Show World (December 3, 1910)
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JONESTOWN SURVIVOR Jonestown Survivor an Insider’S Look
JONESTOWN SURVIVOR Jonestown Survivor An Insider’s Look Laura Johnston Kohl iUniverse, Inc. New York Bloomington Jonestown Survivor An Insider’s Look Copyright © 2010 Laura Johnston Kohl All rights reserved. No part of this book may be used or reproduced by any means, graphic, electronic, or mechanical, including photocopying, recording, taping or by any information storage retrieval system without the written permission of the publisher except in the case of brief quotations embodied in critical articles and reviews. iUniverse books may be ordered through booksellers or by contacting: iUniverse 1663 Liberty Drive Bloomington, IN 47403 www.iuniverse.com 1-800-Authors (1-800-288-4677) Because of the dynamic nature of the Internet, any Web addresses or links contained in this book may have changed since publication and may no longer be valid. The views expressed in this work are solely those of the author and do not necessarily reflect the views of the publisher, and the publisher hereby disclaims any responsibility for them. ISBN: 978-1-4502-2094-1 (pbk) ISBN: 978-1-4502-2096-5 (cloth) ISBN: 978-1-4502-2095-8 (ebk) Printed in the United States of America iUniverse rev. date: 3/15/2010 I dedicate this book to my friends from Peoples Temple— those who did and those who did not survive. We united to help improve this world for all people. SPECIAL ACKNOWLEDGEMENTS My “Rs”: my husband, Ron, and our son, Raul, have supported me endlessly and deeply to End peace with my past and continue my search for clarity. My mother, Virginia, a survivor, teacher, and author, inspired me and gave me strength to meet the challenges I have faced. -
DOROTTYA JÁSZAY, ANDREA VELICH Eötvös Loránd University
Film & Culture edited by: DOROTTYA JÁSZAY, ANDREA VELICH Eötvös Loránd University | Faculty of Humanities | School of English and American Studies 2016 Film & Culture Edited by: DOROTTYA JÁSZAY, ANDREA VELICH Layout design by: BENCE LEVENTE BODÓ Proofreader: ANDREA THURMER © AUTHORS 2016, © EDITORS 2016 ISBN 978-963-284-757-3 EÖTVÖS LORÁND TUDOMÁNYEGYETEM Supported by the Higher Education Restructuring Fund | Allocated to ELTE by the Hungarian Government 2016 FILM & CULTURE Marcell Gellért | Shakespeare on Film: Romeo and Table of Juliet Revisioned 75 Márta Hargitai | Hitchcock’s Macbeth 87 Contents Dorottya Holló | Culture(s) Through Films: Learning Opportunities 110 Géza Kállay | Introduction: Being Film 5 János Kenyeres | Multiculturalism, History and Identity in Canadian Film: Atom Egoyan’s Vera Benczik & Natália Pikli | James Bond in the Ararat 124 Classroom 19 Zsolt Komáromy | The Miraculous Life of Henry Zsolt Czigányik | Utopia and Dystopia Purcell: On the Cultural Historical Contexts of on the Screen 30 the Film England, my England 143 Ákos Farkas | Henry James in the Cinema: When Miklós Lojkó | The British Documentary Film the Adapters Turn the Screw 44 Movement from the mid-1920s to the mid-1940s: Its Social, Political, and Aesthetic Context 155 Cecilia Gall | Representation of Australian Aborigines in Australian film 62 Éva Péteri | John Huston’s Adaptation of James Joyce’s “The Dead”: A Literary Approach 186 FILM & CULTURE Eglantina Remport & Janina Vesztergom | Romantic Ireland and the Hollywood Film Industry: The Colleen -
7Pm Monday, November 23 | the Coolidge Corner Theatre, Brookline Tickets: $9.75
BOSTON IRISH FILM FESTIVAL PRESENTS: Return with us to the early days of the cinema as we recreate the Nickelodeon experience with music, song, and film to celebrate the first ever fiction films made in Ireland. The Boston Irish Film Festival is proud to present this unique multimedia event that takes you back to the early 1910s when pioneering screenwriter/actress Gene Gauntier and director Sidney Olcott of the Kalem Film Company blazed a trail from New York to Killarney—and into history! Affectionately known as the “O’Kalems,” Gauntier, Olcott, and their crew became the first American filmmakers to shoot overseas and the first to produce films that reflected the realities of the Irish experience. A sentimental mix of rebel dramas, folk romances, and tales of exile and emigration, their films proved tremendously popular with the Irish in America and helped ease the ease the pangs of being so far from home. Blazing the Trail presents a selection of these rarely‐seen films with live musical accompaniment and interspersed with popular Irish parlor songs from the period. All films have been digitally restored, with some receiving their first public screening in almost a century! The event will also feature a series of originally produced short films, which draw upon the autobiography of Gene Gauntier’s to recount the adventures of the “O’Kalems” in Ireland. Featuring the music of pianist Peter Freisinger and vocalists Victoria Hayes & Liz Hayes, Blazing the Trail is directed by Peter Flynn and produced by Dawn Morrissey. 7pm Monday, November 23 | The Coolidge Corner Theatre, Brookline Tickets: $9.75 ABOUT THE “O’KALEMS”: 1895‐1909. -
"Magic City" Class, Community, and Reform in Roanoke, Virginia, 1882-1912 Paul R
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 "Magic City" class, community, and reform in Roanoke, Virginia, 1882-1912 Paul R. Dotson, Jr. Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Dotson, Jr., Paul R., ""Magic City" class, community, and reform in Roanoke, Virginia, 1882-1912" (2003). LSU Doctoral Dissertations. 68. https://digitalcommons.lsu.edu/gradschool_dissertations/68 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “MAGIC CITY” CLASS, COMMUNITY, AND REFORM IN ROANOKE, VIRGINIA, 1882-1912 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Paul R. Dotson, Jr. B. A. Roanoke College, 1990 M. A. Virginia Tech, 1997 December 2003 For Herman, Kathleen, Jack, and Florence ii Between the idea And the reality Between the motion And the act Falls the Shadow T. S. Eliot, “The Hollow Men” (1925) iii Acknowledgements Gaines Foster shepherded this dissertation from the idea to the reality with the sort of patience, encouragement, and guidance that every graduate student should be so lucky to receive. A thanks here cannot do justice to his efforts, but I offer it anyway with the hope that one day I will find a better method of acknowledging my appreciation. -
1909! She’S All Right!
08 ALLEGHENY THE KALDRON OF ------ ■ = ALLEGHENY COLLEGE PURPOSING To write deep in the lives of her sons and daughters the memory of an Allegheny year. THE STAR COMPANY PRINTERS H PUBLISHED BY THE STUDENT BODY IN THE YEAR OF OUR LORD MCMVI1I. Volume XX. THE K A L D R O N H ebert K n igh t Dennis, ’I1 A <* E d ito r in Chief. W i l l i a m L e R o v S t i d g e r , * △ <• W il l i a m ] . A i k e n , * I’ △ Associate Editors. P a u l C . D e e m e r , - A E Business Manager. CONSULTING STAFF. George H. Ruhling, Cartoonist. Charles O. Peters, - A K John R. K e is te r , * K + F l o r e n c e M. G r a u e l, IC a <> M a ry N ic h o ls , K K I' M a r v G r e e n , a X it M a r g e r e t H. Be e BE, <> - C. F. L e w is , △ 'I' △ C. H . C l a r k e , <> A * H . N. G o u ld . M a r y L . Bond. HONORARY. Katherine Adams, ’07, K A o F ra n c is L . L aB ou n ty, ’07, <l>K * MRS. SA R A H B. COCHRAN The Lady Elect of Allegheny College DEDICATED With the lasting esteem of the students of Allegheny College to REV. -
The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters
The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters THOMAS JAMES SCOTT, University of Ulster ABSTRACT This paper will consider cinematic depictions of the Irish between 1910 and 1930. American cinema during these years, like those that preceded them, contained a range of stereotypical Irish characters. However, as cinema began to move away from short sketches and produce longer films, more complex plots and refined Irish characters began to appear. The onscreen Irish became vehicles for recurring themes, the majority of which had uplifting narratives. This paper will discuss common character types, such as the Irish cop and domestic servant, and subjects such as the migration narrative, the social reform narrative and the inter-ethnic comedy. It will also briefly consider how Irish depictions in the 1910s and 1920s compared to earlier representations. While the emphasis will be on films viewed at archives, including the University of California, Los Angeles Film and Television Archive, or acquired through private and commercial sellers, the paper will also reflect on some films that are currently considered lost. KEYWORDS Irish, cinema, representation, stereotypes, migrants. Introduction Feature Productions’ early ‘talkie’ Irish Fantasy (Orville O. Dull, 1929) should be considered important for two reasons. One, it is one of the earliest Irish-themed musicals to survive in its entirety. Two, it was produced by William Cameron Menzies, who would go on to win an Academy Award for his production design on MGM’s Gone With the Wind (Victor Fleming, 1939). The film centres on an old Irish man explaining the meaning of the three leaves of the shamrock to his uninformed grandson, who remarks ‘sure they’re only weeds.’ The first leaf signifies what the Irish are, ‘happy-go-lucky with warm blood in our hearts.’ The second symbolises the big hearts of the Irish who were forced to migrate to America. -
A History of the Middle of Georgia 1
Jackson: A History of the Middle of Georgia 1 In the southwestern section of town is a place that was once howling grounds for two packs of wolves. The two packs, one from Yellow Water and one from Sandy Creek, made that area their nocturnal meeting area and made nights frightful to early settlers due to the hideous howling. Before Jackson was created, the area where the downtown now stands was only two Indian trails that crossed where a 10’ by 12’ log cabin stood and was used as a post office. The first hanging in Jackson took place before the city was created in the middle of what would become Third Street between the Furlow and Slaughter residences. Two White men were hanged there on an old chestnut tree and were buried in the backyard of the Furlow place. 1818 In 1818, the first church services were held in what would become the City of Jackson. They were conducted by a Methodist, Mrs. Mary Williams Buttrill, in a log house erected by her slaves at what is now the east entrance to the Jackson Cemetery. Buttrill died in 1830, but for years she took her own seven boys, three daughters, slaves and local children into this log house one afternoon a week to hold religious services using her Bible and prayer book. 1822 The Southern Railway was built through the area that would soon become Butts County in 1822. A Western Union telegraph service came to the area soon after that. 1825 Butts County was created by an act of the Georgia General Assembly on December 24, 1825. -
A Century of 'Cinematographing Ireland'
A century of ‘cinematographing Ireland’ Published in History Ireland 20th-century / Contemporary History, Features, Issue 6 (Nov/Dec 2010), Volume 18, World War I http://www.historyireland.com/20th-century-contemporary-history/a-century-of- cinematographing-ireland/ In the Kalem Company’s Colleen Bawn (1911), Danny (Sidney Olcott), tormented with guilt after having attempted to drown the Colleen Bawn, is restrained by Father Tom (Arthur Donaldson). An intertitle states that ‘the bed used in this scene belonged to Daniel O’Connell and was occupied by him’. (Muckross House, Killarney) One hundred years ago, on the night of Saturday 13 August 1910, three passengers travelling from New York disembarked from the White Star Line’s steamer Baltic at what was then called Queenstown, now Cobh, with a device that was revolutionising how people viewed the world: the cinematograph or cine-camera. This device had existed for fifteen years by 1910, and had been used to record events and film short fiction subjects. At this point, film-makers were perfecting the techniques that would allow them to produce long fiction films for mass audiences and consequently make the cinema the twentieth century’s dominant medium. The arrival of the three-person film crew marked the beginning of the first serious effort to make Ireland not only a part of the international market for such films but also the location for their production. Kalem Sidney Olcott, Gene Gauntier and George Hollister were employees of the New York-based Kalem Company, a small film production company that made the most of its lack of studios by specialising in fiction films admired for the realism of their outdoor settings. -
SCMS 2012 INT FP-No Rooms.Indd
SCMS 2012 Conference Program Boston Park Plaza Hotel and Towers March 21–25, 2012 Schedule of Events at a Glance Wed, March 21 10:00 – 11:45am Session A 12:15 – 2:00pm Session K 12:00noon – 1:45pm Session B 12:15 – 2:00pm Special Event— New England Archive 2:00 – 3:45pm Session C Showcase—Northeast 4:00 – 5:45pm Session D Historic Film Thurs, March 22 9:00 – 10:45am Session E 2:15 – 4:00pm Orientation for New Members 11:00am – 12:45pm Orientation for New Members 2:15 – 4:00pm Session L 11:00am – 12:45pm Session F 2:15 – 4:00pm Special Event— New England Archive 11:00am – 12:45pm Special Event— Showcase—The Harvard New England Archive Film Archive Showcase—The National Center for 4:15 – 5:30pm Awards Ceremony Jewish Film 5:30 – 7:30pm Reception 1:00 – 2:45pm Session G 8:15pm Special Event— 1:00 – 2:45pm Special Event— Women Make Movies New England Archive 40th Anniversary Showcase—WGBH Sat, March 24 9:00 – 10:45am Session M Media Library and Archives 11:00am – 12:45pm Session N 3:00 – 4:45pm Session H 1:00 – 2:45pm Session O 5:00 – 6:45pm Session I 3:00 – 4:45pm Session P 7:00pm Reception Special Event— 5:00 – 6:45pm Session Q 8:00pm Screening An Evening with 8:00pm Special Event— Experimental Screening of The Last Filmmaker Ernie Gehr Command with Alloy Fri, March 23 9:00 – 10:45am Session J Orchestra 11:00am – 12:00noon Members’ Business Sun, March 25 9:00 – 10:45am Session R Meeting 11:00am – 12:45pm Session S 10 WEDNESDAY MARCH 21, 2012 SESSION A 10:00 – 11:45am Cyborgs, Avatars, A1 Political Cinema from the A2 Immigrant Terminators -
Roblematises This View, Focusing Instead on the Potential for Success of the Various Production Strategies Employed by Scottish Film-Makers
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Why Not a Scots Hollywood? Fiction film production in Scotland, 1911-1928 Caroline Merz Doctor of Philosophy The University of Edinburgh 2016 Declaration I declare that this thesis has been composed solely by me and that it has not been submitted, in whole or in part, for any other degree or professional qualification, nor has it been published in any form. Except where explicitly stated otherwise by reference or acknowledgement, the work presented is entirely my own. Signature ………………………………………….. 1 Abstract This thesis addresses a neglected area of British national cinema history, presenting the first comprehensive study of Scotland’s incursions into narrative film production before the coming of sound. It explores both the specificity of Scottish production and its place within the broader cultural, political and economic contexts of the British film industry at key periods in the ‘silent’ era before and after the Great War. -
Dignified Work and the Politics of Mobility in Serbia
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses July 2019 What Will You Do Here? Dignified orkW and the Politics of Mobility in Serbia Dana N. Johnson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Demography, Population, and Ecology Commons, Eastern European Studies Commons, Migration Studies Commons, and the Social and Cultural Anthropology Commons Recommended Citation Johnson, Dana N., "What Will You Do Here? Dignified orkW and the Politics of Mobility in Serbia" (2019). Doctoral Dissertations. 1643. https://doi.org/10.7275/14228084 https://scholarworks.umass.edu/dissertations_2/1643 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. WHAT WILL YOU DO HERE? DIGNIFIED WORK AND THE POLITICS OF MOBILITY IN SERBIA A Dissertation Presented by DANA N. JOHNSON Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2019 Anthropology © Copyright by Dana N. Johnson 2019 All Rights Reserved WHAT WILL YOU DO HERE? DIGNIFIED WORK AND THE POLITICS OF MOBILITY IN SERBIA A Dissertation Presented by DANA N. JOHNSON Approved as to style and content by: ___________________________ Julie Hemment, Chair ___________________________ Elizabeth L. Krause, Member ___________________________ Krista Harper, Member ___________________________ Sangeeta Kamat, Member ___________________________ Julie Hemment, Acting Chair Department of Anthropology DEDICATION For Aca ACKNOWLEDGMENTS It is daunting to write on a topic that so many people find to be so very important. -
Darby O'gill and the Construction of Irish Identity
Darby O’Gill and the Construction of Irish Identity A Thesis submitted to the School of English at the University of Dublin, Trinity College, in fulfilment of the requirements for the Degree of Doctor of Philosophy. September 2017 Brian McManus 1 Declaration I, Brian McManus, declare that the following thesis has not previously been submitted as an exercise for a degree, either in Trinity College Dublin, or in any other University; that it is entirely my own work; and that the library may lend or copy it or any part thereof on request. Signed _________________________ Brian McManus Date _________________________ 27/4/2018 2 Acknowledgements I wish to acknowledge the generous financial support that this project received through the awarding of an Irish Research Council Postgraduate Scholarship and the Yale-TCD Alumni Bursary for Research in Children’s Literature. I also wish to acknowledge the invaluable assistance in my archival research that I received from Timothy Young and the staff of the Beinecke Library at Yale University and from Justin Arthur and the staff of the Walt Disney Archives at Walt Disney Studios. I would like to thank Pádraic Whyte for his considerable patience, pragmatism, diligence and dedication in supervising the writing of this thesis over the last four years. I would also like to thank Gavin Doyle, Paul Delaney, David O’Shaughnessy, Máire Ní Bháin, Eoin MacCárthaigh and Sinéad Keogh for their advice and assistance on aspects of this research project. I am also very grateful to Anne Markey, who was extraordinarily generous with her time and expertise. I would like to thank my friends and family for their support over the last four years, most especially Róisín Adams, Conor Linnie, Stephen O’Neill, Rebecca Long, Louise Gallagher, Aoife Dempsey, James Little, Charlie Dunney, Mary McManus, Fionnuala McManus, Ann McManus, Mary Daly, James Wharton and Patrick Grace.