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The Fatty Arbuckle Case
M60 5O§ A PAPERBACK LIBRARY FIRST EDITION SIIKI !8ITH«j Most famous rape case of the century The Hollywood story no one dared publish THE KING He could have any woman in Hollywood he wanted—except beautiful Virginia Rappe. Already a star, Virginia didn't need Fatty Arbuckle and didn't want him. Surrounded by adulation, yes-men, the semi-royal glitter of Hollywood, glutted with money, fame and success, Fatty Arbuckle couldn't take "no" for an answer. HERE IS THE SHOCKING, SOMETIMES SORDID, AND ALWAYS FASCINATING STORY OF ONE OF THE MOST FAMOUS CRIMINAL TRIALS OF ALL TIME THE FATTY ARBUCKLE CASE THE FATTY ARBUCKLE By LEO GUILD V PAPERBACK LIBRARY, INC New York Copyright © 1962 by Paperback Library, Inc. All Rights Reserved PAPERBACK LIBRARY ORIGINAL First Printing: August 1962 Printed in the United States of America FOREWORD The writing of a book such as this is a monumental re- search job. It entails conversation with people who were on the scene; a search for their friends, relatives, ac- quaintances; study of the court records, the newspaper stories of the trial, magazines which contain much perti- nent material about the case. People only remotely in- volved with the subject or the circumstances must be questioned. One interview always leads to another and another until the list of prospects becomes so long it seems impossible to write or to see all of them. But all must be reached. Then medical experts must be consulted, legal advice must be secured. Books which covered similar cases have to be read to study pattern and summation. -
Mabel's Blunder
Mabel’s Blunder By Brent E. Walker Mabel Normand was the first major female comedy star in American motion pictures. She was also one of the first female directors in Hollywood, and one of the original principals in Mack Sennett’s pioneering Keystone Comedies. “Mabel’s Blunder” (1914), made two years after the formation of the Keystone Film Company, captures Normand’s talents both in front of and behind the camera. Born in Staten Island, New York in 1892, a teenage Normand modeled for “Gibson Girl” creator Charles Dana Gibson before entering motion pictures with Vitagraph in 1910. In the summer of 1911, she moved over to the Biograph company, where D.W. Griffith was making his mark as a pioneering film director. Griffith had already turned actresses such as Florence Lawrence and Mary Pickford into major dramatic stars. Normand, however, was not as- signed to the dramas made by Griffith. Instead, she went to work in Biograph’s comedy unit, directed by an actor-turned-director named Mack Sennett. Normand’s first major film “The Diving Girl” (1911) brought her notice with nickelodeon audiences. A 1914 portrait of Mabel Normand looking Mabel quickly differentiated herself from the other uncharacteristically somber. Courtesy Library of Congress Biograph actresses of the period by her willingness Prints & Photographs Online Collection. to engage in slapstick antics and take pratfalls in the name of comedy. She also began a personal ro- to assign directorial control to each of his stars on mantic relationship with Mack Sennett that would their comedies, including Normand. Mabel directed have its ups and downs, and would eventually in- a number of her own films through the early months spire a Broadway musical titled “Mack and Mabel.” of 1914. -
Sex, Crime, and Jazz-Age Journalism
Sex, Crime, and Jazz-Age Journalism The 1920s were an exciting, shocking decade in America’s cities. Although Prohibition laws outlawed alcohol, people flocked to speakeasies, private clubs where they could drink bootleg liquor and dance to the latest jazz. Gangsters battled in the streets for control of the alcohol trade. Women put on lipstick and rouge, wore short skirts, and smoked in public. Ground-breaking novels and plays focused on the once-taboo subject of sex. People poured into sporting events and movie houses and worshipped new-found celebrities like Babe Ruth and Charlie Chaplin. This raucous decade was known as the jazz age. Newspapers reflected the era, attracting readers with sensational stories. Throughout the decade, many newspapers drew readers by focusing on stories involving sex, crime, and celebrities. This was known as "jazz-age journalism." In 1921, a story broke that involved all three elements—sex, crime, and a celebrity. Roscoe "Fatty" Arbuckle, one of Hollywood’s most famous stars, was accused of sexually assaulting and killing a movie actress. The press pounced on the story, printing detail after lurid detail. The case of "Fatty" Arbuckle raised the question of whether a celebrity could get a fair trial amid enormous national press coverage. The Rise of the Tabloids On June 26, 1919, a new kind of newspaper called a tabloid hit the streets of New York City. Half the size (15 x 11 inches) of other newspapers, the Daily News typically displayed a front page with a screaming headline and large pictures. Inside, short, sensationalized news articles sat alongside photos, illustrations, and feature stories about the lives, loves, and misfortunes of both ordinary and famous people. -
The Last Days of Buster Keaton John C. Tibbetts
Fall 1995 79 The Hole in the Doughnut: The Last Days of Buster Keaton John C. Tibbetts In the Fall of 1995 Eleanor Norris Keaton will come to Kansas to celebrate the 100th birthday of her late husband.1 Part of an extensive itinerary that also takes her to other centenary observances in New York, Muskegon, Michigan, and Los Angeles, the Kansas trip is particularly poignant. Keaton was born on October 4,1895, in the tiny farm community of Piqua, in southeast Kansas, while his parents were performing with a medicine show.2 Although he may have been a Kansan only through sheer accident of circumstances—the baby and his mother remained in Piqua only two weeks before rejoining the troupe on the road—he returned there many times as a child on tour with his parents.3 Later, the classic slapstick comedian paid tribute to his home state in many of the themes and situations of his best films, most notably in the cyclone sequence in Steamboat Bill, Jr. (1928). To my mind, even his trademark "deadly horizontal" hat (as James Agee described it) evokes the stark flatness of the Kansas prairies.4 While the Keaton phenomenon will be fully explored throughout the centenary year, Eleanor herself should not be forgotten. By all accounts, she was an important force in Buster's later years. "She has seen Buster Keaton through a long period of painful adjustment, relapse, and readjustment and a dozen partial comebacks," wrote Rudi Blesh, shortly before Buster's death on February 1,1966. "She has carried him, content and at times happy, across the threshold of his seventies. -
Cases of the Century
Loyola of Los Angeles Law Review Volume 33 Number 2 Symposium on Trials of the Century Article 4 1-1-2000 Cases of the Century Laurie L. Levenson Follow this and additional works at: https://digitalcommons.lmu.edu/llr Part of the Law Commons Recommended Citation Laurie L. Levenson, Cases of the Century, 33 Loy. L.A. L. Rev. 585 (2000). Available at: https://digitalcommons.lmu.edu/llr/vol33/iss2/4 This Symposium is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. CASES OF THE CENTURY Laurie L. Levenson* I. INTRODUCTION I confess. I am a "trials of the century" junkie. Since my col- lege years, I have been interested in how high-profile cases reflect and alter our society. My first experience with a so-called trial of the century was in 1976. My roommate and I took a break from our pre- med studies so that we could venture up to San Francisco, sleep in the gutters and on the sidewalks of the Tenderloin, all for the oppor- tunity to watch the prosecution of newspaper heiress, Patty Hearst. It was fascinating. The social issues of our time converged in a fed- eral courtroom While lawyers may have been fixated on the techni- cal legal issues of the trial, the public's focus was on something en- tirely different. -
Film Essay for The
The Kid By Jeffrey Vance “The Kid” (1921) is one of Charles Chaplin’s finest achievements and remains universally beloved by critics and audiences alike. The film is a perfect blend of comedy and drama and is arguably Chap- lin’s most personal and autobiographical work. Many of the settings and the themes in the film come right out of Chaplin’s own impoverished London child- hood. However, it was the combination of two events, one tragic (the death of his infant son) and one joyful (his chance meeting with Jackie Coogan), that led Chaplin to shape the tale of the abandoned child and the lonely Tramp. The loss of three-day-old Norman Spencer Chaplin undoubtedly had a great effect on Chaplin, and the emotional pain appears to have triggered his creativ- ity, as he began auditioning child actors at the Chap- lin Studios ten days after his son’s death. It was dur- ing this period that Chaplin encountered a four-year- old child performer named Jackie Coogan at Orphe- um Theater in Los Angeles, where his father had just performed an eccentric dance act. Chaplin spent more than an hour talking to Jackie in the lob- by of the Alexandria Hotel, but the idea of using Jackie in a film did not occur to him. After he heard that Roscoe Arbuckle had just signed Coogan, Chaplin agonized over his missed opportunity. Later, Charlie Chaplin as The Tramp sits in a doorway with the he discovered that Arbuckle had signed Jack orphan he has taken under his wing (Jackie Coogan). -
©2015 Kristoffer M. Shields ALL RIGHTS RESERVED
©2015 Kristoffer M. Shields ALL RIGHTS RESERVED CULTURE ON TRIAL: LAW, MORALITY, AND THE PERFORMANCE TRIAL IN THE SHADOW OF WORLD WAR I by KRISTOFFER M. SHIELDS A dissertation submitted to the Graduate School—New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in History Written under the direction of T.J. Jackson Lears And approved by _____________________________________ _____________________________________ _____________________________________ _____________________________________ New Brunswick, New Jersey OCTOBER 2015 ABSTRACT OF THE DISSERTATION Culture on Trial: Law, Morality, and the Performance Trial in the Shadow of World War I By KRISTOFFER M. SHIELDS Dissertation Director: T.J. Jackson Lears This dissertation analyzes three specific American trials, each taking place between 1921 and 1926: the State of Tennessee v. John T. Scopes; the murder trial of Frances Stevens Hall; and the murder trial(s) of silent film star Roscoe “Fatty” Arbuckle. Despite the trials’ disparate facts, each became prominent nationally, covered by a variety of media and heavily attended by live audiences. This was not unprecedented. Throughout American history, trials have often been subjects of public fascination. At times, individual cases have become cultural phenomena, followed and discussed by onlookers across the country, reaching a point of national cultural relevance. I call these types of trials “performance trials” and argue that they are valuable and overlooked resources for historians. The three trials analyzed in this dissertation are especially instructive. The 1920s are a fertile time for performance trials, evidenced in part by this cluster of three such trials taking place within five years of each other. -
The Fatty Arbuckle Trial: the Injustice of the Century
Constructing the Past Volume 5 Issue 1 Article 5 2004 The Fatty Arbuckle Trial: The Injustice of the Century Elizabeth Fischer Follow this and additional works at: https://digitalcommons.iwu.edu/constructing Recommended Citation Fischer, Elizabeth (2004) "The Fatty Arbuckle Trial: The Injustice of the Century," Constructing the Past: Vol. 5 : Iss. 1 , Article 5. Available at: https://digitalcommons.iwu.edu/constructing/vol5/iss1/5 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material 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 material has been accepted for inclusion by editorial board of the Undergraduate Economic Review and the Economics Department at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. The Fatty Arbuckle Trial: The Injustice of the Century Abstract This article discusses the Fatty Arbuckle case, an incident in which it is still not known whether or not he caused the death of Virginia Rappe. It discusses the various accounts given of the incident and whether or not some of the witnesses may have purposely lied about events for their own gain. This article is available in Constructing the Past: https://digitalcommons.iwu.edu/constructing/vol5/iss1/5 The Fatty Arbuckle Trial: The Injustice of the Century other members of the party. -
+ Vimeo Link for ALL of Bruce Jackson's and Diane Christian's Film
Virtual February 2, 2021 (42:1) Buster Keaton and Clyde Bruckman: THE GENERAL (1927, 72 min) Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. Cast and crew name hyperlinks connect to the individuals’ Wikipedia entries + Vimeo link for ALL of Bruce Jackson’s and Diane Christian’s film introductions and post-film discussions in the Spring 2021 BFS Vimeo link for our introduction to The General Zoom link for all Fall 2020 BFS Tuesday 7:00 PM post-screening discussions: Meeting ID: 925 3527 4384 Passcode: 820766 National Film Preservation Board, USA 1989 Directed by Buster Keaton, Clyde Bruckman, Written by Buster Keaton, Clyde Bruckman, (written by), Al Boasberg, Charles Henry Smith (adapted by), William Pittenger (book, memoir "The Great BUSTER KEATON (b. Joseph Frank Keaton VI on Locomotive Chase") (uncredited) and Paul Girard October 4, 1895 in Piqua, Kansas—d. February 1, Smith (uncredited) 1966 in Los Angeles, CA) was born in a boarding Produced Buster Keaton, Joseph M. Schenck house where his parents, Joseph Hallie Keaton and Music Joe Hisaishi Myra Cutler Keaton, were touring with a medicine Cinematography Bert Haines, Devereaux Jennings show. He made his debut at the age of nine months Film Editing Buster Keaton, Sherman Kell when he crawled out of the dressing room onto the Art Direction Fred Gabourie stage, and he became part of the act when he was three. The young Keaton got his nickname within the Cast first two years of his life when he fell down a flight of Buster Keaton…Johnnie Gray stairs and landed unhurt and unfazed. -
Charlie Chaplin. the Circus. 1928. Frankfurter Slapstick: Benjamin, Kracauer, and Adorno on American Screen Comedy
Charlie Chaplin. The Circus. 1928. Frankfurter Slapstick: Benjamin, Kracauer, and Adorno on American Screen Comedy STEVEN JACOBS AND HILDE D’HAEYERE It has long been noted that key figures of the European avant-garde of the interwar years, including many leading Dadaist, Surrealist, and Constructivist artists, greatly admired American slapstick comedies of the 1910s and ’20s.1 Although these artists had diverse artistic agendas, their fascination with slapstick comedy tended to spring from similar preoccupations. First, the films of Mack Sennett, Charlie Chaplin, Buster Keaton, Harold Lloyd, and Harry Langdon, among others, were seen as examples of a pure cinema founded on essential cine- matic qualities such as speed, motion, and rhythm. Second, for many members of the avant-garde, slapstick cinema responded adequately to the logic of mechaniza- tion, which they, too, sought to engage. Slapstick films not only reflected the keen interest in (absurd or unruly) machines, trains, motorcycles, airplanes, and cars; they were themselves products of industrial modernity. Mack Sennett’s Keystone Film Company, for example, was one of the first to produce films according to the logic of serial manufacture, industry standards, and efficiency-induced division of labor.2 Third, the slapstick tradition brought an absurd reality to the fore, in which the laws of gravity, inertia, logic, and commerce were suspended and every- day objects mysteriously came to life, shifted shapes, and were transformed. Precisely these aspects of slapstick cinema also attracted Walter Benjamin, Siegfried Kracauer, and Theodor W. Adorno in their investigations of the rela- tionships between industrial capitalism and visual culture. As Miriam Bratu Hansen has demonstrated in detail, Frankfurt critical theory developed a philo- 1. -
Santa Barbara Lawyer Santa Barbara Lawyer
Santa Barbara Official Publication of the Santa Barbara County Bar Association August 2016 • Issue 527 Lawyer Inside this Issue: Santa Barbara County Bar Association Annual Barbecue KEITH C. BERRY Years of Experience and Local Expertise in the South Coast Santa Barbara Real Estate Market WE KNOW MORE, TO GET YOU MORE! Up-to-the moment market knowledge Connecting sellers to the most qualified buyers Greater exposure to sell your home in the shortest practical time Personal attentive and tailored service to meet the specific needs of each customer K EI T H C . B ERR Y Realtor®,CRB, CRS, GRI, ABR Previews Estates Director & Architectural Properties Division Specialist MOBILE: 805.689.4240 | OFFICE: 805.563.7254 | MAIL: PO Box 5545, Zip 93150 1482 East Valley Road, Suite 17 Santa Barbara, CA 93108 [email protected] www.KeithBerryRealEstate.com facebook.com/KeithBerryRealEstate linkedin.com/in/keithcberry ©2015 Coldwell Banker Real Estate LLC. All Rights Reserved. Coldwell Banker Real Estate LLC fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Each Coldwell Banker Residential Brokerage office is owned by a subsidiary of NRT LLC. Coldwell Banker® and the Coldwell Banker Logo, Coldwell Banker Previews International® and the Coldwell Banker Previews International Logo, are registered service marks owned by Coldwell Banker Real Estate LLC. 2 Santa Barbara Lawyer August 2016 3 Santa Barbara County Bar Association Santa Barbara Lawyer www.sblaw.org A Publication of the Santa Barbara 2016 Officers and Directors County Bar Association ©2016 Santa Barbara County Bar Association JAMES GRIFFITH LETICIA ANGUIANO TRAVIS LOGUE President Vice President and Counsel Rogers Sheffield & Campbell, Law Offices of James P. -
Catalog of 16Mm Films Autumn 1990
FILM ~ i PRESERVATION -- ASSOCIATES - - . 8307 San Fernando Road - -=- = Sun Valley, CA 91352 Library Voice & Fax: 818 768-5376 Catalog of 16mm Films Autumn 1990 Here are descriptions of more than two hundred 16mm fllms selected from the famous Blackhawk library: carefully-restored and beautifully-reproduced vtntage comedies, dramas, documentartes, cartoons and special-interest mov1es, many in Improved copies or new editions, some never before available. You·u find more than fifty rums announced for the first time in these pages: their titles are in bold type in lhe index on lhe inside front cover. we·re especially proud to ofTer ROOKIE OF THE YEAR. staning John Wayne, whJch Is one of only two televtslon films directed by the incomparable John Ford; a much better version of Laurel & Hardy in PACK UP YOUR TROUBLES. which restores five minutes of footage m1Ss1ng from all copies distributed since 1932; an "Our Gang· comedy. THE SPANKING AGE, which was Jong believed lost and which. now found, turns out to be enchanting; DESERT VICTORY and INSTRUMENTS OF THE ORCHESTRA. our first releases in a new series of BrUtsh classic documenlartes produced between 1929 and 1951 and printed from authentic negatives; a witty and spicy pre-code Flip the Frog cartoon, OFFICE BOY: Victor Seastrom ·s deeply-mov1ng early feature INGEBORG HOLM; rare and wonderful comedy shorts wi lh Charley Chase. Harry Langdon, Max Under, Larry Semon. Max Davidson .. and dozens of top-q uallty reprints from outstanding Blackhawk releases of the past many of them exceptional films whJch deserve your close consideration! Please contact us If you Wish further Information or would like to recetve supplemental announcements of our winter and spring Blackhawk favorites and new releases in prlnt CONTENTS AT A GLANCE Index by TI tic .................