]
  • The Problem Body Projecting Disability on Film
    The Problem Body The Problem Body Projecting Disability on Film - E d i te d B y - Sally Chivers and Nicole Markotic’ T h e O h i O S T a T e U n i v e r S i T y P r e ss / C O l U m b us Copyright © 2010 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data The problem body : projecting disability on film / edited by Sally Chivers and Nicole Markotic´. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1124-3 (cloth : alk. paper)—ISBN 978-0-8142-9222-8 (cd-rom) 1. People with disabilities in motion pictures. 2. Human body in motion pictures. 3. Sociology of disability. I. Chivers, Sally, 1972– II. Markotic´, Nicole. PN1995.9.H34P76 2010 791.43’6561—dc22 2009052781 This book is available in the following editions: Cloth (ISBN 978-0-8142-1124-3) CD-ROM (ISBN 978-0-8142-9222-8) Cover art: Anna Stave and Steven C. Stewart in It is fine! EVERYTHING IS FINE!, a film written by Steven C. Stewart and directed by Crispin Hellion Glover and David Brothers, Copyright Volcanic Eruptions/CrispinGlover.com, 2007. Photo by David Brothers. An earlier version of Johnson Cheu’s essay, “Seeing Blindness On-Screen: The Blind, Female Gaze,” was previously published as “Seeing Blindness on Screen” in The Journal of Popular Culture 42.3 (Wiley-Blackwell). Used by permission of the publisher. Michael Davidson’s essay, “Phantom Limbs: Film Noir and the Disabled Body,” was previously published under the same title in GLQ: A Journal of Lesbian and Gay Studies, Volume 9, no.
    [Show full text]
  • World War I Veterans in Pre-Code Film
    The Pennsylvania State University The Graduate School School of Humanities SPENT BULLETS: WORLD WAR I VETERANS IN PRE-CODE FILM A Dissertation in American Studies by Tiffany I. Weaver ©2018 Tiffany I. Weaver Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2018 The dissertation of Tiffany I. Weaver was reviewed and approved* by the following: Charles Kupfer Associate Professor of American Studies and History Dissertation Advisor Chair of Committee Simon J. Bronner Distinguished Professor of American Studies and Folklore Anthony Buccitelli Associate Professor of American Studies and Communications Robin Redmon Wright Associate Professor of Lifelong Learning and Adult Education John Haddad Professor of American Studies and Popular Culture Chair of the Graduate Program in American Studies *Signatures are on file in the Graduate School ii ABSTRACT Films depicting World War I and its aftermath began production almost as soon as the war began, although it would be roughly a decade before these films became more prevalent and popular. Many of these films were important in helping the public navigate the aftermath of the conflict and reflected the changing society of the 1920s and early 1930s. Studying these films can help provide a better understanding of the culture in the United States that emerged during the Interwar period and how society reacted to these changes. Of particular importance are the films depicting the experience of the solider upon returning home. Following World War I, veterans across the United States and Europe experienced issues with readjustment to civilian life, struggled with shell shock, and faced unemployment.
    [Show full text]
  • MGM: Hollywood's Greatest Backlot a Lavish Illustrated History of Ho
    MGM: Hollywood's Greatest Backlot A Lavish Illustrated History of Ho... http://www.mgmbacklot.info/ AUTHORS BIBLIOGRAPHY EVENTS LETTERS PREVIEW QUIZ Once upon a time, long ago, there existed a vast and magical empire, ruled by money and power and fueled by imagination, talent and ambition. This magical place was not a work of fiction and its location was not a far away mountain top or a remote tropical island. It was found in Culver City, California and was known through out the world as Metro-Goldwyn Mayer Studios. 1 of 23 6/27/14, 5:12 PM MGM: Hollywood's Greatest Backlot A Lavish Illustrated History of Ho... http://www.mgmbacklot.info/ Through the M-G-M gates passed the greatest stars of filmdom from the Silent Era (Buster Keaton, Lon Chaney, Ramon Novarro, John Gilbert, Norma Shearer, Greta Garbo, and Marion Davies) to the Golden Era, (Jean Harlow, Joan Crawford, Clark Gable, Lana Turner, James Stewart, Judy Garland, Mickey Rooney, Hedy Lamarr, Fred Astaire, Ava Gardner and Elizabeth Taylor) and beyond (Debbie Reynolds, Glenn Ford, Rod Taylor, Elvis Presley, George Hamilton, and Doris Day). 2 of 23 6/27/14, 5:12 PM MGM: Hollywood's Greatest Backlot A Lavish Illustrated History of Ho... http://www.mgmbacklot.info/ The finest creative artists of show business, the world’s most beautiful women, kings and queens, presidents and princes, titans of industry, the great and the near-great from all nations and generations of movie lovers from around the world found their way to this Movieland institution. As the premiere movie factory, M-G-M Studios was a self-sufficient, self proclaimed “city within a city” built on six separate lots and spread across 185 fenced and gated acres.
    [Show full text]
  • The Concerns of the Ordinary Person -- Filmmaker King Vidor's Focus Sterritt, David
    The concerns of the ordinary person -- filmmaker King Vidor's focus Sterritt, David . The Christian Science Monitor ; Boston, Mass. [Boston, Mass]12 Nov 1982. Enlace de documentos de ProQuest RESUMEN Sharply realistic, uncommonly subtle, and deeply poignant, it stands up today as one of the most insightful Hollywood productions of the silent-film period After the all-black ''Hallelujah!'' and the still-respected ''Street Scene'' and ''The Champ,'' as well as several minor vehicles, Vidor again broke new ground in ''Our Daily Bread,'' one of the few movies of the '30s to deal directly with the Great Depression. TEXTO COMPLETO King Vidor, who passed on recently in California, was a favorite filmmaker with critics and audiences alike. Moviegoers relished his sense of drama, his sincerity, his concern for ordinary people in a complicated world. Reviewers praised his characterization, his visual structure, his humanistic outlook His career began in 1913, when he broke into the infant movie industry with a series of short subjects. It continued until 1959, when he met the challenge of completing ''Solomon and Sheba'' after star Tyrone Power passed on in midproduction. Although his films contain some of the most lauded performances in Hollywood history - Barbara Stanwyck's in ''Stella Dallas,'' for example, and Audrey Hepburn's in ''War and Peace'' - he often triumphed on purely cinematic terms, garnering applause for visual inventiveness and thematic integrity in movies without ''name'' performers and big-star glamour After a number of early successes, Vidor's career took its first major turn in 1925, when he set out to make a war movie from the viewpoint of a common soldier rather than a leader or hero.
    [Show full text]
  • Witness to Barbarism WITNESSWITNESSWITNESSWITNESSWITNESS TOTOTOTOTO
    Witness to Barbarism to Barbarism Witness WITNESSWITNESSWITNESSWITNESSWITNESS TOTOTOTOTO orace R. Hansen wrote long letters to family and friends about Hhis experiences following the Allied front through Europe dur- ing World War II. He spoke with many people whose lives were dis- rupted by war. He witnessed the opening of the barn near Gardelegen BARBARISMBARBARISMBARBARISMBARBARISMBARBARISM where the Nazis burned more than 300 slave laborers alive to hide them from approaching Allied troops. He served as chief prosecutor R. Hansen Horace at the Dachau war-crimes trials, where he also conducted interviews of five of Adolph Hitler’s war-conference recorders. After his return from Europe, Hansen conducted a private law practice in St. Paul, Minnesota, for more than 50 years. He worked to advance the cause of justice by seeking to better the lot of the com- mon man, often favoring the side of David against Goliath. Among his many legal contributions was establishment of the first health- maintenance organization in Minnesota—Group Health. In his later years, Hansen prepared a manuscript, using the let- ters he wrote home during the war as one source. After his death in 1995, Hansen’s wife, then his daughters, sought its publication. Wit- ness to Barbarism is a unique and powerful story including eyewitness material on Hitler and his obsession, written in the hope that what happened then will never happen again. Thousand Pinetree Press St. Paul, Minnnesota Horace R. Hansen History/Memoir Thousand $19.95 Pinetree Press Covers 2 11/26/02, 1:39 AM Witness to Barbarism H front (i-xii) 1 11/26/02, 1:57 AM H front (i-xii) 2 11/26/02, 1:57 AM H front (i-xii) 3 11/26/02, 1:57 AM Liberation at Dachau, April 28–29, 1945.
    [Show full text]
  • Has Portrayal of Disabled People in the Media
    BROADSHEET : MOVING IMAGE PORTRAYAL OF DISABILITY: THEN AND NOW! Has portrayal of disabled people in the media improved in recent years? There are more story lines about disabled characters with more subtlety and less stereotyping in television and film. Television-Carrie Mathieson (bi-polar)in Homeland played by Claire Danes; Tony Soprano (James Gandolfini ) keeps his mental health anxiety issues going through 7 series of the Sopranos; Monk, the detective with OCPD, brings his unique thinking to solve crimes, Doc Martin, played by Martin Clunes, with OCD has proved very popular, as the audience engage with his difficulty in navigating the world. There has been a welcome casting of disabled actors to play disabled characters in soaps, and long running dramas. This builds on the pioneering retaining of Roger Tonge as Sandy Richardson when he developed Hodgkin’s used crutches and a wheelchair in Crossroads ( ATV 1964-1981) and Julie Fernandez (wheelchair user) in Eldorado (BBC 1981-82); Adam Best in the BBC’s Eastenders (David Proud 2009-2010) followed by Donna Yates (Lisa Hammond) of short stature and wheelchair user, 2014 onwards. Kitty Mc Geever (blind) played Lizzie Lakely in Emmerdale (ITV from 2009-2013). In Hollyoaks Kelly Marie Stewart (wheelchair user) played Haley Ramsey. More recently, wheelchair using Cherylee Houston plays Izzy Anstey in Coronation Street. Liz Carr plays Clarrisa Mullery in Silent Witness. American long running series have cast more disabled actors portraying disabled parts, Paula Sage (learning difficulties) plays Roberta Brogan in Afterlife; Peter Drinklage ( restricted growth) plays Tyrone in Game of Thrones; R J Mitte (cerebral palsy) plays Walt Junior in Breaking Bad.
    [Show full text]