The Joshua Fuller Family of Nunda, New York William A
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Fuller Genealogy
Digitized by the Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive.org/details/fullergenealogy04full aP\/ C. TKfi NEW YORK PUBLIC LIBRARY ASTOR, LENOX )i SOMK Fri.T.F.R (".EXKA l.( ; I S IS r.i i, XKWTox i-Ti.i.i-.i.; i:i.i/..\iii-. 1 II \i;i.uriM.\i WII.I.IA.M HVSI.or iri.l.KK IKSSK KR.WKI.IN l-ri.l.l'.K GENEALOGY OF SOME DESCENDANTS OF THOMAS FULLER OF WOBURN COMPILED BY WILLIAM HYSLOP FULLER OF PALMER. MASS. TO WHICH IS ADDED SUPPLEMENTS TO VOLUMES I. II, III PREVIOUSLY COMPILED AND PUBLISHED PRINTED FOR THE COMPILER 1919 THE NEW YORK tiljD£n foundations' FULLER GENEALOGIES COMPILED AND FOR SALE BY WILLIAM H. FULLER 23 School Street, Palmer, Mass. VOLUME I. Some Descendants of Edward Fuller of the Mayflower. I volume 8 vo., cloth, 25 illustrations, 306 pp. Now only sold as part of the set of 4 volumes. Price, $20.00 for the Set. postpaid. VOLUME IL Some Descendants of Dr. Samuel Fuller of the Mayflower. 1 volume 8 vo., cloth, 31 illustrations, 263 pp. Price, postpaid, $5.00. VOLUME III. Some Descendants of Captain Matthew Fuller, also of John Fuller of Newton, John Fuller of Lynn, John Fuller of Ipswich, and Robert Fuller of Dorchester and Dedham, with supplements to Volumes I and II. 8 vo., cloth, 14 illustrations, 325 pp. Price $5.00, postpaid. VOLUME IV. /Some Descendants of Thomas Fuller of Woburn, with Supplements to the previous volumes. Price $6.00, postpaid. PREFACE In compiling the "Genealogy of Some Descendants of Thomas Fuller of Woburn," I have been greatly assisted by the work of the late Elizabeth Abercrombie, whose volume is an authority on the genealogy of the descendants of Joseph^ Fuller, No. -
January 27, 2009 (XVIII:3) Samuel Fuller PICKUP on SOUTH STREET (1953, 80 Min)
January 27, 2009 (XVIII:3) Samuel Fuller PICKUP ON SOUTH STREET (1953, 80 min) Directed and written by Samuel Fuller Based on a story by Dwight Taylor Produced by Jules Schermer Original Music by Leigh Harline Cinematography by Joseph MacDonald Richard Widmark...Skip McCoy Jean Peters...Candy Thelma Ritter...Moe Williams Murvyn Vye...Captain Dan Tiger Richard Kiley...Joey Willis Bouchey...Zara Milburn Stone...Detective Winoki Parley Baer...Headquarters Communist in chair SAMUEL FULLER (August 12, 1912, Worcester, Massachusetts— October 30, 1997, Hollywood, California) has 53 writing credits and 32 directing credits. Some of the films and tv episodes he directed were Street of No Return (1989), Les Voleurs de la nuit/Thieves After Dark (1984), White Dog (1982), The Big Red One (1980), "The Iron Horse" (1966-1967), The Naked Kiss True Story of Jesse James (1957), Hilda Crane (1956), The View (1964), Shock Corridor (1963), "The Virginian" (1962), "The from Pompey's Head (1955), Broken Lance (1954), Hell and High Dick Powell Show" (1962), Merrill's Marauders (1962), Water (1954), How to Marry a Millionaire (1953), Pickup on Underworld U.S.A. (1961), The Crimson Kimono (1959), South Street (1953), Titanic (1953), Niagara (1953), What Price Verboten! (1959), Forty Guns (1957), Run of the Arrow (1957), Glory (1952), O. Henry's Full House (1952), Viva Zapata! (1952), China Gate (1957), House of Bamboo (1955), Hell and High Panic in the Streets (1950), Pinky (1949), It Happens Every Water (1954), Pickup on South Street (1953), Park Row (1952), Spring (1949), Down to the Sea in Ships (1949), Yellow Sky Fixed Bayonets! (1951), The Steel Helmet (1951), The Baron of (1948), The Street with No Name (1948), Call Northside 777 Arizona (1950), and I Shot Jesse James (1949). -
Dogs Represent, in My Mind, Some of the Very Best Dogs Performing As Dogs
BEST DOG PERFORMANCES by Kevin Clarke Who doesn’t love a good pup!? Nobody, that’s who! These dogs represent, in my mind, some of the very best dogs performing as dogs. You may notice some of the more obvious, showy movie dogs missing from this list, which is by design. No stupid pet tricks here. No talking, anthropomorphized animals (sorry BABE movies). No pandering or mugging for the camera. Just canines being canines to the best of their abilities. If there were an Academy Award for dogs, these guys would all go home with the gold! UMBERTO D. (1952)(DIR. VITTORIO DE SICA)☐ Umberto’s terrier Flike (played by Napoleone), as the only one keeping an old man from ending it all. The final scene with Flike, Umberto and a train is one of the most heart-rending scenes in all of cinema. I agree with director Vittorio De Sica, this is his best film. THE ROAD WARRIOR (1982)(DIR. GEORGE MILLER)☐ The greatest silver screen dog of all time. Max's one true friend, known only as "Dog." George Miller and cinematographer Dean Semler have nothing but nice things to say about her in their Blu-ray commentary track. THE THING (1982)(DIR. JOHN CARPENTER)☐ Jed, as the most intense dog ever filmed. My favorite performance in the movie (sorry Kurt). Honestly, one of the most controlled performances, human or canine, in the history of cinema. And he’d better have gotten a whole damn rib-eye steak after suffering the dog pen sequence. E.T. (1982)(DIR. -
Fuller Film Series
FALL 2015 fuller film series LECTURE SERIES Film Series: Tribute to Filmmaker Samuel Fuller Join us for a film series focusing on the works of American filmmaker, crime reporter, and soldier Samuel Fuller, the audacious visionary renowned for his low-budget genre movies with controversial themes. Special guests Christa Fuller (the filmmaker’s widow) and Samantha Fuller (the filmmaker’s daughter) will introduce the films and join the audience for a discussion after each screening, moderated by SMC Political Science professor Alan Buckley and SMC Film Studies professor Josh Kanin. Sponsored by the SMC Associates (www.smc.edu/associates), SMC Communication & Media Studies Department, and SMC Political Science Department. Seating is strictly on a first-arrival basis. A FULLER LIFE Samantha Fuller’s revealing documentary about her father — featuring newly discovered home movies and readings by a wide range of his collaborators and fellow travelers — follows the passionate individualist Samuel Fuller on his path from New York tabloid journalist to Hollywood director-producer. Year released: 2013. Director: Samantha Fuller. FRIDAY, NOVEMBER 13 Z 6:30pm Z FREE Z HSS 165 SHOCK CORRIDOR This satirical commentary on racism and other hot issues in 1960s America — with daring cinematography by Stanley Cortez — charts the uneasy terrain between sanity and madness with the tale of a Pulitzer Prize-seeking investigative reporter who has himself committed to a mental hospital to investigate a murder. Year released: 1963. Director: Samuel Fuller. Starring: Peter Breck, Constance Towers, Gene Evans, and James Best. SATURDAY, NOVEMBER 14 Z 1pm Z FREE Z HSS 165 THE NAKED KISS This incisive satire of American culture is a bold and pulpy film about a former prostitute who relocates to a buttoned-down suburb and tries to fit in, but perverse secrets simmer beneath the wholesome surface. -
Tyrannyofdocs Fulltext
THEATRE LIBRARY ASSOCIATION Founded in 1937, Theatre Library Association supports librarians and archivists affiliated with theatre, dance, performance studies, popular enter- tainment, motion picture and broadcasting collections. TLA promotes profes- sional best practices in acquisition, organization, access and preservation of performing arts resources in libraries, archives, museums, private collections, and the digital environment. By producing publications, conferences, panels, and public events, TLA fosters creative and ethical use of performing arts ma- terials to enhance research, live performance, and scholarly communication. Theatre Library Association meets annually to conduct its business in the fall of each year. It presents a plenary and related programming during the annual meeting of the American Society for Theatre Research, and fre- quently cooperates with other professional and scholarly organizations in the sponsorship of symposia, events, and publications. Theatre Library Association publishes BROADSIDE, an online newsletter, and Performing Arts Resources, a monograph series, as well as conference com- pendia. It is governed by a constitution which provides for officers and an execu- tive board of directors elected by the membership. OFFICERS AND BOARD MEMBERS, 2011 Kenneth Schlesinger, President Diana King Lehman College/CUNY University of California, Los Angeles Nancy Friedland, Vice President Stephen Kuehler Columbia University Harvard University David Nochimson, Executive Francesca Marini Secretary Stratford Shakespeare -
Tarnished Angels
The Dark Vision of Douglas Sirk 38 NOIR CITY I SPRING 2016 I filmnoirfoundation.org Imogen Sara Smith n a hot night in New Orleans, in a half-lit, elegantly shabby apartment, two troubled souls share a bottle of cheap wine and an intimate, confessional conversation. Next door, a raucous costume party is in full swing, revelers dancing like hopped-up zombies to relentless Dixieland jazz. The man and woman speak tenderly about betrayals and disillusion- O ment, building to a kiss that is jarringly interrupted by Death— a guy in a leering skull mask who bursts in from the party. This scene, from Douglas Sirk’s underappreciated drama The Tarnished Angels (1958), dramatizes one of the director’s key themes: people struggling for authentic connection, surrounded by an oppressive, sinister masquerade of happi- ness. Sirk is best known for baroquely stylized Technicolor melodramas, once dismissed as sudsy kitsch but now embraced by many cinephiles for their formalist rigor and their subversive notes of unease. The work of a European intellectual often saddled with projects he disdained, Sirk’s films are complex, oblique, and visually incisive. One of the few German refugee filmmakers who didnot specialize in film noir, Sirk shared his fellow exiles’ gimlet eye for his adopted country. His lush melodramas strike a dissonant note, resonating from the hollowness behind the false front of the American “good life.” Like his sophisticated noir films of the 1940s, they reveal an insatiable hunger bred by idealized visions of plenty, and the paradoxical seduc- tion of death in a willfully complacent society. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art VOLUME I THE CORCORAN GALLERY OF ART WASHINGTON, D.C. A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 1 PAINTERS BORN BEFORE 1850 THE CORCORAN GALLERY OF ART WASHINGTON, D.C Copyright © 1966 By The Corcoran Gallery of Art, Washington, D.C. 20006 The Board of Trustees of The Corcoran Gallery of Art George E. Hamilton, Jr., President Robert V. Fleming Charles C. Glover, Jr. Corcoran Thorn, Jr. Katherine Morris Hall Frederick M. Bradley David E. Finley Gordon Gray David Lloyd Kreeger William Wilson Corcoran 69.1 A cknowledgments While the need for a catalogue of the collection has been apparent for some time, the preparation of this publication did not actually begin until June, 1965. Since that time a great many individuals and institutions have assisted in com- pleting the information contained herein. It is impossible to mention each indi- vidual and institution who has contributed to this project. But we take particular pleasure in recording our indebtedness to the staffs of the following institutions for their invaluable assistance: The Frick Art Reference Library, The District of Columbia Public Library, The Library of the National Gallery of Art, The Prints and Photographs Division, The Library of Congress. For assistance with particular research problems, and in compiling biographi- cal information on many of the artists included in this volume, special thanks are due to Mrs. Philip W. Amram, Miss Nancy Berman, Mrs. Christopher Bever, Mrs. Carter Burns, Professor Francis W. -
American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE -
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Samuel Fuller: Se Você Morrer, Eu Te Mato!, Retrospectiva Sobre a Obra De Um Dos Realizadores Mais Influentes Da História Do Cinema
Ministério da Cultura apresenta Banco do Brasil apresenta e patrocina Idealização Julio Bezerra e Ruy Gardnier Organização editorial Ruy Gardnier Produção Gráfico-editorial José de Aguiar e Marina Pessanha Centro Cultural Banco do Brasil 1ª edição/2013 O Ministério da Cultura e o Banco do Brasil apresentam Samuel Fuller: Se você morrer, eu te mato!, retrospectiva sobre a obra de um dos realizadores mais influentes da história do cinema. Samuel Fuller foi jornalista, escritor e soldado antes de fazer cinema. Como roteirista e cineasta, subverteu padrões com personagens deslocados e anarquistas, e ficou conhecido como o “poeta dos tablóides”. Escrevia, produzia e dirigia filmes urgentes, marcados por situações dramáticas limítrofes, que travavam um embate franco com a sociedade americana pós Segunda Guerra Mundial. A programação conta com mais de 20 longas dirigidos pelo cineasta, com títulos que abarcam suas fases e obsessões temáticas e estilísticas, além de um debate para aprofundar o conhecimento do trabalho desse cineasta incensado pela crítica francesa como um dos autores máximos da sétima arte, cultuado por diretores como Jim Jarmusch e Martin Scorsese, e homenageado por Jean-Luc Godard, Wim Wenders e Steven Spielberg. Com esta retrospectiva, o Centro Cultural Banco do Brasil, mais uma vez, oferece ao público a oportunidade de conhecer melhor um artista importante dentro da história do cinema e contribui para a formação de um público com melhor entendimento desta. Centro Cultural Banco do Brasil 5 O mais perigoso de todos Zack, veterano sargento do exército americano, perde a paciên- cia depois que um menino sul-coreano que o acompanhava é morto tam em códigos pré-estabelecidos e estão dispostos a pagar altos por um franco-atirador, e atira à queima-roupa em um desarmado preços por isso. -
IMAGES of SLAVERY: George Fuller's Depictions of the Antebellum South Sarahbums
IMAGES OF SLAVERY: George Fuller's Depictions of the Antebellum South SarahBums Fig. 1. George Fuller. NEGROSWAITING AT THE DEPOT. Late December, 1857. Pencil on paper. This drawing and all others in this article, which are being illustratedhere for thefirst time, are from a sketchbookmeasuring 512 by 103/4"inches, in a private collection. T HREETIMES IN THE I850s, George Fuller (1822- Fuller was no stranger to the life of the itinerant 1884)visited the Deep South, in each case remaining portrait artist. During the 1840s this native of Deerfield, there for several months. His primary motive was to Massachusetts, was almost constantly on the move, seek fresh opportunities for portrait commissions in painting faces in various parts of New England and areas where the competition might reasonably be sup- western New York State. It was simply necessary posed less fierce than in New York, Fuller's adopted business, for the most part routine and often dull. The city during the decade.' Southern states, however, opened up surprising new avenues of experience to the Yankee painter. He re- SARAH BURNS, Assistant Professorin the School of Fine corded those in memoranda, in letters to Arts at Indiana University, has written several articles experiences on nineteenth-centurypainting, including "A Study of family and friends in the North, and in a fascinating the Life and Poetic Vision of George Fuller (1822- sketchbook containing his impressions of slave life. 1884)" published in the Autumn, 1981, issue of the Fuller used this sketchbook in Montgomery, Ala- JOURNAL. bama, during the winter of 1857-1858. The cardboard- The American Art Journal/Summer 1983 35 x ; bound pad, measuring 5V2 by 103/4 inches, contains *?? '; . -
« Il Arrive Que La Réalité… » Réal La Rochelle
Document generated on 09/27/2021 2:36 a.m. 24 images « Il arrive que la réalité… » Réal La Rochelle Number 96, Spring 1999 URI: https://id.erudit.org/iderudit/24919ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this article La Rochelle, R. (1999). « Il arrive que la réalité… ». 24 images, (96), 12–13. Tous droits réservés © 24 images, 1999 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Giném a en poche «IL ARRIVE QUE LA RÉALITÉ...» PAR RÉAL LA ROCHELLE l arrive que la réalité soit I trop complexe pour la transmission orale. La légende la recrée sous une forme qui lui per met de courir le monde». Ce tex te, dit par la voix caverneuse et rauque, asthmatique et haletante de l'ordinateur Alpha 60, ouvre le film Alphaville de Jean-Luc Godard. C'est une métaphore lim pide du cinéma, dont la réalité des sujets, souvent, nous parvient sous forme de mythe grâce à la magie de l'écriture filmique. Les jeux du hasard et de la Filer la laine et lancer du basculement de la vie ordinai des Furies nymphomanes, ac chance, dans les récents arrivages la foudre re et placide dans la démence, compagné du «joli» refrain Bring en éditions DVD, permettent de Fuller le traite avec une écriture Back My Bonnie to Me; les réunir quatre titres exemplaires Alphaville est contemporain de d'une violence extrême, tout com chocs électriques et l'orage tropi qui ont un dénominateur com Shock Corridor et de The Naked me la tragédie grecque dévoilait cal dans l'asile; enfin l'insert de mun: faire voir et entendre la Kiss.