DOCSLIB.ORG

P.C. Lauinger; Mary W

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

GEORGETOWN Newsletter 23 August 1988 621b;;;; AsSOcldtes GEORGETOWN UNIVERSI1Y LIBRARY 37TH & 0 STREETS, NW WASHINGTON , D. C. 20057 P. C. Lauinger - the Passing of a Friend The Artist HimlHer Self It is with genuine sadness that we report the The late James Elder, rare book librarian at the death on February 20, 1988 of Mr. P. C. Law Library of the Library of Congress, system­ Lauinger, one of the library's staunchest sup­ atically collected fine art, principally prints and porters and a true gentleman in the best sense of drawings, for more than thirty years. He left a that word. P.c., as he was universally known, collection of more than 1,000 pieces at his death graduated from the College in 1922, and in 1981. Towards the end of his collecting career throughout his lifetime maintained a special he began to specialize in artists' self-portraits. affection for and dedication to his alma mater. His limited means dictated further specialization He served on the Board of Regents, the Univer­ on the work of living artists and on 20th century sity President's Council under Father Edward American and British printmakers. The library Bunn, S.J., and was appointed in 1968 one of has recently acquired, along with 58 other the first laymen to serve on the University's works, the 392 self-portraits comprising virtually Board of Directors. the entirety of Elder's collection in this field. In 1956 Mr. Lauinger was awarded the John Carroll Award, which the Alumni Association confers annually upon a distinguished alumnus/a in recognition of lifetime achievement and out­ standing service to Georgetown Univeristy. The University itself conferred upon him its highest honor by awarding him an honorary doctorate in 1958. In 1963 he received the Brotherhood Award from the National Conference of Chris­ tians and Jews. He also received the Oklahoma Petroleum Council's Outstanding Oklahoma Oilman Award in 1969, and was inducted into the Oklahoma Hall of Fame in 1979. Mr. Lauinger was a charter member of the Library Associates' Board of Trustees, serving from 1975 until 1985, when ill health forced him to become a Trustee Emeritus. All of his sons attended Georgetown: Philip (C'58), Frank (C'62), Anthony and Joseph (C'67). In 1970 Joseph was killed in Vietnam. In his memory and in honor of all Georgetown graduates who lost their lives in all wars, Lauinger Library bears his name. For his legacy of commitment, service and generosity to Georgetown University and es­ pecially to the library, we salute the achieve­ The self-portrait is among the most familiar of ments of this outstanding gentleman of George­ artistic forms. Some artists use themselves as town. He will remain always in our memory. (inexpensive!) models, some attempt to treat seriously their own interaction with their en­ vironment or career, some seem to be fascinated with their own faces: all these motives and others are readily apparent in the Elder Collec­ tion, as are the full range of modem printmaking techniques and a wide variety of styles of draw- continued on page 2 Bruce Marshall Bequeathes Archives A Million and One Nights The late Bruce Marshall (1899-1987) was Perhaps no writer knew more about the history father Malachys among the most prolific of contemporary British of the American motion picture industry than novelists. His stories range from thrillers to his­ Terry Ramsaye (1885-1954), author of the 1926 M,.Lrack torical novels, but in America he is best known classic, A Million and One Nights . At the age of for his theological comedies about the Catholic 30 he began to write and produce newsreels, Church, such as Father Malachy's Miracle shorts and features, including Simba and Martin (1931) . Johnson's African Hunt. From 1931 until 1949 Born and educated in Scotland, Marshall re­ he edited Motion Picture Herald. sided for most of his life in France and his books Recently the library acquired the papers of enjoyed a great popularity on the Continent. this remarkable man, a gift from Helene Ram­ His intelligence work with the SOE (Special saye of Weehawken , New Jersey. The collection Operations Executive) during World War II contains manuscripts of Ramsaye's books; his gave him the opportunity to write the biography research files; rare motion picture ephemera and of Wing Commander F. F. E. Yeo-Thomas, the photographs; and letters from such film pioneers legendary Resistance fighter in France. Pub­ as Thomas Armat, William Meadowcroft, and lished as The White Rabbit (1952), this gripping Billy Bitzer. Of great rarity is an original piece account of Yeo-Thomas' imprisonment by the (four frames) of the early film Little Egypt (1895). BRUCE MARSHAli. Nazis was one of Marshall's best sellers. This archive is an extremely important addi­ Marshall bequeathed his archives to the tion to Georgetown's motion picture holdings, Georgetown University Library. They include and the Library is indebted to Associates Trustee the manuscripts of his many novels, as well as Martin S. Quigley (C'39) for his help in its neatly arranged press cutting albums and numer­ acquisition. ous letters. The correspondents include H. E. Bates, Jocelyn Brooke, Tom Bums, A. J. Cro­ nin, Rene Raymond (who wrote as James Hand­ ley Chase) and Yeo-Thomas. The papers are a noteworthy addition to Georgetown's holdings about Catholicism and literature, and are com­ plemented by many first editions of Marshall's more than 290 individuals. Because Elder was a works in the Reidel Collection. Washington resident, local artists are well repre­ sented in the collection, which contains works by Manon Cleary, Werner Drewes, Mitchell Washington Architecture Jamieson, Pietro Lazzari, Jack Perlmutter, and Frank Wright, among others. Even though the Mannevillette Sullivan of Washington, DC has emphasis of the collection is on American generously given the papers of her father, Fran­ artists, the British and continental contingent is cis Paul Sullivan (C'04) , the well known Wash­ strong, including among others Stanley An­ ington architect. Among the many structures derson, Robert Austin, Giorgio Di Chirico, designed by Sullivan are the east wing of the Leonor Fini, Kathe Kollwitz, Max Pechstein, Senate Office Building, Key Bridge, the embas­ William Strang, and Paul Wunderlich. sies of Afghanistan, Canada and Mexico, and The representation of 20th century American the private residence of Chief Justice Harlan F. printmakers is, however, the core of the collec­ Stone. tion, and a listing of just some of the best-known Of greatest interest to local historians are names suggests its strength and diversity: Grace more than 100 photographs from the 1890s. Albee, Ivan Albright, Milton Avery, Peggy They depict a Washington now largely Bacon, Leonard Baskin, George Bellows, Tho­ vanished, and in the case of some buildings mas Hart Benton, Federico Castellon, Howard represent the only known views. Cook, Mabel Dwight, Fritz Eichenberg, An­ Sullivan was also a writer; his archives con­ tonio Frasconi, Emil Ganso, Arthur W. tain letters from H. L. Mencken, Dorothy B. Heintzelman, Rockwell Kent, Karl Knaths, Sayers and Major Reginald Hargreaves, the Brit­ Mauricio Lasansky, Martin Lewis, Louis Loze­ ish military historian. wick, Gabor Peterdi, Fritz Scholder, Raphael Soyer, Benton Spruance, and Reynold Weide­ naar. As a memorial to Elder, and as a witness of his Artis t {rom page I collecting vigor and acumen, the collection will ing and painting techniques. The unity of pur­ be maintained intact in the Special Collections pose underlying this profusion of ways and Division. Acquisition of the collection was means makes the collection an ideal resource for made possible in part by funds from the memo­ Above: M Street near Aqueduct Bridge with Healy Building in research. rial endowment established by Mrs. Charles M. background The self-portrait collection consists of 315 Fairchild and also in part through the generosity Below: M Street near 35th, with prints, 51 drawings and watercolors, and 26 of the collector's niece and her husband, Mr. Glasgow Woolen Mills Co. billboard paintings in oils or acrylics, including works by and Mrs. Thomas R. Marshall. Page 2 The Young Harry Hopkins The extensive archives of Harry L. Hopkins (Newsletter 18) richly document his work with the New Deal and Lend Lease, but contain few items about his early career. That gap was re­ cently filled when Hopkins' granddaughter, June Hopkins of Los Angeles, presented the library with important family papers. Of particular interest are scores of letters writ­ ten by Hopkins to his first wife, Ethel Gross Hopkins, discussing his work with the New York Board of Child Welfare and the American Red Cross. In addition, there are letters to his sons, David and Stephen, as well as early family photographs. Among the books from his library are presentation copies of works by Franklin D. Roosevelt and Harry S. Truman. The library is also much indebted to Harry Hopkins II of Bridgehampton, New York for Swiss Ambassador Jacobi (I.) and Professor Cooper reminisce on mutual friend Sir Arnold Lunn contributing other material relating to the ex­ traordinary career of Harry L. Hopkins. New Members Join Library Celebrates Arnold Lunn Associates Centenary Since late January, these new On Sunday, April 24, the library opened an Latin American Political History members have joined the Li­ exhibition marking the centenary of the birth of brary Associates: Sir Arnold Lunn (1888-1974), the noted Eng­ The Library has received from Mrs. James D. Timothy McCarthy of lish writer, ski pioneer, and Catholic apologist. Theberge a collection of manuscripts and books Albany, NY; Caroline Introductory remarks were made by Klaus related to the history and politics of Latin Amer­ Mahoney of Braintree, MA; Jacobi, Ambassador of Switzerland, and by ica with particular emphasis on Argentina, Cheryl Smith of Wellesley, Chile, Nicaragua, and Cuba.
Recommended publications
  • The Creative Process

    The Creative Process

    The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis­ cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other.
  • The Well and the Shallows- G.K.Chesterton

    The Well and the Shallows- G.K.Chesterton

    The Well and the Shallows By G.K. Chesterton The Well and the Shallows By G.K. Chesterton (1935) CONTENTS INTRODUCTION AN APOLOGY FOR BUFFOONS MY SIX CONVERSIONS I. THE RELIGION OF FOSSILS II. WHEN THE WORLD TURNED BACK III. THE SURRENDER UPON SEX IV. THE PRAYER-BOOK PROBLEM V. THE COLLAPSE OF MATERIALISM VI. THE CASE OF SPAIN VII. THE WELL AND THE SHALLOWS THE RETURN TO RELIGION THE REACTION OF THE INTELLECTUALS LEVITY--OR LEVITATION THE CASE FOR HERMITS KILLING THE NERVE THE CASE OF CLAUDEL THE HIGHER NlHILISM THE ASCETIC AT LARGE THE BACKWARD BOLSHIE THE LAST TURN THE NEW LUTHER BABIES AND DlSTRIBUTISM THREE FOES OF THE FAMILY THE DON AND THE CAVALIER THE CHURCH AND AGORAPHOBIA BACK IN THE FOG THE HISTORIC MOMENT MARY AND THE CONVERT A CENTURY OF EMANCIPATION TRADE TERMS FROZEN FREE THOUGHT SHOCKING THE MODERNISTS A GRAMMAR OF KNIGHTHOOD REFLECTIONS ON A ROTTEN APPLE SEX AND PROPERTY ST. THOMAS MORE THE RETURN OF CAESAR AUSTRIA THE SCRIPTURE READER AN EXPLANATION WHY PROTESTANTS PROHIBIT WHERE IS THE PARADOX? -/- INTRODUCTORY NOTE I WAS monstrously attracted by a suggestion that these essays should bear the general title of "Joking Apart." It seemed to me a simple and sensible way of saying that the reader of these pages must not look for many jokes, certainly not merely for jokes, because these are controversial essays, covering all subjects on which a controversialist is challenged, and not particular subjects chosen as they are chosen by an essayist. It is an awful revelation of the world of unreason into which we have wandered, that people more practical than I are convinced that if I say that this is apart from joking, everyone will think it is a joke.
  • Armiero, Marco. a Rugged Nation: Mountains and the Making of Modern Italy

    Armiero, Marco. a Rugged Nation: Mountains and the Making of Modern Italy

    The White Horse Press Full citation: Armiero, Marco. A Rugged Nation: Mountains and the Making of Modern Italy. Cambridge: The White Horse Press, 2011. http://www.environmentandsociety.org/node/3501. Rights: All rights reserved. © The White Horse Press 2011. Except for the quotation of short passages for the purpose of criticism or review, no part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, including photocopying or recording, or in any information storage or retrieval system, without permission from the publishers. For further information please see http://www.whpress.co.uk. A Rugged Nation Marco Armiero A Rugged Nation Mountains and the Making of Modern Italy: Nineteenth and Twentieth Centuries The White Horse Press Copyright © Marco Armiero First published 2011 by The White Horse Press, 10 High Street, Knapwell, Cambridge, CB23 4NR, UK Set in 11 point Adobe Garamond Pro Printed by Lightning Source All rights reserved. Except for the quotation of short passages for the purpose of criticism or review, no part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, including photocopying or recording, or in any information storage or retrieval system. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978-1-874267-64-5 But memory is not only made by oaths, words and plaques; it is also made of gestures which we repeat every morning of the world. And the world we want needs to be saved, fed and kept alive every day.
  • Creativity at the Workplace

    Creativity at the Workplace

    The Law and Economics of Creativity at the Workplace ISSN 1045-6333 THE LAW AND ECONOMICS OF CREATIVITY IN THE WORKPLACE Barak Y. Orbach Discussion Paper No. 356 03/2002 Harvard Law School Cambridge, MA 02138 The Center for Law, Economics, and Business is supported by a grant from the John M. Olin Foundation. This paper can be downloaded without charge from: The Harvard John M. Olin Discussion Paper Series: http://www.law.harvard.edu/programs/olin_center/ The Law and Economics of Creativity at the Workplace JEL Classes K11, K19, P1 THE LAW AND ECONOMICS OF CREATIVITY AT THE WORKPLACE Barak Y. Orbach* (February, 2002) Abstract Technological and legal developments led to the rise of employed creativity in the last quarter of the nineteenth century. The new class of employers claimed the rights in the creative products produced by artists and inventors employed by it and after a short struggle its demands were satisfied: by and large the law acknowledges the rights of employers in creative products produced by workers (employees and contractors), just as it acknowledges the rights of employers in any other products. This legal victory, although took place almost a century ago, is still fiercely debated among scholars and participants in creative industries. In the past century, thousands of disputes between employers and workers over rights in creative products were brought before the courts and inspired voluminous commentary on the topic. Nonetheless, the study of the nature and structure of the law that allocates the rights between employers and workers has generally been neglected. This paper studies the organization of creativity at the workplace, presents a general framework for understanding the present allocation rules, evaluates these rules, and offers simple guidelines for designing better rules, when needed.
  • Sir Arnold Lunn

    Sir Arnold Lunn

    The Canadian Ski Hall of Fame Le Temple de la renommée du ski canadien Sir Arnold Lunn Inducted CSHF: 1990 Hometown: Madras, India / London, England Date of Birth: April 18, 1888 Date of Death: June 2, 1974 Affiliated Discipline(s): Builder Active Career Date(s): 1911 - 1958 FIS Code: n/a Club: Alpine Club, Kandahar Ski Club Sir Arnold Lunn (1888-1974) wrote his own epitaph in the form of a prayer: Let me give thanks, dear Lord, in the frailty of age, for the beloved mountains of my youth, for the challenge of rock and for the joy of skiing, for the friends with whom I climbed and skied, and above all, dear Lord, for the moments of revelation when the moments of temporal beauty of the mountains reinforces my faith in the eternal beauty which is not subject to decay. His eloquent words convey the profound influence the mountains of Switzerland had on this Englishman who may be rightly described as the founding father of modern alpine skiing. It was his use of skis as an aid to allow access to mountain climbing in the winter months that became the forerunner of the alpine version of skiing and the extraordinary growth of a sport that spread across the alpine regions of the world. He founded the Alpine Club in 1908, the first such club devoted to the alpine version of skiing. Prior to this, skiing activities had been restricted to the Scandinavian model of langlauf or cross-country and ski jumping. He continued to seek ways of testing alpine skiing ability that resulted, on January 7th, 1911, in the running of a pivotal event, the first downhill race, the Roberts of Kandahar Challenge Cup, a race which spawned Kandahar events in a number of other countries including Canada, the Quebec Kandahar, in 1931.
  • Moving Pictures: the History of Early Cinema by Brian Manley

    Moving Pictures: the History of Early Cinema by Brian Manley

    Discovery Guides Moving Pictures: The History of Early Cinema By Brian Manley Introduction The history of film cannot be credited to one individual as an oversimplification of any his- tory often tries to do. Each inventor added to the progress of other inventors, culminating in progress for the entire art and industry. Often masked in mystery and fable, the beginnings of film and the silent era of motion pictures are usually marked by a stigma of crudeness and naiveté, both on the audience's and filmmakers' parts. However, with the landmark depiction of a train hurtling toward and past the camera, the Lumière Brothers’ 1895 picture “La Sortie de l’Usine Lumière à Lyon” (“Workers Leaving the Lumière Factory”), was only one of a series of simultaneous artistic and technological breakthroughs that began to culminate at the end of the nineteenth century. These triumphs that began with the creation of a machine that captured moving images led to one of the most celebrated and distinctive art forms at the start of the 20th century. Audiences had already reveled in Magic Lantern, 1818, Musée des Arts et Métiers motion pictures through clever uses of slides http://en.wikipedia.org/wiki/File:Magic-lantern.jpg and mechanisms creating "moving photographs" with such 16th-century inventions as magic lanterns. These basic concepts, combined with trial and error and the desire of audiences across the world to see entertainment projected onto a large screen in front of them, birthed the movies. From the “actualities” of penny arcades, the idea of telling a story in order to draw larger crowds through the use of differing scenes began to formulate in the minds of early pioneers such as Georges Melies and Edwin S.
  • History-Of-The-Moving-Image-LIB-Pd

    History-Of-The-Moving-Image-LIB-Pd

    tEl:T. n83 MASTERPIECES OF MOVINGIMAGE TECI{NOLOGY SEPTEMBER 10, 1988 _ MARCH 19, 1989 Descri ption! gf_fhq Objects in the Exhibition American Museum of the Moving lmage Edison KinetograPh Camera 1891 ln 1888, Thomas Edison set out to create "an instrument that does for the Eye what the phono- graph does for the Ear...." He assigned the project to one of his engineers, W.K.L. Dickson, who, after a series of false starts, completed the Kinetograph in 1891. The Kinetograph was the first motion picture camera to use the Eastman celluloid f ilm; this was a key breakthrough which made modern motion pic- tures possible. The camera photographed circular images one-half inch in diameter on perforated, f lexible strips of film which moved horizontally through a mechanized sprocket system' The prototype was cannibalized for laboratory use soon after completion, but was partially reconstructed in '1895-96 as evidence in a patent dispute. (Lent by the Edison National Historic Site) <Technician Charles H. Kayser posing with the Kinetograph in Edison's West Orange, New .lersey laboratory, c. 1891 . Edison KinetoscoPe 1894 To exploit his moving pictures commercially, Edison introduced the Kinetoscope, a "peep-show" viewer capable of presenting half-minute film shows. The machines were sold on a territory basis to showmen who installed them in arcades and Kinetoscope Parlors in all the major cities of America and Europe' Commercially, the Kinetoscope was a short-lived novelty, but its appearance directly inspired other inventors to find a way of projecting moving images onto a screen. (Reproduction made by A.
  • Volume 73 December 15, 1939 Number 12

    Volume 73 December 15, 1939 Number 12

    DfieMi/ieDame PUBLISHED WEEKLY — FOUNDED 1867 Volume 73 December 15, 1939 Number 12 METRO- Goldwyn - MGM Scouts See Mayer is now engaged 'Orchid' Tonight in a nationwide scout­ ing attempt to dig up fresh and talented material to grace fu­ ture celluloid. M-G-M scouts will be in the "Brother Orchid" audience tonight. (See page 5) HAVE YOU space for Arnold Lunn one point about this Pens a Note war which has, per­ haps, not occurred to all your readers? Ii the truth of a phil­ osophy can be tested by its prediction ' value, it is clear that the Left Wing philosophy does not emerge with credit from this test. (See page 6) . COACH George Keog- . Keoganmen at an's "Fighting Irish" Wolves' Door basketball team will get down to the serious business of giving their second Big Ten Conference opponent a taste of Notre Dame court finesse, tomorrow night, when they battle Michigan at Ann Arbor. (See page 12) THE ELECTION of Elect Piepul Milt Piepul as. captain Grid Captain of the 1940 Fighting Irish marked the first time in 12 years this honor has been awarded ~to a backfield man. It was fit­ ting that when a 12 year old precedent is broken, Piepul should break it. (See page 12) Bishop-eleet John F. (yHara. C.S.C. — He Bclita have c«»e oat ia tke Soiia nearest Oe doors of Sacred Heart Charch. [See page 5] mm THE NOTRE DAME SCHOLASTIC HE mm\m UND as ifU vuereawonum HE MIMiMD FOR M m ifU wereland IKE ANIMALS, the two men fought in the IJ dirt.
  • Aiic 2011 Dho Journal.Pdf

    Aiic 2011 Dho Journal.Pdf

    DHOJournal•2011•37 On the Friday, the club room was tidied of unnecessary clutter and the old Eiger dining room next door was cleared and decorated by an indomitable force of mostly female DHO volunteers Amateur Inter Club Championship Races 2011 Mostly Liz Moore with by the “no-shows”. These included 5 Wengen with instructors from the Swiss members of the Mackintosh family who Ski School acting as guides and keeping contributions from were out in Wengen to celebrate the 80th everyone under control. Others decided that Ingie Christophersen, birthday of Douglas Mackintosh, eldest son the train offered a less energetic and warmer Lizzie Davies, Cleeves Palmer of our ex-President Chris Mackintosh and return to Wengen. himself an ex-Olympic skier in 1956. and Freddie Whitelaw Douglas participated and his Mac team The following day the magnifi cent weather progressed to the 2nd round, but no further. continued and a Super G was set to start at A buffet was organised in the dining room the Lauberhorn race start hut and continued and drinks prepared in the club room. That evening, everyone took the train up down to fi nish rather lower than the GS of In the evening the competitors, helpers to Kleine Scheidegg and the entire station the previous day, but still just above the and assistants gathered for “The buffet was fi lled to bursting. As dusk fell, the Hundschopf. Captain’s meeting”, and after a short view from the restaurant of the Eiger, Monch introduction from Liz Moore, once people and Jungfrau was quite magnifi cent.
  • Hcotion Picture

    Hcotion Picture

    Philadelphia and the Qenesis of the <^hCotion Picture T is possible that a future Macauley will establish Philadelphia as the center of what, according to Sir Willmott Lewis,1 may I be called the Scientific Revolution. The influence of The Franklin Institute and the University of Pennsylvania, a growing industrial fabric, and the presence of a ready-money market for new enterprises were some of the factors in Philadelphia which stimulated an uncommonly large number of achievements within the field of applied science during the latter half of the nineteenth century. Among the scientific developments connected historically with Philadelphia, one of the foremost, measured by its profound impact upon latter-day social organization, is the motion picture. Even in the development of photography, the foundation of the motion picture, Philadelphia may lay claim to an impressive share of contributions: the bromine accelerator, discovered by Dr. Paul Beck Goddard, of the University of Pennsylvania faculty 32 the first daguerreotype portrait by Robert Cornelius;3 the vital experi- ments upon the gelatine dry plate made by John Carbutt;4 the first stereoscopic photographs on this side of the Atlantic, the work of two German immigrants, William and Frederick Langenheim.5 Philadelphia was also the fountain-head of important experi- mental work upon the magic lantern, which, in a sense, anticipated the motion picture. The brothers Langenheim, whose establishment was located in the Merchants' Exchange, Third and Walnut Streets, may be considered the fathers of the magic lantern trade in Phila- 1 Address at the University of Pennsylvania, Founder's Day, January 17, 1941.
  • Screendollars Newsletter 2021-04-26.Pdf

    Screendollars Newsletter 2021-04-26.Pdf

    Monday, April 26, 2021 | No. 165 One of the things moviegoers like most about going to theatres is seeing films on the Big Screen, "the way they were meant to be seen." What people don't realize is that when films started in the mid-1890s, there were neither screens nor projectors. The very short films of that era were meant to be seen individually by looking into peep show machines in arcades. Those Kinetoscope devices were one of many inventions from Thomas Edison's factory in West Orange, NJ. Since Edison was monetizing his Kinetoscopes quite well, he had no interest in developing a machine to project film images on walls. Others, however, saw a big future in showing films to groups of people. Peep show owners, in fact, were very vocal in pressing Edison to devise a Film projection to large audiences was much more way to show life size images on arcade walls. This led to the Vitascope profitable than viewing through individual kiosks, since projection system, developed by Washington, DC inventor Thomas Armat, fewer machines were needed in proportion to the but then marketed by Edison's organization as if it were his own invention. number of viewers - Click to Play The first public Vitascope screening took place April 23, 1896 at Koster & Biel's Music Hall, a vaudeville house in New York's Herald Square at 34th Street near Broadway, the site today of Macy's. It would have premiered three days earlier, but it took longer than expected to install the machinery. That first night audience was dazzled by film images projected on a 20 foot canvas screen set within a gilded frame.
  • Actuality Cinema in New York City, 1890S to C. 1905. Phd Thesis, University of Nottingham

    Actuality Cinema in New York City, 1890S to C. 1905. Phd Thesis, University of Nottingham

    Walsh, John (2005) A Space and Time Machine: Actuality Cinema in New York City, 1890s to c. 1905. PhD thesis, University of Nottingham. Access from the University of Nottingham repository: http://eprints.nottingham.ac.uk/10142/1/john-walsh-phd-thesis-2005.pdf Copyright and reuse: The Nottingham ePrints service makes this work by researchers of the University of Nottingham available open access under the following conditions. · Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. · To the extent reasonable and practicable the material made available in Nottingham ePrints has been checked for eligibility before being made available. · Copies of full items can be used for personal research or study, educational, or not- for-profit purposes without prior permission or charge provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. · Quotations or similar reproductions must be sufficiently acknowledged. Please see our full end user licence at: http://eprints.nottingham.ac.uk/end_user_agreement.pdf A note on versions: The version presented here may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the repository url above for details on accessing the published version and note that access may require a subscription. For more information, please contact [email protected] A Space and Time Machine: Actuality Cinema in New York City, 1890s to c.