A Chaplin's World Christmas the Eternal Tramp
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Dangerously Free: Outlaws and Nation-Making in Literature of the Indian Territory
DANGEROUSLY FREE: OUTLAWS AND NATION-MAKING IN LITERATURE OF THE INDIAN TERRITORY by Jenna Hunnef A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Jenna Hunnef 2016 Dangerously Free: Outlaws and Nation-Making in Literature of the Indian Territory Jenna Hunnef Doctor of Philosophy Department of English University of Toronto 2016 Abstract In this dissertation, I examine how literary representations of outlaws and outlawry have contributed to the shaping of national identity in the United States. I analyze a series of texts set in the former Indian Territory (now part of the state of Oklahoma) for traces of what I call “outlaw rhetorics,” that is, the political expression in literature of marginalized realities and competing visions of nationhood. Outlaw rhetorics elicit new ways to think the nation differently—to imagine the nation otherwise; as such, I demonstrate that outlaw narratives are as capable of challenging the nation’s claims to territorial or imaginative title as they are of asserting them. Borrowing from Abenaki scholar Lisa Brooks’s definition of “nation” as “the multifaceted, lived experience of families who gather in particular places,” this dissertation draws an analogous relationship between outlaws and domestic spaces wherein they are both considered simultaneously exempt from and constitutive of civic life. In the same way that the outlaw’s alternately celebrated and marginal status endows him or her with the power to support and eschew the stories a nation tells about itself, so the liminality and centrality of domestic life have proven effective as a means of consolidating and dissenting from the status quo of the nation-state. -
10B() St-Légier-La Chiésaz PROMOVE Site Mixte : Activités Tertiaires Et Industrielles Avec Secteur De Logements
Etat de Vaud – GOP vdition 2016 Site stratégique PPDE 10b() St-Légier-La Chiésaz PROMOVE Site mixte : activités tertiaires et industrielles avec secteur de logements ACTEURS PRINCIPAUX LOCALISATION Instances concernées pour la coordination : Communes de Saint-Légier-La Chiésaz, Vevey, Corsier- sur-Vevey Service des affaires intercommunales de la Riviera (SAI), PROMOVE, Canton. Exemples d'entreprises : Volet SA (charpentier constructeur), Seematter SA (équipements industriels), Grisoni-Zaugg SA (travaux publics), Jaggi-Pousaz SA (travaux publics). A noter la présence à Corsier-sur-Vevey de Merck-Serono SA (biotechnologies) dans la ZI de Fenil et le projet de Musée Chaplin sur le site du manoir de Ban. ACCESSIBILITE Desserte TP : Bus urbain VMCV et train Vevey-Les Pléiades. En train : St Légier-gare à 30 minutes de Lausanne et à 10 minutes de Vevey. Desserte TIM : Proximité immédiate de la jonction autoroutière de La Veyre. CHIFFRES-CLES (à actualiser selon périmètre) PERIMETRE EN COURS DE DEFINITION ETAT ACTUEL (STATENT 2011) 1856 Emplois EPT (STATENT 2012) 1725 (validation en cours) (STATENT 2011) 129 Entreprises (STATENT 2012) 129 (validation en cours) (RCPers 2011) 860 (RCPers 2012) 894 Habitants (RCPers 2013) 900 (RCPers 2014) En cours d’acquisition Superficie (2014) Validation en cours Zone industrielle Validation en cours dont ZIZA et/ou artisanale POTENTIELS DE DEVELOPPEMENT données en cours de définition PROJET DE DEVELOPPEMENT Contexte et enjeux : Le site de « Saint-Légier-La Chiésaz », proche du centre régional de Vevey et situé en amont et en aval de l’autoroute, se compose de secteurs pouvant faire l’objet de requalification et de densification. De plus, ils offrent une réserve significative de terrains libres de construction pouvant être valorisés. -
Feminine Charm
THE GREAT DYING A thesis submitted To Kent State University in partial Fulfillment of the requirements for the Degree of Master of Fine Arts in Creative Writing by Amy Purcell August, 2013 Thesis written by Amy Purcell B.S., Ohio University, 1989 M.F.A., Kent State University, 2013 Approved by Varley O’Connor, Advisor Robert W. Trogdon, Chair, Department of Psychology Raymond A. Craig, Dean, College of Arts and Sciences ii CHAPTER ONE Lucy Sullivan first noticed she was disappearing on Monday morning as she prepared to return to work at the Field Museum. This was two weeks after Sean had died, at the peak of Chicago’s worst heat wave in history, and two weeks after she had asked, politely, for time and space alone. The apartment smelled of the worn-out sympathies of friends. Baskets of shriveled oranges and pears and wilting lilies and roses moldered on the coffee table and mantle above the fireplace in the living room and anywhere else Lucy had found room to place them. She was certain there were even more baskets waiting for her outside the door of the apartment. She hadn’t opened the door during her seclusion, hadn’t touched the fruit or watered the plants. The idea that a dozen oranges or a clichéd peace plant would alleviate her grief brought on such an unreasonable rage that she’d decided it was best to ignore the whole lot. Outside it was pitch black, except for the sickly yellow-white pools of light illuminating the empty, elevated train tracks above North Sedgwick Avenue. -
Les Temps Modernes Modern Times
Les temps modernes Modern Times FFICHE FILM de Charlie Chaplin Fiche technique Etats-Unis - 1936 - 1h25 Réalisateur : Charlie Chaplin Scénario : Charlie Chaplin Musique : Charlie Chaplin Interprètes : Chaplin (le vagabond) Résumé Paulette Goddard Charlot est ouvrier dans une usine. Il tra- Cela le conduit tout droit à l’hôpital. Une (la gamine) vaille sur une chaîne à serrer des boulons fois guéri, il se lance dans une vie nouvel- et est tout à fait incapable de suivre le le… Henry Bergman rythme infernal imposé aux équipes par le patron. Comble de malchance : c’est lui qui (le propriétaire du café) est choisi pour essayer la "machine à man- ger" individuelle, un prototype destiné à Chester Conklin améliorer encore le rendement des ouvriers. Elle se transforme vite en instru- (le mécanicien) ment de torture au point que même le patron la juge peu pratique. Charlot reprend son travail et glisse par accident parmi les rouages des installations qui font fonctionner la chaîne. Quand il en ressort, il est atteint d’une sorte de danse de Saint-Guy et prend les boutons des robes de femmes pour des boulons à resserrer. L E F R A N C E www.abc-lefrance.com 1 D O C U M E N T S Critique le style de Chaplin, sous une apparente grands moments de cinéma à l’état pur, simplicité, devient de plus en plus mûr des numéros où éclate le génie du et sophistiqué : voir par exemple comédien et du clown. J’admire tout Au fil des années, les durées des films l’avant-dernière séquence du restaurant cela sans réserve mais sans enthousias- de Chaplin s’allongent ainsi que celles et son mélange de plans fixes (à l’inté- me. -
Alamogordo News, 07-07-1910 Alamogordo Print
University of New Mexico UNM Digital Repository Alamogordo News, 1900-1913 New Mexico Historical Newspapers 7-7-1910 Alamogordo News, 07-07-1910 Alamogordo Print. Co. Follow this and additional works at: https://digitalrepository.unm.edu/alamogordo_news Recommended Citation Alamogordo Print. Co.. "Alamogordo News, 07-07-1910." (1910). https://digitalrepository.unm.edu/alamogordo_news/340 This Newspaper is brought to you for free and open access by the New Mexico Historical Newspapers at UNM Digital Repository. It has been accepted for inclusion in Alamogordo News, 1900-1913 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Published Every Thursday o the Most Beautiful Towq ir New Mexico. VOL. XIV. No. 24. ALAMOGORDO, NEW MEXICO, Till liSDAY, JILY 7, 1910. PRICE ." CENTS COUNTY 10 JEFFRIES KNOCKED OUT CHAIRMAN flURSUM I GOV. MILLS I EEC- - MAKE NEW STOCK ROUND SHLEi HOT IN . IN FIFTEENTH Qeneral Effect Will be Reduction Will be Conducted Week of Jan- Former World's Champion Was in no To Convene at Albuquerque July One Hundred Delegates Will of Valuations uary 16-2- 1 Eleventh Frame Constitution Condition to Fight EQUALITY ADD FAIRNESS $25,000.00 IN PURSES IMPORTANT BUSINESS ELECTION TO BE HELD A GOOD BASIS TO BE AWARDED Outpointed and Beaten by the Negro at Every TO BE TRANSACTED' SEPTEMBER 6 The sctefoa of the board of The classification and premium Stage of the Fight A call for a meeting of the To the People of the Territory of Boantf commissioners which he-.'a- n list for the Sixth Annual Nation- members of the the Territorial New Mexico: Tuesday was one of the long- - al Western Stock Show has just Republican Central Committee I, the undersigned. -
112 Vevey - Blonay - Les Pléiades - (Blonay–Les Pléiades À Crémaillère) État: 1
ANNÉE HORAIRE 2020 112 Vevey - Blonay - Les Pléiades - (Blonay–Les Pléiades à crémaillère) État: 1. Novembre 2019 R R R R R R R R 1301 1303 1403 1305 1307 1407 1309 1311 Lausanne dép. 5 12 5 35 5 59 6 21 6 35 6 50 Montreux dép. 5 28 5 48 6 17 6 29 6 48 6 55 Vevey 5 42 5 57 6 27 6 42 6 57 7 12 Gilamont 5 44 5 59 6 29 6 44 6 59 7 14 Hauteville 5 46 6 01 6 31 6 46 7 01 7 16 Château-d'Hauteville 5 47 6 02 6 32 6 47 7 02 7 17 St-Légier-Gare 5 51 6 06 6 36 6 51 7 06 7 21 St-Légier-Village 5 52 6 07 6 37 6 52 7 07 7 22 La Chiésaz 5 53 6 08 6 38 6 53 7 08 7 23 Château-de-Blonay 5 54 6 09 6 39 6 54 7 09 7 24 Blonay 5 57 6 12 6 42 6 57 7 12 7 27 Blonay 6 15 7 00 Prélaz-sur-Blonay 6 15 7 00 Tusinge 6 17 7 02 Les Chevalleyres 6 18 7 03 Bois-de-Chexbres 6 20 7 05 Fayaux 6 21 7 06 Ondallaz-L'Alliaz 6 23 7 08 Lally 6 27 7 12 Les Pléiades R R R R R R R R 1411 1313 1413 1315 1317 1319 1421 1323 Lausanne dép. 6 59 7 21 7 35 7 50 7 59 8 21 8 50 Montreux dép. -
Mabel Normand
Mabel Normand Also Known As: Mabel Fortescue Lived: November 9, 1892 - February 23, 1930 Worked as: co-director, comedienne, director, film actress, producer, scenario writer Worked In: United States by Simon Joyce, Jennifer Putzi Mabel Normand starred in at least one hundred and sixty-seven film shorts and twenty-three full- length features, mainly for Mack Sennett’s Keystone Film Company, and was one of the earliest silent actors to function as her own director. She was also one of the first leading performers to appear on film without a previous background in the theatre (having begun her career in modeling), to be named in the title of her films (beginning with 1912’s Mabel’s Lovers), and to have her own studio (the ill-fated Mabel Normand Feature Film Company). That her contributions to early film history are not better known is attributable in part to her involvement in the Hollywood scandals of the 1920s, and in part to our reliance on the self-interested memoirs of her better-known colleagues (especially Sennett and Charlie Chaplin) following her death at age thirty-eight. It is hard to get an accurate picture from such questionable and contradictory recollections, or from interviews with Normand herself, filtered as they often were through a sophisticated publicity operation at Keystone. Film scholars who have worked with these same sources have often proved just as discrepant and unreliable, especially in their accounts of her directorial contributions. Normand’s early career included stints at the Biograph Company, working with D. W. Griffith, and at the Vitagraph Company, yet it was her work at Keystone that solidified her image as slapstick comedienne. -
An In-Depth Look at Chaplin's Mutual Comedies by Jeffrey
An In-Depth Look at Chaplin’s Mutual Comedies By Jeffrey Vance, film historian The Floorwalker (Released: May 15, 1916) Embezzlement is the subject of The Floorwalker, Chaplin’s first film under his landmark contract with Lone Star-Mutual. Chaplin’s inspiration for the film came while he and his brother Sydney were in New York City negotiating his contract with Mutual. While walking up Sixth Avenue at Thirty-third Street, Chaplin saw a man fall down an escalator serving the adjacent elevated train station and at once realized the comic possibilities of a moving staircase. He asked his technical director, Ed Brewer, to design and construct an escalator in a department store set designed by art director and master of properties George “Scotty” Cleethorpe (who had worked for Chaplin at Essanay). “With a bare notion I would order sets, and during the building of them the art director would come to me for details, and I would bluff and give them particulars about where I wanted doors and archways.” Chaplin wrote in his autobiography, “In this desperate way I started many a comedy.” (18) After seeing The Floorwalker, Mack Sennett commented, “Why the hell didn’t we ever think of a running staircase?” (19) The Floorwalker has none of the pathos, romance, or irony of the best Chaplin Mutuals. The crudeness and cruelty of his earlier films is still evident in The Floorwalker, although the film contains a stronger plot than most of his previous films, and the moving-staircase chase was novel for 1916. A glimpse of Chaplin’s evolution to a more graceful type of screen comedy is evident in Charlie’s dance when he discovers the valise of stolen money and dives into the bag. -
![Chaplin Menu Final Print[1]](https://docslib.b-cdn.net/cover/0882/chaplin-menu-final-print-1-1880882.webp)
Chaplin Menu Final Print[1]
CHAPLIN RESTAURANT Chaplin, a film noir Journey into early 1920’s Japan and Shanghai when muted films were welcomed globally to embrace and unify separation thru emotion, expression, comedy, originality, risk, sorrow and entertainment. Charlie Chaplin was the pioneer of this movement. This is his story told by us the only way we know how! Playful First Impressions $8.00 Spicy Noodle salad Ramen noodles blanched, chilled and marinated in a house made spicy chili oil topped with slow roasted and candied cashews, julienned scallions and pickled ginger. Pickled Salad House made spicy white pearl onions, sweet pickled ginger and sweet pickles atop of local arugula served with local house made sweet vinegar. Pickled Fruit Salad Spicy Pickled Watermelon and togarashi, sweet pickled pineapple, star anise, sesame seeds and cilantro topped with house made banana chips. Papaya Salad Ripe green papaya, red Bermuda onion, English cucumber and minced ginger tossed in Nam Pla, and togarashi vinaigrette and served atop butter lettuce cups. Soba Noodle Salad Soba noodles blanched, chilled, tossed with shaved carrots, shaved Zucchini, shaved Broccoli stems, and fresh bean sprouts tossed in Soy vinaigrette. Served with tempura fried Soft Shell crab Drunken Master Dumpling Shooters (3 shots per order choose all 3 or 3 of the same) ADULT ONLY $9.00 “Whiskey A Go Go” Japanese Whiskey, hot pork dumpling and cold lemon emulsion. “Blood & Sand” Japanese Scotch Whisky, Cherry Brandy, Orange Peel, Hot Beef Dumpling. “Cold War” Old Tom Gin, Pimms, Ginger, Cucumber, Lemon, and Cold Shrimp Dumpling. Drunken Masters ADULT ONLY $12 Night & Day 28 day Dry Aged NY Strip (soaked in Yamizake 12 year old Scotch for 7 days) ground and mixed with roasted shitakes, porcini and oyster Mushrooms, lightly marinated in roasted garlic, fresh scallions and ginger with a hint of Mirin and Shoyu. -
STUDIO TITRE ORIGINAL TITRE FRANCAIS Année Durée Métrage KEYSTONE MAKING a LIVING POUR GAGNER SA VIE 1914 13' 301.75 1B KEYST
STUDIO TITRE ORIGINAL TITRE FRANCAIS année durée métrage KEYSTONE MAKING A LIVING POUR GAGNER SA VIE 1914 13' 301.75 1b KEYSTONE KID AUTO RACES AT VENICE, CAL CHARLOT EST CONTENT DE LUI 1914 11' 130.45 1/2b KEYSTONE MABEL'S STRANGE PREDICAMENT CHARLOT À L'HÔTEL 1914 17' 292 1b KEYSTONE A THIEF CATCHER 1914 ? 290 1b KEYSTONE BETWEEN SHOWERS CHARLOT ET LE PARAPLUIE 1914 15' 289.55 1b KEYSTONE A FILM JOHNNIE CHARLOT FAIT DU CINÉMA 1914 15' 287.75 1b KEYSTONE TANGO TANGLES CHARLOT DANSEUR 1914 12' 300 1b KEYSTONE HIS FAVORITE PASTIME CHARLOT EST TROP GALANT 1914 16' 288.35 1b KEYSTONE CRUEL, CRUEL LOVE CHARLOT MARQUIS 1914 16' 288 1b KEYSTONE THE STAR BOARDER CHARLOT AIME LA PATRONNE 1914 16' 291.7 1b KEYSTONE TWENTY MINUTES OF LOVE CHARLOT ET LE CHRONOMÈTRE 1914 20' 288.65 KEYSTONE MABEL AT THE WHEEL MABEL AU VOLANT 1914 18' 588.25 2b KEYSTONE CAUGHT IN A CABARET CHARLOT GARÇON DE CAFÉ 1914 9' 583.4 2b KEYSTONE CAUGHT IN THE RAIN CHARLOT ET LA SOMNAMBULE 1914 16' 295 1b KEYSTONE A BUSY DAY MADAME CHARLOT 1914 6' 133.80 1/2b KEYSTONE THE FATAL MALLET LE MAILLET DE CHARLOT 1914 18' 341.40 1b KEYSTONE HER FRIEND THE BANDIT LE FLIRT DE MABEL 1914 16' 300.25 1b KEYSTONE THE KNOCKOUT CHARLOT ET FATTY SUR LE RING 1914 27' 624.85 2b KEYSTONE MABEL'S BUSY DAY CHARLOT ET LES SAUCISSES 1914 10' 290 1b KEYSTONE MABEL'S MARRIED LIFE CHARLOT ET LE MANNEQUIN / 1914 17' 295 1b KEYSTONE LAUGHING GAS CHARLOT DENTISTE 1914 16' 303.25 1b KEYSTONE THE PROPERTY MAN GARÇON DE THÉÂTRE 1914 28' 585.20 2b KEYSTONE THE FACE ON THE BARROOM FLOOR CHARLOT ARTISTE PEINTRE -
Sample Chapter
King_Ch01 6/17/08 18:35 Page 19 1. “The Fun Factory” Class, Comedy, and Popular Culture, 1912–1914 One has to hand this to the Americans: with slapstick films they have created a form that offers a counterweight to their reality. If in that reality they subject the world to an often unbearable discipline, the film in turn dismantles this self-imposed order quite forcefully. siegfried kracauer, “Artistisches und Amerikanisches” (1926) When, in 1912, the Moving Picture World critic W.Stephen Bush lamented the “absence of genuine humor” in a majority of comic films, he was merely making explicit a perception that had long been accepted at the grass-roots level.1 Feeling short-changed by an industry that had drasti- cally cut back its comedy output since 1908, theater owners had taken to writing to trade journals to voice their dissatisfactions. “There is too much high class drama, which cannot be understood by the average working man,” noted one such exhibitor. “A very large proportion seems to thor- oughly enjoy the old Essanay slap-stick variety.”2 Filmmakers, too, acknowl- edged the demand: “Can you write a good comedy?” Photoplay asked its readers in October 1912. “Try it, for the producer will pay more attention to it just now than any other.”3 “Comedies, comedies, comedies,” a studio sce- narist demanded in another issue of the same publication. “Get your scriptwriting readers to try their hand at comedies; we need them, all film producers want them.”4 No doubt there was reason to be thankful, then, when the formation of a new, all-comedy company was announced that fall. -
Exe Pages DP/Mtanglais 25/04/03 15:59 Page 1
exe_pages DP/MTanglais 25/04/03 15:59 Page 1 SELECTION OFFICIELLE • FESTIVAL DE CANNES 2003 • CLÔTURE MARIN KARMITZ présente / presents Un film de / a film by CHARLES CHAPLIN USA / 1936 / 87 mn / 1.33/ mono / Visa : 16.028 DISTRIBUTION MK2 55, rue traversière 75012 Paris Tél : 33 (0)1 44 67 30 80 / Fax : 33 (0)1 43 44 20 18 PRESSE MONICA DONATI Tél : 33 (0)1 43 07 55 22 / Fax: 33 (0)1 43 07 17 97 / Mob: 33 (0)6 85 52 72 97 e-mail: [email protected] VENTES INTERNATIONALES MK2 55, rue traversière 75012 Paris Tél : 33 (0)1 43 07 55 22 / Fax: 33 (0)1 43 07 17 97 AU FESTIVAL DE CANNES RÉSIDENCE DU GRAND HOTEL 47, BD DE LA CROISETTE 06400 CANNES Tél : 33 (0)4 93 38 48 95 SORTIE FRANCE LE 04 JUIN 2003 EN DVD LE 12 JUIN 2003 exe_pages DP/MTanglais 25/04/03 15:59 Page 2 Synopsis The Tramp works on the production line in a gigantic factory. Day after day, he tightens screws. He is very soon alienated by the working conditions and finds himself first in the hospital, then in prison. Once outside, he becomes friends with a runaway orphan girl who the police are searching for. The tramp and the girl join forces to face life's hardships together... exe_pages DP/MTanglais 25/04/03 15:59 Page 4 1931 - Chaplin leaves Hollywood for an 18-month tour of the world. He The Historical Context meets Gandhi and Einstein, and travels widely in Europe.