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Planners Guide to Chicago 2013
Planners Guide to Chicago 2013 2013 Lake Baha’i Glenview 41 Wilmette Temple Central Old 14 45 Orchard Northwestern 294 Waukegan Golf Univ 58 Milwaukee Sheridan Golf Morton Mill Grove 32 C O N T E N T S Dempster Skokie Dempster Evanston Des Main 2 Getting Around Plaines Asbury Skokie Oakton Northwest Hwy 4 Near the Hotels 94 90 Ridge Crawford 6 Loop Walking Tour Allstate McCormick Touhy Arena Lincolnwood 41 Town Center Pratt Park Lincoln 14 Chinatown Ridge Loyola Devon Univ 16 Hyde Park Peterson 14 20 Lincoln Square Bryn Mawr Northeastern O’Hare 171 Illinois Univ Clark 22 Old Town International Foster 32 Airport North Park Univ Harwood Lawrence 32 Ashland 24 Pilsen Heights 20 32 41 Norridge Montrose 26 Printers Row Irving Park Bensenville 32 Lake Shore Dr 28 UIC and Taylor St Addison Western Forest Preserve 32 Wrigley Field 30 Wicker Park–Bucktown Cumberland Harlem Narragansett Central Cicero Oak Park Austin Laramie Belmont Elston Clybourn Grand 43 Broadway Diversey Pulaski 32 Other Places to Explore Franklin Grand Fullerton 3032 DePaul Park Milwaukee Univ Lincoln 36 Chicago Planning Armitage Park Zoo Timeline Kedzie 32 North 64 California 22 Maywood Grand 44 Conference Sponsors Lake 50 30 Park Division 3032 Water Elmhurst Halsted Tower Oak Chicago Damen Place 32 Park Navy Butterfield Lake 4 Pier 1st Madison United Center 6 290 56 Illinois 26 Roosevelt Medical Hines VA District 28 Soldier Medical Ogden Field Center Cicero 32 Cermak 24 Michigan McCormick 88 14 Berwyn Place 45 31st Central Park 32 Riverside Illinois Brookfield Archer 35th -
Papéis Normativos E Práticas Sociais
Agnes Ayres (1898-194): Rodolfo Valentino e Agnes Ayres em “The Sheik” (1921) The Donovan Affair (1929) The Affairs of Anatol (1921) The Rubaiyat of a Scotch Highball Broken Hearted (1929) Cappy Ricks (1921) (1918) Bye, Bye, Buddy (1929) Too Much Speed (1921) Their Godson (1918) Into the Night (1928) The Love Special (1921) Sweets of the Sour (1918) The Lady of Victories (1928) Forbidden Fruit (1921) Coals for the Fire (1918) Eve's Love Letters (1927) The Furnace (1920) Their Anniversary Feast (1918) The Son of the Sheik (1926) Held by the Enemy (1920) A Four Cornered Triangle (1918) Morals for Men (1925) Go and Get It (1920) Seeking an Oversoul (1918) The Awful Truth (1925) The Inner Voice (1920) A Little Ouija Work (1918) Her Market Value (1925) A Modern Salome (1920) The Purple Dress (1918) Tomorrow's Love (1925) The Ghost of a Chance (1919) His Wife's Hero (1917) Worldly Goods (1924) Sacred Silence (1919) His Wife Got All the Credit (1917) The Story Without a Name (1924) The Gamblers (1919) He Had to Camouflage (1917) Detained (1924) In Honor's Web (1919) Paging Page Two (1917) The Guilty One (1924) The Buried Treasure (1919) A Family Flivver (1917) Bluff (1924) The Guardian of the Accolade (1919) The Renaissance at Charleroi (1917) When a Girl Loves (1924) A Stitch in Time (1919) The Bottom of the Well (1917) Don't Call It Love (1923) Shocks of Doom (1919) The Furnished Room (1917) The Ten Commandments (1923) The Girl Problem (1919) The Defeat of the City (1917) The Marriage Maker (1923) Transients in Arcadia (1918) Richard the Brazen (1917) Racing Hearts (1923) A Bird of Bagdad (1918) The Dazzling Miss Davison (1917) The Heart Raider (1923) Springtime à la Carte (1918) The Mirror (1917) A Daughter of Luxury (1922) Mammon and the Archer (1918) Hedda Gabler (1917) Clarence (1922) One Thousand Dollars (1918) The Debt (1917) Borderland (1922) The Girl and the Graft (1918) Mrs. -
War Comics from Wikipedia, the Free Encyclopedia
War comics From Wikipedia, the free encyclopedia War comics is a genre of comic books that gained popularity in English-speaking countries following War comics World War II. Contents 1 History 1.1 American war comics 1.2 End of the Silver Age 1.3 British war comics 2 Reprints 3 See also 4 References 5 Further reading 6 External links History American war comics Battlefield Action #67 (March 1981). Cover at by Pat Masulli and Rocco Mastroserio[1] Shortly after the birth of the modern comic book in the mid- to late 1930s, comics publishers began including stories of wartime adventures in the multi-genre This topic covers comics that fall under the military omnibus titles then popular as a format. Even prior to the fiction genre. U.S. involvement in World War II, comic books such as Publishers Quality Comics Captain America Comics #1 (March 1941) depicted DC Comics superheroes fighting Adolf Hitler and the Nazis. Marvel Comics Golden Age publisher Quality Comics debuted its title Charlton Comics Blackhawk in 1944; the title was published more or less Publications Blackhawk continuously until the mid-1980s. Sgt. Fury and his Howling Commandos In the post-World War II era, comic books devoted Sgt. Rock solely to war stories began appearing, and gained G.I. Combat popularity the United States and Canada through the 1950s and even during the Vietnam War. The titles Commando Comics tended to concentrate on US military depictions, Creators Harvey Kurtzman generally in World War II, the Korean War or the Robert Kanigher Vietnam War. Most publishers produced anthologies; Joe Kubert industry giant DC Comics' war comics included such John Severin long-running titles as All-American Men of War, Our Russ Heath Army at War, Our Fighting Forces, and Star Spangled War Stories. -
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. -
Beyond the Black Box: the Lettrist Cinema of Disjunction
Beyond the Black Box: The Lettrist Cinema of Disjunction ANDREW V. UROSKIE I was not, in my youth, particularly affected by cine - ma’s “Europeans” . perhaps because I, early on, developed an aversion to Surrealism—finding it an altogether inadequate (highly symbolic) envision - ment of dreaming. What did rivet my attention (and must be particularly distinguished) was Jean- Isidore Isou’s Treatise : as a creative polemic it has no peer in the history of cinema. —Stan Brakhage 1 As Caroline Jones has demonstrated, midcentury aesthetics was dominated by a rhetoric of isolated and purified opticality. 2 But another aesthetics, one dramatically opposed to it, was in motion at the time. Operating at a subterranean level, it began, as early as 1951, to articulate a vision of intermedia assemblage. Rather than cohering into the synaesthetic unity of the Wagnerian Gesamtkunstwerk , works in this vein sought to juxtapose multiple registers of sensory experience—the spatial and the temporal, the textual and the imagistic—into pieces that were intentionally disjunc - tive and lacking in unity. Within them, we can already observe questions that would come to haunt the topos of avant-garde film and performance in the coming decades: questions regarding the nature and specificity of cinema, its place within artistic modernism and mass culture, the institutions through which it is presented, and the possible modes of its spectatorial engagement. Crucially associated with 1. “Inspirations,” in The Essential Brakhage , ed. Bruce McPherson (New York: McPherson & Co., 2001), pp. 208 –9. Mentioned briefly across his various writings, Isou’s Treatise was the subject of a 1993 letter from Brakhage to Frédérique Devaux on the occasion of her research for Traité de bave et d’eternite de Isidore Isou (Paris: Editions Yellow Now, 1994). -
PERFECTION, WRETCHED, NORMAL, and NOWHERE: a REGIONAL GEOGRAPHY of AMERICAN TELEVISION SETTINGS by G. Scott Campbell Submitted T
PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS BY G. Scott Campbell Submitted to the graduate degree program in Geography and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ______________________________ Chairperson Committee members* _____________________________* _____________________________* _____________________________* _____________________________* Date defended ___________________ The Dissertation Committee for G. Scott Campbell certifies that this is the approved version of the following dissertation: PERFECTION, WRETCHED, NORMAL, AND NOWHERE: A REGIONAL GEOGRAPHY OF AMERICAN TELEVISION SETTINGS Committee: Chairperson* Date approved: ii ABSTRACT Drawing inspiration from numerous place image studies in geography and other social sciences, this dissertation examines the senses of place and regional identity shaped by more than seven hundred American television series that aired from 1947 to 2007. Each state‘s relative share of these programs is described. The geographic themes, patterns, and images from these programs are analyzed, with an emphasis on identity in five American regions: the Mid-Atlantic, New England, the Midwest, the South, and the West. The dissertation concludes with a comparison of television‘s senses of place to those described in previous studies of regional identity. iii For Sue iv CONTENTS List of Tables vi Acknowledgments vii 1. Introduction 1 2. The Mid-Atlantic 28 3. New England 137 4. The Midwest, Part 1: The Great Lakes States 226 5. The Midwest, Part 2: The Trans-Mississippi Midwest 378 6. The South 450 7. The West 527 8. Conclusion 629 Bibliography 664 v LIST OF TABLES 1. Television and Population Shares 25 2. -
Moma More Cruel and Unusual Comedy Social Commentary in The
MoMA Presents: More Cruel and Unusual Comedy: Social Commentary in the American Slapstick Film Part 2 October 6-14, 2010 Silent-era slapstick highlighted social, cultural, and aesthetic themes that continue to be central concerns around the world today; issues of race, gender, propriety, and economics have traditionally been among the most vital sources for rude comedy. Drawing on the Museum’s holdings of silent comedy, acquired largely in the 1970s and 1980s by former curator Eileen Bowser, Cruel and Unusual Comedy presents an otherwise little-seen body of work to contemporary audiences from an engaging perspective. The series, which first appeared in May 2009, continues with films that take aim at issues of sexual identity, substance abuse, health care, homelessness and economic disparity, and Surrealism. On October 8 at 8PM, Ms Bowser will address the connection between silent comedy and the international film archive movement, when she introduces a program of shorts that take physical comedy to extremes of dream-like invention and destruction. Audiences today will find the vulgar zest and anarchic spirit of silent slapstick has much in common with contemporary entertainment such as Cartoon Network's Adult Swim, MTV's Jackass and the current Jackass 3-D feature. A majority of the films in the series are archival rarities, often the only known surviving version, and feature lesser- remembered performers on the order of Al St. John, Lloyd Hamilton, Fay Tincher, Hank Mann, Lupino Lane, and even one, Diana Serra Cary (a.k.a. Baby Peggy), who, at 91, is the oldest living silent film star still active. -
Vysoké Učení Technické V Brně
MASARYKOVA UNIVERZITA PEDAGOGICKÁ FAKULTA Katedra občanské výchovy Přínos Ch. Chaplina soudobé kultuře Bakalářská práce Brno 2011 Vedoucí práce: Autor: PhDr. Radovan Rybář, Ph.D. Milena Minksová Abstrakt Bakalářská práce Přínos Ch. Chaplina soudobé kultuře podává informaci o ţivotě a díle všestranného umělce Charlese Spencera Chaplina (1889 – 1977). Práce se snaţí zachytit jeho ţivot, uměleckou tvorbu a v ní obsaţenou sociální kritiku, reakci na danou dobu. Práce se zaměřuje na díla Moderní doba (Modern Times) a Diktátor (The Great Dictator). Nadčasové poznatky z filmů lze aplikovat do dnešní doby. Klíčová slova Charles Chaplin, kultura, groteska, němý film, sociální kritika, Moderní doba, Diktátor Abstract The baccalaureate thesis Chaplin´s contribution to contemporary culture gives information about life and work of the versatile artist Charles Spencer Chaplin (1889 – 1977). This essay tries to capture his life, artistic creation containing social criticism and the reaction against era he lived. Essay is focused on pieces: Modern Times and The Great Dictator. Timeless knowledge of the movies can be applied to present time. Keywords Charles Chaplin, culture, comedy, silent film, social criticism, Modern Times, The Great Dictator Bibliografická citace MINKSOVÁ, Milena. Přínos Ch. Chaplina soudobé kultuře: bakalářská práce. Brno: Masarykova univerzita, Fakulta pedagogická, Katedra občanské výchovy, 2011. 51 s. Vedoucí bakalářské práce PhDr. Radovan Rybář, Ph.D. Čestné prohlášení Prohlašuji, ţe jsem závěrečnou vypracovala samostatně, s vyuţitím pouze citovaných literárních pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů. -
―Basically a True Story:‖ the Beginning Or the End, Fat Man and Little Boy, and American Remembrance of the Atomic Bomb
―Basically a True Story:‖ The Beginning or the End, Fat Man and Little Boy, and American Remembrance of the Atomic Bomb By Theresa Lynn Verstreater B.A. in History, December 2008, Southern Illinois University Edwardsville A Thesis submitted to The Faculty of The Columbian College of Arts and Sciences of the George Washington University in partial satisfaction of the requirements for the degree of Master of Arts January 31, 2015 Thesis directed by Charles Thomas Long Assistant Professor of History Abstract of Thesis ―Basically a True Story:‖ The Beginning or the End, Fat Man and Little Boy, and American Remembrance of the Atomic Bomb The impact of film as a vehicle for dissolution of information should not be discounted because it allows the viewer to experience the story alongside the characters and makes historical moments more relatable when presented through the modern medium. This, however, can be a double-edged sword as it relates to the creation of collective memory. This thesis examines two films from different eras of the post-atomic world, The Beginning or the End (1947) and Fat Man and Little Boy (1989), to discover their strengths and weaknesses both cinematically and as historical films. Studied in this way, the films reveal a leniency toward what professional historians might consider to be historical ―truth‖ while emphasizing moral ambiguity about the bomb and the complex relationships among the men and women responsible for its creation. While neither film boasts outstanding filmmaking, each attempts to educate the viewer while maintaining entertainment value through romantic subplots and impressive special effects. -
LUCAS CULTURAL ARTS MUSEUM MAYOR’S TASK FORCE REPORT | CHICAGO May 16, 2014
THE LUCAS CULTURAL ARTS MUSEUM MAYOR’S TASK FORCE REPORT | CHICAGO May 16, 2014 Mayor Rahm Emanuel City Hall - 121 N LaSalle St. Chicago, IL 60602 Dear Mayor Emanuel, As co-chairs of the Lucas Cultural Arts Museum Site Selection Task Force, we are delighted to provide you with our report and recommendation for a site for the Lucas Cultural Arts Museum. The response from Chicagoans to this opportunity has been tremendous. After considering more than 50 sites, discussing comments from our public forum and website, reviewing input from more than 300 students, and examining data from myriad sources, we are thrilled to recommend a site we believe not only meets the criteria you set out but also goes beyond to position the Museum as a new jewel in Chicago’s crown of iconic sites. Our recommendation offers to transform existing parking lots into a place where students, families, residents, and visitors from around our region and across the globe can learn together, enjoy nature, and be inspired. Speaking for all Task Force members, we were both honored to be asked to serve on this Task Force and a bit awed by your charge to us. The vision set forth by George Lucas is bold, and the stakes for Chicago are equally high. Chicago has a unique combination of attributes that sets it apart from other cities—a history of cultural vitality and groundbreaking arts, a tradition of achieving goals that once seemed impossible, a legacy of coming together around grand opportunities, and not least of all, a setting unrivaled in its natural and man-made beauty. -
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Best Picture of the Yeari Best. Rice of the Ear
SUMMER 1984 SUP~LEMENT I WORLD'S GREATEST SELECTION OF THINGS TO SHOW Best picture of the yeari Best. rice of the ear. TERMS OF ENDEARMENT (1983) SHIRLEY MacLAINE, DEBRA WINGER Story of a mother and daughter and their evolving relationship. Winner of 5 Academy Awards! 30B-837650-Beta 30H-837650-VHS .............. $39.95 JUNE CATALOG SPECIAL! Buy any 3 videocassette non-sale titles on the same order with "Terms" and pay ONLY $30 for "Terms". Limit 1 per family. OFFER EXPIRES JUNE 30, 1984. Blackhawk&;, SUMMER 1984 Vol. 374 © 1984 Blackhawk Films, Inc., One Old Eagle Brewery, Davenport, Iowa 52802 Regular Prices good thru June 30, 1984 VIDEOCASSETTE Kew ReleMe WORLDS GREATEST SHE Cl ION Of THINGS TO SHOW TUMBLEWEEDS ( 1925) WILLIAMS. HART William S. Hart came to the movies in 1914 from a long line of theatrical ex perience, mostly Shakespearean and while to many he is the strong, silent Western hero of film he is also the peer of John Ford as a major force in shaping and developing this genre we enjoy, the Western. In 1889 in what is to become Oklahoma Territory the Cherokee Strip is just a graz ing area owned by Indians and worked day and night be the itinerant cowboys called 'tumbleweeds'. Alas, it is the end of the old West as the homesteaders are moving in . Hart becomes involved with a homesteader's daughter and her evil brother who has a scheme to jump the line as "sooners". The scenes of the gigantic land rush is one of the most noted action sequences in film history.