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Walking Box Ranch Planning and Design Quarterly Progress Report: Period Ending January 10, 2012
Walking Box Ranch Public Lands Institute 1-10-2012 Walking Box Ranch Planning and Design Quarterly Progress Report: Period ending January 10, 2012 Margaret N. Rees University of Nevada, Las Vegas, [email protected] Follow this and additional works at: https://digitalscholarship.unlv.edu/pli_walking_box_ranch Part of the American Popular Culture Commons, Business Administration, Management, and Operations Commons, Educational Assessment, Evaluation, and Research Commons, and the Historic Preservation and Conservation Commons Repository Citation Rees, M. N. (2012). Walking Box Ranch Planning and Design Quarterly Progress Report: Period ending January 10, 2012. 1-115. Available at: https://digitalscholarship.unlv.edu/pli_walking_box_ranch/30 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Article in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Article has been accepted for inclusion in Walking Box Ranch by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. QUARTERLY PROGRESS REPORT University of Nevada, Las Vegas Period Covering October 11, 2010 – January 10, 2012 Financial Assistance Agreement #FAA080094 Planning and Design of the Walking Box Ranch Property Executive Summary UNLV’s President Smatresk has reiterated his commitment to the WBR project and has further committed full funding for IT and security costs. -
Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams
Appendix: Partial Filmographies for Lucile and Peggy Hamilton Adams The following is a list of films directly related to my research for this book. There is a more extensive list for Lucile in Randy Bryan Bigham, Lucile: Her Life by Design (San Francisco and Dallas: MacEvie Press Group, 2012). Lucile, Lady Duff Gordon The American Princess (Kalem, 1913, dir. Marshall Neilan) Our Mutual Girl (Mutual, 1914) serial, visit to Lucile’s dress shop in two episodes The Perils of Pauline (Pathé, 1914, dir. Louis Gasnier), serial The Theft of the Crown Jewels (Kalem, 1914) The High Road (Rolfe Photoplays, 1915, dir. John Noble) The Spendthrift (George Kleine, 1915, dir. Walter Edwin), one scene shot in Lucile’s dress shop and her models Hebe White, Phyllis, and Dolores all appear Gloria’s Romance (George Klein, 1916, dir. Colin Campbell), serial The Misleading Lady (Essanay Film Mfg. Corp., 1916, dir. Arthur Berthelet) Rebecca of Sunnybrook Farm (Mary Pickford Film Corp., 1917, dir. Marshall Neilan) The Rise of Susan (World Film Corp., 1916, dir. S.E.V. Taylor), serial The Strange Case of Mary Page (Essanay Film Manufacturing Company, 1916, dir. J. Charles Haydon), serial The Whirl of Life (Cort Film Corporation, 1915, dir. Oliver D. Bailey) Martha’s Vindication (Fine Arts Film Company, 1916, dir. Chester M. Franklin, Sydney Franklin) The High Cost of Living (J.R. Bray Studios, 1916, dir. Ashley Miller) Patria (International Film Service Company, 1916–17, dir. Jacques Jaccard), dressed Irene Castle The Little American (Mary Pickford Company, 1917, dir. Cecil B. DeMille) Rebecca of Sunnybrook Farm (Mary Pickford Company, 1917, dir. -
P-26 Motion Picture Collection Repository: Seaver Center For
P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings. -
Recovery Momentous Deaths: the Passing of Sitting U.S
Summer 2010 Recovery Momentous Deaths: The passing of sitting U.S. presidents impacted government policy while wartime casualties transformed early American military medicine. Creative Solutions: Visual arts serve post-Katrina New Orleans and American movies confront drugs and alcohol. Recession Proofs: Unemployment rates remain troubling and marketing practices continue to be reassessed. Society Developments: Chapter delegates, register now for the 2010 Phi Kappa Phi Convention, Traditions & Transitions: Responding to a World of Change, Aug. 5-7, in Kansas City, Mo. About Us Phi Kappa Phi Forum mission statement Phi Kappa Phi Forum, a multidisciplinary quarterly that enlightens, challenges Phi Kappa Phi Forum and Its and entertains its diverse readers, serves as a general-interest publication as well as a platform for The Honor Society of Phi Kappa Phi. Relationship with the Society Phi Kappa Phi Forum (Issn 1538-5914) is published quarterly by The Honor Society of Phi Kappa Phi, hi Kappa Phi Forum is the multidisciplinary 7576 Goodwood Blvd., Baton Rouge, La. 70806. quarterly magazine of The Honor Society of Printed at R.R. Donnelley, Phi Kappa Phi. Each issue of the award- 1160 N. Main, Pontiac, Ill. 61764. P winning journal reaches more than 100,000 active ©The Honor Society of Phi Kappa Phi, members as well as government officials, scholars, 2010. All rights reserved. Nonmember educators, university administrators, public and KappaPhi archives Phi subscriptions $30 per year, domestic; private libraries, leaders of charitable and learned $45 outside the U.S. Single copies $10 each; $3.25 each for active, dues- organizations, corporate executives and many paying members. -
Movie Weekly Index of Articles on Performers 1921-1925
Movie Weekly Index of Articles on Performers 1921-1925 Bruce Long JEAN ACKER "Rudolph cOUldii"t Have'; Treated Me Worse." (October 28, 1922). Tarringtont Thomas. "Will Fur Fly when Two Mrs. Va1entinos Meet?" tMarch 3, 1923). DORA MILLS ADAMS "From Concert Stage to Silent Drama." (December 3, 1921). RENEE ADOREE "Cupid Hits Tom Moore." (March 12, 1921). ~~ Hall, Gladys. "A New Secret About Women. 1I (January 5, 1924). DIANA ALLEN Levinson, Lewis F. "Should Stars Indulge in Trial Marriages?1I (March 3, 1923). MAY ALLISON Mabrey, Ruth. IIVacations in Married Life are Necessary:1I (Aprl1 19, 1924). Cannon, Regina. IIMarriage was Not Enough to Make Me Happy:1I (June 7, 1924). MARY ANDERSON B1enton, Billie. IlCommon Sense--Separation and Divorce. 1I (August 19, 1922). FERN ANORA Barton, Ni~ IIAdventure." (September 30, 1922). ROSCOE ARBUCKLE Arbuckle, Roscoe. lI1he Amazing Adventures of 'Fatty' Arbuckle. 1I (April 30, 1921-May 21, 1921). Arbuckle, Minta Durfee. liThe True Story about My Husband. 1I (December 24, 1921). Arbuckle, Roscoe. "Roscoe Arbuckle Tells His Own Story." (December 311921). Handy, Truman e.- "Arbuckle is Howl·Almost Completely Dependent upon His Friends. 1I (July 29, 1922). Palmer, Cons tance. II I'm Broke. II (July 29 1922). Balch, David A. "Will the Public Accept 'Fatty' Arbuck1e?1I (January 20, 1923). Kelly, T, Howard. "Has the Public Turned 'Thumbs Down' on Fatty Arbuckle?" (January 27, 1923), Kelly, T. Howard. IIHays Washes His Hands of Arbuckle Affair." (February 3, 1923). IIReaders Clash over Arbuckle Case,lI (February 10, 1923). Kapitz, Elizabeth. IIWoman Church Member Makes Strong Plea for Arbuckle, II (March 31, 1923). -
San Francisco Silent Film Festival
True art transcends time. SAN FRANCISCO SILENT FILM FESTIVAL JULY 18–21, 2013 CASTRO THEATRE SAN FRANCISCO SILENT FILM FESTIVAL elcome to our 18th summer festival. The San Francisco Silent Film Festival is a nonprofit organization dedicated to educating the public about silent film as an art form and as a cul- turally valuable historical record. Throughout the year, SFSFF produces events that showcase important titles from the silent era, often in restored or preserved prints, with live musical accompaniment by someW of the world’s finest practitioners of the art of putting music to film. Each presentation exemplifies the extraordinary quality that Academy Award-winning film historian Kevin Brownlow calls “live cinema.” Silent-era filmmakers produced masterpieces that can seem breathtakingly modern. In a remarkably short time after the birth of movies, filmmakers developed all the techniques that made cinema its own art form. The only technique that eluded them was the ability to marry sound to the film print, but these films were never meant to be viewed in silence and it is often obvious that music was a part of the production as well as the exhibition. The absence of recording on the set, though, meant that the camera was free to move with a grace and ele- gance that allowed visual storytell- ing to flourish and made film more than just an adjunct to the stage. It is through these films that the world first came to love movies and learned how to appreciate them as art. They have influenced every generation of filmmakers and con- tinue to inspire audiences nearly a century after they were made. -
Tribute to Anita Loos at the Museum of Modern Art Month-Long Retrospective of Loos Films in Recognition of Screen Writer's Role
^/ The Museum of Modern Art FOR RELEASE: 11 West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart Thursday, June 13, I969 TRIBUTE TO ANITA LOOS AT THE MUSEUM OF MODERN ART MONTH-LONG RETROSPECTIVE OF LOOS FILMS IN RECOGNITION OF SCREEN WRITER'S ROLE A Tribute to Anita Loos, a month-long retrospective of 50 films authored or adapted by the famous first lady of screen writers, will be presented from June Ik to July I3 by the Department of Film of The Museum of Modern Art. The tribute to Miss Loos will focus attention on the contribution of the screen writer to the development of the motion picture medium. One of the most prolific of screen writers, Anita Loos started her career with D.W. Griffith in his Biograph Studio days. She later wrote original scenarios for stars of the dimension of Douglas Fairbanks in the 20's and Jean Harlow in the 30's. She also worked with the highest ranking directors — Edmund Goulding, Sam Wood, William Wellman, George Cukor, Clarence Brown, Mervyn LeRoy and Howard Hawks. Her most popular work "Gentlemen Prefer Blondes," written in I925 in her celebrated youth, was remade as a Broadway musical a quarter of a century later. Miss Loos, a life-time non-conformist, came to fame in the 20's, a period not unlike the 60's in respect to the revolutionary changes of style and mores. Born in the Far West, she was a symbol of the flapper age, and knew Hollywood in its halcyon days. -
INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo Graph and Reproduce This Manuscript from the Microfilm Master
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. -
Current As of 10.23.2019 7,200 Lost U.S. Silent Feature Films (1912-29) National Film Preservation Board (October 2019) • This
1 Current as of 10.23.2019 2 7,200 Lost U.S. Silent Feature Films (1912-29) 3 National Film Preservation Board (October 2019) 4 5 • This compilation is a definite work-in-progress. Updated versions of this list will 6 be posted periodically at this location. 7 • Feature film means 4 reels or more in length 8 • Each title contains a hypertext link to its entry in our silent film database. There 9 you can find additional information on each title, including studio. 10 • In cases where only a fragment from one reel, trailer, outtakes or stills survive, 11 that film is included in this list as a lost film. 12 • “Incomplete” films are not included here. These comprise cases where a full reel 13 or more survives but not the whole set of reels. 14 • Our searchable database consists of approximately 11,000 titles, the 7200+ in 15 this list of “lost” titles as well as the 3800 or so titles surviving as incomplete or 16 complete. The full database may be searched at: 17 http://memory.loc.gov/diglib/ihas/html/silentfilms/silentfilms-home.html 18 • Please direct any questions or report any errors/suggested changes to Steve 19 Leggett at [email protected] 20 21 • Some recent “finds” now removed from this list: Devil’s Claim (1920), 22 Foreman of the Bar-Z Ranch (1915), Secrets of the Night (1924), Sinews of 23 Steel (1927), Broadway Billy (1926), Broadway Gold (1923), Dancer and the 24 King (1914), Dark Angel (1925), Double-Fisted (1925), Earth Woman (1926), 25 Man-Made Women/Woman (1928), Eye of Envy (1917), Between Dangers 26 (1927), Pursued (1925), On-the-Square Girl (1917), Two Lovers (1928), 27 Win(k)some Widow (1914), Clear the Decks (1917), Grim Game (1917), The 28 Noose (1928), In Slumberland (1917) 29 30 31 $1,000 Reward (1923), Charles R. -
Photoplay Magazine—Advertising Section 3
c ‘ZJheWorld’s Leading, oJYLoving (Picture Q^Iagazine N. S. E. February 2,5 The greatest Issue ofa Screen £Magazine ever Published POLA NEGRI Beginning in This Issuer— VALENTINO’S LIFE STORY ! - Jn this rarfiim ^Romance jParisienne Ah, Madame, how alluring a fragrance is here So, Mademoiselle, permit always that this Par —in this odeur Parisien, in this Parfum Djer-Kiss. fum Djer-Kiss, this subtle odeur fransaise grace Naturellement For does not the great parfumeur your dressing table. And this also, Madame, is Kerkoff create Djer-Kiss in France, in Paris alone? so important : For a complete harmony in your toilette employ all the Djer-Kiss specialites. From Kerkoff himself to the American ladies comes Djer-Kiss Perfume endowed quite magi- Then each necessity of your dressing hour will cally with the belle romance of France, with the breathe the same French fragrance — the fra- i dash and elan of Paris. grance, indeed, of Parfum Djer-Kiss. it EXTRACT • FACE POWDERS • TALC TOILET WATER • VEGETALE • SACHET • ROUGE UP ROUGE • FACE CREAMS • SOAP How French! How fash- ionable! How convenient! This charming little Van- ette of Djer-Kiss — Fash- ion’s new vogue. Now may Madame carry always in her vanity bag this Vanette of her favorite Parfum Djer-Kiss. The price? Ah, Madame, so l r very moderate! Do ask, then, at your favorite shop for this Vanette of Djer- Kiss. J|l — Photoplay Magazine—Advertising Section 3 We Pay $1000 and Royalties to men and women anywhere, of any age, who can learn to write photoplays. A novel, free test, made at home, will tell you if YOU can learn as Thacher Elizabeth Mrs. -
Current As of 08.12.2020 7,200 Lost U.S. Silent Feature Films (1912-29) National Film Preservation Board (October 2019) • This
1 Current as of 08.12.2020 2 7,200 Lost U.S. Silent Feature Films (1912-29) 3 National Film Preservation Board (October 2019) 4 5 This compilation is a definite work-in-progress. Updated versions of this list will 6 be posted periodically at this location. 7 Feature film means 4 reels or more in length 8 Each title contains a hypertext link to its entry in our silent film database. There 9 you can find additional information on each title, including studio. 10 In cases where only a fragment from one reel, trailer, outtakes or stills survive, 11 that film is included in this list as a lost film. 12 “Incomplete” films are not included here. These comprise cases where a full reel 13 or more survives but not the whole set of reels. 14 Our searchable database consists of approximately 11,000 titles, the 7200+ in 15 this list of “lost” titles as well as the 3800 or so titles surviving as incomplete or 16 complete. The full database may be searched at: 17 http://memory.loc.gov/diglib/ihas/html/silentfilms/silentfilms-home.html 18 Please direct any questions or report any errors/suggested changes to Steve 19 Leggett at [email protected] 20 21 Some recent “finds” now removed from this list: Devil’s Claim (1920), 22 Foreman of the Bar-Z Ranch (1915), Secrets of the Night (1924), Sinews of 23 Steel (1927), Broadway Billy (1926), Broadway Gold (1923), Dancer and the 24 King (1914), Dark Angel (1925), Double-Fisted (1925), Earth Woman (1926), 25 Man-Made Women/Woman (1928), Eye of Envy (1917), Between Dangers 26 (1927), Pursued (1925), On-the-Square Girl (1917), Two Lovers (1928), 27 Win(k)some Widow (1914), Clear the Decks (1917), Grim Game (1917), The 28 Noose (1928), In Slumberland (1917), First Degree (1923), White Pants Willie 29 (1927), Power Divine (1923), Smoking Trails (1924), Cyclone Jones (1924), 30 Lightning Romance (1924), Ridin’ Gent (1926), One Chance in a Million 31 (1927), Mojave Kid (1927) 32 33 34 $1,000 Reward (1923), Charles R.