Octave Lynn Bridges Came Into This World on April 11,1916

Total Page:16

File Type:pdf, Size:1020Kb

Octave Lynn Bridges Came Into This World on April 11,1916 Octave Lynn Bridges OCTAVE LYNN BRIDGES Octave Lynn Bridges came into this world on April 11,1916. He was the oldest child and only son of his parents, William Wear and Lenna May White Bridges. Later four sisters, Mary Avanel, Belva, Mla Janet and Phyllis joined him. His family lived in Porterville, where he was born; Snyderville, where they had a dairy of 30+ cows that were hand milked twice a day; Draper, where his father was sexton at the cemetery and he helped to prepare the grave sites. While living there, he attended Jordan High School and played football; and Sugarhouse, where he lived when he married Melba LaRue Green. Lynn and Melba became acquainted when he came to her parent's home on his motorcycle with his friend Jerry Ennis. Jerry came to visit Melba's sister, Myrl. Lynn worked at Riverton Motor as a mechanic and Melba worked at the Meredith Page store just across the street. They started seeing each other regularly and were married October 19, 1938 in the Salt Lake Temple. At the time they were married, Lynn was working as a truck driver for Deseret lndustries. He collected items donated for the store and delivered large items that had been purchased. He soon changed jobs and began working at Welfare Square. Among his trip destinations were Mesa Arizona for grapefruit and oranges; Washington, canned fish; Montana, grain; San Francisco and Los Angeles California, oranges and canned goods; and Boise ldaho for produce. He often took his family with him, which was the case on one trip to Los Angeles. As they were leaving Las Vegas on the way home, it started to snow. When they reached the "Utah Hill" outside of St. George, they came to a halt. There was a bus ahead of them that couldn't make it up the hill and had turned sideways in the road. The passengers in the bus were service men and they had to walk up the hill. Melba, ElRay and Sheldon got out of the truck to walk too. Two of the soldiers came and took the boys by the hand and helped them up the hill. When a new truck shop was built on Welfare Square, Dad was made foreman and also worked as a mechanic. He was responsible for repairs, maintenance and keeping the trucks ready to be on the road. By this time, the church had opened a coal mine in Orangeville, Utah and trucked coal into Salt Lake City to the LDS Hospital, Welfare Square and regional buildings and the trucks were on the road continually. With this new position, Lynn was able to spend more time with the family. ln 1955, Lynn changed employment and began working at lnterstate Truck Lines as a truck mechanic where he worked until the time of his death. During this time, he mainly worked afternoon shift leaving his morning hours for custom welding work and building horse trailers. He built a large garage with doors big Octave Lynn Bridges enough to move trailers, trucks and other equipment in and out easily and give him a place to work in bad weather. Lynn bought a new suburban the first year that Chevrolet had them on the market (around 1950, 51 or 52). He made it pay for itself by hauling seven or eight riders to Salt Lake City to work and back home every day. He kept it in good running condition and it was used for many group trips for years. Lynn and Melba were associated with several couples that enjoyed doing things as a group. They always traveled in the suburban and as many additional vehicles as necessary. Among those in this group were: Geneva and Henry Page, Deno and Venda Seal, Laurel and Doyle Nokes, Vere and Mary Lou Densley, Ray and Ruth Beck, and Coral and Doug Peisley. One of their activities was attending many of the temples: Alberta Canada, ldaho Falls, Logan, Manti, Mesa, St. George, Salt Lake and the dedication of the Los Angeles. One time when they went to Manti, the temple was closed but the night watchman took them inside and up the spiral staircase to the top of the temple where they could look out. lt was a memorable occasion. At General Conference time, members of this group went to Salt Lake City on Saturday evening. The men went to Priesthood Meeting and the women went shopping. After the meeting, they met at Hotel Utah for dinner and had an enjoyable evening. They also attended Stake dances, which were held regularly where Mavis and Orr Hill usually joined them. Sunday evening after church was a time for the Bridges and Peisley's and sometimes others, to get together in less formal surroundings. Bread, milk and onions were commonly served for a light supper. The family attended church meetings for several years in the old school house. The old church was torn down with the anticipation of rebuilding, but World War ll began and materials needed to build a new one was not available. Lynn was in the Elder's Quorum Presidency and enjoyed working there with Kay Hamilton and Melvin Gilbert. He was later ordained a Seventy. Animals were an important part of Lynn's life. He had a spirited sonel mare that he rode one time from East Canyon to his Father-in-laWs (Joseph Green) pasture in Riverton because he didn't have any other way to transport it. Later on at East Canyon, this mare had a colt. ln the fall, the mare was mistaken for a deer and was shot and killed. Lynn took the colt home, bottle fed, and nurtured it. However, one day it came up missing. Lynn scoured the area but it was not found until later in the winter when its remains were discovered where it had been caught in the slew. At one time, he had a roan named Shorty, and later a palamino, that he had at the time of his death. His dog, an lrish Setter, was Octave Lynn Bridges named Old Mick. One day close to the time of hunting season, the dog disappeared. Someone else must have admired him also and picked him up. Lynn loved being our-doors and enjoyed hunting and fishing. As usual, these sporting trips were done in a group also. Among those sharing these "all male" excursions were Don Harrison, and his sons DeRoyce and Verl, Charlie Green and his son Marlin, Howard Davis and his brother Bob, and Clifton Green. ElRay and Gerald, and later Sheldon, were also privileged to go along when they were old enough to have a license. Each year on the weekend before the opening of deer hunting, the hunter's families went to East Canyon on Uncle LeGrande Bridges ranch to set up camp. Everyone had a picnic and enjoyed being together. Lynn's last deer hunting season of 1959, he stayed at the ranch the whole season, about ten days, and traveled back and forth to Salt Lake each day to work. On one hunting trip when Lynn was still in high school, he wore his football shoes. He shot and wounded a deer, run it down and killed it with his knife. He didn't want to waste another bullet. For the opening of duck hunting, Lynn, Charlie and Don Ioaded the suburban and traveled to Ogden Bay at Brigham City to try their luck. They were usually successful. Pheasant hunting was done closer to home. They hunted in the Green's pasture in the river bottoms and on the flats between Riverton and Herriman. Family entertainment was often found at East Canyon reservoir or at Moon Lake. Again Lynn, Charlie and Don were together but these trips included their families as well. Lynn took his boat to East Canyon and they enjoyed fishing, water skiing, and having a picnic. At Moon Lake, the families stayed lor a week, camping in tents and cooking over an open fire. The kids enjoyed the flying squirrels, fishing and being together. ln July 1952, Lynn caught an eight-pound brown trout in Moon Lake. He had his picture in the Deseret News as the captor of the largest fish caught there. Lynn and Melba lived in a variety of homes during their married life. They started out in a basement apartment in Sugar House. Shortly after that, they moved into the south side of Lynn's parents' home in Sugar House. Mary and Howard Davis lived in the north side of the house. Next they lived in the basement of Charlie and Leah Green's home in Riverton. Sheldon was very young and suffered with hay fever and asthma while they lived there. The doctor advised them to move from the basernent, so they went to Melba's parents where they lived for about two years. One winter they slept in the chicken coop. At night when it was cold, they heated bricks in the oven, wrapped them in towels, and put them inside the covers at the foot of the bed to keep their feet warm. Their next home was on Redwood Road by the show house. They moved to what became known as the Bridges Hotel in 1948. This was a large, old brick house owned by Clifton and Verna Lloyd. The Lloyds and Bridges became good friends during the seven years they lived there. ln 1955, they built a brick horne on Redwood Road in Octave Lynn Bridges Riverton. This was the first time they had owned their own home and they were very excited about it.
Recommended publications
  • Community Resources and Black Social Action, F Street, a Case Study
    UNLV Theses, Dissertations, Professional Papers, and Capstones 5-1-2012 Community Resources and Black Social Action, F Street, A Case Study Robert Joseph Mckee University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the African American Studies Commons, and the Sociology Commons Repository Citation Mckee, Robert Joseph, "Community Resources and Black Social Action, F Street, A Case Study" (2012). UNLV Theses, Dissertations, Professional Papers, and Capstones. 1596. http://dx.doi.org/10.34917/4332577 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. COMMUNITY RESOURCES AND BLACK SOCIAL ACTION: F STREET, A CASE STUDY By Robert Joseph McKee Bachelor of Arts University of Nevada, Las Vegas 1988 Master of Arts in Sociology University of Nevada, Las Vegas 1990 A dissertation submitted in partial
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • PDF (1.06 Mib)
    The Ten Best Movies of the 4. Pulp Fiction '94: Quentin Tarantino's follow-up to Reservoir Dogs was nothing short of spectacular as its unique blend of shocking violence and 1990s: side splitting laughs caused a massive stir at Cannes. Rapid fire style cou- pled with first class writing paved the way for a genre of film still prevalent 10. GOOdfellaS '90: True account of Henry Hill, Jimmy Conway, and Tommy in the industry today. De Vito and their mobster lives in New York during the '60s and '70s. Not The Godfather, but Scorsese's work is explosive, well-acted, and has some- 3. The Ice Storm '97: The best movie you didn't see. As Vietnam approach- thing that many films don't: mass appeal. es its terminus and the Watergate scandal unfolds, life in the real world is in a cocked hat. Beautifully written tale of sexual exploration as well as the 9. Fearless '93: Excellent introspective journey by director Peter Weir into search for meaning and genuine satisfaction outside of socially mandated the psyche of a plane crash survivor and his mental transformation. Deeply boundaries. moving performance from Jeff Bridges. 2. Lost Highway '97: David Lynch's journey into the depths of the mind 8. The Usual Suspects '95: Bryan Singer's taut crime drama features the made for one creepy film. Fred Madison, after being accused of murder, mys- best ensemble cast this side of Glengary Glen Ross. Gabriel Byrne, Stephen teriously morphs into Pete Dayton. Soon the two sides of the alter ego begin Baldwin, Benicio Del Toro, Kevin Pollak, Kevin Spacey and Chazz Palminteri to cross paths in a surreal web of intrigue.
    [Show full text]
  • Teaching Social Studies Through Film
    Teaching Social Studies Through Film Written, Produced, and Directed by John Burkowski Jr. Xose Manuel Alvarino Social Studies Teacher Social Studies Teacher Miami-Dade County Miami-Dade County Academy for Advanced Academics at Hialeah Gardens Middle School Florida International University 11690 NW 92 Ave 11200 SW 8 St. Hialeah Gardens, FL 33018 VH130 Telephone: 305-817-0017 Miami, FL 33199 E-mail: [email protected] Telephone: 305-348-7043 E-mail: [email protected] For information concerning IMPACT II opportunities, Adapter and Disseminator grants, please contact: The Education Fund 305-892-5099, Ext. 18 E-mail: [email protected] Web site: www.educationfund.org - 1 - INTRODUCTION Students are entertained and acquire knowledge through images; Internet, television, and films are examples. Though the printed word is essential in learning, educators have been taking notice of the new visual and oratory stimuli and incorporated them into classroom teaching. The purpose of this idea packet is to further introduce teacher colleagues to this methodology and share a compilation of films which may be easily implemented in secondary social studies instruction. Though this project focuses in grades 6-12 social studies we believe that media should be infused into all K-12 subject areas, from language arts, math, and foreign languages, to science, the arts, physical education, and more. In this day and age, students have become accustomed to acquiring knowledge through mediums such as television and movies. Though books and text are essential in learning, teachers should take notice of the new visual stimuli. Films are familiar in the everyday lives of students.
    [Show full text]
  • The Representation of Suicide in the Cinema
    The Representation of Suicide in the Cinema John Saddington Submitted for the degree of PhD University of York Department of Sociology September 2010 Abstract This study examines representations of suicide in film. Based upon original research cataloguing 350 films it considers the ways in which suicide is portrayed and considers this in relation to gender conventions and cinematic traditions. The thesis is split into two sections, one which considers wider themes relating to suicide and film and a second which considers a number of exemplary films. Part I discusses the wider literature associated with scholarly approaches to the study of both suicide and gender. This is followed by quantitative analysis of the representation of suicide in films, allowing important trends to be identified, especially in relation to gender, changes over time and the method of suicide. In Part II, themes identified within the literature review and the data are explored further in relation to detailed exemplary film analyses. Six films have been chosen: Le Feu Fol/et (1963), Leaving Las Vegas (1995), The Killers (1946 and 1964), The Hustler (1961) and The Virgin Suicides (1999). These films are considered in three chapters which exemplify different ways that suicide is constructed. Chapters 4 and 5 explore the two categories that I have developed to differentiate the reasons why film characters commit suicide. These are Melancholic Suicide, which focuses on a fundamentally "internal" and often iII­ understood motivation, for example depression or long term illness; and Occasioned Suicide, where there is an "external" motivation for which the narrative provides apparently intelligible explanations, for instance where a character is seen to be in danger or to be suffering from feelings of guilt.
    [Show full text]
  • 2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
    2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter
    [Show full text]
  • Movies About Writers & the Writing Life Compiled By
    Movies About Writers & The Writing Life Compiled By Christina & Jason Katz Selection parameters: o A main character in the film must be a writer. No ensembles in this list unless writing is central to the storyline. o Only cinema movies are included. No TV movies. o Only print journalism. No broadcast journalism in this list. Screenwriting and TV writing are both represented. Bloggers are included. o Biographies or biopics about writers are listed. No documentaries are included. o No academics as central characters, unless the character is a novelist or some other type of writer. o Diaries are included, if the diary is part of the central part of the story. o Films are listed in chronological order by release year. o If a movie was re-released, then it is listed by its most recent release date. Thanks to everyone who contributed to this list. We had fun pulling it together. If you would like to refer the list to others, please send them to http://christinakatz.com/free/, where they can download the list in PDF form. Enjoy! 1. Barrets of Wimpole St. (1934) 2. It Happened One Night (1934) 3. His Girl Friday (1940) 4. The Philadelphia Story (1940) 5. Old Acquaintance (1943) 6. The Adventures of Mark Twain (1944) 7. The Lost Weekend (1945) 8. Christmas in Connecticut (1945) 9. I Remember Mama (1948) 10. The Third Man (1949) 11. In a Lonely Place (1950) 12. Sunset Boulevard (1950) 13. Orpheus (1950) 14. Hans Christian Andersen (1952) 15. A Face In The Crowd (1957) 16. Some Came Running (1958) 17.
    [Show full text]
  • What Happened in Vegas?: the Use of Destination Branding to Influence Place Attachments
    WHAT HAPPENED IN VEGAS?: THE USE OF DESTINATION BRANDING TO INFLUENCE PLACE ATTACHMENTS A Thesis by Kateri M. Grillot Bachelor of Fine Arts in Communication, Newman University, 2002 Submitted to the Department of the Elliott School of Communication and the faculty of the Graduate School of Wichita State University in partial fulfillment of the requirements for the degree of Master of Arts May 2007 i © Copyright 2007 by Kateri M. Grillot All Rights Reserved i i WHAT HAPPENED IN VEGAS?: THE USE OF DESTINATION BRANDING TO INFLUENCE PLACE ATTACHMENTS I have examined the final copy of this thesis for form and content, and recommend that it be accepted in partial fulfillment of the requirement for the degree of Master of Arts with a major in Communication. _________________________________ Susan Huxman, Committee Chair We have read this thesis and recommend its acceptance: _________________________________ Lisa Parcell, Committee Member _________________________________ Dorothy Billings, Committee Member ii i DEDICATION To my husband for believing, my family for supporting, and my son for inspiring iv You can tell the ideals of a nation by its advertisements. -Norman Douglas, 1917 v ACKNOWLEDGEMENTS I would like to thank my advisor, Susan Huxman, for her guidance and enthusiasm. You embraced the project without knowing me and yet, you revealed unknown strengths in me. Thank you for your endless patience and support. Thanks are also due to my committee for investing time on this project and in me personally. I would like to thank Lisa Parcell, for her insight into public relations; your cheerful conversations were a delight and I will miss them.
    [Show full text]
  • Cinema and Prostitution: How Prostitution Is Interpreted in Cinematographic Fiction
    QUADERNS ISSN: 1138-9761 / www.cac.cat DEL CAC Cinema and prostitution: how prostitution is interpreted in cinematographic fiction JUANA GALLEGO Lecturer at the Communication Science Faculty of the Universitat Autònoma de Barcelona [email protected] Paper received 3 June 2010 and accepted 1 October 2010 Abstract Resum Prostitutes and prostitution have been widely represented in La qüestió de la prostitució i la figura de la prostituta han cinematographic narrative since the early days of cinema. estat un recurs àmpliament utilitzat en la ficció cinematogrà- Speaking about prostitution is a way of reflecting on human fica des dels inicis del cinema. Parlar de la prostitució és, sexuality and how this dimension of human life has evolved d’altra banda, reflexionar sobre la representació de la sexua- from the beginning of the 20th century until now. This article litat i l’evolució que ha experimentat aquesta dimensió de la is a summary of research currently underway into prostitution vida humana des de principis del segle XX fins a l’actualitat. in the cinema, analysing the figure of the prostitute in more Aquest article és un resum d’un treball de recerca en curs than 200 films, with a chapter that also tackles male prosti- sobre el sexe de pagament al cinema que analitza la figura de tution and their similarities and differences. la prostituta en més de 200 pel·lícules, amb un capítol en què també s’aborda la prostitució masculina i les similituds i Key words les diferències entre totes dues. Prostitution, cinema, sexuality, male prostitution. Paraules clau Prostitució, cine, sexualitat, prostitució masculina.
    [Show full text]
  • Best Actor Oscar Winners Best Actress Oscar Winners Year Actor Age Movie Year Actress Age Movie 1980 Dustin Hoffman 42 Kramer Vs
    Best Actor Oscar Winners Best Actress Oscar Winners Year Actor Age Movie Year Actress Age Movie 1980 Dustin Hoffman 42 Kramer vs. Kramer 1980 Sally Field 33 Norma Rae 1981 Robert De Niro 37 Raging Bull 1981 Sissy Spacek 31 Coal Miners Daughter 1982 Henry Fonda 76 On Golden Pond 1982 Katharine Hepburn 74 On Golden Pond 1983 Ben Kingsley 39 Gandhi 1983 Meryl Streep 33 Sophies Choice 1984 Robert Duvall 53 Tender Mercies 1984 Shirley MacLaine 49 Terms of Endearment 1985 F. Murray Abraham 45 Amadeus 1985 Sally Field 38 Places In The Heart 1986 William Hurt 36 Kiss of the Spider Woman 1986 Geraldine Page 61 The Trip to Bountiful 1987 Paul Newman 62 The Color of Money 1987 Marlee Matlin 21 Children Of A Lesser God 1988 Michael Douglas 43 Wall Street 1988 Cher 41 Moonstruck 1989 Dustin Hoffman 51 Rain Man 1989 Jodie Foster 26 The Accused 1990 Daniel Day-Lewis 32 My Left Foot 1990 Jessica Tandy 80 Driving Miss Daisy 1991 Jeremy Irons 42 Reversal of Fortune 1991 Kathy Bates 42 Misery 1992 Anthony Hopkins 54 The Silence of the Lambs 1992 Jodie Foster 29 The Silence of the Lambs 1993 Al Pacino 52 Scent of a Woman 1993 Emma Thompson 33 Howards End 1994 Tom Hanks 37 Philadelphia 1994 Holly Hunter 36 The Piano 1995 Tom Hanks 38 Forrest Gump 1995 Jessica Lange 45 Blue Sky 1996 Nicolas Cage 32 Leaving Las Vegas 1996 Susan Sarandon 49 Dead Man Walking 1997 Geoffrey Rush 45 Shine 1997 Frances McDormand 39 Fargo 1998 Jack Nicholson 60 As Good as It Gets 1998 Helen Hunt 34 As Good As It Gets 1999 Roberto Benigni 46 Life Is Beautiful 1999 Gwyneth Paltrow 26
    [Show full text]
  • Film Scr Ipts Online S Er
    learn more at alexanderstreet.com S ONLINE FILM SCRIPTS ERIES From Here to Eternity Black Hawk Down The African Queen Fury Ben Hur Body Heat Mr. Deeds Goes to Town King Kong American Gigolo Double Indemnity Predator Suspicion Leaving Las Vegas His Girl Friday Trading Places Swing Time The Maltese Falcon Sunset Boulevard 2001: A Space Odyssey The Sting The Shining Urban Cowboy Platoon Billy Liar Unforgiven Broadcast News The Big Chill Comfort and Joy Blade Runner Pan’s Labyrinth Night of the Hunter The Jazz Singer State and Main Witness The Spanish Prisoner Tender Mercies Hotel Rwanda In the Line of Fire Rebel Without a Cause The Lavender Hill Mob Span’glish The Last Detail The Hustler Mr. Smith Goes to Washington Gods and Monsters Taxi Driver Mean Streets The Last Temptation of Christ Ararat Out of the Past Nashville The Magnificent Ambersons Film Scripts Online Series We watch, discuss, and analyze movies—but rarely do we read the scripts. While some well-known film scripts have appeared in print, most have never been published in any format. The scholar’s struggle to locate original scripts involves complicated permissions and negotiations, and holders of scripts are often reluctant to lend rare and unique documents. The Film Scripts Online Series makes Content available, for the first time, accurate and authorized versions of copyrighted The Film Scripts Online Series was recently screenplays. Now film scholars can expanded with Volume II to include 500 compare the writer’s vision with the new screenplays, along with monographs producer’s and director’s interpretations including the Film Classics series from from page to screen.
    [Show full text]
  • Why Psychiatrists Should Watch Films (Or What Has Cinema Ever Done for Psychiatry?) Peter Byrne
    Advances in psychiatric treatment (2009), vol. 15, 286–296 doi: 10.1192/apt.bp.107.005306 ARTICLE Why psychiatrists should watch films (or What has cinema ever done for psychiatry?) Peter Byrne Peter Byrne is a consultant me when some psychiatrists complain about their SUMMARY liaison psychiatrist and film studies unfavourable representations on film that cinema graduate. He devised and produced Cinema is at once a powerful medium, art, entertain­ has given psychiatry and psychiatrists a platform the short film1 in 4 (available at ment, an industry and an instrument of social www.rcpsych.ac.uk), which achieved they would not otherwise enjoy. Given the iron change; psychiatrists should neither ignore a UK cinema distribution in 2001. triangle of public anxiety and distrust of people nor censor it. Representations of psychiatrists His principal research interest is the with mental illness, an alienated tabloid press and stigma of mental health problems are mixed but psychiatric treatments are rarely and the effects of prejudice and portrayed posi tively. In this article, five rules of government policies focused on populist measures discrimination. He is Director of movie psychiatry are proposed, supported by (Cooper 2001), any media coverage that helps to Public Education for the Royal over 370 films. Commercial and artistic pressures engage that public is better than none. The worst College of Psychiatrists. reduce verisimilitude in fictional and factual films, response to ‘bad’ films would be a siege mentality/ Correspondence Dr Peter Byrne, Consultant Liaison Psychiatrist, although many are useful to advance understanding asylum culture among mental health professionals. Newham University Hospital, of phenomenology, shared history and social Would we and our patients really be better off if London E13 8SL, UK.
    [Show full text]