Icat - 0901 Test Booklet Serial Number: 010901 INSTRUCTIONS Before the Test

Total Page:16

File Type:pdf, Size:1020Kb

Icat - 0901 Test Booklet Serial Number: 010901 INSTRUCTIONS Before the Test iCAT - 0901 Test Booklet Serial Number: 010901 INSTRUCTIONS Before the Test: 1. DO NOT REMOVE THE SEAL OF THIS BOOKLET UNTIL THE SIGNAL TO START IS GIVEN. 2. Keep only a pencil, eraser and sharpener with you. DO NOT KEEP with you books, rulers, slide rules, drawing instruments, calculators (including watch calculators), pagers, cellular phones, stop watches or any other device or loose paper. These should be left at a place indicated by the invigilator. 3. Use only HB pencil to fill in the Answer Sheet. 4. Enter in your Answer Sheet: (a) in Box 3, the Test Form Number that appears at the bottom of this page, (b) in Box 4, the Test Booklet Serial Number that appears at the top of this page. 5. Ensure that your personal data have been entered correctly on Side - II of the Answer Sheet. 6. Ensure that you have entered your 8-digit Test Registration Number in Box 2 of the Answer Sheet correctly. Start entering the number from the leftmost cell, leaving the last three cells blank. At the start of the Test: 1. As soon as the signal to start is given, open the Test Booklet. 2. This Test Booklet contains 28 pages, including the blank ones. Immediately after opening the Test Booklet, verify that all the pages are printed properly and are in order. If there is a problem with your Test Booklet, immediately inform the invigilator. You will be provided with a replacement. How to answer: 1. This test contains 85 questions in three sections. There are 35 questions in Section I, 25 questions in Section II and 25 questions in Section III. You have two and half hours to complete the test. In distributing the time over the three sections, please bear in mind that you need to demonstrate your competence in all three sections. 2. Directions for answering the questions are given before each group of questions. Read these directions carefully and answer the questions by darkening the appropriate circles on the Answer Sheet. Each question has only one correct answer. 3. All Questions carry four marks each. Each wrong answer will attract a penalty of one mark. 4. Do your rough work only on the Test Booklet and NOT on the Answer Sheet. 5. Follow the instructions of the invigilator. Students found violating the instructions will be disqualified. After the Test: 1. At the end of the test, remain seated. The invigilator will collect the Answer Sheet from your seat. Do not leave the hall until the invigilator announces “You may leave now”. The invigilator will make this announcement only after collecting the Answer Sheets from all the students in the room. 2. You may retain this Test Booklet with you. iCATs are national-level Mock CATs from TestFunda.com. TestFunda tests and lessons are available in three formats—Online, CD-based and Print. Users taking paper-based tests can evaluate their performance using the solution key provided in the Solution Booklet. You need to log in to www.TestFunda.com and go to Courseware > Test Centre to see your national percentile and access detailed reports. Test Form Number: 111 iCAT.09.01 1 © www.TestFunda.com Use this Page for Rough Work iCAT.09.01 2 © www.TestFunda.com Section I Number of Questions: 35 Number of Marks for each question: 4 Directions for Questions 1 to 15:- Four passages are given below. For each passage, read it and mark the most appropriate answer to the questions that follow the passage. The questions following each passage are to be answered independently of the information in the other passages. Passage I On Thursday, December 16, 1773, the evening before the tea was due to be landed, Captain Roach appealed to Governor Hutchinson to allow his ship to leave without unloading its tea. When Roach returned and reported Hutchinson‟s refusal to a massive protest meeting, Samuel Adams said to the assembly “This protest meeting can do nothing more to save the country”. As though on cue, the Sons of Liberty thinly disguised as either Mohawk or Narragansett Indians and armed with small hatchets and clubs, headed toward Griffin‟s Wharf (in Boston Harbour), where lay Dartmouth and the newly-arrived Beaver and Eleanor. Swiftly and efficiently, casks of tea were brought up from the hold to the deck, reasonable proof that some of the “Indians” were, in fact, longshoremen. The casks were opened and the tea dumped overboard; the work, lasting well into the night, was quick, thorough, and efficient. By dawn, over 342 casks or 90,000 lbs (45 tons) of tea worth an estimated £10,000 or $1.87 million USD in 2007 currency) had been consigned to the waters of Boston harbour. Nothing else had been damaged or stolen, except a single padlock accidentally broken and anonymously replaced not long thereafter. Tea washed up on the shores around Boston for weeks. Many citizens of Boston attempted to carry off this tea. In an effort to thwart this looting, people rowed several small boats out to where the tea was visible and beat it with oars, rendering it unusable. The tea party caused a crisis. Hutchinson had been urging London to take a hard line with the Sons of Liberty. If he had done what the other royal governors had done and let the ship owners and captains resolve the issue with the colonists, the Dartmouth, Eleanor, the William and the Beaver would have left without unloading any tea. Lord North said that if the colonists had stuck with non-importation for another six months the tea tax would have been repealed. In February 1775, Britain passed the Conciliatory Resolution which ended taxation for any colony which satisfactorily provided for the imperial defence and the upkeep of imperial officers. The Tea Act was repealed with the Taxation of Colonies Act, 1778. In the colonies, Benjamin Franklin stated that the destroyed tea must be repaid, all 90,000 pounds. Robert Murray, a New York merchant went to Lord North with three other merchants and offered to pay for the losses, but the offer was turned down. A number of colonists were inspired to carry out similar acts, such as the burning of the Peggy Stewart. The Boston Tea Party eventually proved to be one of the many reactions which led to the American Revolutionary War. At the very least, the Boston Tea Party and the reaction that followed served to rally support for revolutionaries in the thirteen colonies that were eventually successful in their fight for independence. Many colonists, in Boston and elsewhere in the country, pledged to abstain from tea drinking as a protest, turning instead to “liberty tea” (made from raspberry leaves), other herbal infusions, and coffee. This social protest movement away from tea drinking, however, was not long-lived. 1. In the sentence “Nothing else had been damaged or stolen, except a single padlock accidentally broken and anonymously replaced not long thereafter” what is the author trying to imply? (1) That the Sons of Liberty were vandals and they destroyed the goods on the ship. (2) The mysterious replacement of the padlock suggests that goods might have been stolen. (3) The act of dumping the tea into water was a symbolic sign of rebellion. (4) The ship did not contain any other valuable goods besides tea. iCAT.09.01 3 © www.TestFunda.com (5) The monetary damages of the act were immense and significant. 2. What were the immediate consequences of the Boston Tea Party? (1) It repaid the cost of the destroyed tea. (2) It led to the American Revolution. (3) People started drinking coffee only because of the Boston Tea Party. (4) Imports were restricted because of the Boston Tea Party. (5) It helped rally support for revolutionaries. 3. The structure of the passage can best be described as: (1) A historical incident and its causes are discussed. (2) An argument is stated along with the historical evidence to support it. (3) An event is stated along with its immediate consequences. (4) Statistics are provided for indicating the significance of a historical incident. (5) A historical incident with its political consequences has been discussed. Passage II In far-off Syria, a country lying northeast of Palestine, the land in which Jesus was born, the farmers who keep vineyards are very much troubled with foxes and bears, which destroy their crops at night. And so, to protect their vineyards, they build high stone-walls about them, and put broken bottles on the top to keep these animals out, much as some people in this country who have orchards do, in order to keep out small boys. These fences keep out the bears, because they cut themselves on the glass in trying to climb over, and they also keep out some of the foxes. But after all, when the grapes are nearly ripe, the owners of the vineyards and their men are obliged to build platforms up above the trellises, and stay there all night, in order to guard their crops. These watchers manage very well with all the other wild animals excepting the little foxes. They can see the big foxes and drive them off, but the little ones they cannot see, and so these destroy the vines. I suppose that it was an experience something like that which led one of the Bible-writers to say that the little foxes destroy the vines. It seems to me that this is very true with sins, too; it is the little sins that destroy us. When a big sin like stealing, lying or cheating comes along we can see that easily enough, and we will not let it over the fence into our lives - we drive it away, and are soon rid of it.
Recommended publications
  • Show World (July 23, 1910)
    Five Cents the Copy—Pay No More For An Amusement Paper FIVE CENTS 0 TpMW , THE COPY " mi ^ i-Kuixa: THIS WEEKS NEWS THIS WEEK 2 THE SHOW WORLD July 23, 1910. We Own the Illinois State Rights Three Fast Daily Jeffries-Johnson Trains Pictures from St. Louis to CHAMPIONSHIP CONTEST TAKEN AT RENO, JULY 4,1910 >tion Pictures ever made e TexasOklahoma Via BEWARE OF FAKES We shall prosecute anyone showing fake pictures to the fullest extent of the law. Why not arrange to play the isiif real thing on a percentage basis? Write, wire or ’phone No agents—Deal direct Leaving SOLE OWNERS ILLINOIS RIGHTS MORNING NOON NIGHT 9:00 A.M. 2:30 P.M. 8:25 P.M. JONES & SPOOR 174 STATE ST. CHICAGO, ILLINOIS Fred Harvey Meals /f^Of THE MANY ATTRACTIONS TO BE SEEN ATT THIS YEAR’S IlNNESOTA STATE FAffim, 'pSumsIncreased#15,000 <jp£^r] BEST FILM ... F^Total Amount Now Offered oO,000?'., • I-5J NORTHWESTERN CORN SHOW AND LIBERAL ARTS EXHIBITS{ PROGRAM ADDED SPACE IN AGRICULTURAL# HORTICULTURAL DEPARTMENTS spectacle WONDERFUL /MUSEMENT PR0grAm : YOU EVER SAW! ■' nirlL^°vuli;,C'’MlLYFUGHT5orWRIGMT BROS. 'CURTISS The Laemmle Film Ser- t#A®ANPNAT10N5 -aeroplanes- I JvnP- %0000RaciwSProiram - Automobile Race* ' WOOKacin$ 3 MILLER BROSLOl W/LDWEST RANCH Mu™w I rill* ti ft 30 High5 * Class Americanu.an emuand European Vaudevillevaua Acts S\korjeousDisp^Rrewofeeach -..-- /?AfEEtOAOSevenirL SEPT. 5ZHSTM TOTf IOXH Industrial Alcohol Stills 6 gal. Tax- Free $136.00, pays for itself every THE MUSICAL COMEDY STAR month. 76 to 600 gal. Stills instated TO PARK THEATRE MANAGERS: under guarantee.
    [Show full text]
  • Mezzo-Soprano Rosemary Hyler Ritter, Piano
    SoWneglfceosmte20t0o3 ! “Search and see whether there is not some place where you may invest your humanity. ” – Albert Schweitzer Songfest 2003 is supported, in part, by grants from the Aaron Copland Fund for Music and the Virgil Thomson Foundation. Special thanks to Elaine Chow. Website design by Craddock Stropes. Songfest photography courtesy of Luisa Gulley. Songfest is a 501(c)3 corporation. All donations are 100% tax-deductible to the full extent permitted by law. June 5-17, 2003 Breaking the Song Barrier Friday, June 6 *9:00 am-12:00 pm Adapting Opera to the Recital Stage” Hall 2:00-4:30 pm Master Class: Arias Hall 7:30 pm Faculty Recital - Raitt Recital Hall Price/Lofquist Saturday, June 7 *10:00 am-12:30 pm Classic American Voices Katz *2:00-4:00 pm Introduction: Bach Cantatas Smith 4:00-6:00 pm Master Class Hall *6:30-9:30 pm Master Class: Arias Katz Sunday, June 8 9:30-12:00 pm Playing Arias Katz 10:00-12:00 pm Apprentice Master Class Fortunato *1:30-4:30 pm German Romantic Lieder Katz *4:30-6:15 pm Arias Price *7:00-9:00 pm Master Class: Schubert Smith Monday, June 9 *9:45-12:00 pm Recitative: Actus Interruptus Katz *1:30-4:00 pm Women Composers Fortunato *4:00-6:00 pm German Lieder Price *6:30-9:00 pm “Breaking the Song Barrier” Katz Tuesday, June 10 *10:00-12:30 pm Sentimental Songs Fortunato *3:34-5:45 pm Bach Fortunato 1:30-3:30 pm Master Class Davis *7:00-9:00 pm “Sensible/Sensitive/Sensical/Singing: Finding an Emotional Core ” Hall Wednesday, June 11 *10:00-12:00 pm Apprentice Master Class Price *9:30-11:30 pm Bach Smith *2:30-5:00 pm Composer and Poet Harbison/Miller/Smith (North and South music by John Harbison: Text by Elizabeth Bishop) 7:30 pm Recital: Our Marvellous Native Tongue Raitt Davis/ Fortunato/ Holsberg/ Newman/KellockYoung/Ritter *Entries are open to the public through the Auditor Program.
    [Show full text]
  • Climbing the Walls Breakthrough in Fuel-Cell Technology
    en en The campus community biweekly May 3, 2001, vol. 1, no. 9 Scientists achieve Climbing the walls breakthrough in fuel-cell technology Gasoline averaging $3 per gallon? Oil drilling in an Alaskan wildlife reserve? It seems the long-term future of fossil fuels is bleak. One promising solution scien­ tists have been studying is fuel cells, but they've had limitations too. Now, in the April 19 issue of the science journal Nature, Caltech's Sossina Haile reports on a new type of fuel cell that may Shirley Marneus, right, gives a post-performance resolve these problems. critique to Alan Aida, left, as Ed Lewis, Caltech's Unlike a car engine, where fuel is Morgan Professor of Biology, Emeritus, looks on. burned and expanding gases do the work, a fuel cell converts chemical energy directly into electrical energy. Fuel Feynman on stage cells are pollution-free, and silent. The most common type now being developed Shirley Marneus, director of Theater Arts for portable power-the type used in at Ca/tech (TACIT), became friends with today's fuel-cell-powered prototype Richard Feynman over the 10 years he see Fuel Cell, page 2 performed in Ca/tech productions. Here she offers her views on QED, the current play based on Feynman's life. About two years ago, Alan Aida and The fixer Gordon Davidson, artistic director of the Mark Taper Forum in Los Angeles, got Javier Marquez together to produce a play about Richard Feynman at the Taper. Davidson and Herb Adams picked up what looks like a Peter Parnell, the playwright, came to brushed-metal die from his worktable in Alex Shim, a freshman physics major, scales the climbing wall at Caltech's annual Health Fair, held April 25.
    [Show full text]
  • Bicycles. Newtown Shop Open Every Day
    JThe Automatic Tool Co. The Automatic Tool Co. M.';, of South Norwalk, Conn., of South Norwalk, Conn.. Saaufaeturee aallk-bot-ue i Is milk-bott- le prepared to furaieh cap, plaia, ? ! appif aaa vxd or priatea, at low pricea aaa la quaatitiae aaeaial naetocaj Ut1m prea to auit purchaser; maekiaarj. Bast Norwalk R. R. Station. .Bee Factory Oppoatto Eat Norwalk R. R. Factory Opposite The NewtowM VOLUME XXX. NEWTOWN, CONN., FRIDAY, MAY 24, 1907.TEN PAGES. NUMBER 21 HOME uuuaune. All NEWS. kalBomlne are unstable and arnanlta-- uwuB wiw The Melbourne Cancer and off on giue," Bake, ' AT LIBRARY CORNER. NICHOLS BOUND OVER. nib clothing. AUbaltlne U ' QEORQB a natural tnrf rfniVK- i- . - Cure Co. OCmenuWall,ooatln? to over JU STICK C. S. PLATT TBIK8 HIS FIRST ued Caa b carad CASK. piaster, wood ceiling, oly by 64 Bank Ct., brick or canvas in the place m St., Derby, wall naoer and Vaianmi. of ivlvrjl mdr that will Oure Cancer at their Sanatorium and guar- V&George Nichols, a colored person, was plain or ornamental work, freeoolng or cure. also treat mild on ? Tb ofteoT yo antee a positive They - . taken into custody Sunday morning, 1 wiu an. or- cases and old sores at your borne If desired NOW-- charged with attempt at burglarious dinary wall bruah. AUbuUoe, when top it with he iWl. and cab send you a blood medicine that wil entrance residence of William P0'17-'?55- 10 or a11m thm t into the 11 cleaniarfaoe powdara cure Internal growth of all kinds. Corres- E. Hawley at Hawleyvllle, also intent will not or scale or rub off from quicker wtQ it rrtom.
    [Show full text]
  • Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
    Kate Bruce 电影 串行 (大全) Experience https://zh.listvote.com/lists/film/movies/experience-3736040/actors The Hun https://zh.listvote.com/lists/film/movies/the-hun-within-29469329/actors Within The City of https://zh.listvote.com/lists/film/movies/the-city-of-silent-men-3986299/actors Silent Men The Stainless https://zh.listvote.com/lists/film/movies/the-stainless-barrier-15714138/actors Barrier A Strange https://zh.listvote.com/lists/film/movies/a-strange-meeting-2561940/actors Meeting A Change of https://zh.listvote.com/lists/film/movies/a-change-of-heart-3602376/actors Heart The Crooked https://zh.listvote.com/lists/film/movies/the-crooked-road-3986466/actors Road With a Kodak https://zh.listvote.com/lists/film/movies/with-a-kodak-4020560/actors The Spanish https://zh.listvote.com/lists/film/movies/the-spanish-gypsy-3989411/actors Gypsy The Battle https://zh.listvote.com/lists/film/movies/the-battle-1985718/actors Examination https://zh.listvote.com/lists/film/movies/examination-day-at-school-3735884/actors Day at School A Close Call https://zh.listvote.com/lists/film/movies/a-close-call-2819685/actors Muggsy Becomes a https://zh.listvote.com/lists/film/movies/muggsy-becomes-a-hero-3866912/actors Hero The Painted https://zh.listvote.com/lists/film/movies/the-painted-lady-3522155/actors Lady The https://zh.listvote.com/lists/film/movies/the-newlyweds-3988491/actors Newlyweds Won by a https://zh.listvote.com/lists/film/movies/won-by-a-fish-3569778/actors Fish The Rebellion https://zh.listvote.com/lists/film/movies/the-rebellion-of-kitty-belle-3823890/actors
    [Show full text]
  • Allen G. Debus Collection PA Mss 121
    http://oac.cdlib.org/findaid/ark:/13030/c8cv4pbt No online items Guide to the Allen G. Debus collection PA Mss 121 Finding aid prepared by Wyatt Young and Zachary Liebhaber, 2016. UC Santa Barbara Library, Department of Special Research Collections University of California, Santa Barbara Santa Barbara 93106-9010 [email protected] URL: http://www.library.ucsb.edu/special-collections 2016 June 24 Guide to the Allen G. Debus PA Mss 121 1 collection PA Mss 121 Title: Allen G. Debus collection Identifier/Call Number: PA Mss 121 Language of Material: English Contributing Institution: UC Santa Barbara Library, Department of Special Research Collections Physical Description: 34.2 linear feet(5 cartons, 2 document boxes, 1 half-size document box, 23 flat boxes) Creator: Debus, Allen G. Date (inclusive): 20th century Date (bulk): 1960-2000 Abstract: The Allen G. Debus collection focuses on early entertainers, pioneer recording artists, vaudeville, minstrelsy, and the popular musical forms of the late 19th and early 20th century. The collection includes sheet music, photographs, correspondence, ephemera, and other primary source documents, as well as a sizeable collection of early 78 rpm disc and cylinder players. Physical Location: Special Research Collections, UC Santa Barbara Library Access Restrictions The collection is open for research. Use Restrictions Copyright has not been assigned to the Department of Special Research Collections, UCSB. All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of Special Research Collections. Permission for publication is given on behalf of the Department of Special Research Collections as the owner of the physical items and is not intended to include or imply permission of the copyright holder, which also must be obtained.
    [Show full text]
  • Apparitional Girlhood: Material Ephemerality and the Historiography of Female Adolescence in Early American Film1
    Diana Anselmo-Sequeira Apparitional Girlhood: Material Ephemerality and the Historiography of Female Adolescence in Early American Film1 Abstract At the turn of the twentieth century, the figure of the adolescent girl emerged in popular culture, her amorphous specter haunting the American screen. For the next two decades, psychologists, scientists, columnists, and filmmakers struggled to visualize a figure that was—physically, intellectually, and spiritually—defined by the ephemerality of transformation. Further, shaped by a deep-seated cultural tradition that equated young femininity with mysticism, the adolescent girl became quickly visualized as a liminal figure, an uncanny mediator between the living and the dead. Focusing on D.W. Griffith’s What The Daisy Said (1910), Thanhouser’s The Portrait of Lady Anne (1912), and the lost IFC serial The Mysteries of Myra (1916), this paper proposes to trace the protean representations of mystical girlhood. Through an analysis of these three objects, I explore the links between the invention of adolescent girlhood as it was conceived by American psychologist G. Stanley Hall in the 1900s, and the growth of American Spiritualism, a religious movement founded in the mid-1800s that often recruited “budding girls” as their most sensitive mediums. Additionally, I also interrogate how early American filmmaking intersected with modern science’s campaign to debunk spiritualism via the employment of mechanical apparatuses. Lastly, following Giuliana Bruno’s methodology of “textual remanence,” I have used surviving ephemera to fill in the gaps left by the material absence of The Mysteries of Myra. Although only four fragments of its original fifteen chapters survive today, the serial was completely predicated on an eighteen-year-old girl’s mystical awakening.
    [Show full text]
  • ISSUES Stamemti S
    • ■ . V ' NET PRESS RUN S^vecMt bj U. .8. We»&lltara«tt. Hartford. AVERAGE DAILY CIRCULATION for the Month o f December, 1929. library • Jr Conn. Chmdy with tloivly rUduK teaapoi> alnre tonight and Sunday; probably 5,516 Sunday. Member* ot Ibe Audit Dareau of Circulation* ____ PRICE THREE CENTS SOUTH MANGHESTER C 0 1 ^ ;,.S A t lS b A Y , JANUARY 11, 1930. FOURTEEN PAGES VOL. XLIV., NO. 87. (Clasaifled Advertlaing on Page 12) PRESIDENT’ S BOARD INAVAI ENVOYS FIGHT MYSTERIOUS MALADY ISSUES STA M EM Ti S S l Wickersham’s Announce-lTO INVESTIGATE i„ Described by Naval Expert ment, However, Gives Lit­ M E IC A N DIVORCEl cruisers from 70 to 50; As Secret British Paperi^ tle Clue to Conclusions News Surprises Delegates Village for Apes the Author Tells Senate First Wife Employs Counsel Arrived At. Parrot fever,^ strange and deadly malady k n o ^ In tropical coimtries^ Committee They Were On Way to Sea Parley. out new In the United States has Infected four persons in ^daryland. D r.! Jacksonville, Fla., Jan. 11.— (AP) ^several bedrooms in each dwelling ■ are planned. Individual drinking (Special To The Herald) to See If Marriage of Sci­ ; — i L. F. Badger, left, and Dr. C. Armstrong, extreme right, U, S. public' ^-epresentaUves of Yale Unlver- foimtains. recreation quarters, a I S .S. George Washington, Jan. ) jjgalth Service officials, have been assigned to check the spread of the , desire to study the reac- „ . Written as a ^ on Brit* Washington, Jan. 11.—President swimming pool, a hospital and a :-(AP)-Announcement by First I ^ disease which human beings contract from infected parrots.
    [Show full text]
  • Redalyc.ACTRICES DEL CINE MUDO QUE NO SUPERARON LA
    Aposta. Revista de Ciencias Sociales E-ISSN: 1696-7348 [email protected] Luis Gómez Encinas ed. España Ballesteros García, Rosa María ACTRICES DEL CINE MUDO QUE NO SUPERARON LA BARRERA DEL SONORO Aposta. Revista de Ciencias Sociales, núm. 71, octubre-diciembre, 2016, pp. 147-191 Luis Gómez Encinas ed. Móstoles, España Disponible en: http://www.redalyc.org/articulo.oa?id=495952433006 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto aposta revista de ciencias sociales ISSN 1696-7348 Nº 71, Octubre, Noviembre y Diciembre 2016 ACTRICES DEL CINE MUDO QUE NO SUPERARON LA BARRERA DEL SONORO ACTRESSES OF THE SILENT FILMS THAT THEY DIDN'T GET OVERCOME THE SOUND BARRIER Rosa María Ballesteros García Universidad de Málaga (SEIM/UMA) Recibido: 19/09/2015 - Aceptado: 8/04/2016 Formato de citación: Ballesteros García, R.M. (2016). “Actrices del cine mudo que no superaron la barrera del sonoro”. Aposta. Revista de Ciencias Sociales , 71, 147-191, http://apostadigital.com/revistav3/hemeroteca/ballesteros8.pdf Resumen El presente artículo tiene como objetivo recuperar una serie de actrices, ídolos de la etapa del cine mudo, que no lograron mantenerse al iniciarse el proceso al hablado. Ponemos el objetivo en algunas de las actrices más representativas a quienes el progreso técnico iba a condenar al ostracismo al no adecuarse su voz (aún sin la muleta del doblaje) a los inevitables cambios estructurales y auditivos.
    [Show full text]
  • Mary Pickford
    Mary Pickford Also Known As: Mary Pickford Rogers, Gladys Smith, Gladys Louise Smith, Gladys Mary Smith Lived: April 8, 1892 - May 29, 1979 Worked as: company director, distributor, film actress, film company founding partner, producer, screenwriter, theatre actress Worked In: United States by Christel Schmidt Mary Pickford was born Gladys Smith in 1892 in Toronto, Canada. After her father was killed in an accident, Gladys became the family’s main breadwinner by performing in the theatre. She was seven years old. In fact, the stage became a family venture, as her younger siblings Lottie and Jack and even her mother took up the trade. But the drive and determination to be a star belonged solely to Gladys. In 1907, her ambition would take her to Broadway and famed producer-director David Belasco, who changed her name to Mary Pickford and gave her a part in “The Warrens of Virginia.” In 1909, when Pickford was between stage engagements, she approached director D. W. Griffith at the Biograph Company in New York and asked for work in moving pictures. She had no intention of working permanently in the new medium, but hoped the income would tide her over before she went back to Belasco and the stage. Pickford was intrigued with film acting, and before long she began to enjoy “posing” for motion pictures. She stayed with the Biograph Company, working as both an actress and writer from 1909 to 1911, leaving for a brief stint with the Independent Motion Picture Company (IMP), and later with Majestic Pictures Corporation. She returned to Griffith at Biograph in early 1912, finishing out the year with him.
    [Show full text]
  • The Art of the Moving Picture by Vachel Lindsay
    The Art Of The Moving Picture by Vachel Lindsay The Art Of The Moving Picture by Vachel Lindsay had them scurrying to learn their A, B, C's, but they are drifting back to their old ways again, and nightly are forming themselves in cues at the doorways of the "Isis," the "Tivoli," and the "Riviera," the while it is sadly noted that "'the pictures' are driving literature off the parlor table." With the creative implications of this new pictorial art, with the whole visual-minded race clamoring for more, what may we not dream in the way of a new renaissance? How are we to step in to the possession of such a destiny? Are the institutions with a purely literary theory of life going to meet the need? Are the art schools and the art museums making themselves ready to assimilate a new art form? Or what is the type of institution that will ultimately take the position of leadership in culture through this new universal instrument? What possibilities lie in this art, once it is understood and developed, to plant new conceptions of civic and national idealism? How far may it go in cultivating concerted emotion in the now ungoverned crowd? Such questions as these can be answered only by minds with the imagination to page 1 / 231 see art as a reality; with faith to visualize for the little mid-western "home town" a new and living Pallas Athena; with courage to raze the very houses of the city to make new and greater forums and "civic centres." For ourselves in Denver, we shall try to do justice to the new Muse.
    [Show full text]
  • Summary 1B Spring 2018 DW Griffith As the 'Father of American Film'
    HIST/HRS 169 – Summary 1B Spring 2018 D.W. Griffith as the ‘Father of American Film’ D.W. Griffith is often described as the “father of American film.” Born as a “Southern gentleman” in Kentucky, his early career was as an actor and making hundreds of short films (usually “two-reelers” of less than 15 minutes) for the Biograph Company. He made ‘Birth of a Nation’ in 1915, and the sprawling epic ‘Intolerance’ in 1916. After making ‘Broken Blossoms’ (1922), he left Hollywood, leaving American movies to their fate! He was responsible more than any other filmmaker for the development of the standard feature film and the techniques filmmakers use to make one. His remarkable achievement by about 1915 was to have invented an “inherent cinematic style”, “a completely original style of moving images” specifically appropriate to moving pictures (in contrast to the short one-reelers and the statically filmed play-like movies in vogue around 1910). Perhaps his most contribution can be summed up as “classical editing.” He realized that the main objective of a filmmaker was to “manipulate” his audience, to increase the dramatic impact of the scenes on the audience, to get them more emotionally involved – excited, happy, sad, empathetic with the characters. His “chain of cinematic discourse” included using (often short) camera shots other than long shots – long shots, medium shots, two-shots, close-ups, etc. shot from different spatial and psychological perspectives (mise-en-scène) – and linking them together by editing to make up a single movie scene. “Time and space are conquered.” You no longer have to rely exclusively on the long shot from the 25th row, but you can mix them in different scales and from different perspectives and points of view to heighten audience response.
    [Show full text]