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An Anthropology of Conservation
Durham E-Theses An Anthropology of Conservation HUCKLESBY, CLARE,LOUISE How to cite: HUCKLESBY, CLARE,LOUISE (2008) An Anthropology of Conservation, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/96/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk An Anthropology of Conservation Clare Louise Hucklesby Thesis submitted in partial fulfilment of requirements for the degree of Master of Philosophy Durham University Department of Archaeology 2008 Abstract An Anthropology of Conservation has been devised to determine the different approaches to conservation developed by cultural groups throughout time. The research questions that this thesis addresses are as follows : · Are there common threads associated with approaches to the care of material culture and its conservation? · What type of artefacts do different cultures retain and preserve? · Why do cultures conserve and how do they achieve this? · Does conservation actually exist outside of the remit of ‘modern’ (Western) conservation? Accessibility to literature and artefacts helped to narrow the field of study and the following social groups were selected for in depth analysis representing a range of temporal and spatial variables : Ancient Egyptian; British Regimental Culture; Native American: Roman; Aboriginal and Maori; and Modern British Culture. -
ASC Founders
The 15 Founders of the American Society of Cinematographers Biographies By Robert S. Birchard The American Society of Cinematographers succeeded two earlier organizations — the Cinema Camera Club, started by Edison camerapersons Philip E. Rosen, Frank Kugler and Lewis W. Physioc in New York in 1913; and the Static Club of America, a Los Angeles–based society first headed by Universal cameraperson Harry H. Harris. From the beginning, the two clubs had a loose affiliation, and eventually the West Coast organization changed its name to the Cinema Camera Club of California. But, even as the center of film production shifted from New York to Los Angeles — the western cinematographers’ organization was struggling to stay afloat. Rosen came to Los Angeles in 1918. When he sought affiliation with the Cinema Camera Club of California, president Charles Rosher asked if he would help reorganize the faltering association. Rosen sought to create a national organization, with membership by invitation and with a strong educational component. The reorganization committee met in the home of William C. Foster on Saturday, December 21, 1918 and drew up a new set of bylaws. The 10-member committee and five invited Cinema Camera Club member visitors were designated as the board of governors for the new organization. The next evening, in the home of Fred LeRoy Granville, officers for the American Society of Cinematographers were elected — Philip E. Rosen, president; Charles Rosher, vice president; Homer A. Scott, second vice president; William C. Foster, treasurer; and Victor Milner, secretary. The Society was chartered by the State of California on January 8, 1919. -
William Horsley Papers, 1903-1947 LSC.0540
http://oac.cdlib.org/findaid/ark:/13030/tf2n39n7fp No online items Finding Aid for the William Horsley Papers, 1903-1947 LSC.0540 Processed by Esther Leonard; machine-readable finding aid created by Caroline Cubé and edited by Josh Fiala. UCLA Library Special Collections Online finding aid last updated on 2019 August 5. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the William LSC.0540 1 Horsley Papers, 1903-1947 LSC.0540 Language of Material: English Contributing Institution: UCLA Library Special Collections Title: William Horsley papers Creator: Horsley, Wm. (William) Identifier/Call Number: LSC.0540 Physical Description: 0.5 Linear Feet(1 box) Date (inclusive): 1903-1947 Abstract: William Horsley (1870-1956) founded the Centaur Film Company (later, Nestor Motion Picture Company) in Bayonne, New Jersey in 1907. His film company and other independents merged to create Universal Pictures Company in 1912. The collection contains photographs, correspondence, magazines and magazine articles, and ephemera related to William Horsley's career in the motion picture industry. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Immediate Source of Acquisition -
Early Classical Hollywood Cinema 1900'S-In The
Early Classical Hollywood Cinema 1900’s-In the early 1900s, motion pictures ("flickers") were no longer innovative experiments/scapist entertainment medium for the working-class masses/ Kinetoscope parlors, lecture halls, and storefronts turned into nickelodeon. Admission 5 cents (sometimes a dime) - open from early morning to midnight. 1905-First Nickelodean -Pittsburgh by Harry Davis in June of 1905/few theatre shows in US- shows GREAT TRAIN ROBBERY Urban, foreign-born, working-class, immigrant audiences loved the cheap form of entertainment and were the predominent cinema-goers Some of the biggest names in the film business got their start as proprietors, investors, exhibitors, or distributors in nickelodeons.:Adolph Zukor ,Marcus Loew, Jesse Lasky, Sam Goldwyn (Goldfish), the Warner brothers, Carl Laemmle, William Fox, Louis B. Mayer 1906-According to most sources, the first continuous, full-length narrative feature film (defined as a commercially-made film at least an hour in length) was Charles Tait's biopic of a notorious outback bushranger, The Story of the Kelly Gang (1906, Australia)- Australia was the only country set up to regularly produce feature-length films prior to 1911.- 1907-Griffith begins working for Edision- Edwin S. Porter's and Thomas Edison's Rescued From the Eagle's Nest (1907)/ Griffith- Contributing to the modern language of cinema, he used the camera and film in new, more functional, mobile ways with composed shots, traveling shots and camera movement, split-screens, flashbacks, cross-cutting (showing two simultaneous actions that build toward a tense climax), frequent closeups to observe details, fades, irises, intercutting, parallel editing, dissolves, changing camera angles, soft-focus, lens filters, and experimental/artificial lighting and shading/tinting. -
Entertainment Industry, 1908-1980 Theme: Industrial Properties Associated with the Entertainment Industry, 1908-1980
LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: Entertainment Industry, 1908-1980 Theme: Industrial Properties Associated with the Entertainment Industry, 1908-1980 Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources December 2019 SurveyLA Citywide Historic Context Statement Entertainment Industry/Industrial Properties Associated with the Entertainment Industry, 1908-1980 TABLE OF CONTENTS PREFACE 1 CONTRIBUTORS 1 INTRODUCTION 1 HISTORIC CONTEXT INDUSTRIAL PROPERTIES ASSOCIATED WITH THE ENTERTAINMENT INDUSTRY, 1908-1980 3 Origins of the Entertainment Industry in Southern California 3 Entertainment Industry Development in the 1920s and 1930s 13 Entertainment Industry Development During World War II 59 Entertainment Industry Development in the Postwar Era 63 SUB-THEME: ORIGINS OF THE MOTION PICTURE INDUSTRY, 1908-1919 72 Development of Industrial Districts and “Motion Picture Zones” 72 Development of Early Motion Picture Production Facilities 73 SUB-THEME: MOTION PICTURE INDUSTRY: MAJOR STUDIO ERA – “THE BIG EIGHT,” 1919-1949 76 Development of Major Motion Picture Production Facilities 76 SUB-THEME: MOTION PICTURE INDUSTRY: INDEPENDENT STUDIOS AND RENTAL PLANTS, 1919-1980 80 Development of Independent Motion Picture Production Facilities 80 SUB-THEME: RADIO BROADCASTING INDUSTRY, 1922-1945 84 Development of Radio Broadcasting Facilities 84 SUB-THEME: TELEVISION BROADCASTING INDUSTRY, 1931-1980 88 Development of Television Broadcasting Facilities 88 SUB-THEME: RECORDING INDUSTRY, 1925-1980 -
North America
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La Production Studios Non-Endorsement and Disclaimer Notice
Offering Memorandum 1015–1025 East 16th Street Los Angeles, CA 90021 LA PRODUCTION STUDIOS NON-ENDORSEMENT AND DISCLAIMER NOTICE Non-Endorsements Marcus & Millichap is not affiliated with, sponsored by, or endorsed by any commercial tenant or lessee identified in this marketing package. The presence of any corporation's logo or name is not intended to indicate or imply affiliation with, or sponsorship or endorsement by, said corporation of Marcus & Millichap, its affiliates or subsidiaries, or any agent, product, service, or commercial listing of Marcus & Millichap, and is solely included for the purpose of providing tenant lessee information about this listing to prospective customers. ALL PROPERTY SHOWINGS ARE BY APPOINTMENT ONLY. PLEASE CONTACT EINAR RODEN (213) 628-4500 TO SCHEDULE A TIME. Disclaimer THIS IS AN OFFERING MEMORANDUM COMPARATIVE MARKET ANALYSIS OF VALUE AND SHOULD NOT BE CONSIDERED AN APPRAISAL. This information has been secured from sources we believe to be reliable, but we make no representations or warranties, express or implied, as to the accuracy of the information. References to square footage or age are approximate. Buyer must verify the information and bears all risk for any inaccuracies. Marcus & Millichap is a service mark of Marcus & Millichap Real Estate Investment Services, Inc. © 2017 Marcus & Millichap. All rights reserved. LA PRODUCTION STUDIOS Los Angeles, CA ACT ID Y0140645 CONTENTS 1 Investment Overview 2 Market Comparables 3 Market Overview 1 INVESTMENT OVERVIEW Executive Summary PROPERTY OVERVIEW Marcus & Millichap is pleased to present this exceptional 12,384 square foot • State-of-the-Art Film/Music/Dance Studio Film Production / Dance Studio property featuring one of the largest special- Located in the Heart of Downtown Los ized dance floors available in Los Angeles. -
David Horsley - Wikipedia, the Free Encyclopedia 10/12/2015, 22:11
David Horsley - Wikipedia, the free encyclopedia 10/12/2015, 22:11 David Horsley David Horsley (March 11, 1873 – February 23, 1933) was an English-born pioneer of the film industry who built the first film studio in Hollywood. Born in West Stanley, Durham, England, a small coal mining village where his entire family worked in the mines. At age nine, he fell on the railway tracks and his hand was badly injured when the train ran over it. Without proper medical care, and fearful of deadly gangrene poisoning, his arm was amputated about two inches below the elbow. In 1884, the family emigrated to the United States, settling in Bayonne, New Jersey where as a young man he built a bicycle business and ran a pool hall. It was then that he met a former employee of Biograph Studios, Charles Gorman, and along with his brother William Horsley (1870–1956), they formed the Centaur Film Company. By 1910 their operation was producing three films a week, including the Mutt and Jeff comedies. David and William Horsely, along with other film independents, succeeded in defeating the monopolistic hold on the industry of Thomas Edison's Motion Picture Patents Company. However, weather conditions on the east coast made filming an uncertain proposition because camera technology at the time relied on sunshine. Frustrated, and realizing that California afforded the opportunity to make films year round, David Horsley moved his operations to the west coast. Among the first motion pictures ever filmed in Hollywood was taken on October 26, 1911 in the orchards of H J Whitley's estate (D.W. -
Edna Williams
Edna Williams Lived: March 12, 1887 - July 4, 1965 Worked as: distribution company founder, distribution company owner, distributor, songwriter Worked In: United States by Donald Crafton The career of Edna Williams, an unrecognized pioneer in the field of international film distribution, demonstrates not only the importance, but also the pervasiveness, of many individuals who worked behind the scenes performing the all-important work of connecting moving picture producers and their audiences. One searches film history texts in vain, however, for any mention of Williams, despite having been dubbed in 1921 by Photoplay (albeit incorrectly) “The Film’s First Woman Executive” (94). In 1918, at least one trade journal, Exhibitors Herald, singled out Williams as a sign that distribution might be an emerging domain suitable for women: Feminism is advancing in the motion picture industry. Feminine stars long have been one of the pillars of the industry. Feminine exhibitors abound the country over, but women who head their own producing or distributing concerns, or who devote their energies to the selling side of the business are still attracting considerable attention. (“Edna Williams, Film Executive” 28) Having achieved a prominent position in the virtually all-male world of the motion picture front office in the late 1910s through the 1920s, Williams and other “feminine” exhibitors and distributors nevertheless have all but disappeared from the annals of film. Very little is known about Williams. We can piece together her career from some scant references in the trade press, augmented by research in online genealogical resources like Ancestry.com. Her parents were Charles Edward Williams and Caroline M. -
ASC Founders -DRAFT
The 15 Founders of the American Society of Cinematographers Biographies DRAFT 8/31/2018 By Robert S. Birchard The American Society of Cinematographers succeeded two earlier organizations — the Cinema Camera Club, started by Edison cameramen Philip E. Rosen, Frank Kugler and Lewis W. Physioc in New York in 1913; and the Static Club of America, a Los Angeles-based society first headed by Universal cameraman Harry H. Harris. From the beginning, the two clubs had a loose affiliation and eventually the west coast organization changed its name to the Cinema Camera Club of California. But, even as the center of film production shifted from New York to Los Angeles — the western cinematographers’ organization was struggling to stay afloat. Rosen came to Los Angeles in 1918. When he sought affiliation with the Cinema Camera Club of California, president Charles Rosher asked if he would help reorganize the faltering association. Rosen sought to create a national organization, with membership by invitation and with a strong educational component. The reorganization committee met in the home of William C. Foster on Saturday December 21, 1918 and drew up a new set of bylaws. The 10-member committee and five invited Cinema Camera Club member visitors were designated as the board of governors for the new organization. The next evening, in the home of Fred LeRoy Granville, officers for the American Society of Cinematographers were elected — Philip E. Rosen, president; Charles Rosher, vice-president; Homer A. Scott, second vice-president; William C. Foster, treasurer; and Victor Milner, secretary. The Society was chartered by the State of California on January 8, 1919. -
Victoria Cross Winner's Commemorative Paving Stone Project
Cabinet 16 th July 2014 World War 1 Centenary Activity: Victoria Cross Winner’s Commemorative Paving Stone Project Report of Corporate Management Team Terry Collins, Corporate Director Neighbourhood Services Cllr Neil Foster, Portfolio Holder for Economic Regeneration Purpose of the Report 1 To outline the Council’s involvement in delivering the Department of Communities and L ocal Government’s Victoria Cross Winner Commemorative Paving Stone Project. 2 The report proposes a process for determining where the paving stones will be permanently located. Background: National Importance 3 The centenary of World War 1 (WW1) (2014 – 2018) will be a period of major importance to the people of the Country and particularly those countries with regiments that took part in the conflict. The effects of the war have been far reaching and society changing. 4 In the United Kingdom (UK) the centenary of World War 1 is already the subject of immense interest among government, media, funding bodies, universities, schools, community groups and individuals, and this interest is universally expected to grow as we approach August 2014 (the centenary of the outbreak of war). 5 The government is working alongside partners, including the Heritage Lottery Fund, Commonwealth War Graves Commission and Imperial War Museums, on a series of national remembrance events, an extensive cultural programme and educational schemes. 6 In August of 2013 The Department for Communities and Local Government (DCLG) announced an open competition for a design to be put on to commemorative paving stones to honour Victoria Cross recipients throughout the UK. There will also be a QR reader on each stone which people can scan with a smartphone to learn more details about the recipient. -
Cabinet Date Wednesday 16 July 2014 Time 9.30 Am Venue
Cabinet Date Wednesday 16 July 2014 Time 9.30 am Venue Committee R oom 2, County Hall, Durham Public Question and Answer Session 9.30 a.m. to 10.00 a.m. An opportunity for local people to have a 30 minute informal question and answer session with Cabinet Members. Cabinet Business 10.00 a.m. onwards Part A Items during which the press and public are welcome to attend - members of the public can ask questions with the Chairman's agreement 1. Minutes of the meeting held on Wednesday 11 June 2014 (Pages 1 - 4) 2. Declarations of interest Key Decisions: 3. Housing Stock Transfer: Outcomes of Formal Consultation - Stage 1 - Report of Corporate Director, Regeneration and Economic Development [Key Decision: R&ED/07/14] (Pages 5 - 26) 4. Adoption of North Pennines AONB Management Plan - Report of Corporate Director, Regeneration and Economic Development [Key Decision: R&ED/11/14] (Pages 27 - 32) 5. Customer First Strategy Refresh 2014-2017 - Report of Corporate Director, Neighbourhood Services [Key Decision: NS/22/13] (Pages 33 - 58) 6. Proposal to change the age range of Chester-le-Street C of E (Controlled) Junior School from 7 - 11 to 4 - 11 from 1 January 2015 to create a C of E (Controlled) Primary School and to close South Pelaw Infant School as a separate school from 31 December 2014 - Report of Corporate Director, Children and Adults Services [Key Decision: CAS/01/14] (Pages 59 - 106) 7. Draft Corporate Tree Management Policy - Joint Report of Corporate Director, Neighbourhood Services and Corporate Director, Regeneration and Economic Development [Key Decision: [NS/25/13] (Pages 107 - 142) 8.