August 31, 2012 Toronto-Based Film Directors

Total Page:16

File Type:pdf, Size:1020Kb

August 31, 2012 Toronto-Based Film Directors FOR IMMEDIATE RELEASE Toronto, ON- August 31, 2012 Toronto-based film directors Vincenzo Natali (Splice, Cube) and Steve Kostanski (Father’s Day, Manborg) are slated to headline The Black Museum, a new horror lecture series launching this fall at The Projection Booth – East. Natali is kicking off the series’ limited run on September 27, 2012 with “The Architecture of Fear,” a lecture that examines the use of space in horror cinema classics like The Shining and Suspiria. Kostanski, part of the breakout Astron-6 collective and an animator himself, will present “Terror Frame By Frame: Stop Motion Nightmares on Film” on October 25, to discuss why handcrafted horror effects have endured despite continued CGI advances. Named after Scotland Yard’s infamous gallery of dark crime and murder, The Black Museum is curated by established horror writers Andrea Subissati and Paul Corupe, who will also be hosting the two- to three-hour lectures. Over the course of the fall, The Black Museum will host five industry professionals who will share their experience, knowledge and love of the horror genre in a casual and interactive atmosphere. The Black Museum will also feature two differing takes on the place of zombies in the horror genre. On October 11, Subissati will be offering a look at the social history of zombies, while Rue Morgue Magazine podcaster and personality Stuart “Feedback” Andrews will present a look at the history of zombie cinema, dating back to the 1930s. For the final lecture, Corupe will be presenting “Echoes From the Sleep Room,” a look at how real-life medical tragedies have directly influenced the themes of Canadian-made horror films. For more information or a press kit on The Black Museum, please visit www.theblackmuseum.com Follow The Black Museum on Twitter @BlackMuseumTO and Facebook, facebook.com/TheBlackMuseum. Media Contact: Andrea Subissati (416) 705-4102 [email protected] The Curators: Paul Corupe The creator of Canuxploitation.com, writer and editor Paul Corupe is a regular columnist for Rue Morgue magazine, and has also written about genre film for The Toronto Star, Take One Film and Television in Canada, the Fantasia Festival’s Spectacular Optical online magazine and This Magazine, among others. Andrea “Lady Hellbat” Subissati Andrea Subissati is a sociologist and writer on cultural studies and the horror film genre. In 2010, her first book on the social impact of zombie cinema was published under the title When There’s No More Room In Hell: The Sociology of the Living Dead. The book has been reviewed in Rue Morgue and Fangoria magazines, and Lady Hellbat has become a voice in horror journalism thanks to her well-received guest spots on the Rue Morgue podcast. She has also appeared on Fangoria’s Fright Bytes webcast series and makes regular appearances at Rue Morgue’s Cinemacabre screenings. .
Recommended publications
  • Everything Useful I Know About Real Life I Know from Movies. Through An
    Young adult fiction www.peachtree-online.com Everything useful I know about real ISBN 978-1-56145-742-7 $ life I know from movies. Through an 16.95 intense study of the characters who live and those that die gruesomely in final Sam Kinnison is a geek, and he’s totally fine scenes, I have narrowed down three basic with that. He has his horror movies, approaches to dealing with the world: his nerdy friends, and World of Warcraft. Until Princess Leia turns up in his 1. Keep your head down and your face out bedroom, worry about girls he will not. of anyone’s line of fire. studied cinema and Then Sam meets Camilla. She’s beautiful, MELISSA KEIL 2. Charge headfirst into the fray and friendly, and completely irrelevant to anthropology and has spent time as hope the enemy is too confused to his life. Sam is determined to ignore her, a high school teacher, Middle-Eastern aim straight. except that Camilla has a life of her own— tour guide, waitress, and IT help-desk and she’s decided that he’s going to be a person. She now works as a children’s 3. Cry and hide in the toilets. part of it. book editor, and spends her free time watching YouTube and geek TV. She lives Sam believes that everything he needs to in Australia. know he can learn from the movies…but “Sly, hilarious, and romantic. www.melissakeil.com now it looks like he’s been watching the A love story for weirdos wrong ones.
    [Show full text]
  • The Dead Devour the Big Screen Once More in Premiere Screening of the Unrated Director's Cut of George A. Romero's Land of T
    FANGORIA ENTERTAINMENT, NATIONAL CINEMEDIA AND UNIVERSAL STUDIOS HOME ENTERTAINMENT ANNOUNCE: THE DEAD DEVOUR THE BIG SCREEN ONCE MORE IN PREMIERE SCREENING OF THE UNRATED DIRECTOR’S CUT OF GEORGE A. ROMERO’S LAND OF THE DEAD ON OCTOBER 17 ONE NIGHT NATIONWIDE EVENT FEATURING AN EXCLUSIVE INTERVIEW WITH ROMERO TO KICK OFF THE HALLOWEEN SEASON AND CELEBRATE THE DVD RELEASE FOR IMMEDIATE RELEASE: NEW YORK, NY, and UNIVERSAL CITY, CA (October 3, 2005) – Horror movie fans can kick off the Halloween season with the premiere of one of the most eagerly-awaited DVD releases in the genre ― the never-before-seen Unrated Director’s Cut of GEORGE A. ROMERO’S LAND OF THE DEAD ― in an exclusive one-night only screening in 36 Regal, United Artists and Edwards movie theatres across the country on Monday, October 17 at 8:00 p.m. local time. Presented by Fangoria Entertainment, the parent company of America’s horror entertainment news and information destination Fangoria Magazine, Universal Studios Home Entertainment and National CineMedia, a joint venture of AMC Entertainment Inc., Cinemark USA, Inc. and Regal Entertainment Group (NYSE: RGC), this special premiere event will also feature an exclusive big screen interview with director George A. Romero. Universal Studios Home Entertainment will release GEORGE A. ROMERO’S LAND OF THE DEAD on DVD the following day, October 18. GEORGE A. ROMERO’S LAND OF THE DEAD Unrated Director’s Cut will be presented in high-definition and cinema surround sound in markets nationwide including New York, Los Angeles, Chicago, Philadelphia, San Francisco, Dallas, Washington DC, Atlanta, Houston, Seattle, Tampa, Minneapolis, Phoenix, Cleveland, Miami, Denver, and Pittsburgh among others.
    [Show full text]
  • Unmasking the Devil: Comfort and Closure in Horror Film Special Features
    Unmasking the Devil: Comfort and Closure in Horror Film Special Features ZACHARY SHELDON While a viewer or critic may choose to concentrate solely on a film’s narrative as representative of what a film says, some scholars note that the inclusion of the supplementary features that often accompany the home release of a film destabilize conceptions of the text of a film through introducing new information and elements that can impact a film’s reception and interpretation (Owczarski). Though some special features act as mere advertising for a film’s ancillary products or for other film’s or merchandise, most of these supplements provide at least some form of behind-the-scenes look into the production of the film. Craig Hight recognizes the prominent “Making of Documentary” (MOD) subgenre of special feature as being especially poised to “serve as a site for explorations of the full diversity of institutional, social, aesthetic, political, and economic factors that shape the development of cinema as a medium and an art form” (6). Additionally, special features provide the average viewer access to the magic of cinema and the Hollywood elite. The gossip or anecdotes shared in interviews and documentaries in special features provide viewers with an “insider identity,” that seemingly involves them in their favorite films beyond the level of mere spectator (Klinger 68). This phenomenon is particularly interesting in relation to horror films, the success of which is often predicated on a sense of mystery or the unknown pervading the narrative so as to draw out visceral affective responses from the audience. The notion of the special feature, which unpacks and reveals the inner workings of the film set and even the film’s plot, seems contradictory to the enjoyment of what the horror film sets out to do.
    [Show full text]
  • Fangoria 345(2015)
    IT'S ALIVE—AND IT'S ANGRY! CANADA U.S.& $11.99 Hus: JERUZALEM • Larry Fessenden • Fabio Frizzi • Clu Gulager www.fangoria.com Wrestling HoiTor • THE HALLOW • CONDEMNED • Much more! NOW IN THEATERS f- & ON DEMAND CONTRACTED itHORROR PHASE 2 IN THEATERS & [ NOW ON DEMAND I DEMANOffc’^ . I 11/20 LEARN BY DOING. sFACTORY Digital Filmmaking Program at Douglas DOUGLASEducation Center 1 30 Seventh Street • Monessen, PA 1 5062 Financial aid is available to those who qualify. For more information about graduation rates, median debt of students who completed the program, and consumer information, please visit www.dec.edu/df Housing is available through Boss Development, Inc. DEC.EDU 1.800.413.6013 THIS SCHOOL IS AUTHORIZED UNDER FEDERAL LAWTO ENROLL NONIMMIGRANT ALIEN STUDENTS. 1 6 PREVIEW: “KRAMPUS” The “anti-Claus” gets the major movie vehicle he’s long deserved, thanks to 54 ON SET: “THE HALLOW” Irish forest dwellers are director Michael Dougherty. no longer confined to legend in Corin Hardy’s mythological chiller. 20 PREVIEW: “JERUZALEM” Israeli filmmaking brothers Doron and Yoev Paz spread unholy evil 58 DN SET: “CHARLIE’S FARM” Do you dare join us across sacred ground. to trespass on the grounds of Chris Sun’s huge, savage psychopath? 22 ONSET: “CONDEMNED” 64 INTERVIEW: CLU GULAGER From “Return of the In Eli Morgan Living Dead” to “Feast,” something’s always been Gesner’s infection eating at the veteran actor. opus, catching the murderous rage 68 FEATURE: “MEXICD BARBARD” Director/producer doesn’t mean Lex Drtega et al. are seeing their ambitious anthology you lose your head north of the border.
    [Show full text]
  • Starlog Magazine Issue
    'ne Interview Mel 1 THE SCIENCE FICTION UNIVERSE Brooks UGUST INNERSPACE #121 Joe Dante's fantastic voyage with Steven Spielberg 08 John Lithgow Peter Weller '71896H9112 1 ALIENS -v> The Motion Picture GROUP, ! CANNON INC.*sra ,GOLAN-GLOBUS..K?mEDWARO R. PRESSMAN FILM CORPORATION .GARY G0D0ARO™ DOLPH LUNOGREN • PRANK fANGELLA MASTERS OF THE UNIVERSE the MOTION ORE ™»COURTENEY COX • JAMES TOIKAN • CHRISTINA PICKLES,* MEG FOSTERS V "SBILL CONTIgS JULIE WEISS Z ANNE V. COATES, ACE. SK RICHARD EDLUND7K WILLIAM STOUT SMNIA BAER B EDWARD R PRESSMAN»™,„ ELLIOT SCHICK -S DAVID ODEll^MENAHEM GOUNJfOMM GLOBUS^TGARY GOODARD *B«xw*H<*-*mm i;-* poiBYsriniol CANNON HJ I COMING TO EARTH THIS AUGUST AUGUST 1987 NUMBER 121 THE SCIENCE FICTION UNIVERSE Christopher Reeve—Page 37 beJohn Uthgow—Page 16 Galaxy Rangers—Page 65 MEL BROOKS SPACEBALLS: THE DIRECTOR The master of genre spoofs cant even give the "Star wars" saga an even break Karen Allen—Page 23 Peter weller—Page 45 14 DAVID CERROLD'S GENERATIONS A view from the bridge at those 37 CHRISTOPHER REEVE who serve behind "Star Trek: The THE MAN INSIDE Next Generation" "SUPERMAN IV" 16 ACTING! GENIUS! in this fourth film flight, the Man JOHN LITHGOW! of Steel regains his humanity Planet 10's favorite loony is 45 PETER WELLER just wild about "Harry & the CODENAME: ROBOCOP Hendersons" The "Buckaroo Banzai" star strikes 20 OF SHARKS & "STAR TREK" back as a cyborg centurion in search of heart "Corbomite Maneuver" & a "Colossus" director Joseph 50 TRIBUTE Sargent puts the bite on Remembering Ray Bolger, "Jaws:
    [Show full text]
  • Festival Guide 01 VENUE the Plaza Theatre (1133 Kensington Rd NW)
    Festival Guide 01 www.calgaryundergroundfilm.com VENUE The Plaza Theatre (1133 Kensington Rd NW) www.theplaza.ca TICKETS $10 Regular Screenings $9 CJSW Members $8 CUFF Members, Students & Seniors $40 Punch Card (5 films) Lunch time! $100 Festival Pass (All films except Burlesque Assassins Fundraiser) Tickets available at the door. Come enjoy Advance tickets online or at Frosst Books (1018 – 9 Avenue SE). All evening screenings are licensed 18+ which means you Local’s new can drink beer during the film (!) but... no minors. menu today. Matinees are all ages. ........................... PARKING SPECIAL $2 evening & weekend rate at the VINCI Park parkade (100 - 10A Street NW - East of The Plaza next to Bernard Callebaut Chocolates). PARTIES Monday, April 11, 9:00 PM HILLBILLY BASH AFTER PARTY Molly Malone’s, 1153 Kensington Crescent NW Come join us for a party following Tucker & Dale Vs. Evil with drinks, food and good times! Director Eli Craig, cast and crew in attendance at both the screening and the after party. Thursday, April 14, 6:15 PM SHOW UP & SHIP OUT WITH THE SHIP & ANCHOR Ship & Anchor, 534 17th Avenue SW $20 (tickets available only at The Ship) Bus leaves from The Ship for The Plaza Theatre to see the movie Everyday Sunshine (P. 14) at 6:15 PM sharp & returns after the movie for a FREE drink & guaranteed entrance to the FISHBONE CONCERT! The full band will be in attendance for a Q&A after the screening. Sunday, April 17, 9:00 PM 48-HOUR MOVIE MAKING CHALLENGE AFTER PARTY Molly Malone’s, 1153 Kensington Crescent NW Please join
    [Show full text]
  • Program Note for Retrospective on George A. Romero January 11-26, 2003
    Program note for retrospective on George A. Romero January 11-26, 2003 BRUISER 2000, 99 mins. 35mm print source: George A. Romero. Courtesy Lions Gate Films. Written and directed by George A. Romero. Produced by Ben Barenholtz and Peter Grunwald. Executive Produced by Allen M. Shore. Original music by Donald Rubinstein. Photographed by Adam Swica. Edited by Miume Jan Eramo. Production design by Sandra Kybartas. Art direction by Mario Mercuri. Set decoration by Enrico Campana. Principal cast: Jason Flemyng (as Henry Creedlow), Peter Stormare (Milo Styles), Leslie Hope (Rosemary Newley), Nina Garbiras (Janice Creedlow), Andrew Tarbet (James Larson), Tom Atkins (Detective McCleary), Jonathan Higgins (Rakowski), Jeff Monahan (Tom Burtram), Marie Cruz (Number 9), Beatriz Pizano (Katie Saldano), Tamsin Kelsey (Mariah Breed), and Kelly King (Gloria Kite). From the article Face To No Face by Michael Rowe, Fangoria , April, 2001: From one of an endless number of nondescript warehouses in an industrial district near Toronto's lakeshore, a cluster of location vans and trailers materializes out of the dirty downtown rain. It's the last day of shooting on George A. Romero's new thriller Bruiser , and the fickle weather has tossed the crew a bone in the form of a few hours of sunlight. Not that it matters to anyone—the location is deep inside the warehouse's airless recesses. The air inside is so thick and dark that it's a small mercy to surface into the fresher air outside. In a film that embraces metaphor, the secrecy and intensity surrounding the story being shot inside couldn't have a better frame than today's location.
    [Show full text]
  • Fangoria's Top 20 Hom Etown
    FANGORIA HOME/ NEWS MOVIES/ TV REVIEWS BLOGS COMMUNITY REGISTER STORE fango family all the horror screen screams devouring media fango staff speaks connect w ith others join us buy stuff Username •••••• Login Forgot login? | Register MY PROFILE | MY MESSAGES Search.... Search Movies/ TV Fearful Features FANGORIA's Top 20 Hometown Haunts F ANGORIA'S TOP 20 HOM ETOWN HAUNTS RSS F EED Get the FANGO Feed! Last year, Fango posted a list of the top 20 haunts across the U.S. With the most wonderful FANGORIA time of the year quickly approaching, here’s a look at those various spooky locales to check out! At FANGORIA we know Horror, and there is nowhere you can find live movie and video-game NEWSLETTER style FX laden horror than at the best hometown haunted houses in America! They take you into an experience that you won’t soon forget. We have searched for some of the scariest, most over-the-top haunted houses (not including theme parks) and now we present our list of the Top 20 Hometown Haunted Houses in America! So once you've watched your favorite horror movies and survived a zombie attack in LEFT 4 DEAD 2, go out into the October night to one of these terrifying events…and don’t say we didn’t warn you! REVIEWS 1) Netherworld – Norcross, GA (Atlanta area) “PSYCHOSIS” (DVD One of the most creative and ingenious Haunted houses ever created; movie quality special effects, elaborate sets, Review) a powerful acting troupe and remarkably unique scares made Netherworld our #1 Haunted House in 2009! “THE DARKNESS” #89 (Comic Review) “THE SORROW KING” 2) House of Shock - New Orleans, LA (Book Review) “PROOF: ENDANGERED” The House of Shock is one of the most infamous Haunted Attractions in the world! A full horror pre-show features #2 (Comic Review) “DARK DAYS, DARK pyrotechnics, explosions and even a freak show.
    [Show full text]
  • Classified by Genre: Rhetorical Genrefication in Cinema by © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St
    Classified by Genre: Rhetorical Genrefication in Cinema By © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St. Louis, 2010 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Catherine Preston Co-Chair: Joshua Miner Michael Baskett Ron Wilson Amy Devitt Date Defended: 26 April 2019 ii The dissertation committee for Carl Joseph Swanson certifies that this is the approved version of the following dissertation: Classified by Genre: Rhetorical Genrefication in Cinema Chair: Catherine Preston Co-Chair: Joshua Miner Date Approved: 26 April 2019 iii Abstract This dissertation argues for a rethinking and expansion of film genre theory. As the variety of media exhibition platforms expands and as discourse about films permeates a greater number of communication media, the use of generic terms has never been more multiform or observable. Fundamental problems in the very conception of film genre have yet to be addressed adequately, and film genre study has carried on despite its untenable theoretical footing. Synthesizing pragmatic genre theory, constructivist film theory, Bourdieusian fan studies, and rhetorical genre studies, the dissertation aims to work through the radical implications of pragmatic genre theory and account for genres role in interpretation, evaluation, and rhetorical framing as part of broader, recurring social activities. This model rejects textualist and realist foundations for film genre; only pragmatic genre use can serve as a foundation for understanding film genres. From this perspective, the concept of genre is reconstructed according to its interpretive and rhetorical functions rather than a priori assumptions about the text or transtextual structures.
    [Show full text]
  • The Critical-Industrial Practices of Contemporary Horror Cinema
    Off-Screen Scares: The Critical-Industrial Practices of Contemporary Horror Cinema A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joseph F Tompkins IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Richard Leppert, Adviser January 2013 © Joseph F Tompkins, 2013 Acknowledgements I would like to extend my thanks to the many friends, colleagues, teachers, and family members who provided the necessary support and advice to usher me through both the dissertation writing process and my time as a graduate student. I am grateful to the members of my dissertation committee: Mary Vavrus, Gil Rodman, John Mowitt and Gary Thomas, for their lasting guidance, scholarly advice, and critical feedback. In particular, this project was hatched in Mary Vavrus’s Political Economy of Media seminar, and for that, I’m especially indebted. Also, to Gary Thomas, who taught me, among other things, the power of good, clean prose as well as the radical possibilities of making the classroom into a vitalizing, “heterotopian” space—a rampart against the “mechanical encrustation on the living.” I would also like to convey my sincerest appreciation to my mentor, Richard Leppert, who, since my earliest days as an undergraduate, has been a source of both professional guidance and companionship. Richard is my model—as an educator and a friend. I would also like to thank Jochen Schulte-Sasse, Robin Brown, Cesare Casarino, Liz Kotz, Keya Ganguly, Timothy Brennan, Siobhan Craig, and Laurie Ouellette for their sage advice during my graduate studies. Many friends and colleagues provided me intellectual and emotional support throughout the years: Mathew Stoddard, Tony Nadler, Alice Leppert, Manny Wessels, Mark Martinez, Doyle “Mickey” Greene, Kathie Smith, and Eleanor McGough.
    [Show full text]
  • University of California Riverside
    UNIVERSITY OF CALIFORNIA RIVERSIDE Omega Men The Masculinist Discourse of Apocalyptic Manhood in Postwar American Cinema A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Ezekiel Crago June 2019 Dissertation Committee: Dr. Sherryl Vint, Co-Chairperson Dr. Derek Burrill, Co-Chairperson Dr. Carole-Anne Tyler Copyright by Ezekiel Crago 2019 The Dissertation of Ezekiel Crago is approved: __________________________________________ __________________________________________ Committee Co-Chairperson __________________________________________ Committee Co-Chairperson University of California, Riverside Acknowledgments I wish to thank my committee chairs, Sherryl Vint and Derek Burrill, for their constant help and encouragement. Carole-Anne Tyler helped me greatly by discussing gender and queer theory with me. Josh Pearson read drafts of chapters and gave me invaluable advice. I was able to work out chapters by presenting them at the annual conference of the Science Fiction Research Association, and I am grateful to the members of the organization for being so welcoming. I owe Erika Anderson undying gratitude for meticulously aiding me in research and proofreading the entire project. iv ABSTRACT OF THE DISSERTATION Omega Men The Masculinist Discourse of Apocalyptic Manhood in Postwar American Cinema by Ezekiel Crago Doctor of Philosophy, Graduate Program in English University of California, Riverside, June 2019 Dr. Sherryl Vint, Co-Chairperson Dr. Derek Burrill, Co-Chairperson This study investigates anxieties over the role of white masculinity in American society after World War Two articulated in speculative films of the post-apocalypse. It treats the nascent genre of films as attempts to recenter white masculinity in the national imagination while navigating the increased visibility of this subject position, one that maintains dominance in society through its invisibility as superordinate standard of manhood.
    [Show full text]
  • Starlog Magazine Issue
    Sex & the single alien: SPECIES II speaks! SPECIAL MILLENNIUM EDITION ..99/$6.50 CANADA U.K. £2.95 June 1998 #251 COMET TARGET 1 i • Startling Will you- und "Trie everyone else- Facts" expised! X-FILES Movie FBI Agents DEEP desperately TiTTjI. seeking iliens! 1 1 Cat fight of the century! K A4~\K TCT r!T>C * « CI/- ; . i_ 1 1 'i' 1807-68 6 E fi B 0 H 8 * TRROIfli V THE "STAR TREK AUTOGRAPH CHALLENGE S" GAME FOR A CHANCE TO tfIN ONE OF 5D COMPLETE SETS OF SEASON H AUTOGRAPHED CARDS. COiyyMG STARDAft 5;9S ONE AUTOGRAPHED CARD GUARANTEED tl\l EVERY BCSX'l • NO PURCHASE NECESSARY. OPEN TO LEGALjAL RESIDENTSRES) OF THE UNITED STATES AND CANADA (EXC. QUEBEC PROVINCE). VOID WHERE PROHIBITED. GAME ENDS OCTOBER 31- 1998. FOR LAUREL. HJ 08054. ONE Sl-. * THREE FREE GAME CARDS AND OFFICIAL RULES,RULES. iSEND A SELF-ADDRESSED. STAMPED ENVELOPE TO: STAR TREK AUTOGRAPH CHALLENGE 2. P.O. BOX 651. MT. 5kyBox iSfc REQUEST PER ENVELOPE. MAILED SEPARATELY.:LY. WA,WA. VT & CDN RESIDENTS MAY OMIT RETURN POSTAGE. ODDS OF WINNING. BASED ON OBTAINING RARE GAME CARDS: ARE 1:14.400 PA" TM 1 .=>TOU) PUUMfUIMTPir!tIIRF5: Alt Rll US'" . ALL RIGHTS RESERVED. STAR TREK AND RELATED MARKS ARE TRADEMARKS OF PARAMOUNT PICTURES. FLEER SKYBQX AUTHORIZED This is the way the world ends when a comet makes Deep Impact. See page 46. IL 61054-0430. Printed in u.S.£. ; ^^^^^Dept.. P.O. Box 430, Mt. Morris. «• • / ; LOG subscription 353- 1^ s4EhMBL/ im?mS * i , —"r **-n v SIGNED, SEALED & DELIVERED.
    [Show full text]