John Ford Birth Name: John Martin Feeney (Sean Aloysius O'fearna)
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Wagon Master Caravana De Paz 1950, USA
Wagon Master Caravana de paz 1950, USA Prólogo: Una familia de bandoleros, los Cleggs, atraca un banco asesinando D: John Ford; G: Frank S. Nugent, a sangre fría a uno de sus empleados. Patrick Ford, John Ford; Pr: Lowell J. Farrell, Argosy Pictures; F: Bert Títulos de crédito: imágenes de una caravana de carretas atravesando un Glennon; M: Richard Hageman; río, rodando a través de (como dice la canción que las acompaña) “ríos y lla- Mn: Jack Murray, Barbara Ford; nuras, arenas y lluvia”. A: Ben Johnson, Joanne Dru, Harry Carey Jr., Ward Bond, 1849. A la pequeña población de Cristal City llegan dos tratantes de caballos, Charles Kemper, Alan Mowbray, Travis (Ben Johnson) y Sandy (Harry Carey Jr.) con la finalidad de vender sus Jane Darwell, Ruth Clifford, Russell recuas. Son abordados por un grupo de mormones que desean comprarles los Simpson, Kathleen O’Malley, caballos y contratarles como guías para que conduzcan a su gente hasta el río James Arness, Francis Ford; San Juan, más allá del territorio navajo, hasta “el valle que el señor nos tiene B/N, 86 min. DCP, VOSE reservado, que ha reservado a su pueblo para que lo sembremos y lo cultive- mos y lo hagamos fructífero a sus ojos”. Los jóvenes aceptan la primera oferta pero rechazan la segunda. A la mañana siguiente la caravana mormona se pone en camino, vigilada muy de cerca por las intolerantes gentes del pueblo. Travis y Sandy observan la partida sentados en una cerca. De repente, en apenas dos versos de la can- ción que entona Sandy, el destino da un vuelco y los jóvenes deciden incorpo- rarse al viaje hacia el oeste: “Nos vemos en el río. -
31 Days of Oscar® 2010 Schedule
31 DAYS OF OSCAR® 2010 SCHEDULE Monday, February 1 6:00 AM Only When I Laugh (’81) (Kevin Bacon, James Coco) 8:15 AM Man of La Mancha (’72) (James Coco, Harry Andrews) 10:30 AM 55 Days at Peking (’63) (Harry Andrews, Flora Robson) 1:30 PM Saratoga Trunk (’45) (Flora Robson, Jerry Austin) 4:00 PM The Adventures of Don Juan (’48) (Jerry Austin, Viveca Lindfors) 6:00 PM The Way We Were (’73) (Viveca Lindfors, Barbra Streisand) 8:00 PM Funny Girl (’68) (Barbra Streisand, Omar Sharif) 11:00 PM Lawrence of Arabia (’62) (Omar Sharif, Peter O’Toole) 3:00 AM Becket (’64) (Peter O’Toole, Martita Hunt) 5:30 AM Great Expectations (’46) (Martita Hunt, John Mills) Tuesday, February 2 7:30 AM Tunes of Glory (’60) (John Mills, John Fraser) 9:30 AM The Dam Busters (’55) (John Fraser, Laurence Naismith) 11:30 AM Mogambo (’53) (Laurence Naismith, Clark Gable) 1:30 PM Test Pilot (’38) (Clark Gable, Mary Howard) 3:30 PM Billy the Kid (’41) (Mary Howard, Henry O’Neill) 5:15 PM Mr. Dodd Takes the Air (’37) (Henry O’Neill, Frank McHugh) 6:45 PM One Way Passage (’32) (Frank McHugh, William Powell) 8:00 PM The Thin Man (’34) (William Powell, Myrna Loy) 10:00 PM The Best Years of Our Lives (’46) (Myrna Loy, Fredric March) 1:00 AM Inherit the Wind (’60) (Fredric March, Noah Beery, Jr.) 3:15 AM Sergeant York (’41) (Noah Beery, Jr., Walter Brennan) 5:30 AM These Three (’36) (Walter Brennan, Marcia Mae Jones) Wednesday, February 3 7:15 AM The Champ (’31) (Marcia Mae Jones, Walter Beery) 8:45 AM Viva Villa! (’34) (Walter Beery, Donald Cook) 10:45 AM The Pubic Enemy -
The Terena and the Caduveo of Southern Mato Grosso, Brazil
SMITHSONIAN INSTITUTION n INSTITUTE OF SOCIAL ANTHROPOLOQY H PUBLICATION NO. 9 THE TERENA AND THE CADUVEO OF SOUTHERN MATO GROSSO, BRAZIL by KALERVO OBERG Digitalizado pelo Internet Archive. Disponível na Biblioteca Digital Curt Nimuendaju: http://biblio.etnolinguistica.org/oberg_1949_terena SMITHSONIAN INSTITUTION INSTITUTE OF SOCIAL ANTHROPOLOGY PUBLICATION NO. 9 THE TERENA AND THE CADUVEO OF SOUTHERN MATO GROSSO, BRAZIL by KALERVO OBERG Prepared in Cooperation tiith the United States Department of State as a Project of the Interdrpartmental Committee on Scientific and Cultural Cooperation UNITED STATES GOVERNMENT PIIINTING OFFICE-WASHINGTON:1949 For Bale by the Superintendent of Documenn, U.^S. Government Printing Office, WaohinBton 25, D. C. • Price 60 c LETTER OF TRANSMITTAL Smithsonian Institution, Institute of Social Anthropology, WashinfftonSS, D. C, May 6, 1948 Sir: I have the honor to transmit herewith a manuscript entitled "The Terena and the Caduveo of Soutliern Mato Grosso, Brazil," by Kalervo Oberg, and to recommend that it be published as Publication Number 9 of the Institute of Social Anthropologj'. Very respectfully yours, George M. Foster, Director. Dr. Alexander Wetmore, Secretary of the Smithsonian Institution. CONTENTS PAGE The Terena—Continued page Introduction 1 The hfe cycle 38 The Terena 6 Birth (ipuhicoti-hiuki) 38 Terena economy in the Chaco 6 Puberty 39 Habitat 6 Marriage (koyendti) 39 Shelter 8 Burial 40 Clothing and ornaments 9 Collecting, hunting, and fishing 9 Modern changes 41 Agriculture 10 Religion 41 Domestic animals and birds 12 Rehgious beliefs 41 Manufactures 12 Shamanism 43 Raiding 13 Present-day religion 45 Property and inheritance 13 Secular entertainment 47 Organization of labor 13 Dances and games 47 Present-day economy of the Terena 13 General description 13 Football 51 Sources of income in a typical village. -
AMERICAN MANHOOD in the CIVIL WAR ERA a Dissertation Submitted
UNMADE: AMERICAN MANHOOD IN THE CIVIL WAR ERA A Dissertation Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Doctor in Philosophy by Michael E. DeGruccio _________________________________ Gail Bederman, Director Graduate Program in History Notre Dame, Indiana July 2007 UNMADE: AMERICAN MANHOOD IN THE CIVIL WAR ERA Abstract by Michael E. DeGruccio This dissertation is ultimately a story about men trying to tell stories about themselves. The central character driving the narrative is a relatively obscure officer, George W. Cole, who gained modest fame in central New York for leading a regiment of black soldiers under the controversial General Benjamin Butler, and, later, for killing his attorney after returning home from the war. By weaving Cole into overlapping micro-narratives about violence between white officers and black troops, hidden war injuries, the personal struggles of fellow officers, the unbounded ambition of his highest commander, Benjamin Butler, and the melancholy life of his wife Mary Barto Cole, this dissertation fleshes out the essence of the emergent myth of self-made manhood and its relationship to the war era. It also provides connective tissue between the top-down war histories of generals and epic battles and the many social histories about the “common soldier” that have been written consciously to push the historiography away from military brass and Lincoln’s administration. Throughout this dissertation, mediating figures like Cole and those who surrounded him—all of lesser ranks like major, colonel, sergeant, or captain—hem together what has previously seemed like the disconnected experiences of the Union military leaders, and lowly privates in the field, especially African American troops. -
English 488/588 – 36001/36002 NATIVE AMERICAN FILM Professor Kirby Brown Class Meetings Office: 523 PLC Hall TR: 2-3:50Pm Offi
English 488/588 – 36001/36002 NATIVE AMERICAN FILM Professor Kirby Brown Class Meetings Office: 523 PLC Hall TR: 2-3:50pm Office Hours: T, 4-5pm; W, 9-11am, and by email appt. Location: ED 276 [email protected] COURSE DESCRIPTION There is perhaps no image more widely recognized yet more grossly misunderstood in American popular culture than the “Indian.” Represented as everything from irredeemable savages and impediments to progress to idealized possessors of primitive innocence and arbiters of new-age spiritualism, “the Indian” stands as an anachronistic relic of a bygone era whose sacrifice on the altars of modernity and progress, while perhaps tragic, is both inevitable and necessary to the maintenance of narratives of US exceptionalism in the Americas. Though such images have a long history in a variety of discursive forms, the emergence of cinematic technologies in the early twentieth century and the explosion of film production and distribution in the ensuing decades solidified the Noble Savage/Vanishing American as indelible, if contradictory, threads in the fabric of the US national story. Of course, the Reel Indians produced by Hollywood say very little about Real Native peoples who not only refuse to vanish but who consistently reject their prescribed roles in the US national imaginary, insisting instead on rights to rhetorical and representational sovereignty. Through a juxtaposition of critical and cinematic texts, the first third of the course will explore the construction of “Reel Indians” from early ethnographic documentaries and Hollywood Westerns to their recuperation as countercultural anti-heroes in the 60s, 70s and 80s. The last two-thirds of the course will examine the various ways in which Native-produced films of the late 1990s to the present contest— if not outright refuse!—narrative, generic, and representational constructions of “the white man’s Indian” on the way to imagining more complex possibilities for “Real Indians” in the twenty-first century. -
Torrance Herald
TTItmsDAY, JULY 22, TORttANCE HERALD, Torranrc, California. Pago B-B for breath during that period the lovers of the past with a PAYS HIGH PRICE FOR LOVE In the evolution of screen lovers, dnsh of comedy for the sophis Naval Flying FICTIONAL DRAMA DEPICTS AROUND HOLLYWOOD Brown says. The cave man came next. He ticated. Forces Featured FAMED IRISH LOVE STORY . FILM LOTS was a barrel-chested actor The comedy reflects the light- HOLLYWOOD (U.P.) Types standing over 6 feet and delight henrtcdncss of modern youth In screen lovers, like automobili ed in knocking his 'women folks and the spirit of the times. The tensely humari story of a down. Brown says this type in Film Drama love that affected nations Is V.F.W. Gets $4,000 models, change regularly and the 1037 "great lover," like the still is popular with men. Wrong year, Wrong Birthday Take the. flashing color of drawn vividly in the fictional From County for 1937 automobile, Is streamlined. The director says today's lov CLEVELAND (U.P.) John E. ers arc? typified by such stream Uncle Sam's flying forces, .mix drama of "Parnell," "Uncrowned Convention Trip Director Clarence Brown, who Fintz wonJrred who sent him 50 it with the romance of the South King of Ireland," which Metro- has directed some of the best lined romantics as William Pow- ell, Robert Taylor, Robert roses and a card congratulating Seas, wrap it nil in a swiftly offers at the "On to Buffalo" was the slo in lover, types, says today's paced, dramatic story about a Goldwyn-Mayer Young, Tyrone Power and him on his 50th birthday. -
1980-04-01.Pdf (3.1MB)
• News 3 Nothing in the least interesting, infor Cry Rape! mative, or that hasn't already been covered in the HOYA We have been raped. Arts 9 The Voice is very much like a woman: proud, sen A review of a play that closed two sitive, very aware of it's rightful place in the world. We weeks ago; a pretentious and verbose critique of an album that no one is go even run on our own cycle. But, unlike a woman, we ing to but anyway have a sense of honor, and that sense of honor has been . sullied by the shocking act that resulted in the theft of Cover 10 this newspaper, whose monetary value is approximately A last-ditch attempt to get people to get people to pick up our newsmagazine 1200 dollars. But the issue is not money, but rape. We in spite of the cliche-ridden prose and demand satisfaction, and, aga,in like a woman, we pro non-sequitor commentary. Behind bably won't get it. Sports II The facts in the case are simple. We work hard all Now that the basketball season is week gathering the news, sports, and features that you over, pretty lean pickings. Reports on see tastefully presented in our pages. Monday night we minor sports that get almost no funding theLinM and lose all the time. take what we in the newspaper business call "flats", worth around 1200 dollars, to our printers, the Nor C.S. Lewis once said that thern Virginia Sun. Sometime between nine and nine "You always hurt the one you eleven, the flats, (worth over a thousand dollars), were Board 0/ Worth love", and he almost certainly agree that, at least at Georgetown found to be missing, searched for, declared officially Mark Whimp. -
2 Kansas History Fear, Politics, Myth, and Memory: Governor Thomas A
Republican Thomas Andrew Osborn ran for governor and won in 1872 and began actively promoting settlement in the state. Kansas History: A Journal of the Central Plains 42 (Spring 2019): 2–19 2 Kansas History Fear, Politics, Myth, and Memory: Governor Thomas A. Osborn and the Osage Border War of 1874–1875 by Isaias McCaffery n high summer, the Gypsum Hills of south-central Kansas can radiate heat like a vast oven. The iron oxide– tinted ridges shimmer like embers on days when the mercury crosses the hundred-degree mark and keeps rising. The dusty two-lane highway to Medicine Lodge provides dramatic vistas straight out of a Western movie, showcasing scarlet-banded buttes, towering mesas, eroded arroyos, and rugged boulder-strewn canyons.1 The arable remainder is devoted mostly to stock grazing, and as human populations have waned over the past century, the Iopportunistic wildlife has rebounded. Returning natives include deer, turkeys, mountain lions, and pronghorns—to which can be added some grouchy seven-foot-long western diamondback rattlesnakes from neighboring Oklahoma. The indigenous groves of red cedars are a relentless colonizer, ruining extensive pasturage as aggressive root systems seek out whatever marginal moisture the soil retains. Fire remains the primal force that preserves the equilibrium between tall grass and cedar. This is a beautiful land, but one with a measure of menace for those who fail to respect its rules, realities, and limitations. The historical balance between successes and failures—between personal and familial triumphs and tragedies—seems to have tilted toward the negative side of the scales here. -
Copyright by Joseph Paul Moser 2008
Copyright by Joseph Paul Moser 2008 The Dissertation Committee for Joseph Paul Moser certifies that this is the approved version of the following dissertation: Patriarchs, Pugilists, and Peacemakers: Interrogating Masculinity in Irish Film Committee: ____________________________ Elizabeth Butler Cullingford, Co-Supervisor ____________________________ Neville Hoad, Co-Supervisor ____________________________ Alan W. Friedman ____________________________ James N. Loehlin ____________________________ Charles Ramírez Berg Patriarchs, Pugilists, and Peacemakers: Interrogating Masculinity in Irish Film by Joseph Paul Moser, M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2008 For my wife, Jennifer, who has given me love, support, and the freedom to be myself Acknowledgments I owe many people a huge debt for helping me complete this dissertation. Neville Hoad gave me a crash course in critical theory on gender; James Loehlin offered great feedback on the overall structure of the study; and Alan Friedman’s meticulous editing improved my writing immeasurably. I am lucky to have had the opportunity to study with Charles Ramírez Berg, who is as great a teacher and person as he is a scholar. He played a crucial role in shaping the chapters on John Ford and my overall understanding of film narrative, representation, and genre. By the same token, I am fortunate to have worked with Elizabeth Cullingford, who has been a great mentor. Her humility, wit, and generosity, as well as her brilliance and tenacity, have been a continual source of inspiration. -
John Ford O La Elocuencia Del Gesto Shigehiko Hasumi Traducción Ana Useros
70 MINERVA 19.12 Rodaje de Misión de audaces [The Horse Soldiers], 1959 John Ford o la elocuencia del gesto SHIGEHIKO HASUMI TRADUCCIÓN ANA USEROS Cuando Jean-Luc Godard le preguntó a John Ford en una entrevista qué fue lo que le llevó a Hollywood, el autor responsable de la reinvención del western respondió con tan sólo dos sílabas: «Un tren». John Martin Feeney –verdadero nombre de Ford– se trasladó en 1913 a Los Ángeles para trabajar junto a su hermano Francis Ford, actor, guionista y cineasta en Universal. Ford fue el decimotercer hijo de una familia de inmigrantes irlandeses y, aunque inicialmente enfocó su carrera profesional al mundo de la publicidad, localizó pronto su verdadera vocación. Al frente de más de medio centenar de películas, entre mudas y sonoras, obtuvo en vida cuatro premios Oscar. A pesar de que se le recuerda por su impronta en el género western, su filmografía abarca el cine de aventuras, el drama, la comedia dramática o el biopic. Este texto del crítico japonés Shigehiko Hasumi está dedicado a los tres mejores directores de la historia del cine, según Orson Welles: «John Ford, John Ford y John Ford». 07minv19_ford.indd 70 03/01/12 13:44 CBA 71 EL SENADOR Y LA SACA DEL CORREO recido entre Doctor Bull y El hombre que mató El arrojar colectivo, aunque raras veces a Liberty Valance es pues más que mera- ocurre, crea situaciones típicamente for- Un tren avanza hacia nosotros, arrastrado mente superficial. dianas. En Qué verde era mi valle (1941), los por una locomotora de vapor, y se detiene miembros de la familia echan sus salarios lentamente en el extremo del andén de una en el inmenso delantal de la madre. -
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. -
Thirteen Stories
Touro Law Review Volume 15 Number 2 Article 14 1999 Thirteen Stories Anthony Paul Farley Follow this and additional works at: https://digitalcommons.tourolaw.edu/lawreview Part of the Civil Rights and Discrimination Commons Recommended Citation Farley, Anthony Paul (1999) "Thirteen Stories," Touro Law Review: Vol. 15 : No. 2 , Article 14. Available at: https://digitalcommons.tourolaw.edu/lawreview/vol15/iss2/14 This The Salience of Race: Race in America is brought to you for free and open access by Digital Commons @ Touro Law Center. It has been accepted for inclusion in Touro Law Review by an authorized editor of Digital Commons @ Touro Law Center. For more information, please contact [email protected]. Farley: Thirteen Stories THIRTEEN STORIES0 ANTHONY PAuL FARLEY* TABLE OF CONTENTS INTRODUCTION .................................................... 544 1s STORY: WARGASM .................................... 550 21 STORY: CASABLANCA .................................. 565 3R STORY: AMERICA UNVEILED ......................... 570 4TH STORY THIS TIMELESS BURNING .................... 573 5TH STORY: COLORLINES ................................... 578 6TH STORY: A CRITIQUE OF CRITICAL RACE THEORY 586 7TH STORY: WHAT Do BLACK PEOPLE WANT 9 ... .... 589 8 T STORY: ILLNESS AND ITS INTERLOCUTORS ........ 594 T STORY: 9 VOMIT ........................................... 625 10 STORY: THE BEAUTIFUL RAINBOW OF NIGHT ..... 630 T 11 H STORY: THE DANGEROUS BODY ..................... 633 12TH STORY: MEMORIES THAT SMELL LIKE GASOLINE ...................................... 640 13TH STORY: WHAT THEN MUST WE DO? ...... .......... 645 CONCLUSION .................................. © Copyright 1998 Anthony Paul Farley. All rights reserved. Assistant Professor Boston College Law School, B.A. University of Virginia 1984, J.D. Harvard Law School 1987. I thank Deborah Waire Post for her enthusiasm. I thank the organizers of The Salience of Race: 3rd Annual Northeast People of Color Conference for such creative thinking.