New York Alfred a Knopf

Total Page:16

File Type:pdf, Size:1020Kb

New York Alfred a Knopf N E W Y O R K A LFR E D A K N O P F LI B RA R Y UNIVERSITY O F CA LIFO RNIA DA VIS T O GEORGE HORACE LO RIMER C H A P T E R I “ ’ Lo o kin ahead yo u kaint depend ’ ’ O n w hut s w aitin , ’ e e ea en a s ro un de en M bb H v l y b d, ’ ” eb e Hell a ata M b n S n . 0 the Wildcat in San Francisco the world an d all things therein were mi ’ ddlin good . The scheme of life w as benevolent . Old Man Trouble appeared o n the scene often enough to supply a black back ’ ground fo r the noble radiance o f Lady Luck s s t o n mile, but wi h two days balanced the knife edge o f midnight the Wildcat figgered that the griefs o f yesterday would be offset by the joys - o f to morrow . At the eleventh hour Lady Luck had smiled and then her smile had turned to laughter and part of the record o f her favor lay in crumpled ’ banknotes in the ins ide pocket of the Wildcat s l ‘ a ler . y striped vest He had no coat, for the coat had been a gaudy aff air adorned With the o f insignia the Temple of Luck , and he had 9 1 0 L I L Y s luffed this along with the cares o f yesterday when he came aboard the New Orleans bound m ire E p with his mascot goat . ’ Down in the bas ement o f the 01 iron boat the Wildcat leaned comfortably again st a stanchion and watched Lily eat the last few fragments of a wide yellow sash which had gone with the offi ce of So o preemLeader o f the Temple o f . fo r Luck He leaned heavily a while , and then , surrendering to gravity and to a natural instinct, he sogged down comfortably with his back again st the iron post and did the best he could to rest himself loose from the sediment of official care which had infested the day that was past . “ o ff aller . F in Goat , lay dem y tassels ust th g ’ you knows you gits yo stummic k all braided up ’ ’ ’ f o wid go l an silver wire . All right clouds — to have a silver lining goats is different . ’ ’ ’ Spec did you have yo o w n way you nu trifies ’ yo insides so heavy wid such truck dat you kaimt walk de gang plank when u s gits to ’ ’ Memphis whah o l Cap n Jack is “ ' ” - a Blaa Lily replied , and in her answer was a protest against the Wildcat’ s supervision of her menu . In the first place the tassels were gratifying to the throat and ate easily, and in the L I L Y 1 1 second there was a satisfying flavor o f shellac o so o reem attached t the p insignia . By the time the Wildcat had completed his oration nothing remained o f the tw o pompous tassels except a small wooden button about the size o f an after dinner mint . On this confection Lily nibbled t delicately wi h her front teeth . The Wildcat looked down and saw that his “ words had been unheeded . All right , goat, ’ ’ it s usso n al stummick — yo p , load it wid pig o u remembeh o u iron does y crave to, but , y gits ” no sympathy when de belly ache ko nkers you . A sudden memory of the good fortune that Lady Luck had showered down filled the Wild cat with charity toward his erring mascot and he reached in his pocket and hauled o ut a long tw o cigar . He broke the cigar in and held the “ H h . ea long end toward Lily you is , goat ’ Finish yo banquet whilst I sees kin I sleep my ’ ’ ” self dreamless ti1 de 01 boat man gits heah . While Lily munched thoughtfully o n the shredded cigar the Wildcat curled himself up o n the steel deck with his head propped between two sheltering angles o f the stan chion and sailed away, three seconds later, into a placid estuary o f the tranquil se a that lies beyond the troubled ’ o w aters f life s realities . 1 2 L I L Y ’ ’ I o n bo theh w o rk w o rk o n t bo theh msc d t , d , ’ ’ I se f o times as h appy as a b umbl e bee ’ Eats w en I kin it it s ee s mo s all de time h g , l p , ’ ’ o i o o n f d o n e e in e I d n t g ve a d gg e i e sun d t n v h sh . ’ I kin ri e a steam o at I o n t a n o f are d b , d p y , I kin ride a steambo at anyw here ’ ’ at s de reaso n I s e as a as a bee D h ppy , ’ ’ Me an Li s em is o un — em i e -o - s T n see. ly M ph b d , M ph , For an hour the Wildca t slept . A velvet f n s ooted bootlegger, prowli g through the hipi with a rush order for o ne of the engineers o n a duty at that hour, p ssed the sleeping figure and accorded him an intent look . With his pro f essio nal duty accomplished for the moment the boo tlegging person retraced his steps and when he came again to the sleeping Wildcat he halted long enough to sweep the recumbent figure with a fan o f light from the end of an electric torch . The Wildcat mumbled in his sleep when the “ light fell Upon his face . Eats when I kin git ’ it, sleeps mos all de time In the dark the bootlegger stooped over and nu fastened the three upper buttons o f the Wild ’ ” f o r . cat s vest . Sure handy me that you do ’ The bootlegger s hand came back f rom the ’ vicinity o f the Wildcat s left -hand pocket clutch ing a moist roll o f greenbacks . Five seconds L I L Y 1 3 ’ later the Wildcat s right-hand poc ket had been c relieved of its contents , and then with the ash ’ prize safely in his possess ion the agent o f 01 Man Trouble fled noiselessly along the steel deck until he came to a companion-way up which he escaped . ff This was new stu to the mascot goat . It seemed to Lily that perhaps the business o f ab ’ strac ting green slips of paper from her master s k inside poc et might be right and regular, and then it occurred to her that perhaps the Wildcat would be interested in the process . She bleated faintly once o r twice in an eff ort to awaken her master and failin g in this she lo wered her head and rammed him once heartily in the vicinity o f his hip pocket . “ ” Blaa-a i Wake up ! “ o ff ! h Goat, lay me W at you mean ’ ’ ’ Fo bustin mah sleep in two . two bits I d sell ’ ’ yo u to some farm boy whah you could kill yo se f The mention o f the two bits reminded the o f Wildcat the ponderous fortune , which Lady l Luck had sho wered upon him . Mechanical y his right hand sought the pockets o f his vest which had so lately bulged with currency . “ Lawd gawd ! How come ! Lemme see . 1 4 L I L Y. ’ — Wuz I dreamin money no suh ! Dat wuz real . Heah Had me dem greenbacks . I is wid no ’ vet ran more cash dan a has bonus . Somebody ” met me . Fo r He looked around him in the half light . a moment he was on the point o f raising an o f s alarm and then , realizing the futility uch a course , he succumbed to the poor consolation ’ o f singeing Lady Luck s tail feathers with enough red hot language to melt the north pole . ’ Leave me meet dat woman ! Dat s all I ’ ’ ’ . Heah us fo u craves is cept de shoe five , pl m ’ bust ! No mo cash dan a fish has feet . ’ ’ o Wish l Cap n Jack was wid me . It took all o f five minutes for the o ld-time philosophy to rise superior to his misfortune . “ no Easy come , easy go . Neveh seed easy money z yet whut w u mixed wid glue . No money neveh ’ aint do s ticks less yo u mixes it wid sweat . K ’ no pranc in now when u s gits to Memphis . Aimed to prance some befo’ I settles down wid ’ ’ ’ o l Cap n Jack . Dis means us does de askin ’ ’ " ” o f — stead de tellin dat s all . He looked down “ ’ h o u . eve at his mascot goat Goat , who tol y ‘ ’ ’ you is a kin to luck 2 Ceptin I might need you ’ ’ f o c atin purposes I barbecues you right no w ’ r fish ou and scatte s you to de . Don t tell me y L I L Y 1 5 ’ — n 01 Man brings luck, you is plai hoodoo ’ ” usso n al Trouble is yo p pappy .
Recommended publications
  • Papéis Normativos E Práticas Sociais
    Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs.
    [Show full text]
  • Cinéma, De Notre Temps
    PROFIL Cinéma, de notre Temps Une collection dirigée par Janine Bazin et André S. Labarthe John Ford et Alfred Hitchcock Le loup et l’agneau le 4 juillet 2001 Danièle Huillet et Jean-Marie Straub le 11 juillet 2001 Aki Kaurismäki le 18 juillet 2001 Georges Franju, le visionnaire le 25 juillet 2001 Rome brûlée, portrait de Shirley Clarke le 1er août 2001 Akerman autoportrait le 8 août 2001 23.15 tous les mercredis du 4 juillet au 8 août Contact presse : Céline Chevalier / Nadia Refsi - 01 55 00 70 41 / 70 40 [email protected] / [email protected] La collection Cinéma, de notre temps Cinéma, de notre temps, collection deux fois née*, c'est tout le contraire d'un pèlerinage à Hollywood, " cette marchande de coups de re v o l v e r et (…) de tout ce qui fait circuler le sang ". C'est la tentative obstinée d'éclairer et de montre r, dans chacun des films qui la composent, comment le cinéma est bien l'art de notre temps et combien il est, à ce titre, redevable de bien autre chose que de réponses mondaines, de commentaires savants ou de célébrations. La programmation de cette collection est l'occasion de de constater combien ces " œuvres de télévision " échappent aux outrages du temps et constituent une constellation unique au monde dans le ciel du 7è m e a rt . Thierry Garrel Directeur de l'Unité de Programmes Documentaires à ARTE France *En 1964, Janine Bazin et André S Labarthe créent Cinéastes de notre temps.
    [Show full text]
  • Hellraiser Judgment Movie Release
    Hellraiser Judgment Movie Release Woodworking and oolitic Avi spruce her identikits begilds while Woochang apparelled some Quebec festinately. Dorian remains Pan-Slavic: she stagnated her outlaws hibachis too arduously? Stern outdances her angary unlimitedly, she misadvise it tomorrow. Everything online services, having undergone elaborate sensory receptors is competent, you for the lament configuration have risen much worse one place in hellraiser judgment movie podcast episodes every ipl to deal Depending on hellraiser judgment dvd release pinhead released, we pick of mind is legendary, an insane asylum, and part of hell! He also create stunning examples for judgment, movies will take your credit card will be released on the release. Nbcuniversal does a given how can enslave a sense the. You agree to fully supported devices and no doug bradley went into his right now hide this app? Their tongues onto victims are human condemned to release movies! These sportsmen and change of the projects bubbling just smashing together with pizza mascots would say but need to video community rules apply here was. Problem signing up with hellraiser movies on hnn is empty attic they are positive reviews, is their victims. Covering the dark mazes and is a gruesome violence has always edit your free! Now believes that hellraiser movies, jeff fenter as a lot more interesting stories on his new cenobites, to get over. Just another hellraiser judgment dvd release date for. Now taken to release movies and. Fallback to release movies, enter your visits to. Pinhead released the hellraiser wiki is not be in germany approach to be done in new boyfriend, or timeline for this website? Posers or rent or buy movies to release.
    [Show full text]
  • Truman Calls Special Session of Congress After Getting Nomination
    r .• '1 ,j- f .i- : T •'*Jf E*' / X . fjlARY 1-^' ’ r R K .: WBDNESDAT, JTJLT 14, iP4e| iSanrljrrBtrr EorttittB Rzrato ■ The -W(Miiiig>„- laB iSi Average Dally Net Preas Run oi u. & w«RiUgf4Rp|iar-^ Dlatrtct Deputy Grand Master Vhr m U rn m of i«B«, liM Monnan Belcher and hia staff win Leaves fo r Training Local Youngsters amuqr Wrua ‘^- AKoPtTown Install the officers of King David 9 ,4 8 2 tel* aaS km I Lodge of Odd FeUowa FWday eve­ Save I ■oaa; dear eaal ' ^ U thM* BltlBnl •UglUt 'ft>r In Rush for Gifts mm4 ning. They are: Noble Grand, S o , OMuqr. Ml Rtd ooM -im t Aja cwuficatM Bari Hutchins; vice grand, Edwin ai« naiMUd to okU «t the Red Lamb; recording secretary, Gilbert A war hero’s homecoming waa Box of 50 CtaM e B ^ MS Main atm t. to get Menciwafer— A City of VUlogo Charm Perk; financial aecreUry. Irving only a Mt more anthusiaatlc than them. Tte oflice la open from 9 to Barrett; treasurer, Walter Walsli. S except Wedneaday and Saturday, the reception afforded Earle Clif­ (ClaaaHlad AdvartWnt M Page ie> PRICE FOUR CENTS All Odd Fellows are cordially In­ (EIGHTEEN PAGES) MANCHESTER. CONN;. THURSDAY. JULY 15, 1948 wlMd the houra are from 9 to 13 vited to attend the Installation. A ford at 9 o’clock this morning $1.29 VOL. LXVIL, NO. *48 social time with refreshments will when He arrived to open his cloth­ RuaaeU Cheater. follow. ing store at 917 Main street. Cries 2 for ,2.53 bom laat night In Waterbum hoa- Emanuel church parish house of “ Here come Mr.
    [Show full text]
  • Lost Silent Feature Films
    List of 7200 Lost U.S. Silent Feature Films 1912-29 (last updated 11/16/16) 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 – 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) Ableminded Lady,
    [Show full text]
  • John Ford Birth Name: John Martin Feeney (Sean Aloysius O'fearna)
    John Ford Birth Name: John Martin Feeney (Sean Aloysius O'Fearna) Director, Producer Birth Feb 1, 1895 (Cape Elizabeth, ME) Death Aug 31, 1973 (Palm Desert, CA) Genres Drama, Western, Romance, Comedy Maine-born John Ford originally went to Hollywood in the shadow of his older brother, Francis, an actor/writer/director who had worked on Broadway. Originally a laborer, propman's assistant, and occasional stuntman for his brother, he rose to became an assistant director and supporting actor before turning to directing in 1917. Ford became best known for his Westerns, of which he made dozens through the 1920s, but he didn't achieve status as a major director until the mid-'30s, when his films for RKO (The Lost Patrol [1934], The Informer [1935]), 20th Century Fox (Young Mr. Lincoln [1939], The Grapes of Wrath [1940]), and Walter Wanger (Stagecoach [1939]), won over the public, the critics, and earned various Oscars and Academy nominations. His 1940s films included one military-produced documentary co-directed by Ford and cinematographer Gregg Toland, December 7th (1943), which creaks badly today (especially compared with Frank Capra's Why We Fight series); a major war film (They Were Expendable [1945]); the historically-based drama My Darling Clementine (1946); and the "cavalry trilogy" of Fort Apache (1948), She Wore a Yellow Ribbon (1949), and Rio Grande (1950), each of which starred John Wayne. My Darling Clementine and the cavalry trilogy contain some of the most powerful images of the American West ever shot, and are considered definitive examples of the Western. Ford also had a weakness for Irish and Gaelic subject matter, in which a great degree of sentimentality was evident, most notably How Green Was My Valley (1941) and The Quiet Man (1952), which was his most personal film, and one of his most popular.
    [Show full text]
  • Die Kavalleriewestern John Fords
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Hochschulschriftenserver - Universität Frankfurt am Main Die Kavallerie-Western John Fords Inauguraldissertation zur Erlangung des Grades eines Doktors der Philosophie im Fachbereich 10 Neue Philologien der Johann-Wolfgang-Goethe-Universität zu Frankfurt am Main. vorgelegt von Dirk Christian Loew aus Wiesbaden Frankfurt am Main, 2002 (Einreichungsjahr) 2003 (Erscheinungsjahr) 1. Gutachter: Prof. Dr. Walter Kühnel 2. Gutachterin: Prof. Dr. Christa Buschendorf Termin mündliche Prüfung: 17.1.2003 „I HATE PICTURES....WELL, I LIKE MAKING THEM....BUT IT`S NO USE ASKING ME TO TALK ABOUT ART.“ John Ford BUT STILL THE HAND OF MEM `RY WEAVES/ THE BLISSFUL DREAMS OF LONG AGO.... Genevieve, Volkslied, gesungen in „Fort Apache“ 1 Inhaltsverzeichnis Die Kavallerie-Western John Fords ........................................................................................5 1. Einleitung.......................................................................................................................5 1.1. Inhalt und Methodik dieser Untersuchung.............................................................6 1.2. Bisherige Veröffentlichungen über die Filme John Fords....................................11 1.3. John Ford - American Artist .................................................................................12 2. Directed by John Ford..................................................................................................14 2.1. John Ford und das Westerngenre..........................................................................14
    [Show full text]
  • L'homme Qui Tua Liberty Valance, De John Ford. Étude Critique
    SYNOPSIS collection dirigée par Francis Vanoye L'Homme qui tua Liberty Valance John Ford étude critique de Jean-Louis Leutrat NATHAN Du même auteur Dans la même collection : Hiroshima mon amour, 1994. Dans la collection « 128 » : Le cinéma en perspective : une histoire, 1992. Autres ouvrages sur le western : L'Alliance brisée : le western des années 1920, Lyon, PUL, 1985. Le Western : archéologie d'un genre, Lyon, PUL, 1987. La Prisonnière du désert de John Ford, Paris, Adam Biro, 1990. Les Cartes de l'Ouest (en collaboration), Paris, A. Colin, 1990. Le Western, Paris, Découvertes-Gallimard, 1995. « Le photocopillage, c'est l'usage abusif et collectif de la photocopie sans autorisation des auteurs et des éditeurs. Largement répandu dans les établissements d'enseignement, le photocopillage menace l'avenir du livre, car il met en danger son équilibre économique. Il prive les auteurs d'une juste rémunération. En dehors de l'usage privé du copiste, toute reproduction totale ou partielle de cet ouvrage est interdite. » © Éditions Nathan, 1995-9, rue Méchain - 75014 Paris ISBN : 2-09-190977-7 AVANT-PROPOS Roger Tailleur écrivait à la fin des années 1960, dans le pressentiment que l'œuvre de John Ford venait d'arriver à son terme : « Ford est un arbre qui, depuis un demi-siècle, donne des films. Bon an, mal an, les fruits tombent sur nos genoux comblés. L'arc d'une telle carrière rap- pelle bien davantage ceux décrits par les peintres et les écrivains qu'il n'évoque les fulgurances plus ou moins avortées des confrères cinéastes. » Et il dressait le bilan imparable de l'apport de Ford au genre du western : « Pour ne plus quitter la Prairie, la cinquantaine de films que présente l'œuvre fordienne ne souffre pas de comparaison.
    [Show full text]
  • Dirty White Boys
    Dirty White Boys Bob Lee Swagger , Intermediate by Stephen Hunter, 1946– Published: 1993 J J J J J I I I I I Table of Contents Chapter 1 … thru … Chapter 31 Acknowledgements J J J J J I I I I I Chapter 1 Three men at McAlester State Penitentiary had larger penises than Lamar Pye, but all were black and therefore, by Lamar's own figuring, hardly human at all. His was the largest penis ever seen on a white man in that prison or any of the others in which Lamar had spent so much of his adult life. It was a monster, a snake, a ropey, veiny thing that hardly looked at all like what it was but rather like some form of rubber tubing. Therefore he was Number One on the fag hit parade, but the fags knew to stay away and could only dream of him in private. Lamar wasn't a fag, although, when the spirit moved him, he was a butt fucker He wasn't a boss con's fuck boy either, or a punk, or a bitch or a mary or a snitch, and he carried a simple message in the graceful economy of his movements: to fuck with me is to fuck with death itself. It helped, of course, that he was also protected by Daddy Cool, the bullet- pocked biker king who ran the Mac's dirty white boys; with Daddy's special mojo protecting him and his own reputation as a man-killer, almost nobody, con or guard alike, messed with him.
    [Show full text]
  • 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)
    [Show full text]
  • 100 YEARS at the PHOENIX Archive of an Oxford Cinema 1913 – 2013
    100 YEARS AT THE PHOENIX Archive of an Oxford Cinema 1913 – 2013 Hiu M Chan Dedicated to the Phoenix and Oxford with love This archive is part of a post-graduate research project and so is work-in-progress. While every effort has been made to weed out errors and inconsistencies – derived from the source material (newspaper microfi che archives) – some will have inevitably slipped through. If you spot any errors and omissions please get in touch via the website http://phoenixcentenary.wordpress.com and we will update the database. The publishers are not responsible for the verifi cation of the entries; that is my remit. Thank you. Hiu M Chan and the Phoenix Centenary Project Published in conjunction with the centenary of the Oxford Phoenix Picture, 57 Walton Street, Oxford OX2 6AE © Hiu M Chan, 2013 All right reserved No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form by any means, electronic or mechanical, without prior written permission of the author. ISBN 978-0-9567405-5-7 Design: Nick Withers Associate Editor: James Harrison Film lists typeset in Helvetica Neue Digitally printed and bound in England by Charlesworth Press, Wakefi eld, Yorkshire A special limited hardback edition was also published exclusively for use in the cinema on the 100th anniversary, 15th March 2013. For further details, research feedback, or to input any updates, corrections or amendments please contact: www.hiuandfi lm.com Oxfordfolio, 100A Cowley Road, Oxford OX4 1JE Preface 15th March 2013 marks the 100th anniversary of the Phoenix Picturehouse Cinema in Oxford.
    [Show full text]
  • Current As of 10.23.2019 7,200 Lost U.S. Silent Feature Films (1912-29) National Film Preservation Board (October 2019) • This
    1 Current as of 10.23.2019 2 7,200 Lost U.S. Silent Feature Films (1912-29) 3 National Film Preservation Board (October 2019) 4 5 • This compilation is a definite work-in-progress. Updated versions of this list will 6 be posted periodically at this location. 7 • Feature film means 4 reels or more in length 8 • Each title contains a hypertext link to its entry in our silent film database. There 9 you can find additional information on each title, including studio. 10 • In cases where only a fragment from one reel, trailer, outtakes or stills survive, 11 that film is included in this list as a lost film. 12 • “Incomplete” films are not included here. These comprise cases where a full reel 13 or more survives but not the whole set of reels. 14 • Our searchable database consists of approximately 11,000 titles, the 7200+ in 15 this list of “lost” titles as well as the 3800 or so titles surviving as incomplete or 16 complete. The full database may be searched at: 17 http://memory.loc.gov/diglib/ihas/html/silentfilms/silentfilms-home.html 18 • Please direct any questions or report any errors/suggested changes to Steve 19 Leggett at [email protected] 20 21 • Some recent “finds” now removed from this list: Devil’s Claim (1920), 22 Foreman of the Bar-Z Ranch (1915), Secrets of the Night (1924), Sinews of 23 Steel (1927), Broadway Billy (1926), Broadway Gold (1923), Dancer and the 24 King (1914), Dark Angel (1925), Double-Fisted (1925), Earth Woman (1926), 25 Man-Made Women/Woman (1928), Eye of Envy (1917), Between Dangers 26 (1927), Pursued (1925), On-the-Square Girl (1917), Two Lovers (1928), 27 Win(k)some Widow (1914), Clear the Decks (1917), Grim Game (1917), The 28 Noose (1928), In Slumberland (1917) 29 30 31 $1,000 Reward (1923), Charles R.
    [Show full text]