The Billboard 1918-09-07
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6.1.11 FINAL DRAFT 410. Olentangy Amusement Park & Lost Weekend
Clintonville Art Walk Script – 6.1.11 FINAL DRAFT 410. Olentangy Amusement Park & Lost Weekend Records Stained Glass If you stood at the intersections of Crestview Avenue and High Street in 1893 and looked west you would have see the entrance to Olentangy Amusement Park. First opened as The Villa in 1893, residents at that time classified it as a beer garden. In 1896, the Columbus Street and Railroad Company bought the property and renamed it Olentangy Park. In 1899, the Dussenbury brothers purchased the park. They were responsible for the construction of the theater, dance pavilion and amusement rides such as the loop the loop, shoot the chutes and the whirlwind. Four roller coasters graced the park as well as a pony ride, a train ride and a carousel. The brothers purchased Fair Japan from the St. Louis Exposition. It was a village in and of itself featuring a Japanese garden, wishing bridge and tea house. In 1923, the Park was purchased by the Olentangy Amusement Company and managed by Max Stern. In 1938, L.L. LeVeque redeveloped the property into the Olentangy Village apartments which stand there today. Before you continue on, make sure to look for the blue and purple stained glass windows on the private residence next to Lost Weekend Records at 17 Crestview Avenue. Not original to the building, the glass represents the type of quirky modern embellishments you can find throughout many South Clintonville homes. 411. 1910 Bungalow at 45 East Crestview The home at 45 East Crestview was built in 1910 in the Bungalow style has and looks completely unique from other homes on the street. -
The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
D and Work Plentiful in Java the East Sy Manufacturing Company
Vol.9 September, 19 2 2 *o.i Our Front Cover and Center Pases EAVING in September of 1921 Mr. and Mrs. Frederick in Java. The pictures and the copy on the center pages Shedd and their two daughters, Marion and Elizabeth, were also contributed by Mr. Shedd, most of the copy being L started on a tour around the globe, which was not taken from letters which he had sent to members of his completed until June of 1922. They visited France, Italy family and friends. We have not had a more interesting and the European countries, then Egypt, Burma, India, center-page spread. Mr. Shedd is one of the directors of the Ceylon, Straits Settlement. Java, China and Japan. Jeffrey Mfg. Co., and has always shown a keen appreciation The picture on the front cover is of a plantation scene ot our employees' publication. KEYBOARD KLIPPINGS A HEART BREAKER—LOST IN THE 10th INNING since their move to the gallc By Poll'janna Wigginton Jeffrey Team Occupies Second Place in League to become a part of Dcpt. 9. One of our girls recently had Ten innings of good baseball were required to decide the cham Mr .Bierly is- back again a letter for a Coal Company in pionship in the Industrial Twilight League when the American Rail looking fine after his vacation. 'est Vriginia for the attention way Express team played our Jeffrey team on Saturday, August Uda Schall spent part of 1 Mr. "Beans," Secretary, and 12th, on the Northwood diamonds. The boys played a hard game vacation at Indian Lake, Oh e noticed another executive of but they finally lost by a score of 5 to 4. -
Bryn Mawr College Yearbook. Class of 1931 Bryn Mawr College
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Publications, Special Bryn Mawr College Yearbooks Collections, Digitized Books 1931 Bryn Mawr College Yearbook. Class of 1931 Bryn Mawr College. Senior Class Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/bmc_yearbooks Part of the Liberal Studies Commons, and the Women's History Commons Custom Citation Bryn Mawr College Yearbook. Class of 1931 (Bryn Mawr, Pennsylvania: Bryn Mawr College, 1931). This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/bmc_yearbooks/28 For more information, please contact [email protected]. H5SE3H Digitized by the Internet Archive in 2011 with funding from LYRASIS Members and Sloan Foundation http://www.archive.org/details/brynmawrcollegey1931bryn HE BOCK 'J. , . 1931 j i B3RyN H4WC C€LLCGE Mary Summerfield Gardiner to whom The Class of 1931 Dedicates this Book Board of Editors Editor- in - Ch iej Evelyn Waples Editors Elizabeth Mongan Celia Darlington Helen Bell Contributors Mary Oakford Virginia Hobart Sydney Sullivan Art Editor Barbara Kirk Assistant Art Editor Robin Kreutzberg Photographs Mary Froth ingh am Margaret Findley The campus views are by Reinick Xeesen B usiness Board Business Manager Virginia Shryock Assistants Margaret Findley Virginia Burdick Ethel Sussman Esther Thomas Page Fire Page Six Freshman Year LIFE was much more exciting in the old days before we learned how to plan our work and use our Saturdays to the best advantage. That was in 1927 and Sappy and Posey Bailey were still with us, and Palache and Jo Young. -
Walt. Disney
CHARLOTTE AND ROBERT DISNEY HOUSE 4406 WEST KINGSWELL AVENUE CHC-2016-2575-HCM ENV-2016-2576-CE Agenda packet includes: 1. Final Staff Recommendation Report 2. Categorical Exemption 3. Director-Initiation Letter, Dated July 20, 2016 4. Nomination 5. 1990 Nomination and Letter of Determination 6. Letter from Member of the Public Please click on each document to be directly taken to the corresponding page of the PDF. Los Angeles Department of City Planning RECOMMENDATION REPORT CULTURAL HERITAGE COMMISSION CASE NO.: CHC-2016-2575-HCM ENV-2016-2576-CE HEARING DATE: September 15, 2016 Location: 4406 West Kingswell Avenue TIME: 9:00 AM Council District: 4 PLACE: City Hall, Room 1010 Community Plan Area: Hollywood 200 N. Spring Street Area Planning Commission: Central Los Angeles, CA 90012 Neighborhood Council: Los Feliz/South Los Feliz Legal Description: Mount Hollywood Grandview EXPIRATION DATE: October 3, 2016 Tract No. 2 PROJECT: Historic-Cultural Monument Application for the CHARLOTTE AND ROBERT DISNEY HOUSE REQUEST: Declare the property a Historic-Cultural Monument OWNER(S): Sang Ho Yoo, Krystal Yoo, and Hyun Bae Kim 3435 Wilshire Boulevard, #1190 Los Angeles, CA 90010 Sang Ho Yoo and Krystal Yoo 4237 Vanetta Drive Studio City, CA 91604 APPLICANT: City of Los Angeles, Planning Department 200 North Spring Street, Room 559 Los Angeles, CA 90012 RECOMMENDATION That the Cultural Heritage Commission: 1. Declare the subject property a Historic-Cultural Monument per Los Angeles Administrative Code Chapter 9, Division 22, Article 1, Section 22.171.7. 2. Adopt the staff report and findings. VINCENT P. BERTONI, AICP Director of Planning [SIGNED ORIGINAL IN FILE] [SIGNED ORIGINAL IN FILE] Ken Bernstein, AICP, Manager Lambert M. -
Ouida Bergère
Ouida Bergère Also Known As: Eulalia Bergère, Ida Bergère, Mrs. George Fitzmaurice, Mrs. Basil Rathbone Lived: December 14, 1885 - November 29, 1974 Worked as: adapter, film actress, scenario editor, screenwriter Worked In: United States by Laura Jacquelyn Simmons Ouida Bergère was perhaps best known in the film industry as Mrs. Basil Rathbone and party hostess extraordinaire. However, before her marriage, to Rathbone, Bergère was a prominent and top paid scenario writer. Bergère was born in Spain, but moved to the US at the age of six. Her father was French-Spanish and her mother, British (Lowrey 1920, 22). There is some conflicting information regarding her birth name; most sources claim she was born Ida Bergère, others Eulalia Bergère. Regardless, upon entering the film industry, she changed her name to Ouida. Bergère began her film career by serving as scenario editor and actress for Pathé Freres, eventually writing her own scripts and branching out to other companies, including Vitagraph and Famous Players-Lasky, according to the New York Dramatic Mirror in 1915 (24). Much of Bergère’s screenwriting career coincides with the career of her second husband, George Fitzmaurice, to whom she was married before Rathbone. She met Fitzmaurice after she started her screenwriting career, and after their marriage, he directed almost all of the films she wrote. As is the case with the many Hollywood marriages, Bergère’s relationship to Fitzmaurice must be considered when discussing her career, and, typically, because her career was so closely linked to that of Fitzmaurice, there is confusion about their credits. She very well might have had her hand in directing some of the films that have been credited to him, as was the case with other couples such as actress Alice Terry and director Rex Ingram. -
Meiermovies Short Films A-Z
MeierMovies Short Films A-Z Theatrically released motion pictures of 40 minutes or less Before perusing this list, I suggest reading my introduction to short films at the beginning of my By Star Rating list. That introduction will help explain my star choices and criteria. For a guide to colors and symbols, see Key. Movie Stars Location seen (if known) Year Director A A.D. 1363, The End of Chivalry 2 Florida Film Festival 2015 2015 Jake Mahaffy A la Francaise 3 Enzian (Oscar Shorts) 2013 Hazebroucq/Leleu/Boyer/Hsien/Lorton The Aaron Case 3 Enzian (FilmSlam 5/16) 2015 Sarah Peterson Aashpordha (Audacity) FL 2 Enzian (South Asian FF) 2011 Anirban Roy Abandoned Love 2 Enzian (Brouhaha 2014) 2014 Sarah Allsup ABC FL 1 Florida Film Festival 2014 2014 Nanna Huolman Abnie Oberfork: A Tale of Self-Preservation 0 Florida Film Festival 2018 2017 Shannon Fleming Abortion Helpline, This Is Lisa 3 Florida Film Festival 2020 2019 Barbara Attie/Janet Goldwater/Mike Attie Abiogenesis 2 Enzian (Oscar Shorts) 2012 Richard Mans The Absence of Eddy Table 4 Florida Film Festival 2017 2016 Rune Spaans Acabo de Tener un Sueño (I’ve Just Had a Dream) FL 3 Love Your Shorts 2016 2014 Javi Navarro Accidents, Blunders and Calamities 1 Florida Film Festival 2016 2015 James Cunningham Accordion Player Sl 1 1888 Louis Le Prince The Accountant 0 Enzian (FilmSlam 10/15) 2015 Stephen Morgan/Alex Couch Achoo 2 Oscar Shorts 2018 2018 L. Boutrot/E. Carret/M. Creantor Acide FL 2 Orlando International FF 2020 2018 Just Philippot Acoustic Ninja 2 Enzian (Brouhaha 2016) 2016 Robert Bevis Ace in the Hole 0 Orlando Film Festival 2013 2013 Wesley T. -
Mixed Race Capital: Cultural Producers and Asian American Mixed Race Identity from the Late Nineteenth to Twentieth Century
MIXED RACE CAPITAL: CULTURAL PRODUCERS AND ASIAN AMERICAN MIXED RACE IDENTITY FROM THE LATE NINETEENTH TO TWENTIETH CENTURY A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF UNIVERSITY OF HAWAIʻI AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN AMERICAN STUDIES MAY 2018 By Stacy Nojima Dissertation Committee: Vernadette V. Gonzalez, Chairperson Mari Yoshihara Elizabeth Colwill Brandy Nālani McDougall Ruth Hsu Keywords: Mixed Race, Asian American Culture, Merle Oberon, Sadakichi Hartmann, Winnifred Eaton, Bardu Ali Acknowledgements This dissertation was a journey that was nurtured and supported by several people. I would first like to thank my dissertation chair and mentor Vernadette Gonzalez, who challenged me to think more deeply and was able to encompass both compassion and force when life got in the way of writing. Thank you does not suffice for the amount of time, advice, and guidance she invested in me. I want to thank Mari Yoshihara and Elizabeth Colwill who offered feedback on multiple chapter drafts. Brandy Nālani McDougall always posited thoughtful questions that challenged me to see my project at various angles, and Ruth Hsu’s mentorship and course on Asian American literature helped to foster my early dissertation ideas. Along the way, I received invaluable assistance from the archive librarians at the University of Riverside, University of Calgary, and the Margaret Herrick Library in the Beverly Hills Motion Picture Museum. I am indebted to American Studies Department at the University of Hawai‘i at Mānoa for its support including the professors from whom I had the privilege of taking classes and shaping early iterations of my dissertation and the staff who shepherded me through the process and paperwork. -
Sherry Simon Hybridity Revisited: St
Editorial Board / Comité de rédaction Editor-in-Chief Rédacteur en chef Robert S. Schwartzwald, University of Massachusetts Amherst, U.S.A. Associate Editors Rédacteurs adjoints Claude Couture, Faculté St-Jean, Université de l’Alberta, Canada Marta Dvorak, Université de Paris III, France Daiva Stasiulis, Carleton University, Canada Managing Editor Secrétaire de rédaction Guy Leclair, ICCS/CIEC, Ottawa, Canada Advisory Board / Comité consultatif Malcolm Alexander, Griffith University, Australia Rubén Alvaréz, Universidad Central de Venezuela, Venezuela Shuli Barzilai, The Hebrew University of Jerusalem, Israël Raymond B. Blake, University of Regina, Canada Nancy Burke, University of Warsaw, Poland Francisco Colom, Consejo Superior de Investigaciones Científicas, Spain Beatriz Diaz, Universidad de La Habana, Cuba Giovanni Dotoli, Université de Bari, Italie Eurídice Figueiredo, Universidade Federal Fluminense, Brésil Madeleine Frédéric, Université Libre de Bruxelles, Belgique Naoharu Fujita, Meiji University, Japan Gudrun Björk Gudsteinsdottir, University of Iceland, Iceland Leen d’Haenens, University of Nijmegen, Les Pays-Bas Vadim Koleneko, Russian Academy of Sciences, Russia Jacques Leclaire, Université de Rouen, France Laura López Morales, Universidad Nacional Autónoma de México, Mexico Jane Moss, Romance Languages, Colby College, U.S. Elke Nowak, Technische Universität Berlin, Germany Helen O’Neill, University College Dublin, Ireland Christopher Rolfe, The University of Leicester, U.K. Myungsoon Shin, Yonsei University, Korea Jiaheng Song, Université de Shantong, Chine Coomi Vevaina, University of Bombay, India Robert K. Whelan, University of New Orleans, U.S.A. The International Journal of Canadian Paraissant deux fois l’an, la Revue Studies (IJCS) is published twice a year internationale d’études canadiennes by the International Council for (RIÉC) est publiée par le Conseil Canadian Studies. -
The Silly Symphonies Disney's First Fantasyland
X XIII THE SILLY SYMPHONIES DISNEY’S FIRST FANTASYLAND 3 PART I THE TIFFANY LINE 5 The Skeleton of an Idea 7 The Earliest Symphony Formula 9 Starting to Tell Tales Il Remaking Fairy Tales 18 Silly Toddlers and Their Families 19 Caste and Class in the Symphonies 21 An Exception to the Silly Rules: Three Little Pigs 22 Another Exception: Who Killed Cock Robin? 25 New Direction for the Symphonies at RKO 27 Ending in a Symphony Dream World 29 On a Final Note 31 PART Il PRODUCING THE SILLY SYMPHONIES 31 The ColurnbiaYears (1929-1932) 35 The United Artists Years (I932- 1937) 45 Disney’s RKO Radio Pictures (I937- 1939) 53 THE SKELETON DANCE (I929) I14 KING NEPTUNE (I932) a5 EL TERRIBLE TOREADOR (I 929) 115 BABES IN THE WOODS (I932) 58 SPRINGTIME (1929) I18 SANTA’S WORKSHOP (I 932) 50 HELL’S BELLS (I 929) 120 BIRDS IN THE SPRING (I933) 62 THE MERRY DWARFS (I929) I22 FATHER NOAH’S ARK (1933) 64 SUMMER (1930) i 24 THREE LITTLE PIGS (1933) 66 AUTUMN (I 930) I28 OLD KING COLE (1933) 58 CANNIBAL CAPERS (I 930) I30 LULLABY LAND (I 933) 7 NIGHT (I 930) I32 THE PIED PIPER (I933) 72 FROLICKING FISH (I 930) I34 THE CHINA SHOP (I933) É4 ARCTIC ANTICS (1930) I36 THE NIGHT BEFORE CHRISTMAS (I933) 76 MIDNIGHT IN ATOY SHOP (1930) I38 GRASSHOPPER AND THE ANTS (I 934) 78 MONKEY MELODIES (I 930) I49 THE BIG BAD WOLF (1934) no WINTER (I 930) i 42 FUNNY LITTLE BUNNIES (1934) 82 PLAYFUL PAN (I 930) I44 THE FLYING MOUSE (I 934) 84 BIRDS OF A FEATHER (I93 I) I46 THE WISE LITTLE HEN (I934) 86 MOTHER GOOSE MELODIES (I 93 I) 148 PECULIAR PENGUINS (1934) 88 THE CHINA PLATE -
Frame by Frame
3 Pars Pro Toto Character Animation and the Work of the Anonymous Artist Everyone does his or her task on the conveyor belt, performing a partial function without grasping the totality. —Siegfried Kracauer1 The single frame is the basic unit of film just as bricks are the basic unit of brick houses. —Robert Breer2 DELIBERATE MISTAKES In late March 1937, in order to meet the booming demand for Popeye cartoons, the management at Fleischer Studios called for the production process to be sped up. In-betweeners, the animators tasked with drawing the stages of movement that come in between key poses, were expected to double their daily output, from twenty sketches per day to forty.3 But tensions between management and labor at the studio were running high, and the in-betweeners did not comply. Instead, they countered with a “slowdown” strike, which meant, effectively, continuing to produce drawings at the regular rate.4 In the month that followed, fifteen anima- tors were fired for participating in the slowdown, and on May 6 the Commercial Artists and Designers Union authorized a full walkout of the studio. The story of what happened next has already been told, as have the stories of other labor conflicts in the US animation industry—most notably, the 1941 strike at Walt Disney Studios.5 But I want to focus on what didn’t happen. By this I do not mean a counterfactual history, at least not in the traditional sense of the term. Rather, I wish to imagine what is left unsaid in these narratives, which tell us only what went on behind the scenes. -
Mixed-Race Identity Politics in Nella Larsen and Winnifred Eaton (Onoto
MIXED-RACE IDENTITY POLITICS IN NELLA LARSEN AND WINNIFRED EATON (ONOTO WATANNA) A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Sachi Nakachi November 2001 2001 Sachi Nakachi All Rights Reserved. This dissertation entitled MIXED-RACE IDENTITY POLITICS IN NELLA LARSEN AND WINNIFRED EATON (ONOTO WATANNA) BY SACHI NAKACHI has been approved for the Department of English and the College of Arts and Sciences by David Dean McWilliams J. Richard Hamilton, Baker and Hostetler Professor of Humanities Leslie A. Flemming Dean, College of Arts and Sciences Nakachi, Sachi. Ph.D. November 2001. English Mixed-Race Identity Politics in Nella Larsen and Winnifred Eaton (Onoto Watanna) (216pp.) Director: David Dean McWilliams The dissertation examines how two women authors of mixed-race, Nella Larsen and Winnifred Eaton (Onoto Watanna), resisted American identity politics in their works. The ideological complexities of mixed-race identity, which is “in-between” races, are the focus of my argument. To discuss what Judith Butler calls “the performativity of identity” in the interracial context, “passing,” “masquerading” and “mimicking” are used as key strategies. I examine whether the space of hybridity, in which the incompatible notions of difference and sameness exist together, opens up the horizon of transformation of significations. In Chapter One, I discuss how Larsen used her “mulatto” heroines to criticize the essentialist notion of identity. I probe how crossing boundaries (passing, geographical crossing and transgressing sexual norms) functions in her novels. In Chapter Two, I examine the works of Winnifred Eaton, who passed as Japanese in her authorship.