BALOO's BUGLE "Make No Small Plans
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Refuge for Masterminds ( .Pdf )
Baldwin 1 Refuge for Masterminds —A Stranje House Novel— By Kathleen Baldwin Baldwin 2 Dedication My dearest daughter, I often find you walking in the pages of my books. It delights me to discover your traits hidden inside my characters. Why wouldn’t they be, when I admire you so much? You are my very own beloved unusual girl. Thank you for your priceless help and lasting inspiration. Baldwin 3 Chapter 1 Lady Jane Moore The oil lamp flickers and hisses. It is late, very late. The oil will run out soon. Even though it is long past midnight, I continue working at my desk in the library, listing possibilities, drawing lines from one hypothesis to another, scratching out those lines and mapping new ones, trying to calculate which of the many options our enemy will take next. In my mind, the players line up before me like pieces on a chessboard, and it keeps coming back to this . to Lady Daneska. Evil queen takes knight. Checkmate. We lose. Except she isn’t a queen. She was once one of us, one of Miss Stranje’s students. Now she’s Napoleon’s clever little troublemaker, and paramour to Ghost, codename for the British traitor who leads the emperor’s secret Order of the Iron Crown. I set down the quill and massage my forehead. The knight is in danger. Alexander Sinclair, nephew of the American inventor, Robert Fulton, has been Baldwin 4 hiding at Stranje House. He’s slated to leave in three short days. Captain Grey and Lord Wyatt plan to help him sail the prototype of his steam-powered warship to London where they’ll demonstrate its capabilities to the British admiralty. -
Celebrating Forty Years of Films Worth Talking About
2 NOV 18 6 DEC 18 1 | 2 NOV 18 - 6 DEC 18 88 LOTHIAN ROAD | FILMHOUSEcinema.COM CELEBRATING FORTY YEARS OF FILMS WORTH TALKING ABOUT Move over, Braveheart! Last month saw the culmination of our 40th anniversary celebrations here at Filmhouse, and it has been hugely interesting time (for me at any rate!) comparing the us of now with the us of then. I’ve thoroughly enjoyed spending time talking to Filmhouse’s first Artistic Director, Jim Hickey, and finding out in more detail than I knew what myriad ways the business of running Filmhouse has stayed the same and the as many ways it has not (one of these days I’ll write it all down and you can find out how interesting it is for yourselves!). UK film distribution itself has changed immeasurably – the dawn of the multiplex in the latter half of the 1980s saw to that. Back in 1978, Filmhouse itself was part of a sort of movement that saw the birth of a number of similar venues around the UK whose aim was to show a kind of cinema (predominantly foreign language) that simply was not catered for within mainstream film exhibition. Despite 40 years having passed and much having changed, the notion of an audience-driven, ‘curated’ cinema like Filmhouse remains something of a film exhibition anomaly; and something Jim Hickey wrote 30+ years ago rings just as true today as it did then: “But best of all, the new cinemas are being run by those who care about audiences as well as the films that they have paid to watch.” Now, we’ve got a bit of a first for you in November, for we have metaphorically got into bed with Netflix to give one of their films a hugely deserved, exclusive, short run in a cinema – namely David Mackenzie’s splendidly entertaining Robert the Bruce epic, Outlaw King. -
Complete List of Silent Films Featuring Journalists and Journalism 1890-1919 (Each Film Is Annotated in the 11 Appendices)
Complete List of Silent Films Featuring Journalists and Journalism 1890-1919 (Each film is annotated in the 11 appendices) 1894 Miss Jerry 1897 Bad Boy and Poor Old Grandpa, The Bradford Daily Argus Newspaper Offices 1898 N.Y. Journal Despatch Yacht "Buccaneer" President McKinley's Inspection of Camp Wikoff War Correspondents 1899 Distributing a War Extra (aka Delivering Newspapers) Fight of Reporters, The: L'Affaire Dreyfus Bagarre entre journalistes 1900 Confounding the Art Critic Horsewhipping an Editor 1901 Happy Hooligan April-Fooled Li Hung Chang 1902 Poet's Revenge, A 1903 Business Rivalry Delivering Newspapers Pres. Roosevelt's Fourth of July Oration 1904 Newspaper in Making, A Russian Army in Manchuria, The 1905 Newsboy, The 1906 Critic, The 1907 John D. and the Reporter Looking for the Medal Making of a Modern Newspaper, The Poet's Bid for Fame, The 1908 Afraid of Microbes Boy Detective, The or The Abductors Foiled Bridal Couple Dodging Cameras (aka Bridal Couple Dodging the Cameras, The Bride Loses Her Duke) Christmas in Paradise Alley Female Politician, Mrs Bell, Is Nominated for Mayor, The Flower Girl, The Her Newsboy Friend Honest Newsboy's Reward, An Honesty Is the Best Policy (A Pathetic Story of Life in the Slums) Lottery Ticket (aka Le billet de loterie) Railway Tragedy Scotland's Greatest Newspaper The Professor's Trip to the Country or, a Case of Mistaken Identity Ticklish Man, The 1909 Ambassador's Dispatch Case, The (aka Ambassador's Despatch Case, The; La valise diplomatique) At the Altar -- The Interception of -
SFSFF 2018 Program Book
elcome to the San Francisco Silent Film Festival for five days and nights of live cinema! This is SFSFFʼs twenty-third year of sharing revered silent-era Wmasterpieces and newly revived discoveries as they were meant to be experienced—with live musical accompaniment. We’ve even added a day, so there’s more to enjoy of the silent-era’s treasures, including features from nine countries and inventive experiments from cinema’s early days and the height of the avant-garde. A nonprofit organization, SFSFF is committed to educating the public about silent-era cinema as a valuable historical and cultural record as well as an art form with enduring relevance. In a remarkably short time after the birth of moving pictures, filmmakers developed all the techniques that make cinema the powerful medium it is today— everything except for the ability to marry sound to the film print. Yet these films can be breathtakingly modern. They have influenced every subsequent generation of filmmakers and they continue to astonish and delight audiences a century after they were made. SFSFF also carries on silent cinemaʼs live music tradition, screening these films with accompaniment by the worldʼs foremost practitioners of putting live sound to the picture. Showcasing silent-era titles, often in restored or preserved prints, SFSFF has long supported film preservation through the Silent Film Festival Preservation Fund. In addition, over time, we have expanded our participation in major film restoration projects, premiering four features and some newly discovered documentary footage at this event alone. This year coincides with a milestone birthday of film scholar extraordinaire Kevin Brownlow, whom we celebrate with an onstage appearance on June 2. -
American Animals, American Men: Popular Literature from 1830 to 1915
AMERICAN ANIMALS, AMERICAN MEN: POPULAR LITERATURE FROM 1830 TO 1915 A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Stephen D. Kelly December 2020 Examining Committee Members: Miles Orvell, Advisory Chair, English James Salazar, English Talissa Ford, English Matt Wray, External Member, Sociology ii © Copyright 2020 by Stephen D. Kelly All Rights Reserved iii ABSTRACT Critics of animal rights often deride the movement’s proponents for having a sentimental, juvenile misconception of what animals really are, an argument bolstered by the fact that few twenty-first-century Americans besides those engaged in the industries of animal exploitation have any prolonged contact with real animals other than their pets. Until the first decades of the twentieth century, however, American cities teemed with diverse animal residents and workers, and a rapidly increasing percentage of humans grew in their conviction that these animal neighbors should be extended considerations and rights. Shifting ideas about these animals’ roles within United States society were captured in a number of new bestselling literary genres centered around “realistic” depictions of animal characters. Because animals are often conceptualized as a “contrast class” to humanity—a fundamental “Other” by which humans establish what qualities make themselves distinct and (typically) superior—analyzing these texts and their circulation within nineteenth- century culture reveals how Americans understood authority and systems of governance, and in particular how they modeled an ideal American manhood nourished by animal bodies. What forms of exploitation and control were permissible in a man’s treatment of his animals often reflected other power dynamics within society, and so these texts also provide insight into issues of class, race, and gender. -
Maurice Tourneur Elokuva Lista (Elokuvat)
Maurice Tourneur Elokuva Lista (Elokuvat) Clothes Make the Pirate https://fi.listvote.com/lists/film/movies/clothes-make-the-pirate-5135553/actors The Pawn of Fate https://fi.listvote.com/lists/film/movies/the-pawn-of-fate-8850304/actors Barbary Sheep https://fi.listvote.com/lists/film/movies/barbary-sheep-3634725/actors The Butterfly on the Wheel https://fi.listvote.com/lists/film/movies/the-butterfly-on-the-wheel-13423720/actors The Bait https://fi.listvote.com/lists/film/movies/the-bait-7715351/actors Jealous Husbands https://fi.listvote.com/lists/film/movies/jealous-husbands-16028397/actors The Undying Flame https://fi.listvote.com/lists/film/movies/the-undying-flame-7771429/actors The Law of the Land https://fi.listvote.com/lists/film/movies/the-law-of-the-land-7746419/actors Exile https://fi.listvote.com/lists/film/movies/exile-16028436/actors The Man of the Hour https://fi.listvote.com/lists/film/movies/the-man-of-the-hour-16029007/actors The Rise of Jennie Cushing https://fi.listvote.com/lists/film/movies/the-rise-of-jennie-cushing-3989029/actors The Velvet Paw https://fi.listvote.com/lists/film/movies/the-velvet-paw-15973232/actors The Hand of Peril https://fi.listvote.com/lists/film/movies/the-hand-of-peril-8850053/actors The Sparrow https://fi.listvote.com/lists/film/movies/the-sparrow-3511721/actors The Ivory Snuff Box https://fi.listvote.com/lists/film/movies/the-ivory-snuff-box-16028344/actors The Secret of the Well https://fi.listvote.com/lists/film/movies/the-secret-of-the-well-3226077/actors The Cameo https://fi.listvote.com/lists/film/movies/the-cameo-3220777/actors -
Dorothy Farnum
Dorothy Farnum Also Known As: Mrs. Maurice Barber Lived: June 10, 1896 - January 1970 Worked as: adapter, film actress, scenario writer, screenwriter Worked In: France, United Kingdom: England, United States by Matthew Hipps As with many women in early cinema, such as Jeanie Macpherson and Frances Marion, Dorothy Farnum’s career in Hollywood began with acting before settling into writing. Known for her intelligence and beauty, she worked well in front of the camera. From articles in the Los Angeles Times, we know that she was educated in a convent boarding school (location unknown) where Farnum mastered French history and literature and became fluent in Spanish and German (C27, 33). Although she received several offers to act and even appeared in the films Over Night (1915) and The Cub (1915), she was reported to have instead preferred writing scenarios for the silent screen. Farnum’s scenario writing career began in 1919 when she approached producer Harry Rapf with an original scenario titled The Broken Melody. Impressed with her skills, he employed Farnum at a commission of twenty-five dollars a week. Unfortunately, after just two weeks Farnum proved to be too inexperienced and was released from her contract. Rapf promised to employ her once she attained a footing in the industry and refined her trade. Farnum continued to work for a few years, steadily writing adaptations and scenarios. Finally, as reported in the Los Angeles Times, Rapf rehired her in May 1926 and gave her work on what would become one of her most renowned films: Beau Brummel (1924) starring John Barrymore (C27). -
The Image of the Journalist in Silent Film, Part One: 1890 to 1919
Journalist in Silent Film 35 The Image of the Journalist in Silent Film, 1890 to 1929: Part One 1890 to 1919 Joe Saltzman Professor of Journalism Director of the Image of the Journalist in Popular Culture (IJPC) A Project of the Norman Lear Center Annenberg School for Communication and Journalism University of Southern California Los Angeles, CA [email protected] with Liz Mitchell Senior Research Associate Image of the Journalist in Popular Culture (IJPC) Annenberg School for Communication and Journalism University of Southern California Los Angeles, CA [email protected] Introduction This is the first installment in the landmark study of “The Image of the Journalist in Silent Film, 1890 to 1929.” It covers 1,948 films from 1890 to 1919. Part Two will cover the years from 1920 to the beginning of recorded sound in 1929. This is the first comprehensive study of the beginning of cinema’s earliest depictions of the journalist, mostly newspaper reporters, editors, and publishers. Newspaper fiction flourished at a time when journalism “was a revolutionary force, tearing up traditions, redefining public morality, and lending voice and encouragement to the disenfranchised. It reflected currents sweeping through every phase of American life. The skyrocketing circulations, the manic search for exclusive news, the sensational headlines, and the concentration of newspaper ownership were signs of an America changing from a rural society to an urban and industrial one. Since journalism so clearly mirrored and so loudly supported the new order, it became the preeminent symbol for the mechanization, standardization, democratization, and vulgarization of culture.”1 Historian Howard Good points out that the 1890s “represented a watershed not only in American journalism but also in American history. -
Texto Completo (Pdf)
REVISTA CIENTÍFICA DE CINE Y FOTOGRAFÍA E-ISSN 2172-0150 Nº 11 (2015) Recibido 15-05-2015 / Aceptado 16-06-2015 / Publicado 19/07/2015 Preprint 22/02/2014 Publicado 22/01/2014 APORTACIONES HISTORIOGRÁFICAS Y ESTÉTICAS A PROPÓSITO DE LA CO-AUTORÍA FÍLMICA DE THE LAST OF THE MOHICANS (1920), DE MAURICE TOURNEUR Y CLARENCE L. BROWN HISTORIOGRAPHICAL AND AESTHETIC CONTRIBUTIONS TO THE FILMIC CO-AUTHORSHIP OF THE LAST OF THE MOHICANS (1920), DIRECTED BY MAURICE TOURNEUR AND CLARENCE L. BROWN Carmen Guiralt Gomar Universidad de Valencia, España [email protected] Resumen: Abstract: El largometraje silente norteamericano The The American silent film The Last of the Last of the Mohicans (1920), sobre la Mohicans (1920), based on the famous famosa novela homónima de James homonymous novel by James Fenimore Fenimore Cooper, se estrenó como co- Cooper, was released as co-directed by dirigido por Maurice Tourneur y Clarence Maurice Tourneur and Clarence L. Brown. L. Brown. Tourneur era el productor y al Initially, Tourneur was the producer and inicio el único director, con Brown traba- the only director, with Brown being his jando como su ayudante. No obstante, poco assistant. However, shortly after shooting después de iniciarse la filmación cayó began he fell seriously ill. As a result, the gravemente enfermo, y Brown realizó la film was almost entirely directed by Brown. película casi al completo en su lugar. De ahí Hence Tourneur decided to share the credit que Tourneur decidiera otorgar a su discí- with his disciple. Still, the controversy pulo la mitad del crédito. Pese a ello, la concerning authorship has always polémica al respecto de su autoría ha surrounded the film. -
Inner Contradictions and Hidden Passages: Pedagogical Tact and the High-Quality Veteran Urban Teacher En Vue De Currere
INNER CONTRADICTIONS AND HIDDEN PASSAGES: PEDAGOGICAL TACT AND THE HIGH-QUALITY VETERAN URBAN TEACHER EN VUE DE CURRERE A dissertation submitted to the College and Graduate School of Education, Health, and Human Services Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Rebecca Ann Zurava May 2006 © Copyright by Rebecca Ann Zurava 2006 All Rights Reserved ii A dissertation written by Rebecca Ann Zurava B.S.Ed, The Ohio State University, 1972 M.Ed., Kent State University, 1983 Ph.D., Kent State University, 2006 Approved by ______________________________ , Director, Doctoral Dissertation Committee James G. Henderson ______________________________ , Member, Doctoral Dissertation Committee Eunsook Hyun ______________________________ , Member, Doctoral Dissertation Committee Catherine Eggleston Hackney Accepted by ______________________________ , Chairperson, Department of Teaching, Kenneth Teitelbaum Leadership, and Curriculum Studies ______________________________ , Dean, College and Graduate School of Education, David A. England Health, and Human Services iii ACKN0WLEDGMENTS To my husband, George, whose life, labor, and love made this doctoral degree possible. George is the Emeritus Director of Resource Analysis and Planning at Kent State University. To James Henderson whose scholarly life led me to Pinar, Grumet, and pedagogical tact. To Eunsook Hyun who enthusiastically stepped forward to guide a stranger at her door. To Catherine Hackney who always believed in me. To these professors -
Xerox Univereity Microfilms 300 North Zoob Road Ann Arbor, Michigan 48106 RODRIGUEZ, Fernando, 1933- IHE ART of CLAUDE SIMON: a DUAL PERSPECTIVE
INFORMATION TO USERS This material was produced from a microfilm copy of tha original document. While the most advanced technological meant to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Paga(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a smaiJ overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
The Jungle Book
THE JUNGLE BOOK By Rudyard Kipling Prepared and Published by: Ebd E-BooksDirectory.com Mowgli's Brothers Now Rann the Kite brings home the night That Mang the Bat sets free— The herds are shut in byre and hut For loosed till dawn are we. This is the hour of pride and power, Talon and tush and claw. Oh, hear the call!—Good hunting all That keep the Jungle Law! Night-Song in the Jungle It was seven o'clock of a very warm evening in the Seeonee hills when Father Wolf woke up from his day's rest, scratched himself, yawned, and spread out his paws one after the other to get rid of the sleepy feeling in their tips. Mother Wolf lay with her big gray nose dropped across her four tumbling, squealing cubs, and the moon shone into the mouth of the cave where they all lived. "Augrh!" said Father Wolf. "It is time to hunt again." He was going to spring down hill when a little shadow with a bushy tail crossed the threshold and whined: "Good luck go with you, O Chief of the Wolves. And good luck and strong white teeth go with noble children that they may never forget the hungry in this world." It was the jackal—Tabaqui, the Dish-licker—and the wolves of India despise Tabaqui because he runs about making mischief, and telling tales, and eating rags and pieces of leather from the village rubbish-heaps. But they are afraid of him too, because Tabaqui, more than anyone else in the jungle, is apt to go mad, and then he forgets that he was ever afraid of anyone, and runs through the forest biting everything in his way.