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Nechronica.Pdf
A world in which humanity has met its end. A world in which everyone has died. A world in which nothing more can die. In which naught stirs but walking corpses. The protagonists of Nechronica are the girls of this world unfortunate enough to possess hearts- the Dolls. To put it simply, it is a game in which the players become zombie girls and fight against other zombies. The one who caused the dead to wake- the ruler of this shattered world- is the Necromancer. The Necromancer serves as both the master of the game and the archenemy. For it could be none other than the Necromancer who gave hearts to the Dolls. For in a world filled with mindless puppets, the Dolls- they alone whom possess wills of their own- are no more than toys. For the tragic comedy wrought by the foes sent against them is a delightful spectacle. Since Dolls are already dead, they will find no rest when they are broken. The peace of death came to an end long ago, just as did the world itself. As we have a cup of tea, beneath these skies as gray as lead- let us tell the tale of this long, long epilogue. Nechronica -The Long Long Sequel- is a tabletop (pencil-and-paper, face-to-face, et al.) RPG published by Incog Labs/Tsugihagi Honbo/Patch Works and designed by Ryo Kamiya, previously the designer of Golden Sky Stories, Maid RPG, and Zettai Reido. Table of Contents World Section Lexicon 6 Setting Information 8 Timeline 15 ESP Timeline 17 About the Dolls 20 About the Necromancer 23 Sample Characters 25 Patchwork Alice 26 Corpse Sorority 27 Abandoned Automaton 28 Trigger-Happy -
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Pilot Season
Portland State University PDXScholar University Honors Theses University Honors College Spring 2014 Pilot Season Kelly Cousineau Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Let us know how access to this document benefits ou.y Recommended Citation Cousineau, Kelly, "Pilot Season" (2014). University Honors Theses. Paper 43. https://doi.org/10.15760/honors.77 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Pilot Season by Kelly Cousineau An undergraduate honorsrequirements thesis submitted for the degree in partial of fulfillment of the Bachelor of Arts in University Honors and Film Thesis Adviser William Tate Portland State University 2014 Abstract In the 1930s, two historical figures pioneered the cinematic movement into color technology and theory: Technicolor CEO Herbert Kalmus and Color Director Natalie Kalmus. Through strict licensing policies and creative branding, the husband-and-wife duo led Technicolor in the aesthetic revolution of colorizing Hollywood. However, Technicolor's enormous success, beginning in 1938 with The Wizard of Oz, followed decades of duress on the company. Studios had been reluctant to adopt color due to its high costs and Natalie's commanding presence on set represented a threat to those within the industry who demanded creative license. The discrimination that Natalie faced, while undoubtedly linked to her gender, was more systemically linked to her symbolic representation of Technicolor itself and its transformation of the industry from one based on black-and-white photography to a highly sanctioned world of color photography. -
Movie Mirror Book
WHO’S WHO ON THE SCREEN Edited by C h a r l e s D o n a l d F o x AND M i l t o n L. S i l v e r Published by ROSS PUBLISHING CO., I n c . NEW YORK CITY t y v 3. 67 5 5 . ? i S.06 COPYRIGHT 1920 by ROSS PUBLISHING CO., Inc New York A ll rights reserved | o fit & Vi HA -■ y.t* 2iOi5^ aiblsa TO e host of motion picture “fans” the world ovi a prince among whom is Oswald Swinney Low sley, M. D. this volume is dedicated with high appreciation of their support of the world’s most popular amusement INTRODUCTION N compiling and editing this volume the editors did so feeling that their work would answer a popular demand. I Interest in biographies of stars of the screen has al ways been at high pitch, so, in offering these concise his tories the thought aimed at by the editors was not literary achievement, but only a desire to present to the Motion Picture Enthusiast a short but interesting resume of the careers of the screen’s most popular players, rather than a detailed story. It is the editors’ earnest hope that this volume, which is a forerunner of a series of motion picture publications, meets with the approval of the Motion Picture “ Fan” to whom it is dedicated. THE EDITORS “ The Maples” Greenwich, Conn., April, 1920. whole world is scene of PARAMOUNT ! PICTURES W ho's Who on the Screcti THE WHOLE WORLD IS SCENE OF PARAMOUNT PICTURES With motion picture productions becoming more masterful each year, with such superb productions as “The Copperhead, “Male and Female, Ireasure Island” and “ On With the Dance” being offered for screen presentation, the public is awakening to a desire to know more of where these and many other of the I ara- mount Pictures are made. -
Solomon's Wisdom Is Not Philosophy; Rather, It Is an Ability to Perceive and to Describe the Simple, Godly Life That Leads to Happiness
PROVERBS A Description of The Secret Pathway to Happiness John David Clark, Sr. This book is dedicated to the young, who are precious in the sight of God and in the eyes of those who are like Him. It is not written as a substitute for the wonderful books of Proverbs and Ecclesiastes, but only to acquaint the young reader with some of their beauty and wisdom. Solomon’s Wisdom: The Secret Pathway to Happiness ISBN- - Second edition, 2010 copyright 1999, John Clark, Sr. SOLOMON’S WISDOM P. O. Box 99 Burlington, NC 27216-0099 visit these web sites: www.GoingtoJesus.com www.Isaiah58.com and for good music all day long, go to: www.SongsofRest.com INTRODUCTION You want to be happy; everybody does. When you as a newborn cried in your mother's arms, you cried because you wanted to be happy. And that same yearning for happiness drives you now to do whatever you do and whatever you say. We are all desperate travelers in this confusing and tormented world. Old and young, rich and poor, wise and foolish, we are all striving and yearning together from the moment of birth for happiness. That longing for happiness drives all people at all times to do whatever they do; it drives the treasure hunter as well as the thief, to risk his life for gold; it inspires the astronaut to circle the earth, and it motivates the lazy bum to beg for a piece of bread. The irrepressible human longing for happiness motivates men to go fishing, to sleep late, to study microbes, to play games or to do work, to invent new materials or to vandalize masterpieces, to love and to cherish or to hate and kill, to write books or to read them, to become martyrs or to conquer empires, to believe in God or to deny that He exists. -
The Swedish Film and Post-War American Films 1938
THE MUSEUM OF MODERN ART 14 WEST 49TH STREET, NEW YORK TEUEPHONE: CIRCLE 7-7470 FOR IMMEDIATE RELEASE Legends to the contrary notwithstanding, the negative of Erich von Stroheim's much-discussed film, Greed, has been preserved in Metro-Goldwyn-Mayer's vaults and it has therefore been possible to include this celebrated "masterpiece of realism" in the Museum of Modern Art Film Libraryfs current Series IV, The Swedish Film and Post-War American Films, Greed will be shown to Museum members on Wednesday, February 23rd, at 8:45 P.M. in the auditorium of the American Museum of Natural History, 77th Street and Central Park West. Thereafter it will be available to students of the film in i colleges and museums throughout the country. Greed, a faithful transcription into pictorial terms of Frank Norris1 novel, "McTeague," was created under unusual circumstances and met with a curious fate. It was not made in a studio, but on location in San Francisco. Whole blocks and houses were purchased as settings , walls knocked out to make the photography of real in teriors practicable. Every detail of the novel was reproduced at considerable expense of time and money, with a passionate and un compromising care for veracity. Eventually von Stroheim offered his producers his finished work, a final cut print twenty reels long which he proposed they should issue in two parts, and which bore no perceptible trace of those elements usually reckoned as "box office. The film was taken from him, cut down to the present ten reel ver sion and so released. -
Erich Von Stroheim, the Child of His Own Loins Fanny Lignon
Erich von Stroheim, the child of his own loins Fanny Lignon To cite this version: Fanny Lignon. Erich von Stroheim, the child of his own loins. 2017. hal-01638172 HAL Id: hal-01638172 https://hal.archives-ouvertes.fr/hal-01638172 Submitted on 19 Nov 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. http://www.thalim.cnrs.fr/ http://www.univ-lyon1.fr/ Fanny Lignon Maître de conférences Etudes cinématographiques et audiovisuelles Université Lyon 1 Laboratoire THALIM / Equipe ARIAS (CNRS / Paris 3 / ENS) E-mail : [email protected] LIGNON Fanny, « Erich von Stroheim, the child of his own loins », OUPblog, Oxford University Press, 22 septembre 2017. [En ligne : https://blog.oup.com/2017/09/erich-von-stroheim-child-loins/] ERICH VON STROHEIM, THE CHILD OF HIS OWN LOINS Fanny Lignon (Translated by Civan Gürel) Even though Erich von Stroheim passed away 60 years ago, it is clear that his persona is still very much alive. His silhouette and his name are enough to evoke an emblematic figure that is at once Teutonic, aristocratic and military. No one has forgotten his timeless characters—among others, Max von Mayerling in Sunset Boulevard, a talented film director who has become the devoted servant of the almost-forgotten silent film star whose movies he used to make, or von Rauffenstein, the prisoner of war camp commandant of La Grande Illusion with his neck stiff in a brace, perfectly symbolizing at once a world that is gradually passing away and a world that is being born. -
Complete List of Silent Films Featuring Journalists and Journalism 1920-1929 (Each Film Is Annotated in the Appendices 12-21)
Complete List of Silent Films Featuring Journalists and Journalism 1920-1929 (Each film is annotated in the appendices 12-21) 1920 Always Audacious Amateur Devil, An Amazing Woman, The Bab's Candidate (Newspaper) Beggar in Purple, A Behold My Wife (newspaper) Below The Surface (newspaper) Biff! Bang!! Bomb!!! Big Happiness (newspaper) Blind Youth (critics) Branded Woman, The (newspaper) Burton Holmes Travelogues Cameraman, The Capitol, The Chains of Evidence Cinderella's Twin (magazine) Clever Cubs Dangerous Love Deadline at Eleven Demoracy -- The Vision Restored Desperate Hero, The Devil's Pass Key, The Dinty Do the Dead Talk Editorial Horseplay Fear Market, The Figurehead, The Find the Girl (aka Beaucitron reporter) Flying Pat Food for Scandal Fourth Face, The (aka The Mystery of Washington Square) Go and Get It Great Round-Up, The Green Flame, The Heart of Twenty, The Hearst News No. 49 Held by the Enemy Heliotrope Herbert Kaufman Weekly, The Hidden Light, The Homespun Folks Honor Bound House of the Tolling Bell, The Hy Mayer Such is Life Series In the Heart of a Fool International News No. 5 International News No. 84 Jailbird, The Jerry on the Job: Bomb Idea, The Joyous Troublemaker, The Keyhole Reporter, The Law of the Yukon, The Leap Year Leaps Lion Man, The: Episode Two: Rope of Death Lion Man, The: Episode Three:Kidnappers Lion Man, The: Episode Four: Devilish Device, A Lion Man, The: Episode Five: In the Lion's Dean Lion Man, The: Episode Six: House of Horrors Lion Man, The: Episode Seven: Doomed Lion Man, The: Episode Eight: -
Films Shown by Series
Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films, -
Gloria Swanson
Gloria Swanson: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Swanson, Gloria, 1899-1983 Title: Gloria Swanson Papers [18--]-1988 (bulk 1920-1983) Dates: [18--]-1988 Extent: 620 boxes, artwork, audio discs, bound volumes, film, galleys, microfilm, posters, and realia (292.5 linear feet) Abstract: The papers of this well-known American actress encompass her long film and theater career, her extensive business interests, and her interest in health and nutrition, as well as personal and family matters. Call Number: Film Collection FI-041 Language English. Access Open for research. Please note that an appointment is required to view items in Series VII. Formats, Subseries I. Realia. Administrative Information Acquisition Purchase (1982) and gift (1983-1988) Processed by Joan Sibley, with assistance from Kerry Bohannon, David Sparks, Steve Mielke, Jimmy Rittenberry, Eve Grauer, 1990-1993 Repository: Harry Ransom Center, University of Texas at Austin Swanson, Gloria, 1899-1983 Film Collection FI-041 Biographical Sketch Actress Gloria Swanson was born Gloria May Josephine Swanson on March 27, 1899, in Chicago, the only child of Joseph Theodore and Adelaide Klanowsky Swanson. Her father's position as a civilian supply officer with the army took the family to Key West, FL and San Juan, Puerto Rico, but the majority of Swanson's childhood was spent in Chicago. It was in Chicago at Essanay Studios in 1914 that she began her lifelong association with the motion picture industry. She moved to California where she worked for Sennett/Keystone Studios before rising to stardom at Paramount in such Cecil B. -
Erich Von Stroheim: a Life Discovered" Opened at the Academy in January
FRO M THE PRESIDENT EITHER WAY, A SOUND INVESTMENT I?' seems inconceivable that while museums celebrat for us: Hollywood, California. We've got our eye on a ing or exploiting flim have been built all over the world, choice spot, and we're going to see ifwe can acquire an from London to Berlin, Melbourne to Turin, there is no entire block for the project. In that block we begin to major one in Hollywood. Two years ago the Board of see something like a movie studio, with open space, Governors resolved that if a movie museum were to be backlot streets, sound stages, theaters and room for visi built where movies were born there was no organization tors to rest and take refreshment. more fitted to do the job than the Academy. We We're still at the beginning of the process. The plan appointed committees to seek a proper site; to work out ning of what the museum experience will be has been a business model based on demographics of tourism, going on for months, and some of you may already have projections of growth, and the cashflow of existing met with our members and consultants who are doing museums; to research other innovative museums for good the planning, and looking to all of our branches for ideas. ideas to emulate and bad ones to avoid; and to The cost of building something of a stature to match conceive a design built around the role movies play in that of the Academy is beyond even our current the life of the nation and, indeed, the world. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.