Western Ways Features Film Collection
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The Role of the ADOT Library in Meeting Staff Information Needs
SPR-737 SEPTEMBER 2016 The Role of the ADOT Library in Meeting Staff Information Needs Arizona Department of Transportation Research Center The Role of the ADOT Library in Meeting Staff Information Needs SPR‐737 September 2016 Prepared by: Diane Hart Ginn, Debra C. Pryor, Deborah Meyers, and Dave Hemingway‐Turner Partners in Brainstorms, Inc. 3420 E. Shea Blvd, Suite 130 Phoenix, AZ 85028 Maggie Sacco Independent Consultant Published by: Arizona Department of Transportation 206 S. 17th Ave. Phoenix, AZ 85007 In cooperation with US Department of Transportation Federal Highway Administration This report was funded in part through grants from the Federal Highway Administration, U.S. Department of Transportation. The contents of this report reflect the views of the authors, who are responsible for the facts and the accuracy of the data, and for the use or adaptation of previously published material, presented herein. The contents do not necessarily reflect the official views or policies of the Arizona Department of Transportation or the Federal Highway Administration, U.S. Department of Transportation. This report does not constitute a standard, specification, or regulation. Trade or manufacturers’ names that may appear herein are cited only because they are considered essential to the objectives of the report. The U.S. government and the State of Arizona do not endorse products or manufacturers. Technical Report Documentation Page 1. Report No. 2. Government Accession No. 3. Recipient’s Catalog No. FHWA‐AZ‐16‐737 4. Title and Subtitle 5. Report Date The Role of the ADOT Library in Meeting Staff Information Needs September 2016 6. Performing Organization Code 7. -
HOLLYWOOD – the Big Five Production Distribution Exhibition
HOLLYWOOD – The Big Five Production Distribution Exhibition Paramount MGM 20th Century – Fox Warner Bros RKO Hollywood Oligopoly • Big 5 control first run theaters • Theater chains regional • Theaters required 100+ films/year • Big 5 share films to fill screens • Little 3 supply “B” films Hollywood Major • Producer Distributor Exhibitor • Distribution & Exhibition New York based • New York HQ determines budget, type & quantity of films Hollywood Studio • Hollywood production lots, backlots & ranches • Studio Boss • Head of Production • Story Dept Hollywood Star • Star System • Long Term Option Contract • Publicity Dept Paramount • Adolph Zukor • 1912- Famous Players • 1914- Hodkinson & Paramount • 1916– FP & Paramount merge • Producer Jesse Lasky • Director Cecil B. DeMille • Pickford, Fairbanks, Valentino • 1933- Receivership • 1936-1964 Pres.Barney Balaban • Studio Boss Y. Frank Freeman • 1966- Gulf & Western Paramount Theaters • Chicago, mid West • South • New England • Canada • Paramount Studios: Hollywood Paramount Directors Ernst Lubitsch 1892-1947 • 1926 So This Is Paris (WB) • 1929 The Love Parade • 1932 One Hour With You • 1932 Trouble in Paradise • 1933 Design for Living • 1939 Ninotchka (MGM) • 1940 The Shop Around the Corner (MGM Cecil B. DeMille 1881-1959 • 1914 THE SQUAW MAN • 1915 THE CHEAT • 1920 WHY CHANGE YOUR WIFE • 1923 THE 10 COMMANDMENTS • 1927 KING OF KINGS • 1934 CLEOPATRA • 1949 SAMSON & DELILAH • 1952 THE GREATEST SHOW ON EARTH • 1955 THE 10 COMMANDMENTS Paramount Directors Josef von Sternberg 1894-1969 • 1927 -
Thelma Bonney Hall Towle Collection
TITLE: Thelma Bonney Hall Towle Collection DATE RANGE: 1909-2011 CALL NUMBER: PP-MS 250 PHYSICAL DESCRIPTION: 14.5 linear feet (29) boxes PROVENANCE: Donated by Marion Peddle, nephew, 2013 COPYRIGHT: The Arizona Historical Society owns the copyright to this collection. RESTRICTIONS: This collection is unrestricted. CREDIT LINE: Thelma Bonney Hall Towle Collection, PP-MS 250, Arizona Historical Society-Papago Park PROCESSED BY: Ashley Hinshaw, 2015 BIOGRAPHICAL NOTE: Thelma Bonney Hall Towle was born in Massachusetts in 1907. While growing up on the east coast she nurtured a love for the outdoors and for writing. She married Ralph Hall in 1938 and moved to New Jersey. In 1943, the couple moved to Winslow, Arizona where her passion for the desert developed into a lifelong cause. She became a tireless hiker and explorer, freelance writer and journalist. Towle was passionate about environmental issues (Glen Canyon Dam and mining) and preservation of natural landmarks such as the Rainbow Bridge and the Grand Canyon. She networked with other women journalists and helped form a writing group that would become the Arizona Press Women - a chapter of the National Federation of Press Women. In 1955 Thelma Towle became the first female correspondent to the Arizona Republic for the Winslow Mail and held that position until 1960. During this time that she became interested in the Battle at Big Dry Wash, one of the last Battles to occur between the Apaches and the U.S. Government. This project represented decades of research. On the 100th anniversary of the Battle, she published a report as a three-part series for the Arizona Silver Belt in 1982. -
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158. -
The Player Tourism Guru and NAU Alumna Karen Churchard, ’81, Helps the Super Bowl Touch Down in Arizona
THE MAGAZINE OF THE NORTHERN ARIZONA UNIVERSITY ALUMNI ASSOCIATION The Player Tourism guru and NAU alumna Karen Churchard, ’81, helps the Super Bowl touch down in Arizona SPRING 2007 Room Mates NAU’s new conference center and hotel are a marriage of town-and- gown resources p. 12 All in her Mind Philosophy professor Julie Piering talks shop about Plato, Socrates and playing third base p. 14 ALSO: Warren Buffett hosts NAU’s CBA students in Omaha and shares his wealth of knowledge. p. 16 In this Issue Spring 2007 I naualumni.com First & Goal After 21 seasons at the Fiesta Bowl and a Super Bowl coup, playmaker Karen 8 Churchard, ’81, leads the offense for Arizona tourism. FEATURES Where to Meet Next year, NAU’s ever-expanding campus adds a 1 2 conference center and hotel. The Obstacle is the Path 1 Richard4 A. Wood professor Julie Piering talks about her passion for philosophy and how today’s students may be tomorrow’s deep thinkers. Thoughts A mystery novel conjures images of Flagstaff— 4 a reminder of the connections we have with our mountain campus. Links A Message from the President, Looking for 5Mr. Goodell, Volunteer of the Year, Alumnus of the Year, A Branch Grows in Yuma and more. Journeys NAU’s CBA students travel to Omaha 16and meet Warren Buffett. DEPARTMENTS Connections Linking up with former Lumberjacks 18and meeting some future ones. Memoirs They will be 21 missed. ▲ Gila River Primroses —Photograph by George Stocking Cover Photo Karen Churchard, ’81, photographed at the University of Phoenix Stadium in Glendale, Ariz.—the site of the 2008 Super Bowl. -
The INSIDE FEBRUARY 2017
The INSIDE FEBRUARY 2017 A newsletter for employees of the Arizona Department of Transportation VOLUME 1, ISSUE 8 t New video highlights t State Route 189 t Fighting identity theft in Grand Canyon State widening project holds Arizona Logo Signs program public hearing PAGE 4 PAGE 7 PAGE 8 The INSIDE LEADERSHIP MATTERS ADOT DIRECTOR James Windsor, TSMO John S. Halikowski Jennifer Bower Richards, MVD you have had a chance to read the cover letter Larry Clark, MVD AM HOPING DEPUTY DIRECTOR FOR POLICY Lisa Danka, FMS Kevin Biesty from me and revised Code of Conduct that was emailed on Michael Kies, MPD COMMUNICATIONS DIRECTOR Mj Vincent, OCI Jan. 25. If you haven’t, I am asking you to please find the time Timothy Tait Steve Boschen, IDO Ted Howard, ASD to read it. NEWSLETTER STAFF Kathy Boyle, Assistant The Inside Lane is published monthly Communications Director for the employees of the Arizona IYou may wonder why I am stressing the importance of our Angela De Welles, Senior Department of Transportation by ADOT Code of Conduct. This document isn’t just another document. Communications Specialist Communications. Michelle Fink, Administrative Support Address all comments and suggestions John S. Halikowski Danelle Weber, Senior Our Code of Conduct reflects who we are as employees and to [email protected]. Director Communications Specialist represents our core values: Accountability, Integrity and Randy Sasaki, Graphics Project Manager A web version of this newsletter can be John Walradt, Graphic Designer found on ADOTNet or at Respect. I know you join me in making sure the interactions we have with fellow employees Elena Diaz, Graphic Designer azdot.gov/InsideLane. -
Golden Ag E W Estern Comics Golden
Golden Age Western Comics Western Golden Age he Wild West has been romanticized in American culture ever since the dime novels capturing the exploits of Jesse James were produced in the years directly Tfollowing the Civil War, and the Western genre continues to enthrall audiences to this day. The stories of frontiersmen, outlaws, cowboys, Indians, prospectors, and marksmen surviving the harshest of environments through wit, skill, and determination, or meeting their end by bullet, noose, or exposure speak to what it means to be American and play an essential part in how we define ourselves as a nation. These mythic stories have been captured and created in almost every popular mass medium of the past century and beyond from tabloids to novels, radio plays, television shows, and movies. Now, powerHouse Books is pleased to present a collection of these uniquely American stories as told through a uniquely American medium…the comic book! Golden Age Western Comics lovingly reproduces in full-color, restored, complete scans of over 40 of the best Western stories created between the years 1948 and 1956. These lavishly illustrated stories of guts and glory, violence and valor, intrigue, romance, and betrayal, on the range and in lawless frontier towns, were created by some of the best artists and writers of the era. The action flies off the page in stories such as “The Tragedy at Massacre Pass,” and “Breakout in Rondo Prison,” from the greatest earliest publishing houses, including: Fawcett, Charlton, Avon, Youthful, and more. Golden Age Western -
Arizona Highways
CUMULATIVE INDEX· ARIZONA HIGHWAYS VOLUME 1, 1925 through VOLU~IE 27, 1951 ARTICLES appearing in ARIZONA HIGHWAYS from volume 1 in 1925 through volume 27 in 1951 are indexed here under author and subject. Indexing is similar to that found in READERS' GurnE TO PERIODICAL LITERATURE; each article is listed under the heading or headings most closely indicating the general subject matter. This is not a detailed analytical index to contents of articles. The user will find, for instance, those articles which deal with Katchinas, but not the names of various Katchinas discussed in the articles. Very general headings such as DESCRIPTION have been used only where more specific headings were not possible. A series of tall tales which appeared during early years of the magazine have been listed under that heading. Portraits have been indexed wherever there was a clear likeness. Group por traits have been incJuded when likenesses were clear and recognizable. There is a special index to color illustrations which have been an outstanding feature of ARIZONA HrGHWAYS for the past 10 years. Generally each picture has been listed under a single subject, the one which in the fallible judgment of the compiler, seemed most appropriate. It is hoped this will be of use to teachers and armchair travelers. ♦ COMPILED BY DONALD M. POWELL Reference Librarian UNIYERSITY OF ARIZONA SPONSORED BY PUBLISHED BY ARIZONA STATE ARIZONA TRADE BINDERY LIBRARY 311 West ;\lonroe ASSOCIATION PHOE:-IIX, ARIZONA $1.00 PER CoPY - ADD 10c FOR PosTAGE CDllYt'lth 1952 r>r a.ld \J ':'owe.I ]JuL 'JjJUlluL /Jt .,) ,)·• ..:-·'' tl!uv,JUL ;J{iq.JwD.ljlL and engineering equipment, asphalt, Rickenbacker THE first issue of ARIZONA HIGHWAYS appeared in cars, Cactus bacon and Armour's Star Hams. -
Download a PDF Version of Our 2020 Corporate Gift
Partner With Arizona Highways on Your Corporate and Retail Needs Calendars, Posters, Mugs, Books and Gift Subscriptions THE EVOLUTION OF LANDSCAPE PHOTOGRAPHY: 1925-2020 APRIL 2020 ESCAPE • EXPLORE • EXPERIENCE Years of Landscape NEW! 95 Photography SPECIAL ANNIVERSARY ISSUE! CONTENTS New Books: Arizona Ghost Towns Guidebooks Photography Gift Books Coffee Table Books Scenic Collection Cooking Children’s Books Calendars The George Avey Collection The Arizona Highways Collection Arizona Office of Tourism: Arizona’s National Parks Poster Collection Subscriptions Order Information BACK TO CONTENTS NEW BOOKS Our latest book offerings showcase Arizona's amazing places and people. Arizona Ghost Towns: 50 of the State's Best Places to Get a Glimpse of the Old West by Noah Austin, photos by Arizona Highways Contributors NEW! $22.95 ISBN 978-0-9989813-0-7 224 pages, 6" x 9", spftcover, full-color photography. From mining camps to military posts, Arizona’s frontier past is on display at hundreds of ghost towns around the state. Arizona Ghost Towns celebrates 50 of these sites via fascinating history, stunning photography and useful information for modern-day visitors. This guidebook, organized alphabetically for ease of use, includes detailed driving directions, GPS coordinates and more for each featured ghost town. BACK TO CONTENTS To place retail or corporate orders, please contact Lisa Karnatz in the Sales Department at 602-712-2018; fax to 602-254-4505; or email us at [email protected]. For invoice, shipping and return inquiries, call 800-543-5432 and ask for Wholesale Dept., or fax 888-735-5666. GUIDEBOOKS What to see and where to visit in Arizona. -
World Watch One Newsletter Groups Have Popped up Since
Cover Art by Paul Gulacy WORLD WATCH ONE CHICAGO BUREAU OFFICE Introduction from the Editor Dan “Big Shoulders” Berger Libertyville, IL Page 1 What it was Like Back Then Dan Berger Pages 2-4 The Savage Breast Survival Kit Steve “Rainbow Kitty” Mattsson Portland, OR Page 5 Not Quite Perfect Enough Scott “Camelot” Tate Alamosa, CO Page 6 Team Banzai Travel Bug Update Steve Mattsson Page 7 Buckaroo Banzai Video Games Sean “Figment” Murphy Springfield, VA Pages 8-10 SPECIAL SECTION RICK WATCH ONE W.D. Richter Interview Dan Berger Pages 11-12 Another W.D. Richter Interview Steve Mattsson Pages 12-16 Yet Another W.D. Richter Interview Tim “Tim Boo Ba” Monro Renton, WA Pages 17-19 Portland, OR Screening Report Steve Mattsson Page 21 Raleigh, NC Screening Report Dan Berger Page 22 Retro Reviews Ed “El Pistolero Solitario” Mauser New Brunswick, NJ Pages 23-24 “Wild Asses of the Kush” review Tim Munro Page 25 “Of Hunan Bondage” review Tim Munro Pages 25-26 “A Tomb with a View” review Dan Berger Page 27 “A Tomb with a View” annotations Tim Munro Page 28 “Hardest of the Hard” review Scott Tate Pages 29-30 Banzai Rising at Moonstone Books Dan Berger Page 30 Nova Police & Death Dwarves: Origins Steve Mattsson Pages 31-32 Hanoi Shan/Timeline update Steve Mattsson Pages 33-34 SPECIAL INSERT BANZAI INSTITUTE ARCHIVAL DOCUMENTS World Economic Forum Transcript Earl Mac Rauch From Script to Screen Steve Mattsson Front Cover: One of the most dramatic images associated with Buckaroo Banzai is the art for the French version of the theatrical poster by artist Melki. -
Tom Mix Achieved an Authentic Taste of Cowboy Americana He Was Never ·Able to Capture Again
BUDDINI WISTIRN STIR During his years, 1910-1917, at Selig-Polyscope, Tom Mix achieved an authentic taste of cowboy Americana he was never ·able to capture again. by Roberts. Birchard .Tom Mix's early years read very much like a Mark Twain odyssey, heavily salted with strains of Ho ratio Alger, Jr. Born January 6, 1880 at Mix Run, Clearfield County, Pennsylvania, Tom was the son of Ed and Elizabeth Mix. His father had been a member of the famed 7th Cavalry, but throughout Tom's youth he was employed as stablemaster for Pennsylvania industrialist, J. E. Du Bois. Tom, of course, learned to ride almost be fore he could walk. At age eighteen, Tom left home. He would later say, with tongue in cheek no doubt, that he left because he couldn't stand the smell of the animals in his father's stable; but in reality, he had been indentured to Du Bois's foundry, and the prospects of factory life did not appeal to him. Tom Mix's military record has long been a matter of dispute, but it would seem that he did serve in Cuba du1r ing the Spanish-American War, and that he saw action in the Philippine Insurrection and was a member of the American Expeditionary Force sent to China in the• Boxer Rebellion. Wounded at the battle of Tien Tsin, he was shipped home and mustered out of the service: After his hitch in the Army, Tom drifted to the South west, where he found work as a bartender, a cowboy, a lawman in a series of nbn-permanent construction camps, and finally as a Wild West show performer, be coming the foreman of the famed Miller Brothers' 101 Ranch Show in 1906. -
Manifest Density: Decentering the Global Western Film
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Manifest Density: Decentering the Global Western Film Michael D. Phillips The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2932 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MANIFEST DENSITY: DECENTERING THE GLOBAL WESTERN FILM by MICHAEL D. PHILLIPS A dissertation submitted to the Graduate Faculty in Comparative Literature in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 Michael D. Phillips All Rights Reserved ii Manifest Density: Decentering the Global Western Film by Michael D. Phillips This manuscript has been read and accepted for the Graduate Faculty in Comparative Literature in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. __________________ ________________________________________________ Date Jerry W. Carlson Chair of Examining Committee __________________ ________________________________________________ Date Giancarlo Lombardi Executive Officer Supervisory Committee: Paula J. Massood Marc Dolan THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Manifest Density: Decentering the Global Western Film by Michael D. Phillips Advisor: Jerry W. Carlson The Western is often seen as a uniquely American narrative form, one so deeply ingrained as to constitute a national myth. This perception persists despite its inherent shortcomings, among them its inapplicability to the many instances of filmmakers outside the United States appropriating the genre and thus undercutting this view of generic exceptionalism.