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Who's Who at Metro-Goldwyn-Mayer (1939)
W H LU * ★ M T R 0 G 0 L D W Y N LU ★ ★ M A Y R MyiWL- * METRO GOLDWYN ■ MAYER INDEX... UJluii STARS ... FEATURED PLAYERS DIRECTORS Astaire. Fred .... 12 Lynn, Leni. 66 Barrymore. Lionel . 13 Massey, Ilona .67 Beery Wallace 14 McPhail, Douglas 68 Cantor, Eddie . 15 Morgan, Frank 69 Crawford, Joan . 16 Morriss, Ann 70 Donat, Robert . 17 Murphy, George 71 Eddy, Nelson ... 18 Neal, Tom. 72 Gable, Clark . 19 O'Keefe, Dennis 73 Garbo, Greta . 20 O'Sullivan, Maureen 74 Garland, Judy. 21 Owen, Reginald 75 Garson, Greer. .... 22 Parker, Cecilia. 76 Lamarr, Hedy .... 23 Pendleton, Nat. 77 Loy, Myrna . 24 Pidgeon, Walter 78 MacDonald, Jeanette 25 Preisser, June 79 Marx Bros. —. 26 Reynolds, Gene. 80 Montgomery, Robert .... 27 Rice, Florence . 81 Powell, Eleanor . 28 Rutherford, Ann ... 82 Powell, William .... 29 Sothern, Ann. 83 Rainer Luise. .... 30 Stone, Lewis. 84 Rooney, Mickey . 31 Turner, Lana 85 Russell, Rosalind .... 32 Weidler, Virginia. 86 Shearer, Norma . 33 Weissmuller, John 87 Stewart, James .... 34 Young, Robert. 88 Sullavan, Margaret .... 35 Yule, Joe.. 89 Taylor, Robert . 36 Berkeley, Busby . 92 Tracy, Spencer . 37 Bucquet, Harold S. 93 Ayres, Lew. 40 Borzage, Frank 94 Bowman, Lee . 41 Brown, Clarence 95 Bruce, Virginia . 42 Buzzell, Eddie 96 Burke, Billie 43 Conway, Jack 97 Carroll, John 44 Cukor, George. 98 Carver, Lynne 45 Fenton, Leslie 99 Castle, Don 46 Fleming, Victor .100 Curtis, Alan 47 LeRoy, Mervyn 101 Day, Laraine 48 Lubitsch, Ernst.102 Douglas, Melvyn 49 McLeod, Norman Z. 103 Frants, Dalies . 50 Marin, Edwin L. .104 George, Florence 51 Potter, H. -
Boxoffice Records: Season 1937-1938 (1938)
' zm. v<W SELZNICK INTERNATIONAL JANET DOUGLAS PAULETTE GAYNOR FAIRBANKS, JR. GODDARD in "THE YOUNG IN HEART” with Roland Young ' Billie Burke and introducing Richard Carlson and Minnie Dupree Screen Play by Paul Osborn Adaptation by Charles Bennett Directed by Richard Wallace CAROLE LOMBARD and JAMES STEWART in "MADE FOR EACH OTHER ” Story and Screen Play by Jo Swerling Directed by John Cromwell IN PREPARATION: “GONE WITH THE WIND ” Screen Play by Sidney Howard Director, George Cukor Producer DAVID O. SELZNICK /x/HAT price personality? That question is everlastingly applied in the evaluation of the prime fac- tors in the making of motion pictures. It is applied to the star, the producer, the director, the writer and the other human ingredients that combine in the production of a motion picture. • And for all alike there is a common denominator—the boxoffice. • It has often been stated that each per- sonality is as good as his or her last picture. But it is unfair to make an evaluation on such a basis. The average for a season, based on intakes at the boxoffices throughout the land, is the more reliable measuring stick. • To render a service heretofore lacking, the publishers of BOXOFFICE have surveyed the field of the motion picture theatre and herein present BOXOFFICE RECORDS that tell their own important story. BEN SHLYEN, Publisher MAURICE KANN, Editor Records is published annually by Associated Publica- tions at Ninth and Van Brunt, Kansas City, Mo. PRICE TWO DOLLARS Hollywood Office: 6404 Hollywood Blvd., Ivan Spear, Manager. New York Office: 9 Rockefeller Plaza, J. -
Cloister Chronicle 65
liOISTER+ CnROIDCiiF1 ST. JOSEPH'S PROVINCE The Fathers and Brothers of the Province extend sincere sympathy and prayers to Bro. Patrick Roney, O.P., on the death of his father; to the Rev. T. G. Kinsella, O.P., the Rev. A. B. Dionne, O.P., and Bro. Bonaventure Sauro, O.P., on the death of their mothers; and to Rev. J. B. Hegarty, O.P., the Rev. C. H . McKenna, O.P., and Bro. Raymond Dillon, O.P., on the death of their sisters. From March 3 to 7, a pilgrimage composed of Dominican Fathers, Sisters and members of the Third Order from the United States attended the International Congress of the Third Order of St. Dominic in Rome. The following Fathers accompanied the pilgrimage: the Very Rev. J. B. Walsh, O.P., the Very Rev. W. P. Mcintyre, O.P., the Very Rev. L. P. Johannsen, O.P., the Very Rev. F. H. Dugan, O.P., the Very Rev. P. R. Carroll, O.P., the Rev. P. M. McDermott, O.P., the Rev. W. A. Marchant, O.P., the Rev. J. R. Dooley, O.P., the Rev. E. L. Spence, O.P., the Rev. J. A. Nowlen, O.P., the Rev. L. E. Hughes, O.P., and the Rev. J. B. Logan, O.P. The pilgrimage included a tour of St. Dominic's Country in southern France and a visit to his tomb at Bologna, as well as other points of inter est such as Lourdes, Nevers and Paris. The Rev. P. C. Perrotta, O.P., read a paper on "John Baptist Vico and the Philosophy of History" at the meeting of the American Catholic His torical Association, held in Pittsburgh, Pa., December 28 and 29, 1933. -
Schedule of Services Mass Intentions Staff
STAFF & ORGANIZATIONS FRANCISCAN FRIARS Fr. Michael Surufka, OFM, Pastor PARISH AND SCHOOL STAFF Fr. Placyd Kon, OFM, Parochial Vicar Mr. Bogdan (Don) Pieniak, Parish Administrator Fr. Leonard Stunek, OFM, Parochial Vicar Mrs. Deborah Martin, St. Stanislaus School Principal Br. Justin Kwietniewski, OFM, Pastoral Ministry Mr. Dan Kane Jr., Business Manager Br. Łukasz Kwiatkowski, OFM, Deacon / Student Mr. David Krakowski, Director of Liturgy and Music Br. Marcel Kosim, OFM, Deacon / Student Mrs. Denise O’Reilly, St. Stanislaus School Secretary DIRECTORY Mr. Fred Mendat, Maintenance & Social Center Manager Rectory & Parish Office 341-9091 PARISH ORGANIZATIONS Parish Fax 341-2688 Mrs. Susan Halamek, Pastoral Council Chairperson St. Stanislaus Elementary School 883-3307 Ms. Celeste Suchocki, Finance Council Chairperson Central Catholic High School 441-4700 Mrs. Sophie Wasielewski, Golden Agers President Pulaski Franciscan CDC 789-9545 Mr. John Sklodowski, Dads Club President Mr. Rick Krakowski, C.Y.O. Coordinator PARISH WEBSITE Mr. Matt Zielenski, St. Vincent DePaul Society www.ststanislaus.org Ms. Jane Bobula, Good Shepherd Catechesis E-MAIL Mr. Rob Jagelewski, Parish Historical Committee [email protected] Mrs. Nancy Mack, MANNA Coordinator PHOTO ALBUM Mrs. Grace Hryniewicz, Shrine Shoppe Manager www.picturetrail.com/saintstans Mrs. Sharon Kozak, Alumni and Development Mrs. Denise Siemborski, Fr. William Scholarship The artist’s sketch on the right Mr. John Heyink, Building and Grounds Committee depicts the original building Ms. Marianna Romaniuk, PORADA Director with the spires. Corner Stone Nicholas Rivera, Lil Bros President laid in 1886, and church dedicated in 1891. SCHEDULE OF SERVICES MASS INTENTIONS MASS SCHEDULE FIFTEENTH SUNDAY OF ORDINARY TIME Daily Masses: 7:00 AM & 8:30 AM (no 7:00 on Sat.) July 13, Lipca 2008 Daily Morning Prayer: 7:55 AM (exc. -
Caecilia V63n10 1936 11.Pdf
Founded A.D. 1874 by John SingenDerger'; • PRINCIPALS AND CLAIMS OF DEVOTIONAL MUSIC Rev. Fr. Joseph Kelly • CESAR AUGUSTE FRANCK Dom Adelard Bouvilliers, 0.5.8. • MSGR. IGNATIUS MITTERER • NEWS FROM EVERYWHERE • Vol. 63 NOVEMBER 1936 No~ ORATEFRATRES A Review Devoted to the Liturgical Apostolate TS first purpose is to foster an intelligent" and whole-hearted participation in I the liturgical life of the Church, which Pius X has called "the primary and indispensable source of the true Christian spirit." Secondarily it also considers the liturgy in its literary, artistic, musical, social, educational and historical aspects. From a Letter Signed By His Eminence Cardinal Gasparri "The Holy Father is greatly pleased that St. John's Abbey is continuing the glorious tradition, and that there is emanating from this abbey an inspiration that tends to elevate. the piety of the faithful by leading them back to the pure fountain of the sacred liturgy." Published every four weeks, beginning with Advent, twelve issues the year. Forty-eight pages. Two dollars the year in the United States. Write for sample copy and descriptive leaflet. THE LITURGICAL PRESS Collegeville Minnesota DOM DESROQUETTES writes: "So few books,-good books containing the Solesmes teaching, I mean---exist now in English. that I should like to see your book spread everywhere in English--speaking countries," in acknowledging The Gregorian Chant Manual of THE CATHOLIC MUSIC HOUR by The Most Rev. Joseph Schrembs Dom Grego,'y Huegle Sister Alice Marie If your problem is first to teach chant to average school children. and not primarily to picked choir groupst so that they will love it and eagerly take part in congregational singing. -
LORETTO HEIGHTS SPENDS THOUSANDS on COLLEGE Fane No H
LORETTO HEIGHTS SPENDS THOUSANDS ON COLLEGE FAne no H. m H i m\ MPfiOVENENIS laVE ONE OF E I F P « IN iNTION TO AT EUCHARISTIC CONGRESS OF AMDENY’S NEV HOME Beloved Former Denver Jesuit to Talk Sep Costly Scientific Equipment Is Being Installed tember 24 in Laboratories The Rev. Leo M. Krenz, S.J., 2 p. m.— First session for the (By Marie McNamara) science rooms, consisting of biology, ' Ph.D., for years one o f the most clergy, Creighton gymnasium, Rt. The college building at Loretto botany and chemistry. On the third leVed Jesuits in Colorado and pro- Rev. Joseph Schrembs, D.D., national Heights is being renovated at a cost and fourth floors arc the sleeping fessor_ of philosophy at Rejfis col protector of the P. E. L., presiding. of between $40,000 and $50,000. quarters, consisting of private rooms lege, Denver, will be one of the prin Paper,. “ The Eucharistic Sacrifice, The National Catholic Welfare Confereaca News Sarriea Supplies The Denver Catholic Register and The Register. This work is in addition to the erec and dormitories. Then, too, there cipal speakers at the National Eu Center of Divine Worship,” Rt. Rev, W e Have Also Onr Own Extensive Special Service, the K. of C. Service, the Central Verein Service, the tion of Pancratia hall, the large new are spacious shower and wash roops, charistic Congress. Following is the Charles D. White, D.D., Bishop of Fides Service and the C^ifornia Catholic Press Service academy building, costing $250,000 besides a wardrobe room. The first floor, now in the throes of remodel official program for the C onfess, Spokane. -
Volume 24 Supplement
2 GATHERED FRAGMENTS Leo Clement Andrew Arkfeld, S.V.D. Born: Feb. 4, 1912 in Butte, NE (Diocese of Omaha) A Publication of The Catholic Historical Society of Western Pennsylvania Joined the Society of the Divine Word (S.V.D.): Feb. 2, 1932 Educated: Sacred Heart Preparatory Seminary/College, Girard, Erie County, PA: 1935-1937 Vol. XXIV Supplement Professed vows as a Member of the Society of the Divine Word: Sept. 8, 1938 (first) and Sept. 8, 1942 (final) Ordained a priest of the Society of the Divine Word: Aug. 15, 1943 by Bishop William O’Brien in Holy Spirit Chapel, St. Mary Seminary, Techny, IL THE CATHOLIC BISHOPS OF WESTERN PENNSYLVANIA Appointed Vicar Apostolic of Central New Guinea/Titular Bishop of Bucellus: July 8, 1948 by John C. Bates, Esq. Ordained bishop: Nov. 30, 1948 by Samuel Cardinal Stritch in Holy Spirit Chapel, St. Mary Seminary Techny, IL The biographical information for each of the 143 prelates, and 4 others, that were referenced in the main journal Known as “The Flying Bishop of New Guinea” appears both in this separate Supplement to Volume XXIV of Gathered Fragments and on the website of The Cath- Title changed to Vicar Apostolic of Wewak, Papua New Guinea (PNG): May 15, 1952 olic Historical Society of Western Pennsylvania — www.catholichistorywpa.org. Attended the Second Vatican Council, Sessions One through Four: 1962-1965 Appointed first Bishop of Wewak, PNG: Nov. 15, 1966 Appointed Archbishop of Madang, PNG, and Apostolic Administrator of Wewak, PNG: Dec. 19, 1975 Installed: March 24, 1976 in Holy Spirit Cathedral, Madang Richard Henry Ackerman, C.S.Sp. -
Vatican Secret Diplomacy This Page Intentionally Left Blank Charles R
vatican secret diplomacy This page intentionally left blank charles r. gallagher, s.j. Vatican Secret Diplomacy joseph p. hurley and pope pius xii yale university press new haven & london Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Copyright © 2008 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Set in Scala and Scala Sans by Duke & Company, Devon, Pennsylvania. Printed in the United States of America by Sheridan Books, Ann Arbor, Michigan. Library of Congress Cataloging-in-Publication Data Gallagher, Charles R., 1965– Vatican secret diplomacy : Joseph P. Hurley and Pope Pius XII / Charles R. Gallagher. p. cm. Includes bibliographical references and index. ISBN 978-0-300-12134-6 (cloth : alk. paper) 1. Hurley, Joseph P. 2. Pius XII, Pope, 1876–1958. 3. World War, 1939–1945— Religious aspects—Catholic Church. 4. Catholic Church—Foreign relations. I. Title. BX4705.H873G35 2008 282.092—dc22 [B] 2007043743 A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Com- mittee on Production Guidelines for Book Longevity of the Council on Library Resources. 10 9 8 7 6 5 4 3 2 1 To my father and in loving memory of my mother This page intentionally left blank contents Acknowledgments ix Introduction 1 1 A Priest in the Family 8 2 Diplomatic Observer: India and Japan, 1927–1934 29 3 Silencing Charlie: The Rev. -
Kipling, Masculinity and Empire
Kunapipi Volume 18 Issue 1 Article 10 1996 America's Raj: Kipling, Masculinity and Empire Nicholas J. Cull Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Cull, Nicholas J., America's Raj: Kipling, Masculinity and Empire, Kunapipi, 18(1), 1996. Available at:https://ro.uow.edu.au/kunapipi/vol18/iss1/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] America's Raj: Kipling, Masculinity and Empire Abstract The posters for Gunga Din promised much: 'Thrills for a thousand movies, plundered for one mighty show'. That show was a valentine to the British Raj, in which three sergeants (engagingly played by Cary Grant, Victor McLaglen, and Douglas Fairbanks, Jr.) defeat marauding hoards of 'natives' with the aid of their 'Uncle Tom' water bearer, Gunga Din (Sam Jaffe)[Plate VII]. Audiences loved it. Its racism notwithstanding, even an astute viewer like Bertolt Brecht confessed: 'My heart was touched ... f felt like applauding and laughed in all the right places'. 1 Outwardly the film had little ot do with the United States. Most of the cast were British-born and its screenplay claimed to be 'from the poem by Rudyard Kipling' .2 Yet the film was neither British or faithful ot Kipling, but solidly American: directed by George Stevens for RKO, with a screenplay by Oxford-educated Joel Sayre and Stevens's regular collaborator Fred Guiol.3 This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol18/iss1/10 America's Raj: Kipling, Masculinity, and Empire 85 NICHOLAS J. -
JACK ARNOLD Di Renato Venturelli
JACK ARNOLD di Renato Venturelli Tra gli autori della fantascienza anni ‘50, che rinnovò la tradizione del cinema fantastico e dell’horror, il nome che si impone con più evidenza è quello di Jack Amold. Il motivo di questo rilievo non sta tanto nell’ aver diretto i capolavori assoluti del decennio (La cosa è di Hawks, L’invasione degli ultracorpi è di Siegel...), quanto nell’aver realizzato un corpus di film compatto per stile e notevole nel suo insieme per quantità e qualità. Gli otto film fantastici realizzati fra il 1953 e il 1959 testimoniano cioè un autore riconoscibile, oltre a scandire tappe fondamentali per la mitologia del cinema fantastico, dalla Creatura della Laguna Nera (unico esempio degli anni ‘50 ad essere entrato nel pantheon dei mostri classici) alla gigantesca tarantola, dalla metafora esistenziale di Radiazioni B/X agli scenari desertici in cui l’uomo si trova improvvisamente di fronte ai limiti delle proprie conoscenze razionali. Uno dei motivi di compattezza del lavoro di Amold sta nella notevole autonomia con cui poté lavorare. Il suo primo film di fantascienza, Destinazione… Terra (1953), segnava infatti il primo tentativo in questa direzione (e nelle tre dimensioni) da parte della Universal-International. Il successo che ottenne, e che assieme agli incassi del Mostro della laguna nera risollevò la compagnia da una difficile situazione economica, fu tale da permettere ad Arnold di ritagliarsi una zona di relativa autonomia all’interno dello studio: “Nessuno a quell’epoca era un esperto nel fare film di fantascienza, così io pretesi di esserlo. Non lo ero, naturalmente, ma lo studio non lo sapeva, e così non si misero mai a discutere, qualsiasi cosa facessi”. -
American Heritage Center
UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew. -
John Ford's Stagecoach
LELAND POAGUE 3 That Past, This Present Historicizing John Ford, 1939 Though its credit sequence features a montage of leisurely move- ments – shots of a stagecoach and its escort moving one way; of U.S. cavalry, then Apache warriors, the other; of the stagecoach again, sans escort, as if returning – Stagecoach proper begins with riders gal- loping hell-bent-for-leather almost directly toward the camera, in a long shot.1 This shot then dissolves to an army outpost on the edge of nowhere, hitching rails to frame left, tents and camp furniture and a flag staff to frame right. A bugle blows. The stars and stripes ascend the pole in the background while the riders pass back-to- front through the frame. A more visually and dramatically central flag raising occurs at the end of Drums Along the Mohawk, another 1939 John Ford film involving frontier outposts, besieged settlers, sinister aristocrats, newborn infants, and courage tested by combat or contest. And it concludes, almost as Stagecoach begins, with a dis- play of the national banner. Few of the Revolutionary-era characters who watch its ascent in Drums have ever seen the flag before; the symbolism of its stars and stripes must literally be explained. And individual “watchers” are picked out by Ford’s camera and cutting to witness its ascent, as if they were watching on our behalf. Claudette Colbert’s Lana Martin thinks the flag is “pretty”; a black woman, Daisy, Mrs. McKlennar’s “servant,” looks up tearfully; Blue Back, a Christian Indian, offers salute; and Henry Fonda’s Gil Martin gets a good eyeful and says it’s “time to get back to work” because there’s a “heap to do from now on.” 82 HISTORICIZING JOHN FORD, 1939 83 It is the work of this essay to investigate the historicity of John Ford’s films and filmmaking in 1939, commonly regarded as Hollywood’s and Ford’s most “spectacularly prolific” year.2 I invoke a portion of that history as prologue in order to acknowledge the necessary partiality of the enterprise.