MORAN of the LADY LETTY By
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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. -
Stardom: Industry of Desire 1
STARDOM What makes a star? Why do we have stars? Do we want or need them? Newspapers, magazines, TV chat shows, record sleeves—all display a proliferation of film star images. In the past, we have tended to see stars as cogs in a mass entertainment industry selling desires and ideologies. But since the 1970s, new approaches have explored the active role of the star in producing meanings, pleasures and identities for a diversity of audiences. Stardom brings together some of the best recent writing which represents these new approaches. Drawn from film history, sociology, textual analysis, audience research, psychoanalysis and cultural politics, the essays raise important questions for the politics of representation, the impact of stars on society and the cultural limitations and possibilities of stars. STARDOM Industry of Desire Edited by Christine Gledhill LONDON AND NEW YORK First published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc. 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” © 1991 editorial matter, Christine Gledhill; individual articles © respective contributors All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
Films Refusés, Du Moins En Première Instance, Par La Censure 1917-1926 N.B
Films refusés, du moins en première instance, par la censure 1917-1926 N.B. : Ce tableau dresse, d’après les archives de la Régie du cinéma, la liste de tous les refus prononcés par le Bureau de la censure à l’égard d’une version de film soumise pour approbation. Comme de nombreux films ont été soumis plus d’une fois, dans des versions différentes, chaque refus successif fait l’objet d’une nouvelle ligne. La date est celle de la décision. Les « Remarques » sont reproduites telles qu’elles se trouvent dans les documents originaux, accompagnées parfois de commentaires entre [ ]. 1632 02 janv 1917 The wager Metro Immoral and criminal; commissioner of police in league with crooks to commit a frame-up robbery to win a wager. 1633 04 janv 1917 Blood money Bison Criminal and a very low type. 1634 04 janv 1917 The moral right Imperial Murder. 1635 05 janv 1917 The piper price Blue Bird Infidelity and not in good taste. 1636 08 janv 1917 Intolerance Griffith [Version modifiée]. Scafold scenes; naked woman; man in death cell; massacre; fights and murder; peeping thow kay hole and girl fixing her stocking; scenes in temple of love; raiding bawdy house; kissing and hugging; naked statue; girls half clad. 1637 09 janv 1917 Redeeming love Morosco Too much caricature on a clergyman; cabaret gambling and filthy scenes. 1638 12 janv 1917 Kick in Pathé Criminal and low. 1639 12 janv 1917 Her New-York Pathé With a tendency to immorality. 1640 12 janv 1917 Double room mystery Red Murder; robbery and of low type. -
The Reinvention of the Primitive in Naturalist and Modernist Literature"
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2001 A living lump of appetites': the reinvention of the primitive in naturalist and modernist literature" Gina M. Rossetti University of Tennessee Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Recommended Citation Rossetti, Gina M., "A living lump of appetites': the reinvention of the primitive in naturalist and modernist literature". " PhD diss., University of Tennessee, 2001. https://trace.tennessee.edu/utk_graddiss/6378 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Gina M. Rossetti entitled "A living lump of appetites': the reinvention of the primitive in naturalist and modernist literature"." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Mary E. Papke, Major Professor We have read this dissertation and recommend its acceptance: Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Gina M. Rossetti entitled" 'A Living Lump of Appetites': The Reinvention of the Primitive in Naturalist and Modernist Literature." I have examined the final paper copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in English. -
August 2009 LET THEM RUN WILD
LET THEM RUN WILD: CHILDHOOD, THE NINETEENTH-CENTURY STORYTELLER, AND THE ASCENT OF THE MOON by Val Czerny A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL August 2009 Copyright by Val Czerny 2009 ii Acknowledgements My greatest intellectual debts are to the professors who comprised my dissertation committee. Dr. Oliver Buckton expanded my scholarly horizons by suggesting “wild” texts and theoretical approaches to explore, and I am grateful for his time, expertise, and receptivity to tales of adventure—all of which enlivened my desire to analyze narratives that have drawn and continue to draw both children and adults as their readers. Dr. Jane Caputi assisted me in my treatment of the “wild,” helping me to sharpen my focus and discover ways of unearthing fresh, non-linear-driven meanings in concepts that have come to possess assumed, static significations and in narratives which acknowledge relationships that extend beyond the ordinary. And Dr. Taylor Hagood provided solid advice; timely, excellent suggestions in terms of theoretical avenues to explore; and a gracious encouragement of my pursuits—especially those involving conjectural inquiries into the mysterious, subterranean songs that wordlessly communicate and transform. I was especially fortunate to be able to work with such exceptional professors who demonstrate a love of learning, scholarship, and teaching; a passion for and an excellence in conveying the written word; and a heartfelt desire to provide advice and guidance to emerging scholars and educators like me. -
Valentino and Female Spectatorship
Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship Miriam Hansen JCMS: Journal of Cinema and Media Studies, Cinema Journal Retrospective, pp. 6-32 (Article) Published by Michigan Publishing DOI: https://doi.org/10.1353/cj.2018.0088 For additional information about this article https://muse.jhu.edu/article/707327 [ Access provided at 30 Sep 2021 13:24 GMT with no institutional affiliation ] Pleasure, Ambivalence, Identification: Valentino and Female Spectatorship by Miriam Hansen Occasionally the movies go mad. They have terrifying visions; they erupt in images that show the true face of society. Fortunately, however, they are healthy at the core. Their schizophrenic outbursts last only a few moments, then the curtain is lowered again and everything returns to normal. -Kracauer, "The Little Salesgirls Go to the Movies" (1927)' In the context of discussions on cinematic spectatorship, the case of Rudolph Valentino demands attention, on historical as well as theoretical grounds. For the first time in film history, women spectators were perceived as a socially and economically significant group; female spectatorship was recognized as a mass phenomenon; and the films were explicitly addressed to a female spectator, regardless of the actual composition of the audience. As Hollywood manufactured the Valentino legend, promoting the fusion of real life and screen persona that makes a star, Valentino's female admirers in effect became part of that legend. Never before was the discourse on fan behavior so strongly marked by the terms of sexual difference, and never again was spectatorship so explicitly linked to the discourse on female desire. This conjunction was to inform Valentinian mythology for decades to come-as the following cover prose from various biographies illustrates: Lean, hot-eyed and Latin, Valentino was every woman's dream... -
The Silent Films of 1923 Shown at the Empress Cinema, Sutton Coldfield
THE SILENT FILMS OF 1923 SHOWN AT THE EMPRESS CINEMA SUTTON COLDFIELD By Don McCollom Extract from the Sutton Coldfield News of January 1923: EMPRESS CINEMA & CAFÉ: CIVIC OPENING OF THE CINEMA “The opening of the Empress Cinema at Sutton Coldfield took place on Monday afternoon the 1st January 1923 in the presence of a very large gathering. The Empress cinema and Cafe is situated at the entrance to the Lower Parade, and stands on the site of the old and noted Ashby House, a relic of bygone days, and is an excellent representation of how modern construction with efficient and economical design may overcome difficulties that at first appear insurmountable, and so manipulate them to form successful features in the building. The theatre, perfect throughout, is absolutely fireproof, the quality of the brickwork, steel and reinforced concrete being so combined as to ensure this most necessary characteristic. The design throughout being in the Grecian style gives a very pleasant result. The use of white Hollington stone in its construction in conjunction with the purple brick facing on the front elevation gives a most distinguished effect, as does the wide and imposing entrance which is supported on either side with granite columns covered by a large Ornamental Canopy. “The Ornamental Canopy gives the whole building not only an attractive but a magnificent appearance. The arrangements internally are such as will give convenience and comfort to the patrons, special care being bestowed on the lines of projection to the screen so as to avoid as much as possible eye strain. As no seat is less than 24 feet from the screen a clear view is obtainable by everyone. -
Photoplaysthis Week Cradle
NEXT WEEK'S PHOTOPLAYS. Columbia. FILMOGRAMS ( Mae Murray, in her latest Robert Z. Leonard production, "Fascination." the premiere, it is said, is to be made a. Bialto. announces pur- gala occasion. William Fox's special production, PARAMOUNTchase of a series of stories by fc-3 "Over the Hill," based on Witt Carle- Peter B. Kyne for productions in Lewis Stone, who plays a leadlncgj ton's poems in his "Farm Ballads." which Jack Holt will be starred. Among role in "The Prisoner of Zetida, is a<M veteran of two wars. ha.*ing. aii them are "The Lost Kingdom," boy. fought in Cuoa and >n the la afc^«« Palace. "Humanizing Mr. Winsby" and "The j conflict. When" asked If he would--, Bert Lytell, in "The Right That Land Just Over Yonder." Later on an- fight again, if need be. he set pa-P" triotie minds at rest by declaring: I Failed," a ringside romance, and other Hicks" is to be Jf Bebe Daniels, in "A Game Chicken," "Cappy story pro¬ always attend all the wars.' ^ WHETHER it be that the light of a new dawn is breaking or that a Nina Putnam. duced. story by Wilcox Mme. as is to the Rejane. Romany Kate. prejudice giving way demands of justice, many promi¬ Mary Johnston's novel, "To Have and "Gypsy Passion." is declared to b*^; nent men in theatrical life seem to be awakening to the won¬ to Hold," will be George Fltzmaurice's unlike anything else ever screened.r Metropolitan. first picture to be made on the coast. New York calls it "Delicate as poetry,*, derful possibilities of the photoplay. -
1 MORAN of the LADY LETTY by Frank Norris DEDICATED TO
1 MORAN OF THE LADY LETTY by Frank Norris DEDICATED TO Captain Joseph Hodgson UNITED STATES LIFE SAVING SERVICE I. SHANGHAIED This is to be a story of a battle, at least one murder, and several sudden deaths. For that reason it begins with a pink tea and among the mingled odors of many delicate perfumes and the hale, frank smell of Caroline Testout roses. There had been a great number of debutantes “coming out” that season in San Francisco by means of afternoon teas, pink, lavender, and otherwise. This particular tea was intended to celebrate the fact that Josie Herrick had arrived at that time of her life when she was to wear her hair high and her gowns long, and to have a “day” of her own quite distinct from that of her mother. Ross Wilbur presented himself at the Herrick house on Pacific Avenue much too early upon the afternoon of Miss Herrick's tea. As he made, his way up the canvased stairs he was aware of a terrifying array of millinery and a disquieting staccato chatter of feminine voices in the parlors and reception-rooms on either side of the hallway. A single high hat in the room that had been set apart for the men's use confirmed him in his suspicions. “Might have known it would be a hen party till six, anyhow,” he muttered, swinging out of his overcoat. “Bet I don't know one girl in twenty down there now—all mamma's friends at this hour, and papa's maiden sisters, and Jo's school-teachers and governesses and music- teachers, and I don't know what all.” When he went down he found it precisely as he expected. -
[Hay Mac Fluny I £ !==L~Eger|
cine DIRECTOR : J Tato Lorenzo Casilla de Correo No 396 aSn |= [aga [Hay mac fluny Presentamos aquí en esta página a la nueva estre lla de la Realart, según el lápiz de la famosa escenó- grafa de la Paramount, Olga Printzlau. Es en verdad una admirable artista esta joven op timista que ha querido ser estrella brillante y antes Año I que otras muchas lo ha conseguido ampliamente. No es solamente una chica bella y atrayente, sino que es también una de las estrellas más cultas que N-° 14 tiene la pantalla, elegante y expresiva en alto grado. Estrella nueva, está llamada a llegar a los sitiales más altos en el cielo cinematográfico. Hace solamen te unos días que nos fué presentada esta artista por la casa Max Glucksmann, er. una película superior Realart. titulada c EL EPILOGO DE SU NOVELA». El retrato salido del lápiz de la admirable e9cenó- grafa de la Paramount Olga Printzlau, no puede ser más bello de lo que es. I □£□!==l~EgEr| Administrador: Juan May Montevideo, 1.a quincena de Setiembre 1922 Julio Herrera y Obes 1480 Intérpretes principi le'': Agnes Ayres y Rudolph Valentino. Colaboradores: Adolphe Menjou, Walter Long, Lucien Littlefie d, George Warner, Ruth Miller y F. R. Butler. Argumpnto de Edith M. Hu í. dirección de George Melford y adaptación a la escena cinematográfica de Monte M. Katterjohn. Diana Mayo, bella joven inglesa, emprende un viaje ai desierto de Sahara, no obs tante las protestas de sus familias y amigos. En Briska, se disfraza de esclava y pene tra en un casino, donde el Jeque Ahmed ofrece una fiesta. -
239 Unless Otherwise Indicated, All Translations from the Italian Are My Own. 1. Max Weber, “Parliament and Government in Germ
Notes Unless otherwise indicated, all translations from the Italian are my own. INTRODUCTION 1. Max Weber, “Parliament and Government in Germany under a New Political Order,” in Weber: Political Writings, ed. Pater Lassman and Ronald Speirs (New York: Cambridge University Press), 174 (italics in the original). The essay was published in book form in 1918 and was based on five articles Weber wrote for theFrankfurter Zeitung in the spring of 1917. 2. Bonnie Honig, Democracy and the Foreigner (Princeton, NJ: Princeton University Press, 2001), 4, 7 (italics in the original). 3. “Mrs. Doug. Mary Goes in for the Fairbanks-Sort-of-Thing,” MPM, February 1927, 58. The title refers to two other images on top of the page showing Pickford launching the javelin and playing golf. Some of the friends in the photograph reproduced here would later emerge as leaders in the film business. Ted Reed, for instance, who had met Fairbanks dur- ing the third Liberty Loan drive, would serve as the Academy of Motion Picture Arts and Sciences’ fifth president. 4. “Mary Pickford e Douglas Fairbanks in Italia,” La Tribuna illustrata, April 26, 1926, 8. 5. “Douglas Fairbanks e Mary Pickford a Roma,” Il Messaggero, April 28, 1926, 5. 6. “Le Giornate romane di Douglas,” La Tribuna, April 29, 1926, 5. The state agency LUCE (L’Unione Cinematografica Educativa) made a newsreel of the Hollywood stars’ Roman visit. It is now viewable on a DVD entitled La Roma del LUCE, directed by Nicola Caracciolo and Gianni Borgna (Rome: Istituto LUCE/Comune di Roma, 2004). Neither the LUCE footage nor any of the newspapers that I consulted included images of the three individuals together. -
UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations
UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Youth of the Nation: The Space-Time of Adolescence in the Turn of the Century United States Permalink https://escholarship.org/uc/item/7s30v5pf Author Connelly, Albert Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ THE YOUTH OF THE NATION: THE SPACE-TIME OF ADOLESCENCE IN THE TURN OF THE CENTURY UNITED STATES A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in LITERATURE by Albert P. Connelly, IV September 2013 The Dissertation of Albert P. Connelly, IV is approved: _______________________________ Professor Chris Connery, chair ________________________________ Professor Susan Gillman ________________________________ Professor Rob Wilson _________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents Introduction....................................................................................................................1 Chapters I. “Rode Only Fast Trains”: Mobility and the Construction of Youth.........................23 II. “Thridding the Maze”: The Race ofYouth............................................................110 III. “Administrators of the Future”: Maps of the Adolescent Imperium...................219 Appendix I.................................................................................................................334