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camyfilms · 1 year
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SPICE WORLD 1997
They're hot, Chief! They've got fire in their eyes, hunger in their bellies and great big shoes on their feet!
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mimi-0007 · 2 years
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bonniehooper · 2 years
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Endless List of My Favorite Movies
Spice World (1997)
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yourgirlsfriday · 1 year
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reality-detective · 3 months
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Here are just a few of the visitors to Jeffrey Epstein's island who were confirmed: 👇
▪️Adam Perry Lang
▪️Akon
▪️Al Gore
▪️Alan Dershowitz
▪️Albert Pinto
▪️Alee Baldwin
▪️Allison Mack
▪️Alyssa Rogers
▪️Anderson Cooper
▪️Andrea Mitrovich
▪️Andres Pastrana
▪️Angelina Jolie
▪️Anthony Kiedis
▪️Anthony Weiner
▪️Barack Obama
▪️Ben Affleck
▪️Bernie Sanders
▪️Beyonce
▪️Bill Clinton
▪️Bill Gates
▪️Bob Saget (deceased)
▪️Bruce Willis
▪️Casey Wasserman
▪️Callum Hudson-Odoi
▪️Celine Dion
▪️Charles Barkley
▪️Charlie Sheen
▪️Charlize Theron
▪️Chelsea Handler
▪️Cher
▪️Chris Tucker
▪️Chris Wagner
▪️Chrissy Teigen
▪️Cyndi Lauper
▪️Claire Hazel
▪️Courteney Cox
▪️Courtney Love
▪️Demi Moore
▪️Dan Schneider
▪️David Koch
▪️David Spade
▪️David Yarovesky
▪️Dolores Zorreguieta
▪️Donovan Mitchell
▪️Doug Band
▪️Drew Barrymore
▪️Ed Buck
▪️Ed Tuttle
▪️Ehud Barak
▪️Ellen DeGeneres
▪️Ellen Spencer
▪️Eminem
▪️Emmy Tayler
▪️Fleur Perry Lang
▪️Francis X. Suarez
▪️Freya Wissing
▪️Gary Roxburgh (pilot)
▪️George Clooney
▪️Ghislaine Maxwell
▪️Glenn Dubin
▪️Greg Holbert (deceased)
▪️Gwen Stefani
▪️Gwendolyn Beck
▪️Hank Coller (pilot)
▪️Heather Mann
▪️Heidi Klum
▪️Henry Rosovsky
▪️Hillary Clinton
▪️James Franco
▪️James Gunn
▪️Jay-Z
▪️Jean-Luc Brunel (deceased)
▪️Jean-Michel Gathy
▪️Jeffrey Jones (deceased)
▪️Jim Carrey
▪️Jimmy Kimmel
▪️Joe Biden
▪️Joe Pagano
���️John Cusack
▪️John Legend
▪️John Podesta
▪️John Travolta
▪️Joy Behar
▪️Juan Pablo Molyneux
▪️Juliette Bryant
▪️Justin Roiland
▪️Justin Trudeau
▪️Kathy Griffin
▪️Katy Perry
▪️Kelly Spam
▪️Kevin Spacey
▪️Kirsten Gillibrand
▪️Kristy Rogers (deceased)
▪️Lady Gaga
▪️Larry Summers
▪️Larry Visoski (pilot)
▪️Laura Z. Wasserman
▪️Lawrence M. Krauss
▪️Linda Pinto
▪️Lisa Summers
▪️Lynn Forester de Rothchild
▪️Madonna
▪️Mandy Ellison (assistant)
▪️Mare Collins-Rector
▪️Marina Abramovic
▪️Mark Epstein
▪️Mark Lloyd
▪️Melinda Luntz
▪️Meryl Streep
▪️Michelle Obama
▪️Michelle Wolf
▪️Mikel Arteta
▪️Miley Cyrus
▪️Nadine Dorries
▪️Naomi Campbell
▪️Naomi Watts
▪️Natalie Blachon de Perrier
▪️Nicole Junkermann
▪️Olga Kurylenko
▪️Oliver Sacks
▪️Oprah
▪️Orlando Bloom
▪️Paris Hilton
▪️Patton Oswatt
▪️Paul Mellon
▪️Paula Epstein (deceased)
▪️Paula Hala
▪️Peter P. Marino
▪️Pharrell Williams
▪️Prince Andrew
▪️Prince Charles
▪️Quentin Tarantino
▪️Rachel Maddow
▪️Rainn Wilson
▪️Ralph Ellison
▪️Ray Barzana (pilot)
▪️Ricardo Legorreta Vilchis
▪️Rihanna
▪️Rita Wilson
▪️Rob Reiner
▪️Robert DeNiro
▪️Robert Downey Jr.
▪️Rodney E. Slater
▪️Ronald Burkle
▪️Rudy Gobert
▪️Sander Burger
▪️Sarah Kellen (assistant)
▪️Sarah Silverman
▪️Seth Green
▪️Shelley Harrison
▪️Shelley Lewis
▪️Sophie Biddle-Hakim
▪️Sophie Trudeau
▪️Stephen Collins
▪️Stephen Colbert
▪️Steven Spielberg
▪️Steven Tyler
▪️Svetlana Glazunova
▪️Teala Davies
▪️Tiffany Gramza
▪️Tom Hanks
▪️Tom Pritzker
▪️Tyler Grasham (deceased)
▪️Victor Salva
▪️Wanda Sykes
▪️Whoopi Goldberg
Of course we knew some of these already. 🤔
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fibula-rasa · 8 days
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(Mostly) Lost, but Not Forgotten: Omar Khayyam (1923) / A Lover’s Oath (1925)
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Alternate Titles: The Rubaiyat of Omar Khayyam, The Rubaiyat, Omar Khayyam, Omar
Direction: Ferdinand Pinney Earle; assisted by Walter Mayo
Scenario: Ferdinand P. Earle
Titles: Marion Ainslee, Ferdinand P. Earle (Omar), Louis Weadock (A Lover’s Oath)
Inspired by: The Rubaiyat of Omar Khayyam, as edited & translated by Edward FitzGerald 
Production Manager: Winthrop Kelly
Camera: Georges Benoit
Still Photography: Edward S. Curtis
Special Photographic Effects: Ferdinand P. Earle, Gordon Bishop Pollock
Composer: Charles Wakefield Cadman
Editors: Arthur D. Ripley (The Rubaiyat of Omar Khayyam version), Ethel Davey & Ferdinand P. Earle (Omar / Omar Khayyam, the Director’s cut of 1922), Milton Sills (A Lover’s Oath)
Scenic Artists: Frank E. Berier, Xavier Muchado, Anthony Vecchio, Paul Detlefsen, Flora Smith, Jean Little Cyr, Robert Sterner, Ralph Willis
Character Designer: Louis Hels
Choreography: Ramon Novarro (credited as Ramon Samaniegos)
Technical Advisors: Prince Raphael Emmanuel, Reverend Allan Moore, Captain Dudley S. Corlette, & Captain Montlock or Mortlock
Studio: Ferdinand P. Earle Productions / The Rubaiyat, Inc. (Production) & Eastern Film Corporation (Distribution, Omar), Astor Distribution Corporation [States Rights market] (Distribution, A Lover’s Oath)
Performers: Frederick Warde, Edwin Stevens, Hedwiga Reicher, Mariska Aldrich, Paul Weigel, Robert Anderson, Arthur Carewe, Jesse Weldon, Snitz Edwards, Warren Rogers, Ramon Novarro (originally credited as Ramon Samaniegos), Big Jim Marcus, Kathleen Key, Charles A. Post, Phillippe de Lacy, Ferdinand Pinney Earle
Premiere(s): Omar cut: April 1922 The Ambassador Theatre, New York, NY (Preview Screening), 12 October 1923, Loew’s New York, New York, NY (Preview Screening), 2 February 1923, Hoyt’s Theatre, Sydney, Australia (Initial Release)
Status: Presumed lost, save for one 30 second fragment preserved by the Academy Film Archive, and a 2.5 minute fragment preserved by a private collector (Old Films & Stuff)
Length:  Omar Khayyam: 8 reels , 76 minutes; A Lover’s Oath: 6 reels,  5,845 feet (though once listed with a runtime of 76 minutes, which doesn’t line up with the stated length of this cut)
Synopsis (synthesized from magazine summaries of the plot):
Omar Khayyam:
Set in 12th century Persia, the story begins with a preface in the youth of Omar Khayyam (Warde). Omar and his friends, Nizam (Weigel) and Hassan (Stevens), make a pact that whichever one of them becomes a success in life first will help out the others. In adulthood, Nizam has become a potentate and has given Omar a position so that he may continue his studies in mathematics and astronomy. Hassan, however, has grown into quite the villain. When he is expelled from the kingdom, he plots to kidnap Shireen (Key), the sheik’s daughter. Shireen is in love with Ali (Novarro). In the end it’s Hassan’s wife (Reicher) who slays the villain then kills herself.
A Lover’s Oath:
The daughter of a sheik, Shireen (Key), is in love with Ali (Novarro), the son of the ruler of a neighboring kingdom. Hassan covets Shireen and plots to kidnap her. Hassan is foiled by his wife. [The Sills’ edit places Ali and Shireen as protagonists, but there was little to no re-shooting done (absolutely none with Key or Novarro). So, most critics note how odd it is that all Ali does in the film is pitch woo, and does not save Shireen himself. This obviously wouldn’t have been an issue in the earlier cut, where Ali is a supporting character, often not even named in summaries and news items. Additional note: Post’s credit changes from “Vizier” to “Commander of the Faithful”]
Additional sequence(s) featured in the film (but I’m not sure where they fit in the continuity):
Celestial sequences featuring stars and planets moving through the cosmos
Angels spinning in a cyclone up to the heavens
A Potters’ shop sequence (relevant to a specific section of the poems)
Harem dance sequence choreographed by Novarro
Locations: palace gardens, street and marketplace scenes, ancient ruins
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Points of Interest:
“The screen has been described as the last word in realism, but why confine it there? It can also be the last word in imaginative expression.”
Ferdinand P. Earle as quoted in Exhibitors Trade Review, 4 March 1922
The Rubaiyat of Omar Khayyam was a massive best seller. Ferdinand Pinney Earle was a classically trained artist who studied under William-Adolphe Bougueraeu and James McNeill Whistler in his youth. He also had years of experience creating art backgrounds, matte paintings, and art titles for films. Charles Wakefield Cadman was an accomplished composer of songs, operas, and operettas. Georges Benoit and Gordon Pollock were experienced photographic technicians. Edward S. Curtis was a widely renowned still photographer. Ramon Novarro was a name nobody knew yet—but they would soon enough.
When Earle chose The Rubaiyat as the source material for his directorial debut and collected such skilled collaborators, it seemed likely that the resulting film would be a landmark in the art of American cinema. Quite a few people who saw Earle’s Rubaiyat truly thought it would be:
William E. Wing writing for Camera, 9 September 1922, wrote:
“Mr. Earle…came from the world of brush and canvass, to spread his art upon the greater screen. He created a new Rubaiyat with such spiritual colors, that they swayed.”  … “It has been my fortune to see some of the most wonderful sets that this Old Earth possesses, but I may truly say that none seized me more suddenly, or broke with greater, sudden inspiration upon the view and the brain, than some of Ferdinand Earle’s backgrounds, in his Rubaiyat. “His vision and inspired art seem to promise something bigger and better for the future screen.”
As quoted in an ad in Film Year Book, 1923:
“Ferdinand Earle has set a new standard of production to live up to.”
Rex Ingram
“Fifty years ahead of the time.” 
Marshall Neilan
The film was also listed among Fritz Lang’s Siegfried, Chaplin’s Gold Rush, Fairbanks’ Don Q, Lon Chaney’s Phantom of the Opera and The Unholy Three, and Erich Von Stroheim’s Merry Widow by the National Board of Review as an exceptional film of 1925.
So why don’t we all know about this film? (Spoiler: it’s not just because it’s lost!)
The short answer is that multiple dubious legal challenges arose that prevented Omar’s general release in the US. The long answer follows BELOW THE JUMP!
Earle began the project in earnest in 1919. Committing The Rubaiyat to film was an ambitious undertaking for a first-time director and Earle was striking out at a time when the American film industry was developing an inferiority complex about the level of artistry in their creative output. Earle was one of a number of artists in the film colony who were going independent of the emergent studio system for greater protections of their creative freedoms.
In their adaptation of The Rubaiyat of Omar Khayyam, Earle and Co. hoped to develop new and perfect existing techniques for incorporating live-action performers with paintings and expand the idea of what could be accomplished with photographic effects in filmmaking. The Rubaiyat was an inspired choice. It’s not a narrative, but a collection of poetry. This gave Earle the opportunity to intersperse fantastical, poetic sequences throughout a story set in the lifetime of Omar Khayyam, the credited writer of the poems. In addition to the fantastic, Earle’s team would recreate 12th century Persia for the screen. 
Earle was convinced that if his methods were perfected, it wouldn’t matter when or where a scene was set, it would not just be possible but practical to put on film. For The Rubaiyat, the majority of shooting was done against black velvet and various matte photography and multiple exposure techniques were employed to bring a setting 800+ years in the past and 1000s of miles removed to life before a camera in a cottage in Los Angeles.
Note: If you’d like to learn a bit more about how these effects were executed at the time, see the first installment of How’d They Do That.
Unfortunately, the few surviving minutes don’t feature much of this special photography, but what does survive looks exquisite:
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Earle, knowing that traditional stills could not be taken while filming, brought in Edward S. Curtis. Curtis developed techniques in still photography to replicate the look of the photographic effects used for the film. So, even though the film hasn’t survived, we have some pretty great looking representations of some of the 1000s of missing feet of the film.
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Nearly a year before Curtis joined the crew, Earle began collaboration with composer Charles Wakefield Cadman. In another bold creative move, Cadman and Earle worked closely before principal photography began so that the score could inform the construction and rhythm of the film and vice versa.
By the end of 1921 the film was complete. After roughly 9 months and the creation of over 500 paintings, The Rubaiyat was almost ready to meet its public. However, the investors in The Rubaiyat, Inc., the corporation formed by Earle to produce the film, objected to the ample reference to wine drinking (a comical objection if you’ve read the poems) and wanted the roles of the young lovers (played by as yet unknown Ramon Novarro and Kathleen Key) to be expanded. The dispute with Earle became so heated that the financiers absconded with the bulk of the film to New York. Earle filed suit against them in December to prevent them from screening their butchered and incomplete cut. Cadman supported Earle by withholding the use of his score for the film.
Later, Eastern Film Corp. brokered a settlement between the two parties, where Earle would get final cut of the film and Eastern would handle its release. Earle and Eastern agreed to change the title from The Rubaiyat of Omar Khayyam to simply Omar. Omar had its first official preview in New York City. It was tentatively announced that the film would have a wide release in the autumn.
However, before that autumn, director Norman Dawn launched a dubious patent-infringement suit against Earle and others. Dawn claimed that he owned the sole right to use multiple exposures, glass painting for single exposure, and other techniques that involved combining live action with paintings. All the cited techniques had been widespread in the film industry for a decade already and eventually and expectedly Dawn lost the suit. Despite Earle’s victory, the suit effectively put the kibosh on Omar’s release in the US.
Earle moved on to other projects that didn’t come to fruition, like a Theda Bara film and a frankly amazing sounding collaboration with Cadman to craft a silent-film opera of Faust. Omar did finally get a release, albeit only in Australia. Australian news outlets praised the film as highly as those few lucky attendees of the American preview screenings did. The narrative was described as not especially original, but that it was good enough in view of the film’s artistry and its imaginative “visual phenomena” and the precision of its technical achievement.
One reviewer for The Register, Adelaide, SA, wrote:
“It seems almost an impossibility to make a connected story out of the short verse of the Persian of old, yet the producer of this classic of the screen… has succeeded in providing an entertainment that would scarcely have been considered possible. From first to last the story grips with its very dramatic intensity.”
While Omar’s American release was still in limbo, “Ramon Samaniegos” made a huge impression in Rex Ingram’s Prisoner of Zenda (1922, extant) and Scaramouche (1923, extant) and took on a new name: Ramon Novarro. Excitement was mounting for Novarro’s next big role as the lead in the epic Ben-Hur (1925, extant) and the Omar project was re-vivified. 
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A new company, Astor Distribution Corp., was formed and purchased the distribution rights to Omar. Astor hired actor (note, not an editor) Milton Sills to re-cut the film to make Novarro and Key more prominent. The company also re-wrote the intertitles, reduced the films runtime by more than ten minutes, and renamed the film A Lover’s Oath. Earle had moved on by this point, vowing to never direct again. In fact, Earle was indirectly working with Novarro and Key again at the time, as an art director on Ben-Hur!
Despite Omar’s seemingly auspicious start in 1920, it was only released in the US on the states rights market as a cash-in on the success of one of its actors in a re-cut form five years later.
That said, A Lover’s Oath still received some good reviews from those who did manage to see it. Most of the negative criticism went to the story, intertitles, and Sills’ editing.
What kind of legacy could/should Omar have had? I’m obviously limited in my speculation by the fact that the film is lost, but there are a few key facts about the film’s production, release, and timing to consider. 
The production budget was stated to be $174,735. That is equivalent to $3,246,994.83 in 2024 dollars. That is a lot of money, but since the production was years long and Omar was a period film set in a remote locale and features fantastical special effects sequences, it’s a modest budget. For contemporary perspective, Robin Hood (1922, extant) cost just under a million dollars to produce and Thief of Bagdad (1924, extant) cost over a million. For a film similarly steeped in spectacle to have nearly 1/10th of the budget is really very noteworthy. And, perhaps if the film had ever had a proper release in the US—in Earle’s intended form (that is to say, not the Sills cut)—Omar may have made as big of a splash as other epics.
It’s worth noting here however that there are a number of instances in contemporary trade and fan magazines where journalists off-handedly make this filmmaking experiment about undermining union workers. Essentially implying that that value of Earle’s method would be to continue production when unionized workers were striking. I’m sure that that would absolutely be a primary thought for studio heads, but it certainly wasn’t Earle’s motivation. Often when Earle talks about the method, he focuses on being able to film things that were previously impossible or impracticable to film. Driving down filming costs from Earle’s perspective was more about highlighting the artistry of his own specialty in lieu of other, more demanding and time-consuming approaches, like location shooting.
This divide between artists and studio decision makers is still at issue in the American film and television industry. Studio heads with billion dollar salaries constantly try to subvert unions of skilled professionals by pursuing (as yet) non-unionized labor. The technical developments of the past century have made Earle’s approach easier to implement. However, just because you don’t have to do quite as much math, or time an actor’s movements to a metronome, does not mean that filming a combination of painted/animated and live-action elements does not involve skilled labor.
VFX artists and animators are underappreciated and underpaid. In every new movie or TV show you watch there’s scads of VFX work done even in films/shows that have mundane, realistic settings. So, if you love a film or TV show, take the effort to appreciate the work of the humans who made it, even if their work was so good you didn’t notice it was done. And, if you’ve somehow read this far, and are so out of the loop about modern filmmaking, Disney’s “live-action” remakes are animated films, but they’ve just finagled ways to circumvent unions and low-key delegitimize the skilled labor of VFX artists and animators in the eyes of the viewing public. Don’t fall for it.
VFX workers in North America have a union under IATSE, but it’s still developing as a union and Marvel & Disney workers only voted to unionize in the autumn of 2023. The Animation Guild (TAG), also under the IATSE umbrella,  has a longer history, but it’s been growing rapidly in the past year. A strike might be upcoming this year for TAG, so keep an eye out and remember to support striking workers and don’t cross picket lines, be they physical or digital!
Speaking of artistry over cost-cutting, I began this post with a mention that in the early 1920s, the American film industry was developing an inferiority complex in regard to its own artistry. This was in comparison to the European industries, Germany’s being the largest at the time. It’s frustrating to look back at this period and see acceptance of the opinion that American filmmakers weren’t bringing art to film. While yes, the emergent studio system was highly capitalistic and commercial, that does not mean the American industry was devoid of home-grown artists. 
United Artists was formed in 1919 by Douglas Fairbanks, Charlie Chaplin, Mary Pickford, and D.W. Griffith precisely because studios were holding them back from investing in their art—within the same year that Earle began his Omar project. While salaries and unforgiving production schedules were also paramount concerns in the filmmakers going independent, a primary impetus was that production/distribution heads exhibited too much control over what the artists were trying to create.
Fairbanks was quickly expanding his repertoire in a more classical and fantastic direction. Cecil B. DeMille made his first in a long and very successful string of ancient epics. And the foreign-born children of the American film industry, Charlie Chaplin, Rex Ingram, and Nazimova, were poppin’ off! Chaplin was redefining comedic filmmaking. Ingram was redefining epics. Nazimova independently produced what is often regarded as America’s first art film, Salome (1923, extant), a film designed by Natacha Rambova, who was *gasp* American. Earle and his brother, William, had ambitious artistic visions of what could be done in the American industry and they also had to self-produce to get their work done. 
Meanwhile, studio heads, instead of investing in the artists they already had contracts with, tried to poach talent from Europe with mixed success (in this period, see: Ernst Lubitsch, F.W. Murnau, Benjamin Christensen, Mauritz Stiller, Victor Sjöström, and so on). I’m in no way saying it was the wrong call to sign these artists, but all of these filmmakers, even if they found success in America, had stories of being hired to inject the style and artistry that they developed in Europe into American cinema, and then had their plans shot down or cut down to a shadow of their creative vision. Even Stiller, who tragically died before he had the opportunity to establish himself in the US, faced this on his first American film, The Temptress (1926, extant), on which he was replaced. Essentially, the studio heads’ actions were all hot air and spite for the filmmakers who’d gone independent.
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Finally I would like to highlight Ferdinand Earle’s statement to the industry, which he penned for from Camera in 14 January 1922, when his financial backers kidnapped his film to re-edit it on their terms:
MAGNA CHARTA
Until screen authors and producers obtain a charter specifying and guaranteeing their privileges and rights, the great slaughter of unprotected motion picture dramas will go merrily on.
Some of us who are half artists and half fighters and who are ready to expend ninety per cent of our energy in order to win the freedom to devote the remaining ten per cent to creative work on the screen, manage to bring to birth a piteous, half-starved art progeny.
The creative artist today labors without the stimulus of a public eager for his product, labors without the artistic momentum that fires the artist’s imagination and spurs his efforts as in any great art era.
Nowadays the taint of commercialism infects the seven arts, and the art pioneer meets with constant petty worries and handicaps.
Only once in a blue moon, in this matter-of-fact, dollar-wise age can the believer in better pictures hope to participate in a truely [sic] artistic treat.
In the seven years I have devoted to the screen, I have witnessed many splendid photodramas ruined by intruding upstarts and stubborn imbeciles. And I determined not to launch the production of my Opus No. 1 until I had adequately protected myself against all the usual evils of the way, especially as I was to make an entirely new type of picture.
In order that my film verison [sic] of the Rubaiyat of Omar Khayyam might be produced under ideal conditions and safeguarded from intolerable interferences and outside worries, I entered into a contract with the Rubaiyat, Inc., that made me not only president of the corporation and on the board of directors, but which set forth that I was to be author, production manager, director, cutter and film editor as well as art director, and that no charge could be made against the production without my written consent, and that my word was to be final on all matters of production. The late George Loane Tucker helped my attorney word the contract, which read like a splendid document.
Alas, I am now told that only by keeping title to a production until it is declared by yourself to be completed is it safe for a scenario writer, an actor or a director, who is supposedly making his own productions, to contract with a corporation; otherwise he is merely the servant of that corporation, subject at any moment to discharge, with the dubious redress of a suit for damages that can with difficulty be estimated and proven.
Can there be any hope of better pictures as long as contracts and copyrights are no protection against financial brigands and bullies?
We have scarcely emerged from barbarism, for contracts, solemnly drawn up between human beings, in which the purposes are set forth in the King’s plainest English, serve only as hurdles over which justice-mocking financiers and their nimble attorneys travel with impunity, riding rough shod over the author or artist who cannot support a legal army to defend his rights. The phrase is passed about that no contract is invioliable [sic]—and yet we think we have reached a state of civilization!
The suit begun by my attorneys in the federal courts to prevent the present hashed and incomplete version of my story from being released and exhibited, may be of interest to screen writers. For the whole struggle revolves not in the slightest degree around the sanctity of the contract, but centers around the federal copyright of my story which I never transferred in writing otherwise, and which is being brazenly ignored.
Imagine my production without pictorial titles: and imagine “The Rubaiyat” with a spoken title as follows, “That bird is getting to talk too much!”—beside some of the immortal quatrains of Fitzgerald!
One weapon, fortunately, remains for the militant art creator, when all is gone save his dignity and his sense of humor; and that is the rapier blade of ridicule, that can send lumbering to his retreat the most brutal and elephant-hided lord of finance.
How edifying—the tableau of the man of millions playing legal pranks upon men such as Charles Wakefield Cadman, Edward S. Curtis and myself and others who were associated in the bloody venture of picturizing the Rubaiyat! It has been gratifying to find the press of the whole country ready to champion the artist’s cause.
When the artist forges his plowshare into a sword, so to speak, he does not always put up a mean fight. 
What publisher would dare to rewrite a sonnet of John Keats or alter one chord of a Chopin ballade?
Creative art of a high order will become possible on the screen only when the rights of established, independent screen producers, such as Rex Ingram and Maurice Tourneur, are no longer interferred with and their work no longer mutilated or changed or added to by vandal hands. And art dramas, conceived and executed by masters of screen craft, cannot be turned out like sausages made by factory hands. A flavor of individuality and distinction of style cannot be preserved in machine-made melodramas—a drama that is passed from hand to hand and concocted by patchworkers and tinkerers.
A thousand times no! For it will always be cousin to the sausage, and be like all other—sausages.
The scenes of a master’s drama may have a subtle pictorial continuity and a power of suggestion quite like a melody that is lost when just one note is changed. And the public is the only test of what is eternally true or false. What right have two or three people to deprive millions of art lovers of enjoying an artist’s creation as it emerged from his workshop?
“The Rubaiyat” was my first picture and produced in spite of continual and infernal interferences. It has taught me several sad lessons, which I have endeavored in the above paragraphs to pass on to some of my fellow sufferers. It is the hope that I am fighting, to a certain extent, their battle that has given me the courage to continue, and that has prompted me to write this article. May such hubbubs eventually teach or inforce a decent regard for the rights of authors and directors and tend to make the existence of screen artisans more secure and soothing to the nerves.
FERDINAND EARLE.
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☕Appreciate my work? Buy me a coffee! ☕
Transcribed Sources & Annotations over on the WMM Blog!
See the Timeline for Ferdinand P. Earle's Rubaiyat Adaptation
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dndhistory · 2 months
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390. Various Authors - Dragon #98 (June 1985)
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June for Dragon magazine means it's an anniversary month! This has traditionally meant that you get a special celebratory issue which focuses on the magazine's namesake: dragons. This issue is no exception and we get a really great selection of articles on dragons.
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This special anniversary section, entitled Dragonlore, includes four articles covering different aspects of dragons. The first by Roger E. Moore talks about different dragon hoards and how they vary depending on the dragon that is amassing the wealth. We also get articles on dragon teeth and their effects and uses, a revision of damage dealt by dragons and, lastly, another article by Moore on the history of the dragons of the Dragonlance world of Krynn.
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Krynn appears again in an extended review of the two Chronicles books that were out by now, Dragons of Autumn Twilight and Dragons of Winter Night by John C. Bunnell, a pretty positive review of the two volumes. The central special feature of this article in a kind of small Monster Manual for Gamma World, so it's beyond our remit here, but the whole section on Dragons is well worth your time!
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froggywritesstuff · 1 year
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character list
the title is self explanatory. this is a list of the characters i'll write for. it'll probably change over time, and if you see a character you'd like but don't see them on the list, just ask cause i might've forgotten about them
Hamilton
Eliza Schuyler
Angelica Schuyler
Peggy Schuyler
Maria Reynolds
Alexander Hamilton
John Laurens
Philip Hamilton
Lafayette
Hercules Mulligan
James Madison
Thomas Jefferson
Aaron Burr
Umbrella Academy
Viktor Hargreeves
Diego Hargreeves
Klaus Hargreeves
Allison Hargreeves
Luther Hargreeves
Five Hargreeves
Ben Hargreeves (Umbrella or Sparrow)
Sloane Hargreeves
Jayme Hargreeves
Stranger Things
Will Byers (non female readers only)
Mike Wheeler
Lucas Sinclair
Dustin Henderson
Eleven Hopper
Max Mayfield
Robin Buckley (non male readers only)
Nancy Wheeler
Jonathan Byers
Steve Harrington
Eddie Munson
21 Chump Street
Justin Laboy
The Goldfinch
Boris Pavlikovsky
Theodore Decker
Marvel
Peter Parker (any actor)
Steve Rogers
Bucky Barnes
Sam Wilson
Makkari
Sersi
Sprite (platonic only)
Steven Grant
Marc Spector
Layla El-Faouly
America Chavez (non male readers only)
Kate Bishop
Yelena Belova (platonic only)
Shuri
Namor
Riri Williams
X-Men
Mystique
Kitty Pryde
Peter Maximoff
Rogue
In The Heights (movie version)
Usnavi de la Vega
Vanessa 
Nina Rosario
Benny
Sonny de la Vega 
Heathers
Veronica Sawyer
JD (Jason Dean)
Heather Chandler
Heather McNamara
Heather Duke
John Doe
John Doe
Ride The Cyclone
Noel Gruber (male or nb readers only)
Ocean O'Connel Rosenburg
Mischa Bachinski
Constance Blackwood
Ricky Potts
Hatchetfieldverse
Paul
Emma
Ted
Bill
Alice
Ruth
Pete
Richie
Max
Grace
Black Friday
Lex Foster
Ethan Green
Hannah Foster (platonic only)
Heartstopper
Charlie Spring (non female readers only)
Nick Nelson
Tara Jones (non male readers only)
Darcy Olsson (non male readers readers only)
Elle Argent
Tao Xu (non male readers only(headcanoning him as bi or pan is disrespectful and transphobic))
Tori Spring
Imogen Heaney
Isaac Henderson (platonic only)
Do Revenge
Eleanor Levetan (non male readers only)
Drea Torres
Deadpool
Wade Wilson/Deadpool
Wednesday
Wednesday Addams
Enid Sinclair
Bianca Barclay
Xavier Thorpe
Ajax Petropolus
Eugene Otinger
(young) Morticia Addams
(young) Gomez Addams
Beetlejuice
Lydia Deetz
Tomorrow When The War Began
Ellie Linton
Lee Takkam
Fiona Maxwell
Homer Yannos
Spider-Man: Into the Spider-Verse/Across the Spider-Verse
Miles Morales
Gwen Stacy
Pavitr Prabhakar
Hobie Brown
Margo Kess
Miles G Morales (earth 42)
Miguel O’Hara
Maze Runner
Thomas
Newt (non female readers only)
The Broken Hearts Gallery
Lucy Gulliver
Nadine (non male readers only)
Nick Danielson
Treasure Planet
Jim Hawkins
Enola Holmes
Enola Holmes
Lord Tewkesbury
Turning Red
Mei Mei
Miriam
Abby
Priya
Raising Dion
Nicole Warren
Tevin Wakefield
Dion Warren (platonic only)
Julie and the Phantoms
Julie Molina
Luke Patterson
Reggie Peters
Alex Mercer (non female readers only)
Flynn
Carrie
Abbott Elementary
Janine Teagues
Jacob Hill (non female readers only)
Gregory Eddie
Brooklyn Nine-Nine
Jake Peralta
Amy Santiago
Rosa Diaz
Love Victor
Victor Salazar (non female readers only)
Benji (non female readers only)
Felix Weston
Pilar Salazar
Lake Meriwether
Lucy
Mia Brooks
Andrew
In Treatment
Eladio
Laila
Spree
Kurt Kunkle
Once Upon a Time
Emma Swan
Regina Mills
Killian Jones
Mary Margaret Blanchard
David Nolan
Henry Mills
Mulan (non male readers only)
Graham
Neal Cassidy
Peter Pan
Jefferson
Dash and Lily
Dash
Lily
Boomer
Juno
Juno MacGuff
Paulie Bleeker
Summer Days Summer Nights
Debbie Espinoza
Frankie Espinoza
Scream (1 through 6)
Sidney Prescott
Billy Loomis
Mickey Altieri
Roman Bridger
Jill Roberts
Charlie Walker
Sam Carpenter
Tara Carpenter
Amber Freeman
Chad Meeks-Martin
Mindy Meeks-Martin
Quinn Bailey
Venom
Eddie Brock
Honest Thief
Ramon Hall
Beth Hall
Wild Child
Poppy Moore
Kate
Drippy
Freddie Kingsley
Monsters and Men
Manny Ortega
Marisol Ortega
Ghostbusters: Afterlife
Trevor Spengler
Phoebe Spengler (platonic only)
Error 143
Micah Yujin
Community
Abed Nadir
Troy Barnes
Annie Edison
Jeff Winger
Britta Perry
The Obession
Logan
Delilah
The New Girl
Lia Setiawan
Stacey Hoffman
Mythic Quest
Poppy Li
Brad Bakshi
Adventure Time
Finn
Princess Bubblegum
Marceline
Marshall Lee
Prince Bubblegum
Flame Princess
School Spirits
Madison
Simon
Charley (non female readers only)
Wally
Rhonda
Dungeons and Dragons: Honour Among Thieves
Simon Aumar
Disventure Camp
Aiden (non fem readers only)
James (non fem readers only)
Grease: Rise of the Pink Ladies
Jane Facciano
Olivia Valdovinos
Nancy Nakagawa
Cynthia Zdunowski
Richie Valdovinos
Ted Lasso
Ted Lasso
Roy Kent
Jamie Tartt
Keeley Jones
Sam Obisanya
Transformers: Rise of the Beasts
Noah Diaz
Elena Wallace
Mirage
Helluva Boss
Blitzø
Stolas (non female readers only)
Loona
Millie
Moxxie
Octavia
Verosika Mayday
Fizzarolli
Asmodeus
Hazbin Hotel
Charlie Morningstar
Vaggie (non male readers only)
Angel Dust (non female readers only)
Husk
Alastor (platonic only)
Vox
Lucifer
Teenage Mutant Ninja Turtles (rise + mutant mayhem + tmnt 2007 + tmnt 2012)
Donnie
Mikey
Raph
Leo
April
The After Party
Yasper Lennov
Space Force
Tony Scarapiducci
Renfield
Teddy Lobo
Robert Montague Renfield
Undercovers
Bill Hoyt
Amazing Digital Circus
Jax
Parks and Recreation
Leslie Knope
Ben Wyatt
April Ludgate
Andy Dwyer
Jean-Ralphio Saperstein
Randy Cunningham: 9th Grade Ninja
Randy Cunningham (18+ people DNI unless requesting platonic stories)
The Earliest Show
Josh Bath
House of Lies
Clyde Oberholt
Mean Girls (movie + musical + movie musical)
Cady Heron
Regina George
Gretchen Wieners
Karen Smith/Shetty
Janis Ian/Sarkisian/Imi'ike (non male readers only)
Damian Hubbard (non female readers only)
Warm Bodies
R
Peep World
Nathan Meyerwitz
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burtonandtaylor · 3 months
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Richard Burton Interview with BBC reporter John Simpson (1977) - shortly after his 1976 divorce from Elizabeth Taylor.
I was the BBC’s radio correspondent in Johannesburg at the time when the African scenes in The Wild Geese were filmed… . The prospect of meeting Roger Moore, Richard Burton, Richard Harris and Hardy Kruger was, of course, an attractive one, though I probably didn’t mention that side of it. It would scarcely have sounded sophisticated. 
“If you remember, I asked for an interview with Richard Burton.” … I wasn’t expecting anything. If Richard Burton was too grand to have lunch with the others, he would certainly be too grand to be interviewed by me. The PR man came back looking apologetic. I was ready with a sharp reply, assuming I would be given a crisp turn-down. 
“He says if you don’t mind the mess in his caravan… . . [H]e’s just going through it a bit. That’s all.” 
He certainly was. Richard Burton’s ravaged, pockmarked face looked even harsher in reality than it did with all the care of the make-up artists. And despite the fierce sun outside he looked pale and unhealthy. 
But nothing could affect the voice. 
“Come in, come in, my dear boy,” he said, gripping my hand and pulling me up the steps… . The warmth of his tone outdid the afternoon heat. 
“Really sorry not to be down there with the others for lunch,” said Burton. “The fact is, you see, I’m on the wagon at the moment, and it doesn’t feel all that good, I have to confess… . Wish I’d been teetotal, like my old schoolmaster told me. But the stage, you know. And the company I’ve kept.” 
He gave a huge laugh, which seemed to make the entire caravan shake. It was a big one, with room enough for a sizeable (unmade) bed and a table covered with books, make-up bottles and photographs in silver frames. The biggest photograph was of Elizabeth Taylor. I had wondered how to broach the subject, after their divorce. But with Burton, whether it was because of the influence of the bundu or his free, open nature, there was no trouble at all. 
He saw the direction of my eyes. 
“Ah, Elizabeth. Isn’t she the most beautiful animal you’ve ever set eyes on?” 
… . I nodded, and felt emboldened. 
“So, you don’t feel bitter towards her?” 
“Bitter?” The caravan shook again. 
“Look, if she’d have me back I’d leave this sh—y film and this ghastly heat right now, and charter a plan to go wherever she was. Actually I know where she is. She’s in Malibu. I kind of keep in touch, you know.” 
“So why… . .?” 
“It’s the old thing: can’t live with her, can’t live without her. But I adore Elizabeth, and I always will.” 
There was a catch in his voice, and he looked out of the window at the baobab trees. 
“I don’t drink now, you know. I’m not pretending it’s not painful, but I’ve given it up for good. It was what Elizabeth hated most in me, I think, even though she’s pretty partial to it herself. It was like pouring petrol over our marriage. And now I don’t do it anymore. I hate it, in fact.” 
… . It seemed to me that a tear was glittering in his eye… . 
“What is it about her that you love so much?” 
“Ahhh,” he said expansively, waving his arms at the baobabs, “where does one start? ‘Age cannot wither her… .’ She’s a magnificent actress, you know, if only they will let her be.” 
“She’s lazy, they say, and they also say she’s not very bright, though that happens to be an outright, damned lie. It’s just that her brightness is a natural brightness, not necessarily a college brightness. She may not know all about Shakespeare or Marlowe or Albee, but she understands the emotional truth, and that is what she projects.” 
… “Director wants to know if you’re all right, Mr. Burton.” The voice was muffled by the door. 
“Tell the director to go and f—- himself. I’m reminiscing here about the divine Elizabeth, and mustn’t be disturbed.” 
“You were telling me about her understanding of the emotional truth of a part.” 
“Was I?” … “But you see, what I should have said was that she was a lass unparalleled. A woman of the most charming but also the most natural kind. She could take care of a man, you know.” 
He glanced at me. 
“No, I don’t mean that. What I mean is that she could be so normal, so natural, so caring. 
Listen. Once I took my brother and my business manager to Twickenham for the Wales-England match. Wales won; they always did in those days. And of course we had too much to drink, even my little runt of a manager. Much too much. And we came back on the Tube, and fetched up for some reason at Tottenham Court Road station. I must have said I knew a bar near there. It was late, you see, about midnight. 
There was a gang of about a dozen skinheads at the top, all tattooed with England flags on their chests and faces and arms; a rather fearsome sight. 
Well, it was too late to turn back, so we decided to take them head on. When I say we, I mean my brother and me. The last I saw of my manager, he was shouting, ‘You can’t hit me, I’ve got a briefcase.’ They gave us both a pretty good going-over. I think they were worse to me, though I don’t think they’d seen me on the screen. Maybe I was just bigger and uglier than my brother. 
And then they left us lying there at the entrance to the Tube. My brother said he thought he could manage to get home by himself, and he hailed a taxi for me. He had to do quite a lot of persuading, because my entire head was a mass of blood. But at least I didn’t seem to have any bones broken. I told the driver to take me to the Dorchester, and gave him a tenner. Which was pretty good money in those days. 
They wouldn’t let me in at the Dorchester, of course, till I told them who I was and demanded to see the manager. Then they were niceness itself, and two of them helped me to the door of our suite, though I told them to leave before I banged on the door for Elizabeth. 
But, you see, she was magnificent. Utterly magnificent. She didn’t have a fit of the vapours, she didn’t get excited, she didn’t even tick me off for being drunk and getting beaten up. 
‘Oh, you poor thing,’ was all she said, and she rang down for bowls of water and towels and bandages and God knows what. And when they sent up some kind of quack to look after me, she shooed him away. 
She sponged the blood off my face, and found that my left eye was halfway out of its socket, so she carefully put it back in. Would you ever imagine that someone like her would be able to do any of that? But she was tough, you see, and brave too. And she tucked me up I in bed with the bandages over my head, and at nine o’clock the next morning, when I was starting to feel a bit better, she ordered up a magnum of Bollinger to cheer me up. And then she sat on the side of the bed and toasted me and Wales’s victory.” 
He paused, and looked away from me and the microphone. 
“Magnificent woman, in every way. Magnificent. If I’m honest, my life is a little empty without her.” 
He thought for a moment. 
“No, if I’m honest, my life is horribly empty without her.” 
I (author) said goodbye not long afterwards, and shut the door of the caravan on him. He waved me out in the most courtly fashion, but I think he was probably glad to be left alone with Elizabeth Taylor’s picture.
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maxwell-grant · 1 year
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Hi. Just found your blog--greatly enjoy your writing! Now, a question: Are there any popular female pulp heroes? What were they like? Thx in advance.
 Thanks! Well, popular is a strong word, most people start with asking "were there any female pulp heroes? like, at all?", the answer to which is, Yes!...Nowhere as much as there were male ones, and not in the traditionally accessed avenues for "pulp heroes", but yes, there were, I wrote a bit about them here. Not counting the female sidekicks of male pulp heroes because that's cheating, the most popular female pulp heroes are the ones that exist by proximity to that American pulp hero “scene”, which I must stress again, doesn’t really have that much to do with what pulp fiction was actually like during it’s heyday, but rather that amorphous concept of what people imagine a pulp hero to be like.
In that regard, a popular female pulp hero would have to be a character that managed to break through in some form and inhabit that pop culture archetypal space in some form, or at least linger around in some noteworthy fashion. To an extent, this is something that was achieved more by female villains, in particular H.Rider Haggard’s Ayesha as well as other characters like Shamblau, Black Margot / Princess Margaret of the Black Flame, and Irma Vep who made for memorable, impactful villains of popularity and status approaching that of the male heroes.
With that in mind, upfront I’d argue that there’s at least six unambiguously popular female pulp heroines, and those would be:
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The Domino Lady, a masked Gentleman Thief who was a rare example of a female masked vigilante who was actually published in 1930s American pulp fiction. The Domino Lady is, predictably, the least popular of these, but she’s historically significant and fairly popular in her own right and usually featured in stories or images that place all the masked avengers together.
Pat Savage (illustration by Dan Schkade), Science Adventurer Doc Savage’s rowdy tomboy cousin, and Dejah Thoris, the famous princess of Mars from the John Carter saga (key progenitor of the Planetary Romance subgenre), who are kind of on the sidekick side of things, but there's been enough solo outings for them, and the two of them being fairly significant and influential characters in their own right, that I’m obviously not gonna leave them out.
Red Sonja (illustration by Donato GIancola), famed badass of Sword-and-Sorcery. She’s maybe the most famous by far pulp heroine of them all, the only one of these for sure that you could reasonably expect most people to at least know by name or imagery. And she is a 1970s Marvel Comics character who borrows her name from an unrelated character in a non-Conan Robert E. Howard story and her characterization from C.L. Moore’s Jirel of Joiry (1934). Another character we can add to the ever-growing pile of “characters who define the term pulp hero despite never actually appearing in pulp fiction” next to The Spirit, Buck Rogers, The Phantom, The Green Hornet, etc.
Sheena, Queen of the Jungle: Here also standing for the general popularity of Jungle Girls in general who usually take after her in some ways or inspired her in the first place they all just kinda blend together at some point
Barbarella: (no idea what archetype taxonomy I could use for her). You all know or have heard of her at some point and she gets grouped with these characters so often I couldn’t really omit her either. I’ve never seen the movie but I know it is an Italian production based on an erotic French comic that shoots for an American comic book style, and that strangeness is part of what made it fairly memorable. I’ve read a couple of Tales of the Shadowmen collections that feature stories with her as well.
Having named these, I’m also going to name six other pulp heroines who do not follow that mold so strongly and don’t overlap with these, and who were popular and significant in different ways:
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Hunterwali: Hunterwali is one of the most significant action heroines in film history, as she was the premier starring role for Fearless Nadia, the most iconic action hero of 1930s Indian cinema and the archetypal action actress for Indian films, really one of the earliest and most significant action movie actresses period. Inspired by the Douglas Fairbanks Robin Hood serials, Hunterwali (1935) was a record-breaking blockbuster, with the character said to be “the most popular character of its time” and listed as "Bollywood's best loved character" in 100 years of Indian cinema by CNN-IBN”.
The character is a swashbuckling princess who dons the guise of Hunterwali, "protector of the poor and punisher of evildoers", to become a swashbuckling Masked Avenger bent on rescuing her father and beat up the evil prime minister villain. She runs around on horseback performing stunts like jumping over moving carriages, jumping a horse from a bridge onto the top of a moving train, and defeating 20 soldiers in one sweep with her whip (Fearless Nadia did her own stunts, mind you).
Brigitte “Baby” Montfort: Brigitte Montfort was a highly popular Secret Agent pulp fiction character in Brazil, probably the most straightforward “pulp hero” we have as the star of cheaply printed pocket edition books that arose in the 60s as an alternative to the paperbacks. Brigitte is the daughter of a 1940s feuilleton character (yes, the feuilletons were published here as well) named Giselle Montfort, a Mata Hari-esque spy who bedded Nazis for intel and was eventually killed via firing squad. Brigitte was a globetrotting reporter who secretly operated as a cunning, cutthroat CIA agent, a bikini-clad James Bond. The stories went so in-depth that it was a common rumor at the time that they were written by a CIA agent employed by the editors, and Brigitte lasted about 30 years with circa 500 novels to her name, making her one of the most long-lived pulp characters.
Ethel King: Ethel King was a rare, prototypical Great Detective who debuted in German dime novels and was subsequently published all over Europe for the following two decades. Driven to fight crime by the loss of her father and fiance, she was referred to as “the female Sherlock Holmes” as well as “the female Nick Carter” for French and Italian publishing, and she takes after the two of them in a way.
Like Holmes, she employs brilliant reasoning and goes around with a wisecracking assistant (in this case her governess), and like Carter, she’s also assisted by a younger sidekick (an orphaned cousin she raised on her own), she gets into gunfights and has a tough attitude, and she deals with a massive Rogues Gallery of horrid villains with wild names and even wilder characters (including three evil doppelgangers). She would go on to become a formative influence not just on future female detectives, but also the German hefteromanes that spun out of the dime novels.
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Nila Rand: Perfume, pistols and mystery in one package, she was created by Hedwig Langer under a pseudonym, one of the only two characters in this list created by a woman. Nila Rand was a thrill-seeking adventurer Femme Fatale featured in Scarlet Adventuress who dabbled in arms dealing, smuggling of stolen goods and gunfighting.
"She did not know which intrigued her the more, the alluring promise of exotic love, or the threat of terrible and violent death. The last was as necessary to her as the first. Nila Rand had played too long for high stakes and it needed the element of danger to make the game a thrilling one." - The Shanghai Stakes (1935)
Nila is a key example of what separates the femme fatale in the pulps from the films (far more frequently protagonists, rarely the sidekicks or girlfriends but instead solo operatives or leaders of their own gangs, rarely deliver on actual sex and instead manipulate men's desires to their advantage), but far more important than that is the fact that she was openly acknowledged to be bisexual, which goes without saying was extremely rare in any form to find in the pulps in any form.
Even in these spicy/erotic pulp magazines that were all about sneaking stuff past the radar (and thus a place where, for better or worse, writers could play around with topics other magazines would shy away from and would be unthinkable outside of pulp magazines). Finding a queer pulp hero from any period prior to the 1970s, let alone a protagonist and not an outright villain, is bordering on impossible, but it exists and here she is.
Lu Siniang: A lot of Wuxia/Nuxia storytelling is born from similar undercurrents of working class escapism and anger and desire for justice that led to many of pulp fiction’s most prominent heroes, and Lu Siniang is a particularly powerful embodiment of that. She was spun out of real life circumstances involving the execution of Lu Liuliang and his entire family for  “literary crimes” against the Qing government, and the subsequent  death of the Yongzheng Emperor, and said to be Liuliang’s daughter who had managed to survive away, learn martial arts and join/form a group of revolutionaries in a mission of revenge that culminated in her skewering/beheading the emperor. No Wuxia/Nuxia protagonist had dared to go that far before.
The story was reprinted several times following it’s inception, becoming particularly popular in the 1910s-1940s as the character would star in the   Lu Siniang  / Fourth Madam Lu serials starting in 1940, that comprised the first Chinese film franchise and film series about a fictional character, as well as one of the first action film series focused on a female protagonist alongside Hunterwali mentioned above.
Pussy Fane: The only other character in the list created by a woman. She was created by prolific romance writer and editor Jane Littel, who was repeteadly stressed  to be the "longtime companion" of another pulp romance writer Margaret Wallace (one of the pseudonyms Margaret wrote under was called "Margaret Littell", make of that what you will), with Pussy Fane being a short-lived attempt to combine crime and romance.
Pussy Fane is a Proto-Superhero from 1931, a beautiful escort/party girl who grew up in the circus among jungle cats and is forced to deal with blackmailers and gangsters. She regularly douses herself in perfume to mask their scent, and is burdened with regret and sorrow over her upbringing and nature, repeteadly hearing others refer to her as inhuman and more than half cat. She is also superhumanly strong and athletic, said to have the strength of 20 men, and she also regularly rips off the arms of would-be-rapists.
Yes, it’s a tragedy you’re only just now hearing about this character, it’s a damn shame the stinky classy-yet-feral woman who runs around ripping off the arms of grubby rapist gangsters missed her call in pop culture stardom as did so many of these.
So here there are, 12 female pulp heroes all encompassing different archetypes, as well as different genres and countries of origin. There are more, yes. They are difficult to find enough info to write about, yes. Is the effort worth it? You bet. I find it imperative to shout to the world that these characters and others like them existed, that plenty of them were popular and acclaimed in their own right, even in ways that overshadow the American characters and defy our pop culture preconceptions of what pulp female characters all have to look like.
There was no archetype or type of story available to pulp heroes that was closed off to the women, not now, not a hundred years ago when Ethel King established new paradigms for the Great Detective and dime novel fiction before Hunterwali made action film history doing everything Douglas Fairbanks was doing and then some, not even well over a hundred years ago when Lu Siniang was beating The Count of Monte Cristo and all the ensuing dramatic masked avengers to the punch in backstory and over-the-top revenge. We only stand to lose confining these to the dustbins of history and standing by such a shallow perception of what could be done, and what was done, back then with pulp heroines.
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sidicecheilibri · 9 months
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I libri nominati da Rory Gilmore
1 – 1984, George Orwell
2 – Le Avventure di Huckelberry Finn, Mark Twain
3 – Alice nel Paese delle Meraviglie, Lewis Carrol
4 – Le Fantastiche Avventure di Kavalier e Clay, Michael Chabon
5 – Una Tragedia Americana, Theodore Dreiser
6 – Le Ceneri di Angela, Frank McCourt
7 – Anna Karenina, Lev Tolstoj
8 – Il Diario di Anna Frank
9 – La Guerra Archidamica, Donald Kagan
10 – L’Arte del Romanzo, Henry James
11 – L’Arte della Guerra, Sun Tzu
12 – Mentre Morivo, William Faulkner
13 – Espiazione, Ian McEvan
14 – Autobiografia di un Volto, Lucy Grealy
15 – Il Risveglio, Kate Chopin
16 – Babe, Dick King-Smith
17 – Contrattacco. La Guerra non Dichiarata Contro le Donne, Susan Faludi
18 – Balzac e la Piccola Sarta Cinese, Dai Sijie
19 – Bel Canto, Anne Pachett
20 – La Campana di Vetro, Sylvia Plath
21 – Amatissima, Toni Morrison
22 – Beowulf: una Nuova Traduzione, Seamus Heaney
23 – La Bhagavad Gita
24 – Il Piccolo Villaggio dei Sopravvissuti, Peter Duffy
25 – Bitch Rules. Consigli di Comune Buonsenso per donne Fuori dal Comune, Elizabeth Wurtzel
26 – Un Fulmine a Ciel Sereno ed altri Saggi, Mary McCarthy
27 – Il Mondo Nuovo, Adolf Huxley
28 – Brick Lane, Monica Ali
29 – Brigadoon, Alan Jay Lerner
30 – Candido, Voltaire
31 – I Racconti di Canterbury, Geoffrey Chaucer
32 – Carrie, Stephen King
33 – Catch-22, Joseph Heller
34 – Il Giovane Holden, J.D.Salinger
35 – La Tela di Carlotta, E.B.White
36 – Quelle Due, Lillian Hellman
37 – Christine, Stephen King
38 – Il Canto di Natale, Charles Dickens
39 – Arancia Meccanica, Anthony Burgess
40 – Il Codice dei Wooster, P.G.Wodehouse
41 – The Collected Stories, Eudora Welty
42 – La Commedia degli Errori, William Shakespeare
43 – Novelle, Dawn Powell
44 – Tutte le Poesie, Anne Sexton
45 – Racconti, Dorothy Parker
46 – Una Banda di Idioti, John Kennedy Toole
47 – Il03 al 09/03 Conte di Montecristo, Alexandre Dumas
48 – La Cugina Bette, Honore de Balzac
49 – Delitto e Castigo, Fedor Dostoevskij
50 – Il Petalo Cremisi e il Bianco, Michel Faber
51 – Il Crogiuolo, Arthur Miller
52 – Cujo, Stephen King
53 – Il Curioso Caso del Cane Ucciso a Mezzanotte, Mark Haddon
54 – La Figlia della Fortuna, Isabel Allende
55 – David e Lisa, Dr.Theodore Issac Rubin M.D
56 – David Copperfield, Charles Dickens
57 – Il Codice Da Vinci, Dan Brown
58 – Le Anime Morte, Nikolaj Gogol
59 – I Demoni, Fedor Dostoevskij
60 – Morte di un Commesso Viaggiatore, Arthur Miller
61 – Deenie, Judy Blume
62 – La Città Bianca e il Diavolo, Erik Larson
63 – The Dirt. Confessioni della Band più Oltraggiosa del Rock, Tommy Lee – Vince Neil – Mick Mars – Nikki Sixx
64 – La Divina Commedia, Dante Alighieri
65 – I Sublimi Segreti delle Ya-Ya Sisters, Rebecca Wells
66 – Don Chischiotte, Miguel de Cervantes
67 – A Spasso con Daisy, Alfred Uhvr
68 – Dr. Jeckill e Mr.Hide, Robert Louis Stevenson
69 – Tutti i Racconti e le Poesie, Edgar Allan Poe
70 – Eleanor Roosevelt, Blanche Wiesen Cook
71 – Electric Kool-Aid Acid Test, Tom Wolfe
72 – Lettere, Mark Dunn
73 – Eloise, Kay Thompson
74 – Emily The Strange, Roger Reger
75 – Emma, Jane Austen
76 – Il Declino dell’Impero Whiting, Richard Russo
77 – Encyclopedia Brown: Boy Detective, Donald J.Sobol
78 – Ethan Frome, Edith Wharton
79 – Etica, Spinoza
80 – Europe Through the back door, 2003, Rick Steves
81 – Eva Luna, Isabel Allende
82 – Ogni cosa è Illuminata, Jonathan Safran Foer
83 – Stravaganza, Gary Krist
84 – Farhenheit 451, Ray Bradbury
85 – Farhenheit 9/11, Michael Moore
86 – La Caduta dell’Impero di Atene, Donald Kagan
87 – Fat Land, il Paese dei Ciccioni, Greg Critser
88 – Paura e Delirio a Las Vegas, Hunter S.Thompson
89 – La Compagnia dell’Anello, J.R.R.Tolkien
90 – Il Violinista sul Tetto, Joseph Stein
91 – Le Cinque Persone che Incontri in Cielo, Mitch Albom
92 – Finnegan’s Wake, James Joyce
93 – Fletch, Gregory McDonald
94 – Fiori per Algernon, Daniel Keyes
95 – La Fortezza della Solitudine, Jonathan Lethem
96 – La Fonte Meravigliosa, Ayn Rand
97 – Frankenstein, Mary Shelley
98 – Franny e Zooeey, J.D.Salinger
99 – Quel Pazzo Venerdì, Mary Rodgers
100 – Galapagos, Kurt Vonnegut
101 – Questioni di Genere, Judith Butler
102 – George W.Bushism: The Slate Book of Accidental Wit and Wisdom of our 43rd President, Jacob Weisberg
103 – Gidget, Fredrick Kohner
104 – Ragazze Interrotte, Susanna Kaysen
105 – The Gnostic Gospels, Elaine Pagels
106 – Il Padrino, Parte I, Mario Puzo
107 – Il Dio delle Piccole Cose, Arundhati Roy
108 – La Storia dei Tre Orsi, Alvin Granowsky
109 – Via Col Vento, Margaret Mitchell
110 – Il Buon Soldato, Ford Maddox Ford
111 – Il Gospel secondo Judy Bloom
112 – Il Laureato, Charles Webb
113 – Furore, John Steinbeck
114 – Il Grande Gatsby, F.Scott Fitzgerald
115 – Grandi Speranze, Charles Dickens
116 – Il Gruppo, Mary McCarthy
117 – Amleto, William Shakespeare
118 – Harry Potter e il Calice di Fuoco, J.K.Rowling
119 – Harry Potter e la Pietra Filosofale, J.K.Rowling
120 – L’Opera Struggente di un Formidabile Genio, Dave Eggers
121 – Cuore di Tenebra, Joseph Conrad
122 – Helter Skelter: La vera storia del Caso Charles Manson, Vincent Bugliosi e Curt Gentry
123 – Enrico IV, Parte Prima, William Shakespeare
124 – Enrico IV, Parte Seconda, William Shakespeare
125 – Enrico V, William Shakespeare
126 – Alta Fedeltà, Nick Hornby
127 – La Storia del Declino e della Caduta dell’Impero Romano, Edward Gibbon
128 – Holidays on Ice: Storie, David Sedaris
129 – The Holy Barbarians, Lawrence Lipton
130 – La Casa di Sabbia e Nebbia, Andre Dubus III
131 – La Casa degli Spiriti, Isabel Allende
132 – Come Respirare Sott’acqua, Julie Orringer
133 – Come il Grinch Rubò il Natale, Dr.Seuss
134 – How the Light Gets In, M.J.Hyland
135 – Urlo, Allen Ginsberg
136 – Il Gobbo di Notre Dame, Victor Hugo
137 – Iliade, Omero
138 – Sono con la Band, Pamela des Barres
139 – A Sangue Freddo, Truman Capote
140 – Inferno, Dante
141 – …e l’Uomo Creò Satana, Jerome Lawrence e Robert E.Lee
142 – Ironweed, William J.Kennedy
143 – It takes a Village, Hilary Clinton
144 – Jane Eyre, Charlotte Bronte
145 – Il Circolo della Fortuna e della Felicità, Amy tan
146 – Giulio Cesare, William Shakespeare
147 – Il Celebre Ranocchio Saltatore della Contea di Calaveras, Mark Twain
148 – La Giungla, Upton Sinclair
149 – Just a Couple of Days, Tony Vigorito
150 – The Kitchen Boy, Robert Alexander
151 – Kitchen Confidential: Avventure Gastronomiche a New York, Anthony Bourdain
152 – Il Cacciatore di Aquiloni, Khaled Hosseini
153 – L’amante di Lady Chatterley, D.H.Lawrence
154 – L’Ultimo Impero: Saggi 1992-2000, Gore Vidal
155 – Foglie d’Erba, Walt Whitman
156 – La Leggenda di Bagger Vance, Steven Pressfield
157 – Meno di Zero, Bret Easton Ellis
158 – Lettere a un Giovane Poeta, Rainer Maria Rilke
159 – Balle! E tutti i Ballisti che Ce Le Stanno Raccontando, Al Franken
160 – Vita di Pi, Yann Martell
161 – La piccola Dorrit, Charles Dickens
162 – The little Locksmith, Katharine Butler Hathaway
163 – La piccola fiammiferaia, Hans Christian Andersen
164 – Piccole Donne, Louisa May Alcott
165 – Living History, Hilary Clinton
166 – Il signore delle Mosche, William Golding
167 – La Lotteria, ed altre storie, Shirley Jackson
168 – Amabili Resti, Alice Sebold
169 – Love Story, Eric Segal
170 – Macbeth, William Shakespeare
171 – Madame Bovary, Gustave Flaubert
172 – The Manticore, Robertson Davies
173 – Marathon Man, William Goldman
174 – Il Maestro e Margherita, Michail Bulgakov
175 – Memorie di una figlia per bene, Simone de Beauvoir
176 – Memorie del Generale W.T. Sherman, William Tecumseh Sherman
177 – L’uomo più divertente del mondo, David Sedaris
178 – The meaning of Consuelo, Judith Ortiz Cofer
179 – Mencken’s Chrestomathy, H.R. Mencken
180 – Le Allegre Comari di Windsor, William Shakespeare
181 – La Metamorfosi, Franz Kafka
182 – Middlesex, Jeoffrey Eugenides
183 – Anna dei Miracoli, William Gibson
184 – Moby Dick, Hermann Melville
185 – The Mojo Collection: The Ultimate Music Companion, Jim Irvin
186 – Moliere: la biografia, Hobart Chatfield Taylor
187 – A monetary history of the United States, Milton Friedman
188 – Monsieur Proust, Celeste Albaret
189 – A Month of Sundays: searching for the spirit and my sister, Julie Mars
190 – Festa Mobile, Ernest Hemingway
191 – Mrs Dalloway, Virginia Woolf
192 – Gli ammutinati del Bounty, Charles Nordhoff e James Norman Hall
193 – My Lai 4: A Report on the Massacre and Its Aftermath, Seymour M.Hersh
194 – My Life as Author and Editor, H.R.Mencken
195 – My life in orange: growing up with the guru, Tim Guest
196 – Myra Waldo’s Travel and Motoring Guide to Europe, 1978, Myra Waldo
197 – La custode di mia sorella, Jodi Picoult
198 – Il Nudo e il Morto, Norman Mailer
199 – Il Nome della Rosa, Umberto Eco
200 – The Namesake, Jhumpa Lahiri
201 – Il Diario di una Tata, Emma McLaughlin
202 – Nervous System: Or, Losing my Mind in Literature, Jan Lars Jensen
203 – Nuove Poesie, Emily Dickinson
204 – The New Way Things Work, David Macaulay
205 – Nickel and Dimed, Barbara Ehrenreich
206 – Notte, Elie Wiesel
207 – Northanger Abbey, Jane Austen
208 – The Norton Anthology of Theory and Criticism, William E.Cain, Laurie A.Finke, Barbara E.Johnson, John P.McGowan
209 – Racconti 1930-1942, Dawn Powell
210 – Taccuino di un Vecchio Porco, Charles Bukowski
211 – Uomini e Topi, John Steinbeck
212 – Old School, Tobias Wolff
213 – Sulla Strada, Jack Kerouac
214 – Qualcuno Volò sul Nido del Cuculo, Ken Kesey
215 – Cent’Anni di Solitudine, Gabriel Garcia Marquez
216 – The Opposite of Fate: Memories of a Writing Life, Amy Tan
217 – La Notte dell’Oracolo, Paul Auster
218 – L’Ultimo degli Uomini, Margaret Atwood
219 – Otello, William Shakespeare
220 – Il Nostro Comune Amico, Charles Dickens
221 – The Outbreak of the Peloponnesian War, Donald Kagan
222 – La Mia Africa, Karen Blixen
223 – The Outsiders, S.E. Hinton
224 – Passaggio in India, E.M.Forster
225 – The Peace of Nicias and the Sicilian Expedition, Donald Kagan
226 – Noi Siamo Infinito, Stephen Chbosky
227 – Peyton Place, Grace Metalious
228 – Il Ritratto di Dorian Gray, Oscar Wilde
229 – Pigs at the Trough, Arianna Huffington
230 – Le Avventure di Pinocchio, Carlo Collodi
231 – Please Kill Me: Il Punk nelle Parole dei Suoi Protagonisti, Legs McNeil e Gillian McCain
232 – Una Vita da Lettore, Nick Hornby
233 – The Portable Dorothy Parker, Dorothy Parker
234 – The Portable Nietzche, Fredrich Nietzche
235 – The Price of Loyalty: George W.Bush, the White House, and the Education on Paul O’Neil, Ron Suskind
236 – Orgoglio e Pregiudizio, Jane Austen
237 – Property, Valerie Martin
238 – Pushkin, La Biografia, T.J.Binyon
239 – Pigmallione, G.B.Shaw
240 – Quattrocento, James Mckean
241 – A Quiet Storm, Rachel Howzell Hall
242 – Rapunzel, I Fratelli Grimm
243 – Il Corvo ed Altre Poesie, Edgar Allan Poe
244 – Il Filo del Rasoio, W.Somerset Maugham
245 – Leggere Lolita a Teheran, Azar Nafisi
246 – Rebecca, Daphne du Maurier
247 – Rebecca of Sunnybrook Farm, Kate Douglas Wiggin
248 – The Red Tent, Anita Diamant
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io-pentesilea · 9 months
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CONTEST 2023 @allaricercadellanimapoetica
Procedendo con ordine... serie/film preferito.
Beh, anche qui un bel dilemma...
Consentitemi almeno di indicare sia una serie che un film.
'Attenti a quei due' è un serie televisiva degli anni 70. 'Crime' con due protagonisti di eccezione, Roger Moore e Tony Curtis, nei panni rispettivamente di un lord inglese e un miliardario americano; diversi come il giorno dalla notte, si ritroveranno grazie a uno scaltro giudice in pensione a condividere avventure e risolvere misteri e gialli; ambientati in Europa, nella campagna inglese o in lussuose location.
Divertente ed elegante.
Per quanto riguarda il film... 'La vita è meravigliosa', di Frank Capra.
Una bella 'favola' natalizia. Una commedia con risvolti drammatici fino alla happy ending. Il bene trionfa! Il buon George Bailey con l'aiuto dell'angelo Clarence capisce quanto sia preziosa, pur nella sventura, la sua vita. Finale commovente...
Perdonate questo salto nel passato ma la scelta era, ed è, talmente difficile...
Barbara
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Black Femme Character Dependency Dark Skin Directory || Entertainers Pt. 1 (A-N)
For the purposes of this list and on this page, whenever I say “dark skinned,” I mean a traditional brown crayon or darker. I grew up around Black people, so the words “dark skinned” do not mean the same thing to me as it do to some nonblacks.
*I am attempting to redo this list that will not show up for some reason...
A.
Aaron Rose Philip | Abbey Mag | Adelayo Adedayo | Adele Oni | Adella Afadi | Adepero Oduye | Adina Porter | Aesha Ash | Afton Williamson | Aïssa Maïga | Aja Naomi King | Ajak Deng | Akiima | Akon Changkou | Alexandra Arboleda | Alfre Woodard | Aliet Sarah | Alisha White | Allison Dean | Alysia Rogers | Amanda Warren | Amandla Jahava | Amber Gray | Amber Riley | Amber Ruffin | Andrea Bordeaux | Anesha Bailey | Angel Haze | Angel Theory | Angelica Joy | Angelica Ross |  Angelique Noire | Angely Gaviria |  Aniela Gumbs | Ann Ogbomo | Ann Wolfe | Anne Amari |   Antoinette Robertson | Ashleigh Morghan |  Ashleigh Murray | Ashley Blaine Featherson | Ashley Romans | Asjha Cooper |   Assa Sylla | Aube Jolicoeur | Aunjanue Ellis | Awar Mou | Aweng Chuol | Ayisha Issa |  Ayo Edebiri
B.
Betty Adewole | Beverly Osu | Bianca Brewton | Biba Williams | Bintou Sillah |   Blesnya Minher | Bob the Drag Queen | Bonnie Mbuli | Brandy Norwood | Bre Scullark | Bria Henderson | Brittany Adebumola | Brittany Marie Batchelder |   Brooke Singleton
C.
Camille Winbush | Caroline Chikezie | Ceval Omar | Chanelletime | Charlayne Woodard | Charnele Brown |  Chinenye Ezeudu | Chiquita Fuller |  Christine Adams | Cicely Tyson | Coco Jones | Colette Dalal Tchantcho | Condola Rashad | Crystal Clarke
D.
Da’Vine Joy Randolph | Damaris Lewis | Damita Jane Howard | Dana Davis |  Danai Gurira | Danielle Deadwyler | Danielle Moné Truitt | Dawnn Lewis | Debbi Morgan | Deborah Ayorinde | Debra Wilson | Denee Benton | Dewanda Wise |   Diahann Carroll | Diany Samba-Bandza | Diarra Ndiaye | Dominique Jackson | Duckie Thot
E. 
Ebboney Wilson |   Ebonee Noel |  Ebony Obsidian |  Edun Bola | Ego Nwodim |  Elle M. Chaman | Ellen Bendu |   Ellen Thomas |  Elise Neal |  Emayatzy Corinealdi |  Enuka Okuma |  Erica Tazel |   Erika Alexander |  Ester Dean |  Esther Rolle
F.
Faith Alabi |  Faith Omole | Faithe Herman | Fardosa | Fatou Jobe | Felecia M. Bell |  Femi Taylor |   Florence Kasumba | Folake Olowofoyeku |  Franchesca Ramsey
G.
Gabrielle Graham |  Gabrielle Union Wade |  Gabourey Sidibe |  Garcelle Beauvais |  Geffri Maya | Genevieve Nnaji |  Gina Torres |  Gloria Hendry |  Grace Jones  
H.
Halimotu Shokunbi |  Hamamat |  Harriett D Foy |  Heather Headley |  Heir of Glee |  Helen Aluko
I.
Ifeoma Nwobu | Iman |  Imani Hakim |  Imani Lewis |  Ingrid Silva |  Ireanna |  Issa Rae  
J.
Jacqueline Moore |  Jada Harris | Jade Eshete | Jaimi Gray |  Janelle James |  Janelle Monae |  Janeshia Adams Ginyard |   Janet Hubert |  Janet Jumbo |  Javicia Leslie |  Javonna Charde’ | Jayden Rey |  Jayme Lawson | Jeante Godlock |   Jemima Osunde |  Jennifer Hudson | Jerrika Hinton |  Jessica Allain |  Jessieca Alford | Jill Marie Jones |  Jo Marie Payton |  Jobel Mokonzi |   Jodie Turner Smith |  Johnnie Hill |  Joi Harris |  Joie Lee |  Jonica “Jojo” T. Gibbs |  Josette Simon |  Jwaundace Candece  
K.
Kabrina Adams |  Karen Glave |  Karen Obilom | Karidja Touré |  Karimah Westbrook |  Keeya King |  Kellie Shanygne Williams |  Kellita Smith |  Kelly Rowland |  |Kenya Moore |  Keshia Knight Pulliam |  Kiara Pike |  Kiki Layne |  Kimberly Marable |  Kirby Howell Baptiste |  Kyla Ramsey 
L.
Laci Mosley |  Lanei Chapman |  Lashana Lynch |  Laura Kariuki |  Lauren Byfield |  Lidya Jewett |  Lisa Berry |  Lisette Malidor |  Lolly Adefope |  Lorraine Pascale | Lorraine Toussaint |  Loren Lott | Loretta Devine | LovelyOverdose |  Lyric Ross
M.
MaameYaa Boafo | Madisin Rian | Madison Curry | Mame Adjei | Marcia McBroom | Maria Borges | Mariah Iman Wilson |  Marlene Clark |  Marsai Martin |  Mary Alice |  Mary Oyaya | Mayowa Nicolas |  Medina Senghore | Melinda Berry (Melrose) | Melodie Wakivuamina |  Melody Lulu-Briggs | Merrin Dungey |  Michaela Coel |  Miji Awakyr |  Milauna Jackson |   Mimi Ndiweni | Miqueal-Symone Williams | Morgan Dawson |  Moses Ingram |  Moshidi Motshegwa |  Mouna Fadiga | Mouna Traoré |  Mumbi Maina | Musabey
N.
Naomi Campbell | Naomi Ekperigin | Naomi WWE | Naomie Harris | Natalie Desselle Reid |  N’Bushe Wright | Nia Jervier |  Nia Long |  Nichole Galicia |  Nicki Micheaux | Nicole Beharie | Nicole Byer | Normani Kordei | Nyakim Gatwech | Nyanderi Deng | Nyarach Abouch Ayuel | Nyaueth Riam | Nykhor Paul | Nyla Lueeth |  Nyma Tang
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yourgirlsfriday · 2 years
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geekcavepodcast · 1 month
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The Folio Society to Publish "DC: Batman" Celebrating Batman's 85th Anniversary
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The Folio Society and DC Comics are partnering on DC: Batman, a hardback book celebrating the Dark Knight's 85th anniversary. The 320-page deluxe compilation will include 12 seminal comics all selected and introduced by DC President, Publisher, and Editor-in-Chief Jennette Kahn. DC: Batman will also come with stand-alone replica copy of Batman #1, "scanned in its entirety from an original 1940 copy...which includes the original back-up strips and vintage ads and introduces DC’s Clown Prince of Crime, aka The Joker, and The Cat, who would come to be known as Catwoman." (DC Comics)
Per DC Comics, DC: Batman includes:
"Facsimile: Batman #1 (Spring 1940) Writer: Bill Finger Cover artists: Bob Kane, Jerry Robinson Artists: Bob Kane, Sheldon Moldoff Editor: Whitney Ellsworth
The Bat-Man Detective Comics #27 (May 1939)  Writer: Bill Finger Artist: Bob Kane Editor: Vincent Sullivan
Robin—the Boy Wonder Detective Comics #38 (April 1940) Writer: Bill Finger Artists: Bob Kane, Jerry Robinson Editor: Whitney Ellsworth
The Crimes of Two-Face! Detective Comics #66 (August 1942)  Writer: Bill Finger Artists: Jerry Robinson, George Roussos Letterers: Ira Schnapp Editor: Whitney Ellsworth
Batman and Green Arrow: The Senator’s Been Shot! The Brave and the Bold #85 (September 1969) Writer: Bob Haney Cover artist: Neal Adams Penciler: Neal Adams Inker: Dick Giordano Letterer: Ben Oda Editor: Murray Boltinoff
Daughter of the Demon Batman #232 (June 1971) Writer: Dennis O'Neil Cover artist: Neal Adams Penciler: Neal Adams Inker: Dick Giordano Letterer: John Costanza Editor: Julius Schwartz
The Dead Yet Live Detective Comics #471 (August 1977) Writer: Steve Englehart Cover artists: Marshall Rogers, Terry Austin, Tatjana Wood, Gaspar Saladino Penciler: Marshall Rogers Inker: Terry Austin Colorists: Marshall Rogers Letterer: John Workman Editors: Julius Schwartz, E. Nelson Bridwell
The Dark Knight Returns Batman: The Dark Knight Returns #1 (June 1986) Writer: Frank Miller Cover artists: Frank Miller, Lynn Varley Penciler: Frank Miller Inker: Klaus Janson Colorist: Lynn Varley Letterer: John Costanza Editors: Dick Giordano, Dennis O'Neil
Batman: Year One—Chapter One: Who I Am—How I Come to Be Batman #404 (February 1987) Writer: Frank Miller Artist: Dave Mazzucchelli Colorist: Richmond Lewis Letterer: Todd Klein Editor: Dennis O'Neil
Batman: The Killing Joke (July 1988) Writer: Alan Moore Cover artists: Brian Bolland, Richard Bruning Artist: Brian Bolland Colorist: John Higgins Letterer: Richard Starkings Editors: Dennis O'Neil, Dan Raspler
The Last Arkham (Part One) Batman: Shadow of the Bat #1 (June 1992) Writer: Alan Grant Cover artist: Brian Stelfreeze Penciler: Norm Breyfogle Inker: Norm Breyfogle Colorist: Adrienne Roy Letterer: Todd Klein Editors: Scott Peterson, Dennis O'Neil
Knightfall Part 1: Crossed Eyes and Dotty Teas Batman #492 (May 1993) Writer: Doug Moench Cover artists: Kelley Jones, Bob LeRose Penciler: Norm Breyfogle Inker: Norm Breyfogle Colorist Adrienne Roy Letterer: Richard Starkings Editors: Scott Peterson, Jordan B. Gorfinkel, Dennis O'Neil"
DC: Batman is available at The Folio Society.
(Image via DC Comics)
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nem0c · 1 year
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Vietnam War - Galaxy Science Fiction Magazine, June 1968
Sourced from: http://natsmusic.net/articles_galaxy_magazine_viet_nam_war.htm
Transcript Below
We the undersigned believe the United States must remain in Vietnam to fulfill its responsibilities to the people of that country.
Karen K. Anderson, Poul Anderson, Harry Bates, Lloyd Biggle Jr., J. F. Bone, Leigh Brackett, Marion Zimmer Bradley, Mario Brand, R. Bretnor, Frederic Brown, Doris Pitkin Buck, William R. Burkett Jr., Elinor Busby, F. M. Busby, John W. Campbell, Louis Charbonneau, Hal Clement, Compton Crook, Hank Davis, L. Sprague de Camp, Charles V. de Vet, William B. Ellern, Richard H. Eney, T. R. Fehrenbach, R. C. FitzPatrick, Daniel F. Galouye, Raymond Z. Gallun, Robert M. Green Jr., Frances T. Hall, Edmond Hamilton, Robert A. Heinlein, Joe L. Hensley, Paul G. Herkart, Dean C. Ing, Jay Kay Klein, David A. Kyle, R. A. Lafferty, Robert J. Leman, C. C. MacApp, Robert Mason, D. M. Melton, Norman Metcalf, P. Schuyler Miller, Sam Moskowitz, John Myers Myers, Larry Niven, Alan Nourse, Stuart Palmer, Gerald W. Page, Rachel Cosgrove Payes, Lawrence A. Perkins, Jerry E. Pournelle, Joe Poyer, E. Hoffmann Price, George W. Price, Alva Rogers, Fred Saberhagen, George O. Smith, W. E. Sprague, G. Harry Stine (Lee Correy), Dwight V. Swain, Thomas Burnett Swann, Albert Teichner, Theodore L. Thomas, Rena M. Vale, Jack Vance, Harl Vincent, Don Walsh Jr., Robert Moore Williams, Jack Williamson, Rosco E. Wright, Karl Würf.
We oppose the participation of the United States in the war in Vietnam.
Forrest J. Ackerman, Isaac Asimov, Peter S. Beagle, Jerome Bixby, James Blish, Anthony Boucher, Lyle G. Boyd, Ray Bradbury, Jonathan Brand, Stuart J. Byrne, Terry Carr, Carroll J. Clem, Ed M. Clinton, Theodore R. Cogswell, Arthur Jean Cox, Allan Danzig, Jon DeCles, Miriam Allen deFord, Samuel R. Delany, Lester del Rey, Philip K. Dick, Thomas M. Disch, Sonya Dorman, Larry Eisenberg, Harlan Ellison, Carol Emshwiller, Philip José Farmer, David E. Fisher, Ron Goulart, Joseph Green, Jim Harmon, Harry Harrison, H. H. Hollis, J. Hunter Holly, James D. Houston, Edward Jesby, Leo P. Kelley, Daniel Keyes, Virginia Kidd, Damon Knight, Allen Lang, March Laumer, Ursula K. LeGuin, Fritz Leiber, Irwin Lewis, A. M. Lightner, Robert A. W. Lowndes, Katherine MacLean, Barry Malzberg, Robert E. Margroff, Anne Marple, Ardrey Marshall, Bruce McAllister, Judith Merril, Robert P. Mills, Howard L. Morris, Kris Neville, Alexei Panshin, Emil Petaja, J. R. Pierce, Arthur Porges, Mack Reynolds, Gene Roddenberry, Joanna Russ, James Sallis, William Sambrot, Hans Stefan Santesson, J. W. Schutz, Robin Scott, Larry T. Shaw, John Shepley, T. L. Sherred, Robert Silverberg, Henry Slesar, Jerry Sohl, Norman Spinrad, Margaret St. Clair, Jacob Transue, Thurlow Weed, Kate Wilhelm, Richard Wilson, Donald A. Wollheim.
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