The Beasts of Tarzan
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Cutting Patterns in DW Griffith's Biographs
Cutting patterns in D.W. Griffith’s Biographs: An experimental statistical study Mike Baxter, 16 Lady Bay Road, West Bridgford, Nottingham, NG2 5BJ, U.K. (e-mail: [email protected]) 1 Introduction A number of recent studies have examined statistical methods for investigating cutting patterns within films, for the purposes of comparing patterns across films and/or for summarising ‘average’ patterns in a body of films. The present paper investigates how different ideas that have been proposed might be combined to identify subsets of similarly constructed films (i.e. exhibiting comparable cutting structures) within a larger body. The ideas explored are illustrated using a sample of 62 D.W Griffith Biograph one-reelers from the years 1909–1913. Yuri Tsivian has suggested that ‘all films are different as far as their SL struc- tures; yet some are less different than others’. Barry Salt, with specific reference to the question of whether or not Griffith’s Biographs ‘have the same large scale variations in their shot lengths along the length of the film’ says the ‘answer to this is quite clearly, no’. This judgment is based on smooths of the data using seventh degree trendlines and the observation that these ‘are nearly all quite different one from another, and too varied to allow any grouping that could be matched against, say, genre’1. While the basis for Salt’s view is clear Tsivian’s apparently oppos- ing position that some films are ‘less different than others’ seems to me to be a reasonably incontestable sentiment. It depends on how much you are prepared to simplify structure by smoothing in order to effect comparisons. -
The Tarzan Series of Edgar Rice Burroughs
I The Tarzan Series of Edgar Rice Burroughs: Lost Races and Racism in American Popular Culture James R. Nesteby Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree in Doctor of Philosophy August 1978 Approved: © 1978 JAMES RONALD NESTEBY ALL RIGHTS RESERVED ¡ ¡ in Abstract The Tarzan series of Edgar Rice Burroughs (1875-1950), beginning with the All-Story serialization in 1912 of Tarzan of the Apes (1914 book), reveals deepseated racism in the popular imagination of early twentieth-century American culture. The fictional fantasies of lost races like that ruled by La of Opar (or Atlantis) are interwoven with the realities of racism, particularly toward Afro-Americans and black Africans. In analyzing popular culture, Stith Thompson's Motif-Index of Folk-Literature (1932) and John G. Cawelti's Adventure, Mystery, and Romance (1976) are utilized for their indexing and formula concepts. The groundwork for examining explanations of American culture which occur in Burroughs' science fantasies about Tarzan is provided by Ray R. Browne, publisher of The Journal of Popular Culture and The Journal of American Culture, and by Gene Wise, author of American Historical Explanations (1973). The lost race tradition and its relationship to racism in American popular fiction is explored through the inner earth motif popularized by John Cleves Symmes' Symzonla: A Voyage of Discovery (1820) and Edgar Allan Poe's The narrative of A. Gordon Pym (1838); Burroughs frequently uses the motif in his perennially popular romances of adventure which have made Tarzan of the Apes (Lord Greystoke) an ubiquitous feature of American culture. -
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f . ... .. PintiitafJ suqerttoa. they had Mcsmesl oat t>e little land- noFto and snouting farewell! tif their de- left me after the fever got bad, tocke* barber to hav%«bfther look at tb«y were not afl quit* uad, parting king. tie to a devil. iWhen I begged for the the cabin and the jungle- In which At aunset they burled William "I should hate to U^k that I am water that I was too weak to get h* many of the officers NnSS: men had ta- fclayton beside the jungle graves of hU ooklng upon the Jungle for the" last uncle and hla aunt, the former Lord time, dear," he said, "were it not that drank before me, threw the rest out ken part ; in" exciting adventures two and Uogbed in my face." At the years before. On landing they bad and Lady Greystoke. And It was at I know that I am going to a new world PER MONTH found Lord Teunington's party, and Tarzan's .request that three volleys of happiness with yon forever," and, thought of tt the man was suddenly were fired over the last resting place »h your furniture, pianos, ItvV animated by a spark of vitality. He arrangements were: being made> to take bending down, Tarzan of the Apes stock, etc. ..We make loans In them all on board the following morn- of "a brave man, who met his death kissed his mate upon her lips. all parts of the city and sur-. raised himself upon one elbow. "Yes," bravely."' he almost shouted; "I will live! t will ing and carry them; back to civiliza- THB EffD. -
The Silent Film Project
The Silent Film Project Films that have completed scanning – Significant titles in bold: May 1, 2018 TITLE YEAR STUDIO DIRECTOR STAR 1. [1934 Walt Disney Promo] 1934 Disney 2. 13 Washington Square 1928 Universal Melville W. Brown Alice Joyce 3. Adventures of Bill and [1921] Pathegram Robert N. Bradbury Bob Steele Bob, The (Skunk, The) 4. African Dreams [1922] 5. After the Storm (Poetic [1935] William Pizor Edgar Guest, Gems) Al Shayne 6. Agent (AKA The Yellow 1922 Vitagraph Larry Semon Larry Semon Fear), The 7. Aladdin And The 1917 Fox Film C. M. Franklin Francis Wonderful Lamp Carpenter 8. Alexandria 1921 Burton Holmes Burton Holmes 9. An Evening With Edgar A. [1938] Jam Handy Louis Marlowe Edgar A. Guest Guest 10. Animals of the Cat Tribe 1932 Eastman Teaching 11. Arizona Cyclone, The 1934 Imperial Prod. Robert E. Tansey Wally Wales 12. Aryan, The 1916 Triangle William S. Hart William S. Hart 13. At First Sight 1924 Hal Roach J A. Howe Charley Chase 14. Auntie's Portrait 1914 Vitagraph George D. Baker Ethel Lee 15. Autumn (nature film) 1922 16. Babies Prohibited 1913 Thanhouser Lila Chester 17. Barbed Wire 1927 Paramount Rowland V. Lee Pola Negri 18. Barnyard Cavalier 1922 Christie Bobby Vernon 19. Barnyard Wedding [1920] Hal Roach 20. Battle of the Century 1927 Hal Roach Clyde Bruckman Oliver Hardy, Stan Laurel 21. A Beast at Bay 1912 Biograph D.W. Griffith Mary Pickford 22. Bebe Daniels & Ben Lyon 1931- Bebe Daniels, home movies 1935 Ben Lyon 23. Bell Boy 13 1923 Thomas Ince William Seiter Douglas Maclean 24. -
You Jane White Philco
KATHLEEN GALLIGAN ANDREA LEWIS he 1932 movie Tarzan the Ape Man is the first feature film I remember seeing on television. I T am six. It is 1954 and Tarzan rides toward me Ephemera, 2013 on an elephant, filling the small screen of our black-and- Oil on canvas, 24 x 24 in You Jane white Philco. I am deep into my late-night TV ritual, sug- ared up on root beer and salted down on sunflower seeds, Tracking the gaping at the TV, dropping shells into a melamine bowl. legend of Tarzan Tarzan leaps from the elephant to wrestle an alligator in a churned-up river. He yodels the Tarzan yell and swings vine to vine to save Jane from a lion’s jaws. The tomboy in me wants to be Tarzan and the little girl wants to be Jane. I want a leopard-skin minidress and a chimp sidekick. I want to put myself in danger, but I want to be rescued too, the way Jane is always rescued. Most of all, I want Tarzan the Ape Man to never end. For movie fans of a certain age, “Tarzan” will always translate to one guy—Johnny Weissmuller. And Jane will always be Maureen O’Sullivan. Together they made six movies as Tarzan and Jane, and Weissmuller made six more with various Janes. His sixteen-year reign as Tarzan is considered the golden age of the character. A champion swimmer with no acting experience, Weissmuller was an instant hit as Tarzan. “However credible or interesting Tarzan may be on the printed page, I doubt very much if he emerges in such splendor as he does in the person of Johnny Weissmuller” (Thornton Delehanty in his review of Tarzan the Ape Man in 1932). -
Tarzan Orientation Pack
Orientation Pack Hornsby RSL / Performances 22nd – 25th November 2018 Production Team Director – Adam Haynes Assistant Director – Craig Pinkerton Musical Director – Matt Hearne Choreographer – Melissa Ayers Production Manager – Chrissy Stimson Orientation Date July 15th / 10.30am – 11.30am Wilga St Scout Hall West Pennant Hills. We will be holding a 1 hour orientation session which will serve as an opportunity to meet the production team, learn more about the show and ask the team any questions you may have. Note that attendance , though helpful, is not compulsory. All the information you need to prepare for your audition can be found in this pack. Audition Dates 28th – 29th July 2pm till 8pm (Location same as orientation) There will be a 1 hour dance call that must be attended on the day of your vocal and singing audition as well. Booking an audition is as simple as jumping online, once the link is provided, on our Facebook page / website on the orientation day. About Sydney Youth Musical Theatre Sydney Youth Musical Theatre is now in its 39th year of staging productions in the Sydney region and it remains the only exclusively youth musical society in Australia. Each year, we stage two productions: one in July for our 14 - 25 year-old members, and a November production for our 10 -18 year-old members. Tarzan is our Junior show and our age restriction of 10 – 18 years old applies. We aim to develop and nurture a passion for the performing arts in young people by providing opportunities to become involved in a range of areas, both on and off stage. -
Tarzan of the White Male Privilege
Wijma 2 Wijma 3 Wijma 4 Content Introduction ................................................................................................................................ 5 Chapter 1: An Overview of Critics of Disney ............................................................................ 9 Chapter 2: Tarzan and Ethnicity ............................................................................................... 12 Novel .................................................................................................................................... 12 Tarzan and the Animals .................................................................................................... 12 Tarzan and the Black Tribe .............................................................................................. 14 Film ...................................................................................................................................... 15 Light and Darkness ........................................................................................................... 16 Reverse Racism ................................................................................................................ 17 Dialogue ........................................................................................................................... 18 Chapter 3: Tarzan and Gender.................................................................................................. 19 Novel ................................................................................................................................... -
Edgar Rice Burroughs Tarzan the Untamed Kindle
EDGAR RICE BURROUGHS TARZAN THE UNTAMED PDF, EPUB, EBOOK Russ Manning,Gaylord DuBois | 117 pages | 30 Nov 1999 | Dark Horse Comics,U.S. | 9781569714188 | English | Milwaukie, United States Edgar Rice Burroughs Tarzan the Untamed PDF Book He is deeply in love with his wife and totally devoted to her; in numerous situations where other women express their attraction to him, Tarzan politely but firmly declines their attentions. There are the typical Burroughs contrivances there's a moment where Tarzan's life is saved by a foe having a conveniently-timed epileptic seizure , and Xuja itself is perhaps the "City of Contrivances," though Burroughs seems to have put more thought into Xuja than he did Opar. On his return he discovers among many burned bodies one that appears to be the corpse of his wife, Jane Porter Clayton. But in this book, written after WWI , but taking a point at the start of the war as its focus -- at the beginning of the book, Tarzan, AKA Lord Greystoke, has just learned that hostilities between Britain and Germany now exist -- the book presents the Germans as harshly as the propaganda against Germany published during the war, when Ge This is the most amazing book. It's almost as if he wrote some of it and then threw in some fanfic for the rest. Thank heavens Edgar kept writing Tarzan tales His preferred dress is a knife and a loincloth of animal hide, his preferred abode is a convenient tree branch which happens to be nearby when he desires to sleep, and his favored food is raw meat, killed by himself; even better if he is able to bury it a week so that putrefaction has had a chance to tenderize it a bit. -
Beasts of Tarzan by Edgar Rice Burroughs
The Beasts of Tarzan by Edgar Rice Burroughs To Joan Burroughs CONTENTS CHAPTER PAGE 1 Kidnapped . 1 2 Marooned . 9 3 Beasts at Bay . 18 4 Sheeta . 28 5 Mugambi . 37 6 A Hideous Crew . 46 7 Betrayed . 55 8 The Dance of Death . 64 9 Chivalry or Villainy . 73 10 The Swede . 82 11 Tambudza . 90 12 A Black Scoundrel . 98 13 Escape . 107 14 Alone in the Jungle . 115 15 Down the Ugambi . 123 16 In the Darkness of the Night . 132 17 On the Deck of the "Kincaid" . 140 18 Paulvitch Plots Revenge . 147 19 The Last of the "Kincaid" . 158 20 Jungle Island Again . 162 21 The Law of the Jungle . 172 Chapter 1 Kidnapped "The entire affair is shrouded in mystery," said D'Arnot. "I have it on the best of authority that neither the police nor the special agents of the general staff have the faintest conception of how it was accomplished. All they know, all that anyone knows, is that Nikolas Rokoff has escaped." John Clayton, Lord Greystoke--he who had been "Tarzan of the Apes"-- sat in silence in the apartments of his friend, Lieutenant Paul D'Arnot, in Paris, gazing meditatively at the toe of his immaculate boot. His mind revolved many memories, recalled by the escape of his arch-enemy from the French military prison to which he had been sentenced for life upon the testimony of the ape-man. He thought of the lengths to which Rokoff had once gone to compass his death, and he realized that what the man had already done would doubtless be as nothing by comparison with what he would wish and plot to do now that he was again free. -
Notes on Cinemetric Data Analysis
Notes on Cinemetric Data Analysis Mike Baxter January 2014 Contents 1 Cinemetrics and R 1 1.1 Introduction 1 1.2 Cinemetrics 2 1.2.1 The idea 2 1.2.2 Pattern recognition in cinemetrics 3 1.2.3 Lies, damned lies and statistics (and fear) 3 2 Examples 5 2.1 Preamble 5 2.2 Examples 5 2.2.1 ASLs over time 5 2.2.2 Comparison of ASL distributions 6 2.2.3 Pattern and SL distributions 8 2.2.4 Internal pattern - individual films 10 2.2.5 Internal pattern - an example of global analysis 11 2.2.6 Shot-scale analysis 13 3 Getting R, getting started 21 3.1 Finding R 21 3.2 Data entry 21 3.2.1 General 21 3.2.2 Using the Cinemetrics database 22 3.3 Packages 22 3.4 Reading 23 4 Descriptive statistics 24 4.1 Introduction 24 4.2 Basics 24 4.3 Functions 25 4.4 Data manipulation 26 4.5 Illustrative graphical analyses 27 4.6 Definitionsandcommentsonsomesimplestatistics 31 5 Graphical analysis – basics 35 5.1 Histograms 35 5.1.1 Basics – an example 35 5.1.2 Technicalities 36 5.1.3 Example continued - log-transformation 37 5.2 Kernel density estimates 38 5.3 Boxplots 41 5.3.1 Basics 41 5.3.2 Interpretation 42 i 5.3.3 Boxplots and outliers 43 6 Comparative graphical analysis 46 6.1 KDEs and Histograms 46 6.2 Boxplots and violin plots 49 6.3 Cumulative frequency diagrams 49 6.4 Comparison with reference distributions 51 6.4.1 Comparisons with the lognormal distribution 51 6.4.2 Aspects of the normal distribution 51 6.4.3 Normal probability plots 52 6.4.4 Using KDEs for SL comparisons 52 6.4.5 Examples 54 7 Time-series analysis of SLs 58 7.1 Introduction 58 7.2 Polynomial -
The Black Rapist Myth in ER Burroughs' Tarzan of the Apes And
Adapting the Adapted: The Black Rapist Myth in E.R. Burroughs' Tarzan of the Apes and Its Film Adaptations Oklopčić, Biljana Source / Izvornik: Anafora : Časopis za znanost o književnosti, 2017, 4, 313 - 331 Journal article, Published version Rad u časopisu, Objavljena verzija rada (izdavačev PDF) https://doi.org/10.29162/ANAFORA.v4i2.8 Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:856311 Rights / Prava: Attribution 4.0 International Download date / Datum preuzimanja: 2021-09-27 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek IV (2017) 2, 313–331 This work is licensed under a Creative Commons Attribution 4.0 International License. Ovaj rad dostupan je za upotrebu pod licencom Creative Commons Imenovanje 4.0 međunarodna. Biljana OKLOPČIĆ UDK 821.111(73)-32.09 Burroughs, E.R.=111 Faculty of Humanities and Social Sciences 791=111 University of Osijek DOI: 10.29162/ANAFORA.v4i2.8 Lorenza Jägera 9, HR – 31 000 Osijek, Croatia [email protected] Izvorni znanstveni članak Original Research Article Primljeno 22. svibnja 2017. Received: 22 May 2017 Prihvaćeno 14. prosinca 2017. Accepted: 14 December 2017 ADAPTING THE ADAPTED: THE BLACK RAPIST MYTH IN E.R. BURROUGHS’ TARZAN OF THE APES AND ITS FILM ADAPTATIONS Abstract Whether in art or science, adaptation does not refer to something original but to a mutated and permutated version of a pre-existing original. In literature, adaptation occurs first when real-life stories are adapted into fiction; these fictions then often undergo a second technological adaptation as literary works are adapted into theat- rical productions for stage or film. -
The Bronze Horseman: a St Petersburg Story
The Bronze Horseman: A St Petersburg Story By A. S. Pushkin Translated with a Commentary and Notes by John Dewey _________________ www.tyutchev.org.uk 1 John Dewey’s verse translation of Alexander Pushkin’s narrative poem The Bronze Horseman was shortlisted for the John Dryden Translation Prize 1996/7 and subsequently published in the journal Translation & Literature (Volume 7, Part 1, 1998, pp. 59-71). The text of the translation is reproduced here by kind permission of Edinburgh University Press. The original publication may be accessed online at: http://www.euppublishing.com/doi/pdfplus/10.3366/tal.1998.7.1.59 2 The Bronze Horseman _____________ PREFACE The events depicted in this story are based on fact. Details of the flood are taken from contemporary periodicals. Those interested may refer to the account given by V.N. Berkh.1 INTRODUCTION A wave-swept shore, remote, forlorn: Here stood he,2 rapt in thought and drawn To distant prospects. Broad and chartless The river ran, along it borne A lonely skiff, rough-hewn and artless. Darker against the marshy green Of moss-grown banks appeared some mean Log huts: the poor Finns’ habitation; And forests which had never seen The mist-veiled sun’s illumination Were live with whispers. And he thought: ‘From here the Swede is ill-protected: A city on this site, to thwart His purposes, shall be erected. For here we may, by Nature blessed, Cut through a window to the West[1] And guard our seaboard with conviction. At home in waters which had been 3 Unknown, all flags shall here be seen, And we shall feast without restriction.’ A hundred years have passed.