Cass City, Mich., Friday, April 6, 1917 8 Pages
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Film Film Film Film
Annette Michelson’s contribution to art and film criticism over the last three decades has been un- paralleled. This volume honors Michelson’s unique C AMERA OBSCURA, CAMERA LUCIDA ALLEN AND TURVEY [EDS.] LUCIDA CAMERA OBSCURA, AMERA legacy with original essays by some of the many film FILM FILM scholars influenced by her work. Some continue her efforts to develop historical and theoretical frame- CULTURE CULTURE works for understanding modernist art, while others IN TRANSITION IN TRANSITION practice her form of interdisciplinary scholarship in relation to avant-garde and modernist film. The intro- duction investigates and evaluates Michelson’s work itself. All in some way pay homage to her extraordi- nary contribution and demonstrate its continued cen- trality to the field of art and film criticism. Richard Allen is Associ- ate Professor of Cinema Studies at New York Uni- versity. Malcolm Turvey teaches Film History at Sarah Lawrence College. They recently collaborated in editing Wittgenstein, Theory and the Arts (Lon- don: Routledge, 2001). CAMERA OBSCURA CAMERA LUCIDA ISBN 90-5356-494-2 Essays in Honor of Annette Michelson EDITED BY RICHARD ALLEN 9 789053 564943 MALCOLM TURVEY Amsterdam University Press Amsterdam University Press WWW.AUP.NL Camera Obscura, Camera Lucida Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson Edited by Richard Allen and Malcolm Turvey Amsterdam University Press Front cover illustration: 2001: A Space Odyssey. Courtesy of Photofest Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 494 2 (paperback) nur 652 © Amsterdam University Press, Amsterdam, 2003 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book. -
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. -
List of 7200 Lost US Silent Feature Films 1912-29
List of 7200 Lost U.S. Silent Feature Films 1912-29 (last updated 12/29/16) Please note that this compilation is a work in progress, and updates will be posted here regularly. Each listing contains a hyperlink to its entry in our searchable database which features additional information on each title. The database lists approximately 11,000 silent features of four reels or more, and includes both lost films – approximately 7200 as identified here – and approximately 3800 surviving titles of one reel or more. A film in which only a fragment, trailer, outtakes or stills survive is listed as a lost film, however “incomplete” films in which at least one full reel survives are not listed as lost. Please direct any questions or report any errors/suggested changes to Steve Leggett at [email protected] $1,000 Reward (1923) Adam And Evil (1927) $30,000 (1920) Adele (1919) $5,000 Reward (1918) Adopted Son, The (1917) $5,000,000 Counterfeiting Plot, The (1914) Adorable Deceiver , The (1926) 1915 World's Championship Series (1915) Adorable Savage, The (1920) 2 Girls Wanted (1927) Adventure In Hearts, An (1919) 23 1/2 Hours' Leave (1919) Adventure Shop, The (1919) 30 Below Zero (1926) Adventure (1925) 39 East (1920) Adventurer, The (1917) 40-Horse Hawkins (1924) Adventurer, The (1920) 40th Door, The (1924) Adventurer, The (1928) 45 Calibre War (1929) Adventures Of A Boy Scout, The (1915) 813 (1920) Adventures Of Buffalo Bill, The (1917) Abandonment, The (1916) Adventures Of Carol, The (1917) Abie's Imported Bride (1925) Adventures Of Kathlyn, The (1916) -
Victory3-Lowres.Pdf
An Adventures in FanFiction Edition © 2013 by the Author Author: Yes, it’s all Bioware’s. Red Hen: Various images have been taken from the Dragon Age series of video games, or from websites created and owned by Bio- Ware, the copyright of which is held by BioWare. All trademarks and registered trademarks present in the image are proprietary to BioWare, the inclusion of which implies no affiliation with BioWare, with Wikia or the Dragon Age Wiki. As stated on the Wiki; The use of images to illustrate articles con- cerning the subject of the images in question is believed to fall under the fair use clause of the United States copyright law and/or the fair dealing clause of Canadian copyright law. Such display does not significantly impede the right of the copyright holder to sell the copyrighted material, is not being used to generate profit in this context, and presents ideas that cannot be exhibited otherwise. Plus, I made sure to get permission. 1 he world had chan- ged in an instant. The men and women crowding around the king’s deathbed stared at each other helplessly, wondering what they ought to do. The traditional cry on these occasions was to hail the successor. “The King is Dead: Long Live the King!” But Cailan had named no heir. A void gaped where men’s loyalties should lie. Some still cared for the king they had lost. “Maker receive him,” croaked Elric Maraigne. “There will never be another like him.” The King’s Friends murmured fervent agreement. Mean- while, Wulffe whispered to Bryland, “Does this mean that Fergus is King?” “Could be,” Bryland whispered back, his eyes on Loghain and Bronwyn, speaking urgently and quietly to each other. -
Blow the Man Down
Blow The Man Down by Holman Day BLOW THE MAN DOWN I ~ CAPTAIN BOYD MAYO GETS OUT OF SOUNDINGS When in safety or in doubt, Always keep a safe lookout; Strive to keep a level head, Mind your lights and mind your lead. —Pilot-house Ditty. For days he had been afraid of that incredible madness of his as a man fears a nameless monster. But he was sure of his strength even while admitting his weakness. He was confident that he had the thing securely in leash. Then all at once it happened! Without preface of word or look he whirled and faced her, swept her into his arms and kissed her. He did not attempt to absolve himself or mitigate his offense by telling her that he loved her. He was voiceless—he could not control his speech. He did not dare to show such presumption as talk of love must seem to be to her. He knew he must not speak of love; such proffer to her would be lunacy. But this greater presumption, this blind capture of her in his arms—this was something which he had not intended any more than a sane man considers flight to the moon. He did not understand; he had been himself—then, instantly, in time measured by a finger-snap, he had become this wretch who seemed to be somebody else. He had ceased, for an insane moment, to be master of all his senses. But he released her as suddenly as he had seized her, and staggered to the door of the chart-room, turning his back on her and groaning in supreme misery.