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WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 April 1875
WALLACE, (Richard Horatio) Edgar Geboren: Greenwich, Londen, 1 april 1875. Overleden: Hollywood, USA, 10 februari 1932 Opleiding: St. Peter's School, Londen; kostschool, Camberwell, Londen, tot 12 jarige leeftijd. Carrière: Wallace was de onwettige zoon van een acteur, werd geadopteerd door een viskruier en ging op 12-jarige leeftijd van huis weg; werkte bij een drukkerij, in een schoen- winkel, rubberfabriek, als zeeman, stukadoor, melkbezorger, in Londen, 1886-1891; corres- pondent, Reuter's, Zuid Afrika, 1899-1902; correspondent, Zuid Afrika, London Daily Mail, 1900-1902 redacteur, Rand Daily News, Johannesburg, 1902-1903; keerde naar Londen terug: journalist, Daily Mail, 1903-1907 en Standard, 1910; redacteur paardenraces en later redacteur The Week-End, The Week-End Racing Supplement, 1910-1912; redacteur paardenraces en speciaal journalist, Evening News, 1910-1912; oprichter van de bladen voor paardenraces Bibury's Weekly en R.E. Walton's Weekly, redacteur, Ideas en The Story Journal, 1913; schrijver en later redacteur, Town Topics, 1913-1916; schreef regelmatig bijdragen voor de Birmingham Post, Thomson's Weekly News, Dundee; paardenraces columnist, The Star, 1927-1932, Daily Mail, 1930-1932; toneelcriticus, Morning Post, 1928; oprichter, The Bucks Mail, 1930; redacteur, Sunday News, 1931; voorzitter van de raad van directeuren en filmschrijver/regisseur, British Lion Film Corporation. Militaire dienst: Royal West Regiment, Engeland, 1893-1896; Medical Staff Corps, Zuid Afrika, 1896-1899; kocht zijn ontslag af in 1899; diende bij de Lincoln's Inn afdeling van de Special Constabulary en als speciaal ondervrager voor het War Office, gedurende de Eerste Wereldoorlog. Lid van: Press Club, Londen (voorzitter, 1923-1924). Familie: getrouwd met 1. -
Edgar Wallace (1875–1932)
Edgar Wallace (1875–1932) Richard Horatio Edgar Wallace eða bara Edgar Wallace eins og hann kallaði sig var enskur rithöfundur, blaðamaður og handritshöfundur sem skrifaði 175 skáldsögur, 24 leikrit og fjölda greina í blöð og tímarit. Þá er búið að gera vel á annað hundruð kvikmyndir eftir sögum hans og er enn að bætast við þá tölu. Munu það vera fleiri kvikmyndir en gerðar hafa verið eftir sögum nokkurs annars höfundar. Til marks um vinsældir hans, þá vildi einn útgefandi bóka hans meina að fjórðungur allra bóka sem lesnar voru á Englandi á þriðja áratug 20. aldar væru eftir hann. Í dag er Wallace kannski helst kunnur fyrir að hafa í samvinnu við Draycott Dell skrifað handritið að fyrstu kvikmyndinni um King Kong sem og smásöguna sem handritið og síðar skáldsagan byggir á. Með þekktum bókum eftir Wallace má nefna The Four Just Men, The Ringer og The Door with the Seven Locks (Dyrnar með lásunum sjö). Edgar Wallace fæddist í London 1. apríl árið 1875. Foreldrar hans voru leikarar, Richard Horatio Edgar (sem vissi reyndar aldrei af tilvist hans) og Mary Jane Blair. Mary hafði misst mann sinn árið 1868 og átti eina dóttur fyrir þegar hún varð ófrísk af Edgar eiginlega fyrir slysni. Störfuðu þau Richard bæði hjá sama leikflokki sem rekinn var af móður Richards. Til að forðast hneyksli lét Mary engan vita af óléttunni og fékk leyfi um tíma frá hópnum til að geta eignast barnið í kyrrþey. Bað hún ljósmóðurina sem stundaði hana að finna fyrir sig fólk sem væri tilbúið að fóstra soninn strax eftir fæðingu gegn greiðslum. -
Outline of U. S. History
OUTLINE OF U.S. History Early Settlement Colonial Period Road to Independence Forming a Government Westward Expansion Sectional Conflict Civil War Economic Growth Discontent and Reform War, Prosperity, and Depression The New Deal and World War II Postwar Prosperity Civil Rights and Social Change A New World Order Bridge to the 21st Century 2008 Presidential Election OUTLINEOUTLINE OFOF UU..SS.. HISTORYHISTORY Bureau of International Information Programs U.S. Department of State 2011 OUTLINEOUTLINE OFOF UU..SS.. HISTORYHISTORY CONTENTS CHAPTER 1 Early America . 4 CHAPTER 2 The Colonial Period . 22 CHAPTER 3 The Road to Independence . 50. CHAPTER 4 The Formation of a National Government . 66 CHAPTER 5 Westward Expansion and Regional Differences . .110 CHAPTER 6 Sectional Conflict . .128 CHAPTER 7 The Civil War and Reconstruction . .140 CHAPTER 8 Growth and Transformation . .154 CHAPTER 9 Discontent and Reform . .188 CHAPTER 10 War, Prosperity, and Depression . .202 CHAPTER 11 The New Deal and World War II . .212 CHAPTER 12 Postwar America . 256. CHAPTER 13 Decades of Change: 1960-1980 . .274 CHAPTER 14 The New Conservatism and a New World Order . .304 CHAPTER 15 Bridge to the 21st Century . .320 CHAPTER 16 Politics of Hope . .340 PICTURE PROFILES Becoming a Nation . 38 Transforming a Nation . 89 Monuments and Memorials . .161 Turmoil and Change . .229 21st Century Nation . 293. Bibliography . .346 Index . 349. 4 CHAPTER 1 EARLY AMERICA Mesa Verde settlement in Colorado, 13th century. CHAPTER 1: EARLY AMERICA “Heaven and Earth never agreed better to frame a place for man’s habitation.” Jamestown founder John Smith, 1607 THE FIRST AMERICANS ancestors had for thousands of years, along the Siberian coast and then At the height of the Ice Age, be- across the land bridge . -
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. -
Brave New World: Imperial and Democratic Nation-Building in Britain Between the Wars
Image Brave New World: Imperial and Democratic Nation-Building in Britain between the Wars Edited by Laura Beers and Geraint Thomas Brave New World Imperial and Democratic Nation- Building in Britain between the Wars Brave New World Imperial and Democratic Nation- Building in Britain between the Wars Edited by Laura Beers and Geraint Thomas LONDON INSTITUTE OF HISTORICAL RESEARCH Published by UNIVERSITY OF LONDON SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU First published in print in 2011. This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY- NCND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978 1 909646 45 2 (PDF edition) ISBN 978 1 905165 58 2 (hardback edition) Contents List of contributors vii Preface by Ross McKibbin ix Acknowledgements xiii Introduction 1 1. Political modernity and ‘government’ in the construction of inter-war democracy: local and national encounters Geraint Thomas 39 2. Whig lessons, Conservative answers: the literary adventures of Sir J. A. R. Marriott Gary Love 67 3. The ‘Will to Work’: industrial management and the question of conduct in inter-war Britain Daniel Ussishkin 91 4. Representing the people? The Daily Mirror, class and political culture in inter-war Britain Adrian Bingham 109 5. ‘A timid disbelief in the equality to which lip-service is constantly paid’: gender, politics and the press between the wars Laura Beers 129 6. Conservative values, Anglicans and the gender order in inter-war Britain Lucy Delap 149 7. -
The Situation and Tendencies of the Cinema in Africa
Studies in Visual Communication Volume 2 Issue 1 Spring 1975 Article 5 1975 The Situation and Tendencies of the Cinema in Africa Jean Rouch Recommended Citation Rouch, J. (1975). The Situation and Tendencies of the Cinema in Africa. 2 (1), 51-58. Retrieved from https://repository.upenn.edu/svc/vol2/iss1/5 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/svc/vol2/iss1/5 For more information, please contact [email protected]. The Situation and Tendencies of the Cinema in Africa This contents is available in Studies in Visual Communication: https://repository.upenn.edu/svc/vol2/iss1/5 viewpoints; (3) an analysis of new tendencies and the conditions for the development of a true African cinema. As to reference documents: It is important to note here the considerable difficulties of documentation in the field of African cinema. I apologize for many errors and omissions that are inevitable in this type of study; but I think that THE SITUATION AND TENDENCIES above all this report is a foundation, which after the OF THE CINEMA IN AFRICA necessary corrections and rectifications will give researchers access to information for their studies. PART I* I have gathered these data by using: the classic litera ture- unfortunately very slight- on African cinema (Georges JEAN ROUCH Sadoul, Leprophon, Thevenot); a review of the first and only translated by STEVE FELD international conference on "Cinema in Sub-Saharan Africa," organized in Brussels during the World Fair in July 1958; The cinema began to take hold in Africa from the first different UNESCO reports (in particular the report of years that followed its invention. -
Cinema at the End of Empire: a Politics of Transition
cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3. -
An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: an Interpretive History of Blacks in American Film by Donald Bogle Dominique M
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-11-2011 An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: An Interpretive History of Blacks in American Film By Donald Bogle Dominique M. Hardiman Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Hardiman, Dominique M., "An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: An Interpretive History of Blacks in American Film By Donald Bogle" (2011). Research Papers. Paper 66. http://opensiuc.lib.siu.edu/gs_rp/66 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. 1 AN INTERACTIVE STUDY GUIDE TOMS, COONS, MULATTOS, MAMMIES, AND BUCKS: AN INTERPRETIVE HISTORY OF BLACKS IN AMERICAN FILM BY DONALD BOGLE Written by Dominique M. Hardiman B.S., Southern Illinois University, 2011 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Masters of Science Degree Department of Mass Communications & Media Arts Southern Illinois University April 2011 ii RESEARCH APPROVAL AN INTERACTIVE STUDY GUIDE TOMS, COONS, MULATTOS, MAMMIES, AND BUCKS: AN INTERPRETIVE HISTORY OF BLACKS IN AMERICAN FILM By Dominique M. Hardiman A Research Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Science in the field of Professional Media & Media Management Approved by: Dr. John Hochheimer, Chair Graduate School Southern Illinois University Carbondale April 11, 2011 1 ACKNOWLEDGEMENTS This Research would not have been possible without the initial guidance of Dr. -
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. -
The Green Rust, by Edgar Wallace 2 CHAPTER XXXI CHAPTER XXXII the Green Rust, by Edgar Wallace
1 CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV CHAPTER XV CHAPTER XVI CHAPTER XVII CHAPTER XVIII CHAPTER XIX CHAPTER XX CHAPTER XXI CHAPTER XXII CHAPTER XXIII CHAPTER XXIV CHAPTER XXV CHAPTER XXVI CHAPTER XXVII CHAPTER XXVIII CHAPTER XXIX CHAPTER XXX The Green Rust, by Edgar Wallace 2 CHAPTER XXXI CHAPTER XXXII The Green Rust, by Edgar Wallace The Project Gutenberg EBook of The Green Rust, by Edgar Wallace This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Green Rust Author: Edgar Wallace Release Date: March 28, 2008 [EBook #24929] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK THE GREEN RUST *** Produced by D Alexander, Martin Pettit and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive) THE GREEN RUST BY EDGAR WALLACE WARD, LOCK & CO., LIMITED LONDON AND MELBOURNE MADE IN ENGLAND Printed in Great Britain by Butler & Tanner Ltd., Frome and London THE GREEN RUST Novels by EDGAR WALLACE published by WARD, LOCK AND CO., LTD. The "Sanders" Stories SANDERS OF THE RIVER BOSAMBO OF THE RIVER BONES LIEUTENANT BONES SANDI, THE KING-MAKER THE PEOPLE OF THE RIVER THE KEEPERS OF THE KING'S PEACE Mystery Stories The Green Rust, by Edgar Wallace 3 THE DAFFODIL MYSTERY THE DARK EYES OF LONDON BLUE HAND MR. -
Sangre Fácil
PROJECCIÓ 167 Antiga Audiència, dimarts 11 de març de 2003 Las uvas de la ira The Grapes of Wrath, John Ford, 1940 Aquest film és el relat més impressionant sobre la depressió que hi va haver a Estats Units durant els anys 30. Tota una crida a la solidaritat. A Las uvas de la ira una família de grangers intenta És un dels sis pilars del temple Hollywood, un Fitxa tècnica sobreviure a l’Amèrica de la gran depressió, després de d’aquells homes que va modelar el rostre del que els hagin expropiat les terres. Amb un vell camió cinema. Fitxa tècnica recorreran tot l’Estat a la cerca de terres on puguin Realitzador: John Ford La simplicitat és una de les virtuts predominants a treballar com a jornalers. La seva situació és crítica, ja que Productor: Darryl F.Zanuck les 140 pel·lícules que va rodar entre el 1917 i el no hi ha feina i són molts els qui es troben en la mateixa Muntatge: Gregg Toland 1966, tot un exemple de direcció d’actors. situació. Guió: John Steinbeck i Nunally Johnson Simplicitat d’una acció concentrada i depurada Fotografia: Gregg Toland Aquest film, basat en la novel·la de John fins a la perfecció, digna de tots els elogis dels Música: Alfred Newman Steinbeck és, fonamentalment, una dura crítica al cineastes, crítics i públic de tot el món. La carrera Companyia productora: Twentieth Century Fox somni americà que tant ens volen vendre. Ens de John Ford es podria dividir en quatre períodes: Nacionalitat: Estats Units mostra la vertadera realitat d’una època de L’època muda (1917-1928). -
A Journal of African Studies
UCLA Ufahamu: A Journal of African Studies Title Apartheid and Cinema Permalink https://escholarship.org/uc/item/77k54213 Journal Ufahamu: A Journal of African Studies, 13(1) ISSN 0041-5715 Author Ssali, Ndugu Mike Publication Date 1983 DOI 10.5070/F7131017123 Peer reviewed eScholarship.org Powered by the California Digital Library University of California APARTHEID AND CINEMA by Ndugu Mike Ssali The first cinema show was exhibited to a special group of white South Africans on April 19, 1895 in Johannesburg. 1 That makes South Africa one of the first partakers of the 'motion picture' novelty. Cinema has since remained part of the South African social and cultural fabric, although only one scholar, Thelma Gutsche , has studied in any detail the history of the cinema in that country. This paper proposes to discuss and analyze two major as pects of the subject that have been overlooked by film histor ians. The first is a historical survey of those films which the South African power structure allowed the Blacks to see and participate in. The second objective is to examine how and why those films were selected, and the social impact they were in tended to have on the Black community in South Africa. URBAN SCENE SETTING The Dutch East India Company's employees established a settlement at the Cape of Good Hope in 1652. After two bloody campaigns against the Khoikhoi, 1659-60 and 1763-74, the Dutch went on to defeat the Xhosa in front-ier wars in 1779-81 and 1793. But in 1795 the British displaced the Dutch at the Cape.