Edgar Wallace (1875–1932)
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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. -
Researching and Sharing Edgar Family History No. 55, August 2011
EEddggaarr EEvveennttss Researching and sharing Edgar family history No. 55, August 2011 DNA Update by James Edgar ([email protected]) We have four tests waiting in the wings... The first is for Richard Edgar of Alexandria, Virginia. Richard is keen on discovering his Haplotype and has sent his swabs away for analysis already. His name came to us through Jennifer Edgar Cann of South Carolina. The second test is for Terry Edgar of Glengowrie, Adelaide, Australia. We suspect he’s related to my group as an I1, but we’ll let the test results prove his lineage. Terry is Adrian Edgar’s younger brother, who we’ve been in conversation with for the past few months. Both brothers descend from the same line as Peter Edgar, of Canberra, Australia, who has been in our family group almost since the beginning – he is one of the earlier testers. This is from one of Peter’s emails of a few years back: I trace my descent through my father Don, his father Richard, his father Hugh and his father John Edgar (known as ‘McPherson’ Edgar, I don’t know why). John ‘McPherson’ Edgar came to South Australia (Adelaide) in 1848 aged 20, a Scottish labourer. He died in 1893, a well respected pioneer. (The British Colony of SA was established only in 1836). After early years at Glen Osmond (now an Adelaide suburb), he had earned a living as a dairyman and the owner/operator of a small shop, owning three adjoining properties in Halifax St, Adelaide. His last years were spent working as a brewer. -
THE EALING STUDIOS RARITIES COLLECTION VOLUME 7 (Cert TBC)
THE EALING STUDIOS RARITIES COLLECTION VOLUME 7 (Cert TBC) Part of “The British Film” Collection Network Distributing is delighted to announce the release of the seventh volume of THE EALING STUDIOS RARITIES COLLECTION (cert TBC). Featuring 4 films from the vaults of Ealing Studios and Associated Talking Pictures, this double-disc set is available to own on 14 October 2013, RRP £14.99. Presented as new transfers in their original aspect ratios, THE EALING STUDIOS RARITIES COLLECTION VOLUME 7 is an essential addition to anyone interested in classic British films as well as those interested in re-discovering long-forgotten gems from one of the UK’s most iconic production houses. EUREKA STOCKADE (1949) Directed by Harry Watt, written by Walter Greenword, Ralph Smart and Harry Watt. 1853: men from all over the world flock to Victoria, Australia, to dig for gold. The miners bitterly resent the fact that they are treated as intruders and constantly harried by the police; they riot, and four of them band together to protect themselves with a Reform League. But the struggle to gain their rights is to prove a long and bitter one... Starring Chips Rafferty, Jane Barrett, Gordon Jackson, Jack Lambert, Peter Illing, Ralph Truman and Peter Finch. TAKE A CHANCE (1937) Directed by Sinclair Hill, written by G.H Moresby-White and D.B Wyndham-Lewis. Irritated by her husband’s seeming indifference, the wife of a racehorse trainer flirts with a young man whose real object is to learn the secrets of her husband’s stables. Starring Claude Hulbert, Binnie Hale, Henry Kendall, Guy Middleton, Enid Stamp-Taylor. -
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. -
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22 “Te sound, it looks wonderful.” — Dario Argento If the colour yellow once evoked the pleasant imagery of bright summer days and blooming bush daisies, it certainly took a dark turn in the cinematic world of twentieth century Italy. Murder mysteries shot in saturated colours depicting grim, twisted nightmares of brutal killings became the new yellow—the giallo flm. But before referring to a genre of graphic Italian horror flms, giallo, the Italian word for yellow, was used to describe a genre of paperback mystery novels with bright yellow spines and covers introduced by the Milanese publishing house Mondadori in 1929.1 Most of the stories were translations of English whodunits and hard- boiled detective novels, including work by Edgar Allan Poe, Sir Arthur Conan Doyle, and Agatha Christie 2, with translations of Edgar Wallace novels appearing to be some of the most popular during the 1930s and 1940s.3 Despite the fact some critics, such as Alberto Savino, believed that mysteries were “unnatural” and “foreign” to Italian culture, these novels managed to inspire not only an Italian literary tradition with authors such as Giorgio Scerbanenco, Andrea Camilleri, and Carlo Lucarelli 4, but also some of the most terrifying and visually striking flms to come out of Italy during the 1960s and 1970s. Gialli frequently cross generic boundaries of crime flms, horror movies, and thrillers, and therefore may be more appropriately considered flone, as they are by many Italian critics, rather than part of a genre.5 Meaning large thread, the term flone is used to indicate a looser collection of similar themes and styles.6 Gialli can be more generally related to each other in this way, and thus a flm like Dario Argento’s Suspiria (1977) can be called giallo despite its greater resemblance to the supernatural horror thriller. -
77-2440 Laborde, Charles Bernard, Jr., 1949- FORM and FORMULA in DETECTIVE DRAMA: a STRUCTURAL STUDY of SELECTED TWENTIETH- CENTURY MYSTERY PLAYS
77-2440 LaBORDE, Charles Bernard, Jr., 1949- FORM AND FORMULA IN DETECTIVE DRAMA: A STRUCTURAL STUDY OF SELECTED TWENTIETH- CENTURY MYSTERY PLAYS. The Ohio State University, Ph.D., 1976 Theater Xerox University Microfilms,Ann Arbor, Michigan 48106 © 1976 CHARLES BERNARD LaBORDE, JR. ALL RIGHTS RESERVED FORM AND FORMULA IN DETECTIVE DRAMA* A STRUCTURAL STUDY OF SELECTED TWENTIETH-CENTURY MYSTERY PLAYS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Charles Bernard LaBorde, Jr., B.A., M.A. ***** The Ohio State University 1976 Reading Committee* Approved By Donald Glancy Roy Bowen Charles Ritter ^ A'dviser Department of Theatre ACKNOWLEDGMENTS I am grateful to Professor Donald Glancy for his guidance In the writing of this dissertation and to the other members of my committee. Dr, Roy Bowen and Dr. Charles Ritter, for their criticism. I am also indebted to Dr. Clifford Ashby for suggesting to me that the topic of detective drama was suitable for exploration in a dissertation. ii VITA October 6, 19^9 .... Born - Beaumont, Texas 1971 ......... B.A., Lamar State College of Technology, Beaumont, Texas 1971-1973 .......... Teaching Assistant, Department of Speech and Theatre Arts, Texas Tech University, Lubbock, Texas 1973 .............. M.A., Texas Tech University, Lubbock, Texas 1973-1975 ....... Teaching Associate, Department of Theatre, The Ohio State University, Columbus, Ohio 1975-1976 ....... University Fellow, Graduate School, The Ohio State University, Columbus, Ohio PUBLICATIONS "Sherlock Holmes on the Stage after William Gillette." Baker Street Journal. N. S., 2k (June 1974), 109-19. "Sherlock Holmes on the Stage: William Gillette," Accepted for publication by Baker Street Journal. -
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. -
Marriott Edgar
MARRIOTT EDGAR George Marriott Edgar is little known now because the style in which his words usually came to the public no longer carries popularity. But in his day one could find people freely reciting his words not only in performances but in pubs and at home. They were a kind of community singing and made people laugh. Perhaps they didn't know they were his, because the public reciter was the well-known actor Stanley Holloway (1890-1982). Edgar's background was itself interesting. His was a Lancashire family forming a theatre troupe, and he was born in Kirkcudbright in 1880. His parents Jennifer and Richard had married in 1875, but neither was aware that Richard had already fathered an illegitimate child by an actress. This boy turned out to be Edgar Wallace (1875-1932), the celebrated author, and it was a long time before the connection became known: in fact the Kirkcudbright Edgar remained ignorant of it until he met the more famous author in Hollywood not long before Wallace's death there. Edgar used the name Wallace for the lion (of Albert and the Lion) but this appears to be coincidence. Like the scions to so many music hall families Edgar took to the stage, and only began to come to notice in the long running The Co-Optimists in London in 1921-22. It was there that he met Stanley Holloway, who had already started his series of monologues. From 1930 Edgar supplied the words and their piano accompaniment. He also worked as a film scriptwriter, usually on comedies, including Oh Mr Porter! and The ghost train. -
41 Red Feather Journal 4.2 Fall 2013 the House of the Screaming Child
41 The House of the Screaming Child: Ambivalence and the Representation of Children in Profondo Rosso (Dario Argento, 1975) By Alexandra Heller-Nicholas and Craig Martin While broadly renowned for hyperactive visual spectacles of color and carnage over complex narratives, the plot of Dario Argento's Profondo rosso hinges upon an urban legend known as "The House of the Screaming Child". It concerns a derelict old house where the film’s protagonist Marcus Daly (David Hemmings) is told, "a strange thing happened. One night, a hunter woke up before dawn and heard a child singing in a shrill voice. Soon after, the voice stopped, and he heard shrieking, screams and weeping". Throughout the film’s investigation into a series of gruesome murders that provide the film's key visceral spectacles, the image of the traumatized "screaming child” is a crucial motif. Argento's most admired giallo hinges on its construction of the child as evil even as it blurs its representation of children with the infantalization of eldery people as a method of misdirecting attention away from the identity of the killer. The mystery around which Profondo rosso’s narrative is structured therefore relies on the conscious Othering of what we are calling “non-adult” knowledge. As such, the ethical ambivalence of its representations of children and elderly people overlap in its structuring system of subterfuge and revelation. This paper explores Argento's ambivalent representations of children in Profondo rosso that deconstruct the mechanics underlying a number of assumptions about the ethical status of children in horror more broadly. Profondo rosso demonstrates the broader ambivalence of the giallo category in its ethical construction of childhood as it subverts and collapses these assumptions. -
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.