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The Slingshot Kid
The Slingshot Kid US : 1927 : dir. Louis King : FBO Silent : 48 min prod: : scr: Oliver Drake : dir.ph.: William Nobles & Roy Eslick Buzz Barton ………….………….……………………………………………………………………… Frank Rice; Jeanne Morgan; Buck Connors; Jay Morley; Arnold Gray Ref: Pages Sources Stills Words Ω Copy on VHS Last Viewed 3311a 1½ 1 1 710 - - - - - No unseen Saddle-sores imminent? Barton with Jeanne Morgan and Frank Rice. Source: The Silents Majority website Speelfilm Encyclopedie review: King was a younger brother of Henry, and lived 1898-1962. He entered the film industry as an “Action-packed Western in which Buzz Barton actor in 1919 and made his directing debut this and friend Frank Rice have to flee from a gang year as co-director of "IS YOUR DAUGHTER of cattle rustlers and then land in a ghost town SAFE?". He made his solo directing debut with where they meet a man and his daughter driven the start of the Buzz Barton series: "THE BOY off their ranch. It comes to a showdown in the RIDER". He directed thirteen of the fourteen, town with the gang. Oliver Drake adapted the but would continue directing Westerns until story by John Twist and Jean Dupont. William his death, during which time, among others, Nobles and Roy Eslick did the camerawork. the TV series "Deputy" with Henry Fonda and Allen Case. **½ ” The Moving Picture Boy entry on Barton: in "THE BOY RIDER". From the 1931 serial “ "THE BOY RIDER", "THE BANTAM "THE LONE DEFENDER" onward, Buzz COWBOY", "THE FIGHTIN’ RED-HEAD", Barton rode, shot and fought steadily through "THE FRECKLED RASCAL" - Buzz Barton’s the Thirties, but no longer a prodigy, just a film titles tell it all. -
Forbidden Science Journals by Jacques Valle
FORBIDDEN SCIENCE Journals 1957-1969 Jacques Vallee North Atlantic Books Berkeley, California CONTENTS v Foreword u Part One: Sub-Space 1. Pontoise. 25 December 1957 3 2. Paris. 25 August 1958 13 3. Paris. 10 February 1959 22 4. Lille. 24 October 1959 28 5. Paris. 12 August 1961 40 Part Two: Blue Book 6. Austin. 29 November 1962 63 7. Chicago. 19 October 1963 7A 8. Pontoise. 24 March 1964 93 9. Chicago. 24 October 1964 113 10. Chicago. 8 May 1965 135 Part Three: Pentacle 11. Chicago. 23 March 1966 173 12. Paris. 29 July 1966 200 13. Chicago. 28 September 1966 219 14. Chicago. 30 January 1967 239 15. Chicago. 18 June 1967 279 Part Four: Magonia 16. Paris. 10 October 1967 315 17. Saint-Germain. 13 May 1968 349 18. Edinburgh. 14 August 1968 364 19. Willingboro. 16 November 1968 376 20. Stanford. 1 July 1969 398 Epilogue 419 Notes and References 439 Index 455 FOREWORD le is unusual for scientists to keep diaries and even more unusual for them to make them public. While we know much about the intimate lives and personal motivations of musicians, movie stars and literary figures, the day-to-day life of scientists remains carefully veiled, as if sci ence somehow arose spontaneously by a process which superseded the mere activities of mortals. Like most of my colleagues, I have followed this rule of silence for the last thirty years, never expecting that these Journals would be published before my death. But I have finally decided that I had no right to keep them private any more. -
Cinematic Childhood(S) and Imag(In)Ing the Boy Jesus: Adaptations of Luke 2:41-52 in Late Twentieth-Century Film
CINEMATIC CHILDHOOD(S) AND IMAG(IN)ING THE BOY JESUS: ADAPTATIONS OF LUKE 2:41-52 IN LATE TWENTIETH-CENTURY FILM by JAMES MAGEE Master of Arts, Vancouver School of Theology, 2011 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN BIBLICAL STUDIES in the FACULTY OF GRADUATE STUDIES TRINITY WESTERN UNIVERSITY May 2019 © James Magee, 2019 Cinematic Childhood(s) and Imag(in)ing the Boy Jesus: Adaptations of Luke 2:41-52 in Late Twentieth-Century Film Abstract Despite sustained academic examinations of Jesus in film over the past couple of decades, as well as biblical scholars’ multidisciplinary work in the areas of children’s and childhood studies, the cinematic boy Jesus has received little attention. This thesis begins to fill the lacuna of scholarly explorations into cinematic portrayals of Jesus as a child by analyzing two adaptations of Luke’s story of the twelve-year- old Jesus in late twentieth-century film. Using methods of historical and narrative criticism tailored to the study of film, I situate the made-for-television movies Jesus of Nazareth (1977) and Jesus (2000) within the trajectories of both Jesus films and depictions of juvenile masculinity in cinema, as well as within their respective social, cultural and historical contexts. I demonstrate how these movie sequences are negotiations by their filmmakers between theological and historical concerns that reflect contemporary ideas about children and particular idealizations about boyhood. ii For Michael iii Table of Contents Acknowledgements . v Abbreviations . vi Chapter 1 Searching for the Boy Jesus: A Neglected Area of Jesus-in-Film Scholarship .