Allen, John F.

SUBJECT AREA: Steam and internal combustion engines

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Allen was taken to the United States from England when he was 12 years old. He became an engineer on the Curlew, a freight boat running between New York and Providence. A defect which caused the engine to race in rough weather led Allen to invent a new valve gear, but he found it could not be fitted to the Corliss engine. In 1856 he patented an improved form of valve and operating gear to reduce back-pressure in the cylinder, which was in fact the reverse of what happened in his later engines. In 1860 he repaired the engines of a New York felt-hat manufacturer, Henry Burr, and that winter he was introduced to Charles Porter. Porter realized the potential of Allen's valves for his idea of a high-speed engine, and the Porter-Allen engine became the pioneer of high-speed designs.

Porter persuaded Allen to patent his new valves and two patents were obtained in 1862. These valves could be driven positively and yet the travel of the inlet could be varied to give the maximum expansion at different cut-offs. Also, the valves allowed an exceptionally good flow of steam. While Porter went to England and tried to interest manufacturers there, Allen remained in America and continued work on the engine. Within a few years he invented an inclined watertube boiler, but he seemed incapable of furthering his inventions once they had been placed on the market. Although he mortgaged his own house in order to help finance the factory for building the steam engine, in the early 1870s he left Porter and built a workshop of his own at Mott Haven. There he invented important systems for riveting by pneumatic machines through both percussion and pressure which led into the production of air compressors and riveting machines.

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SUBJECT AREA: Land transport, Railways and locomotives

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Allen was the Resident Engineer for construction of the Delaware \& Hudson Canal and in 1828 was instructed by J.B. Jervis to visit England to purchase locomotives for the canal's rail extension. He drove the locomotive Stourbridge Lion, built by J.U. Rastrick, on its first trial on 9 August 1829, but weak track prevented its regular use.

Allen was present at the Rainhill Trials on the Liverpool \& Manchester Railway in October 1829. So was E.L.Miller, one of the promoters of the South Carolina Canal \& Rail Road Company, to which Allen was appointed Chief Engineer that autumn. Allen was influential in introducing locomotives to this railway, and the West Point Foundry built a locomotive for it to his design; it was the first locomotive built in the USA for sale. This locomotive, which bore some resemblance to Novelty, built for Rainhill by John Braithwaite and John Ericsson, was named Best Friend of Charleston. On Christmas Day 1830 it hauled the first scheduled steam train to run in America, carrying 141 passengers.

In 1832 the West Point Foundry built four double-ended, articulated 2–2–0+0–2–2 locomotives to Horatio Allen's design for the South Carolina railroad. From each end of a central firebox extended two boiler barrels side by side with common smokeboxes and chimneys; wheels were mounted on swivelling sub-frames, one at each end, beneath these boilers. Allen's principal object was to produce a powerful locomotive with a light axle loading.

Allen subsequently became a partner in Stillman, Allen \& Co. of New York, builders of marine engines, and in 1843 was President of the Erie Railroad.

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Allen Tate, John Orley Allen Tate.

1896-1955

   Montador desde 1914, inicialmente para Mack Sennett y mas tarde para Harry Joe Brown Pro ductions y Charles Rogers Productions, es responsable, como director, de siete peliculas, todas ellas westerns, cinco de las cuales pertenecen a la serie del popular Tom Keene para Radio Pictures.

   FILMOGRAFIA

    Freighters of Destiny (La ultima emboscada). 1931. 60 minutos. Blanco y Negro. RKO. Tom Keene, Barbara Kent.

    Partners. 1932. 58 min. Blanco y Negro. RKO. Tom Keene, Nancy Drexel. The Saddle Buster (El domador de potros). 1932. 60 minutos. Blanco y Negro. RKO. Tom Keene, Helen Foster.

    Ghost Valley (El valle de los fantasmas). 1932. 54 minutos. Blanco y Negro. RKO. Tom Keene, Kate Campbell.

    Ride Him, Cowboy. 1932. 55 minutos. Blanco y Negro. WB. John Wayne, Ruth Hall.

    Beyond the Rockies (La amazona de las rocas). 1932. 60 minutos. Blanco y Negro. RKO. Tom Keene, Rochelle Hudson.

    The Mysterious Rider (El jinete alado). 1933. 59 minutos. Blanco y Negro. Paramount. Kent Taylor, Lona Andre, Gail Patrick, Irving Pichel.

SUBJECT AREA: Land transport, Ports and shipping, Railways and locomotives

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Stevens, a wealthy landowner with an estate at Hoboken on the Hudson River, had his attention drawn to the steamboat of John Fitch in 1786, and thenceforth devoted much of his time and fortune to developing steamboats and mechanical transport. He also had political influence and it was at his instance that Congress in 1790 passed an Act establishing the first patent laws in the USA. The following year Stevens was one of the first recipients of a US patent. This referred to multi-tubular boilers, of both watertube and firetube types, and antedated by many years the work of both Henry Booth and Marc Seguin on the latter.

A steamboat built in 1798 by John Stevens, Nicholas J.Roosevelt and Stevens's brother-in-law, Robert R.Livingston, in association was unsuccessful, nor was Stevens satisfied with a boat built in 1802 in which a simple rotary steam-en-gine was mounted on the same shaft as a screw propeller. However, although others had experimented earlier with screw propellers, when John Stevens had the Little Juliana built in 1804 he produced the first practical screw steamboat. Steam at 50 psi (3.5 kg/cm²) pressure was supplied by a watertube boiler to a single-cylinder engine which drove two contra-rotating shafts, upon each of which was mounted a screw propeller. This little boat, less than 25 ft (7.6 m) long, was taken backwards and forwards across the Hudson River by two of Stevens's sons, one of whom, R.L. Stevens, was to help his father with many subsequent experiments. The boat, however, was ahead of its time, and steamships were to be driven by paddle wheels until the late 1830s.

In 1807 John Stevens declined an invitation to join with Robert Fulton and Robert R.Living-ston in their development work, which culminated in successful operation of the PS Clermont that summer; in 1808, however, he launched his own paddle steamer, the Phoenix. But Fulton and Livingston had obtained an effective monopoly of steamer operation on the Hudson and, unable to reach agreement with them, Stevens sent Phoenix to Philadelphia to operate on the Delaware River. The intervening voyage over 150 miles (240 km) of open sea made Phoenix the first ocean-going steamer.

From about 1810 John Stevens turned his attention to the possibilities of railways. He was at first considered a visionary, but in 1815, at his instance, the New Jersey Assembly created a company to build a railway between the Delaware and Raritan Rivers. It was the first railway charter granted in the USA, although the line it authorized remained unbuilt. To demonstrate the feasibility of the steam locomotive, Stevens built an experimental locomotive in 1825, at the age of 76. With flangeless wheels, guide rollers and rack-and-pinion drive, it ran on a circular track at his Hoboken home; it was the first steam locomotive to be built in America.

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See also: Allen, Horatio; Cooper, Peter

SUBJECT AREA: Architecture and building

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Nash's name is synonymous with the great scheme carried out for his patron, the Prince Regent, in the early nineteenth century: the development of Marylebone Park from 1811 constituted a "garden city" for the wealthy in the centre of London. Although only a part of Nash's great scheme was actually achieved, an immense amount was carried out, comprising the Regent's Park and its surrounding terraces, the Regent's Street, including All Souls' Church, and the Regent's Palace in the Mall. Not least was Nash's exotic Royal Pavilion at Brighton.

From the early years of the nineteenth century, Nash and a number of other architects took advantage of the use of structural materials developed as a result of the Industrial Revolution; these included wrought and cast iron and various cements. Nash utilized iron widely in the Regent Street Quadrant, Carlton House Terrace and at the Brighton Pavilion. In the first two of these his iron columns were masonry clad, but at Brighton he unashamedly constructed iron column supports, as in the Royal Kitchen, and his ground floor to first floor cast-iron staircase, in which he took advantage of the malleability of the material to create a "Chinese" bamboo design, was particularly notable. The great eighteenth-century terrace architecture of Bath and much of the later work in London was constructed in stone, but as nineteenth-century needs demanded that more buildings needed to be erected at lower cost and greater speed, brick was used more widely for construction; this was rendered with a cement that could be painted to imitate stone. Nash, in particular, employed this method at Regent's Park and used a stucco made from sand, brickdust, powdered limestone and lead oxide that was suited for exterior work.

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SUBJECT AREA: Land transport, Railways and locomotives

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John Urpeth Rastrick, son of an engineer, was initially articled to his father and then moved to Ketley Ironworks, Shropshire, c. 1801. In 1808 he entered into a partnership with John Hazledine at Bridgnorth, Shropshire: Hazledine and Rastrick built many steam engines to the designs of Richard Trevithick, including the demonstration locomotive Catch-Me-Who-Can. The firm also built iron bridges, notably the bridge over the River Wye at Chepstow in 1815–16.

Between 1822 and 1826 the Stratford \& Moreton Railway was built under Rastrick's direction. Malleable iron rails were laid, in one of the first instances of their use. They were supplied by James Foster of Stourbridge, with whom Rastrick went into partnership after the death of Hazledine. In 1825 Rastrick was one of a team of engineers sent by the committee of the proposed Liverpool \& Manchester Railway (L \& MR) to carry out trials of locomotives built by George Stephenson on the Killingworth Waggonway. Early in 1829 the directors of the L \& MR, which was by then under construction, sent Rastrick and James Walker to inspect railways in North East England and report on the relative merits of steam locomotives and fixed engines with cable haulage. They reported, rather hesitantly, in favour of the latter, particularly the reciprocal system of Benjamin Thompson. In consequence the Rainhill Trials, at which Rastrick was one of the judges, were held that October. In 1829 Rastrick constructed the Shutt End colliery railway in Worcestershire, for which Foster and Rastrick built the locomotive Agenoria; this survives in the National Railway Museum. Three similar locomotives were built to the order of Horatio Allen for export to the USA.

From then until he retired in 1847 Rastrick found ample employment surveying railways, appearing as a witness before Parliamentary committees, and supervising construction. Principally, he surveyed the southern part of the Grand Junction Railway, which was built for the most part by Joseph Locke, and the line from Manchester to Crewe which was eventually built as the Manchester \& Birmingham Railway. The London \& Brighton Railway (Croydon to Brighton) was his great achievement: built under Rastrick's supervision between 1836 and 1840, it included three long tunnels and the magnificent Ouse Viaduct. In 1845 he was Engineer to the Gravesend \& Rochester Railway, the track of which was laid through the Thames \& Medway Canal's Strood Tunnel, partly on the towpath and partly on a continuous staging over the water.

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See also: Stephenson, Robert

1917-2004

   Nacido en Filadelfia, estudio en la Universidad de Yale. La filmografia de Allen H. Miner la forman siete largometrajes, mas un amplio numero de realizaciones para la television. De los siete largometrajes, tres son westerns, rodados al principio de su carrera y razonablemente bien construidos. La pelicula mas personal de Miner es, sin ningun genero de dudas, el documental The Naked Sea (1955), que produjo, dirigio, monto y fotografio.

   FILMOGRAFIA

    Ghost Town. 1956. 75 minutos. Blanco y Negro. Bel-Air (UA). Kent Taylor, John Smith, Marian Carr.

    The Ride Back (El retorno del forajido). 1957. 79 minutos. Blanco y Negro. The Associates and Aldrich Company (UA). William Conrad, Anthony Quinn, Lita Milan.

    Black Patch. 1957. 83 minutos. Blanco y Negro. Montgomery Productions (WB). George Montgomery, Diane Brewster.

SUBJECT AREA: Textiles

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Heathcote was the son of a small farmer who became blind, obliging the family to move to Long Whatton, near Loughborough, c.1790. He was apprenticed to W.Shepherd, a hosiery-machine maker, and became a frame-smith in the hosiery industry. He moved to Nottingham where he entered the employment of an excellent machine maker named Elliott. He later joined William Caldwell of Hathern, whose daughter he had married. The lace-making apparatus they patented jointly in 1804 had already been anticipated, so Heathcote turned to the problem of making pillow lace, a cottage industry in which women made lace by arranging pins stuck in a pillow in the correct pattern and winding around them thread contained on thin bobbins. He began by analysing the complicated hand-woven lace into simple warp and weft threads and found he could dispense with half the bobbins. The first machine he developed and patented, in 1808, made narrow lace an inch or so wide, but the following year he made much broader lace on an improved version. In his second patent, in 1809, he could make a type of net curtain, Brussels lace, without patterns. His machine made bobbin-net by the use of thin brass discs, between which the thread was wound. As they passed through the warp threads, which were arranged vertically, the warp threads were moved to each side in turn, so as to twist the bobbin threads round the warp threads. The bobbins were in two rows to save space, and jogged on carriages in grooves along a bar running the length of the machine. As the strength of this fabric depended upon bringing the bobbin threads diagonally across, in addition to the forward movement, the machine had to provide for a sideways movement of each bobbin every time the lengthwise course was completed. A high standard of accuracy in manufacture was essential for success. Called the "Old Loughborough", it was acknowledged to be the most complicated machine so far produced. In partnership with a man named Charles Lacy, who supplied the necessary capital, a factory was established at Loughborough that proved highly successful; however, their fifty-five frames were destroyed by Luddites in 1816. Heathcote was awarded damages of £10,000 by the county of Nottingham on the condition it was spent locally, but to avoid further interference he decided to transfer not only his machines but his entire workforce elsewhere and refused the money. In a disused woollen factory at Tiverton in Devonshire, powered by the waters of the river Exe, he built 300 frames of greater width and speed. By continually making inventions and improvements until he retired in 1843, his business flourished and he amassed a large fortune. He patented one machine for silk cocoon-reeling and another for plaiting or braiding. In 1825 he brought out two patents for the mechanical ornamentation or figuring of lace. He acquired a sound knowledge of French prior to opening a steam-powered lace factory in France. The factory proved to be a successful venture that lasted many years. In 1832 he patented a monstrous steam plough that is reputed to have cost him over £12,000 and was claimed to be the best in its day. One of its stated aims was "improved methods of draining land", which he hoped would develop agriculture in Ireland. A cable was used to haul the implement across the land. From 1832 to 1859, Heathcote represented Tiverton in Parliament and, among other benefactions, he built a school for his adopted town.

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SUBJECT AREA: Civil engineering, Land transport, Railways and locomotives

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Jervis assisted in the survey and construction of the Erie Canal, and by 1827 was Chief Engineer of the Delaware \& Hudson Canal and, linked with it, the Carbondale Railroad. He instructed Horatio Allen to go to England to purchase locomotives in 1828, and the locomotive Stourbridge Lion, built by J.U. Rastrick, was placed on the railway in 1829. It was the first full-size locomotive to run in America, but the track proved too weak for it to be used regularly. In 1830 Jervis became Chief Engineer to the Mohawk \& Hudson Rail Road, which was the first railway in New York State and was opened the following year. In 1832 the 4–2–0 locomotive Experiment was built to his plans by West Point Foundry: it was the first locomotive to have a leading bogie or truck. Jervis was subsequently associated with many other extensive canals and railways and pioneered economic analysis of engineering problems to enable, for example, the best choice to be made between two possible routes for a railroad.

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SUBJECT AREA: Civil engineering, Mechanical, pneumatic and hydraulic engineering, Steam and internal combustion engines

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As a boy, Smeaton showed mechanical ability, making for himself a number of tools and models. This practical skill was backed by a sound education, probably at Leeds Grammar School. At the age of 16 he entered his father's office; he seemed set to follow his father's profession in the law. In 1742 he went to London to continue his legal studies, but he preferred instead, with his father's reluctant permission, to set up as a scientific instrument maker and dealer and opened a shop of his own in 1748. About this time he began attending meetings of the Royal Society and presented several papers on instruments and mechanical subjects, being elected a Fellow in 1753. His interests were turning towards engineering but were informed by scientific principles grounded in careful and accurate observation.

In 1755 the second Eddystone lighthouse, on a reef some 14 miles (23 km) off the English coast at Plymouth, was destroyed by fire. The President of the Royal Society was consulted as to a suitable engineer to undertake the task of constructing a new one, and he unhesitatingly suggested Smeaton. Work began in 1756 and was completed in three years to produce the first great wave-swept stone lighthouse. It was constructed of Portland stone blocks, shaped and pegged both together and to the base rock, and bonded by hydraulic cement, scientifically developed by Smeaton. It withstood the storms of the English Channel for over a century, but by 1876 erosion of the rock had weakened the structure and a replacement had to be built. The upper portion of Smeaton's lighthouse was re-erected on a suitable base on Plymouth Hoe, leaving the original base portion on the reef as a memorial to the engineer.

The Eddystone lighthouse made Smeaton's reputation and from then on he was constantly in demand as a consultant in all kinds of engineering projects. He carried out a number himself, notably the 38 mile (61 km) long Forth and Clyde canal with thirty-nine locks, begun in 1768 but for financial reasons not completed until 1790. In 1774 he took charge of the Ramsgate Harbour works.

On the mechanical side, Smeaton undertook a systematic study of water-and windmills, to determine the design and construction to achieve the greatest power output. This work issued forth as the paper "An experimental enquiry concerning the natural powers of water and wind to turn mills" and exerted a considerable influence on mill design during the early part of the Industrial Revolution. Between 1753 and 1790 Smeaton constructed no fewer than forty-four mills.

Meanwhile, in 1756 he had returned to Austhorpe, which continued to be his home base for the rest of his life. In 1767, as a result of the disappointing performance of an engine he had been involved with at New River Head, Islington, London, Smeaton began his important study of the steam-engine. Smeaton was the first to apply scientific principles to the steam-engine and achieved the most notable improvements in its efficiency since its invention by Newcomen, until its radical overhaul by James Watt. To compare the performance of engines quantitatively, he introduced the concept of "duty", i.e. the weight of water that could be raised 1 ft (30 cm) while burning one bushel (84 lb or 38 kg) of coal. The first engine to embody his improvements was erected at Long Benton colliery in Northumberland in 1772, with a duty of 9.45 million pounds, compared to the best figure obtained previously of 7.44 million pounds. One source of heat loss he attributed to inaccurate boring of the cylinder, which he was able to improve through his close association with Carron Ironworks near Falkirk, Scotland.

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See also: INDEX BY SUBJECT AREA

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Adamson, Daniel

Allen, John F.

Barber, John

Barsanti, Eugenio

Baumann, Karl

Beau de Rochas, Alphonse Eugène

Bodmer, Johann Georg

Bosch, Robert August

Branca, Giovanni de

Brayton, George Bailey

Brown, Samuel

Caprotti, Arturo

Carnot, Nicolas Léonard Sadi

Cecil, Revd William

Clerk, Sir Dugald

Corliss, George Henry

Diesel, Rudolph Christian Karl

Donkin, Bryan III

Edwards, Humphrey

Elder, John

Field, Joshua

Fox, Samson

Giffard, Baptiste Henry Jacques

Griffith, Alan Arnold

Gurney, Sir Goldsworthy

Hamilton, Harold Lee

Hancock, Walter

Hero of Alexandria

Hornblower, Jonathan

Howden, James

Joy, David

Kettering, Charles Franklin

Kirk, Alexander Carnegie

Knight, Margaret E.

Langen, Eugen

Laval, Carl Gustaf Patrik de

Lenoir, Jean Joseph Etienne

Levavasseur, Léon

McCoy, Elijah

McNaught, William

Matteucci, Felice

Maybach, Wilhelm

Murray, Matthew

Newcomen, Thomas

Otto, Nikolaus August

Pickard, James

Porta, Giovanni Battista della

Porter, Charles Talbot

Pounder, Cuthbert Coulson

Priestman, William Dent

Rateau, Auguste Camille-Edmond

Reynolds, Edwin

Ricardo, Sir Harry Ralph

Schmidt, Wilhelm

Séguin, Louis

Seguin, Marc

Sickels, Frederick Ellsworth

Simms, Frederick

Smeaton, John

Stuart, Herbert Akroyd

Stumpf, Johann

Todd, Leonard Jennett

Trevithick, Richard

Walschaert, Egide

Wankel, Felix

Wasborough, Matthew

Watt, James

Webb, Francis William

1889-1974

   Director de cerca de 70 filmes sonoros, entre 1930 y 1950, ademas de un punado de filmes mudos. Escritor de guiones, mas o menos en el mismo intervalo de tiempo, y ayudante de direccion, tambien en las mismas fechas, con el seudonimo Harry O. Jones, sin duda por pudor profesional. Su mundo es el del western, al que dedico la inmensa mayoria de su produccion, obras cuyo presupuesto y sus inquietudes artisticas eran igualmente reducidos.

   FILMOGRAFIA

    The Montana Kid. 1931. 64 minutos. Blanco y Negro. Monogram. Bill Cody, Andy Shuford, Doris Hill.

    Oklahoma Jim (El terror de Oklahoma). 1931. 61 minutos. Blanco y Negro. Monogram. Bill Cody, Andy Shuford, Marion Burns.

    Land of Wanted Men. 1931. 60 minutos. Blanco y Negro. Monogram. Bill Cody, Andy Shuford, Sheila Mannors.

    Ghost City (Oro en el monte). 1932. 60 minutos. Blanco y Negro. Monogram. Bill Cody, Andy Shuford, Helen Forrest.

    Vanishing Men. 1932. 62 minutos. Blanco y Negro. Monogram. Tom Tyler, Raymond Keane, Adele Lacy.

    Mason of the Mounted. 1932. 58 minutos. Blanco y Negro. Monogram. Bill Cody, Andy Shuford, Nancy Drexel.

    Law of the North (La ley del Norte). 1932. 55 minutos. Blanco y Negro. Monogram. Bill Cody, Andy Shuford, Nadine Dore.

    Texas Pioneers (Praderas sangrientas). 1932. 58 minutos. Blanco y Negro. Monogram. Bill Cody, Andy Shuford, Sheila Mannors.

    Honor of the Mounted (El honor del batallon). 1932. 62 minutos. Blanco y Negro. Monogram. Tom Tyler, Francis McDonald.

    From Broadway to Cheyenne (Los gangsters del Oeste). 1932. 62 minutos. Blanco y Negro. Monogram. Rex Bell, Marceline Day.

    The Man from Arizona (El hombre de Arizona). 1932. 58 minutos. Blanco y Negro. Monogram. Rex Bell, Naomi Judge.

    The Diamond Trail (La senda del diamante). 1932. 60 minutos. Blanco y Negro. Monogram. Rex Bell, Frances Rich.

    Rainbow Ranch (La bala acusadora). 1933. 55 minutos. Blanco y Negro. Monogram. Rex Bell, Cecilia Parker.

    The Fighting Parson. 1933. 70 minutos. Blanco y Negro. Allied Artists. Hoot Gibson, Marceline Day.

    The Fugitive (El fugitivo del Oeste). 1933. 56 minutos. Blanco y Negro. Monogram. Rex Bell, Cecilia Parker.

    Randy Rides Alone. 1934. 53 minutos. Blanco y Negro. Monogram/Lone Star. John Wayne, Alberta Vaughn.

    Fighting Through. 1934. 55 minutos. Blanco y Negro. Willis Kent. Reb Russell, Lucille Lund.

    Gunfire. 1934. 56 minutos. Blanco y Negro. Resolute. Rex Bell, Ruth Mix, Buzz Barton.

    Neath the Arizona Skies. 1934. 52 minutos. Blanco y Negro. Monogram/Lone Star. John Wayne, Sheila Terry.

    The Tonto Kid. 1935. 61 minutos. Blanco y Negro. Resolute. Rex Bell, Ruth Mix, Buzz Barton.

    The Reckless Buckaroo. 1935. 57 minutos. Blanco y Negro. Crescent. Bill Cody, Bill Cody, Jr., Betty Mack.

    Wagon Trail. 1935. 55 minutos. Blanco y Negro. Ajax. Harry Carey, Gertrude Messinger.

    Rustler’s Paradise. 1935. 61 minutos. Blanco y Negro. Ajax. Harry Carey, Gertrude Messinger.

    Fighting Pioneers. 1935. 60 minutos. Blanco y Negro. Resolute. Rex Bell, Ruth Mix, Buzz Barton.

    Saddle Aces. 1935. 56 minutos. Blanco y Negro. Resolute. Rex Bell, Ruth Mix, Buzz Barton.

    Wild Mustang. 1935. 62 minutos. Blanco y Negro. Ajax. Harry Carey, Barbara Fritchie.

    The Last of the Clintons. 1935. 60 minutos. Blanco y Negro. Ajax. Harry Carey, Betty Mack.

    Ace’s Wild. 1936. 57 minutos. Blanco y Negro. Commodore. Harry Carey, Gertrude Messinger.

    Ghost Town. 1936. 60 minutos. Blanco y Negro. Commodore. Harry Carey, Ruth Findlay.

    Hair-Trigger Casey. 1936. 59 minutos. Blanco y Negro. Atlantic. Jack Perrin, Betty Mack.

    Wildcat Saunders. 1936. 60 minutos. Blanco y Negro. Atlantic. Jack Perrin, Blanche Mehaffey.

    Feud of the West. 1936. 62 minutos. Blanco y Negro. Diversion. Hoot Gibson, Joan Barclay.

    The Riding Avenger. 1936. 58 minutos. Blanco y Negro. Diversion. Hoot Gibson, Ruth Mix.

    Romance Rides the Range. 1936. 59 minutos. Blanco y Negro. Spectrum. Fred Scott, Marion Shilling.

    Cavalcade of the West. 1936. 59 minutos. Blanco y Negro. Diversion. Hoot Gibson, Marion Shilling, Rex Lease.

    Galloping Dynamite. 1937. 57 minutos. Blanco y Negro. Ambassador. Kermit Maynard, Ariane Allen, John Merton.

    Heroes of the Alamo. 1937. 75 minutos. Blanco y Negro. Sunset (Columbia). Rex Lease, Lane Chandler.

    Six Shootin’ Sheriff. 1938. 59 minutos. Blanco y Negro. Grand National. Ken Maynard, Marjorie Reynolds.

    Songs and Saddles. 1938. 65 minutos. Blanco y Negro. Colony. Gene Austin, Lynne Berkeley.

    Lure of the Wasteland. 1939. 55 minutos. Blanco y Negro/Teleco-color. Al Lane Pictures (Monogram). Grant Withers, LeRoy Mason, Marion Arnold.

    Phantom Rancher. 1940. 61 minutos. Blanco y Negro. Colony. Ken Maynard, Dorothy Short.

    Lightning Strikes West. 1940. 56 minutos. Blanco y Negro. Colony. Ken Maynard, Claire Rochelle.

    Gunsmoke Mesa. 1944. 59 minutos. Blanco y Negro. PRC. Dave O’Brien, Jim Newill, Patti McCarty.

    Outlaw Roundup. 1944. 55 minutos. Blanco y Negro. PRC. Dave O’Brien, Jim Newill, Helen Chapman.

    Brand of the Devil. 1944. 57 minutos. Blanco y Negro. PRC. Dave O’Brien, Jim Newill, Ellen Hall.

    Enemy of the Law. 1945. 59 minutos. Blanco y Negro. PRC. Tex Ritter, Dave O’Brien, Kay Hugues.

    Three in the Saddle. 1945. 61 minutos. Blanco y Negro. PRC. Tex Ritter, Dave O’Brien, Lorraine Miller.

    Frontier Fugitives. 1945. 53 minutos. Blanco y Negro. PRC. Tex Ritter, Dave O’Brien, Lorraine Miller.

    Flaming Bullets. 1945. 55 minutos. Blanco y Negro. PRC. Tex Ritter, Dave O’Brien, Patricia Knox.

    The Navajo Kid. 1945. 59 minutos. Blanco y Negro. PRC. Bob Steele, Syd Saylor, Caren Marsh.

    Six Gun Man. 1946. 57 minutos. Blanco y Negro. PRC. Bob Steele, Syd Saylor, Jean Carlin.

    Ambush Trail. 1946. 60 minutos. Blanco y Negro. PRC. Bob Steele, Syd Saylor, Lorraine Miller.

    Thunder Town. 1946. 57 minutos. Blanco y Negro. PRC. Bob Steele, Syd Saylor, Ellen Hall.

    Stallion Canyon. 1949. 72 minutos. Trucolor. Kanab/Astor. Ken Curtis, Carolina Cotton.

1915-2002

   En sus inicios profesionales, a mediados de los anos 30, Witney hizo un poco de todo: fue montador, ayudante de direccion e, incluso, guionista, pero a partir de 1937 se dedico a la realizacion, convirtiendose en uno de los directores prolificos de Hollywood, en este caso para la productora Republic. En sus primeros anos como realizador, se especializo en seriales realizados en colaboracion, en particular con John English. La division del trabajo era sencilla: este rodaba las escenas de dialogo y los interiores, y Witney las escenas de accion. De este modo, fue adquiriendo justa fama como director de peliculas de accion, con grandes peleas y largas cabalgadas. Aunque la parte mas extensa de su filmografia la ocupan los westerns, es justo reconocer su labor en otros filmes de accion como Aventuras del capitan Maravillas (Adventures of Captain Marvel, 1941), se rial realizado con el ya citado John English. Como al gunos otros de sus companeros, sirvio extensamente a estrellas del western, en este caso Roy Rogers y Rex Allen. En sus peliculas hay de todo, pero no seria malo revisarlas con alguna atencion porque encontraremos en ellas no pocos detalles interesantes de personal estilo cinematografico.

   FILMOGRAFIA

    The Painted Stallion (co-d.: Alan James, Ray Taylor). 1937. 212 minutos. 12 capitulos. Blanco y Negro. Republic. Ray Corrigan, Hoot Gibson, LeRoy Mason, Duncan Renaldo, Julia Thayer.

    The Trigger Trio. 1937. 60 minutos. Blanco y Negro. Republic. Ray Corrigan, Max Terhune, Sandra Corday, Hal Taliaferro.

    Zorro Rides Again (co-d.: John English). 1937. 212 minutos. 12 capitulos. Blanco y Negro. Republic. John Caroll, Helen Christian.

    The Painted Stallion (co-d.: Alan James, Ray Taylor). 1938. 67 minutos. Blanco y Negro. Ray Corrigan, Hoot Gibson, Jean Carmen.

    The Lone Ranger (co-d.: John English). 1938. 264 minutos. 15 capitulos. Blanco y Negro. Republic. Lee Powell, Lynne Roberts, Bruce Bennett.

    The Lone Ranger Rides Again (co-d.: John English). 1939. 263 minutos. 15 capitulos. Blanco y Negro. Republic. Robert Livingston, Duncan Renaldo.

    Zorro’s Fighting Legion (co-d.: John English). 1939. 212 minutos. Blanco y Negro. Republic. Reed Hadley, Sheila Darcey.

    Heroes of the Saddle. 1940. 59 minutos. Blanco y Negro. Republic. Robert Livingston, Raymond Hatton, Duncan Renaldo, Loretta Weaver, Patsy Lee Parsons.

    Hi-Yo Silver (co-d.: John English). 1940. 69 minutos. Blanco y Negro. Re public. Lee Powell, Lynne Roberts, Bruce Bennett.

    Adventures of Red Ryder (co-d.: John English). 1940. 205 minutos. 12 capitulos. Blanco y Negro. Republic. Don Barry, Noah Berry, Vivian Coe.

    King of the Royal Mounted (El rey de la policia montada) (co-d.: John English). 1940. 211 minutos. 12 capitulos. Blanco y Negro. Republic. Allan Lane, Robert Strange, Lita Conway.

    King of the Texas Rangers (co-d.: John English). 1941. 215 minutos. 12 ca pitulos. Blanco y Negro. Republic. Sammy Baugh, Pauine Moore, Duncan Renaldo.

    King of the Mounties. 1942. 196 minutos. 12 capitulos. Blanco y Negro. Republic. Allan Lane, Gilbert Emery, Peggy Drake.

    Outlaws of Pine Ridge. 1942. 56 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick, Noah Beery.

    Yukon Patrol (co-d.: John English). 1942. 68 minutos. Blanco y Negro. Republic. Allan Lane, Robert Strange, Lita Conway.

    Roll on, Texas Moon. 1946. 67 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, George Hayes.

    Home in Oklahoma. 1946. 72 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, George Hayes.

    Heldorado. 1946. 70 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, George Hayes.

    Apache Rose. 1947. 75 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Olin Howlin.

    Bells of San Angelo. 1947. 78 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Andy Devine.

    Springtime in the Sierras. 1947. 75 minutos. Trucolor. Republic. Roy Rogers, Jane Frazee, Andy Devine.

    On the Old Spanish Trail. 1947. 75 minutos. Trucolor. Republic. Roy Ro gers, Jane Frazee, Andy Devine.

    The Gay Ranchero. 1948. 72 minutos. Trucolor. Republic. Roy Rogers, Jane Frazee, Andy Devine.

    Under California Stars. 1948. 70 minutos. Trucolor. Republic. Roy Rogers, Jane Frazee, Andy Devine.

    Eyes of Texas. 1948. 70 minutos. Trucolor. Republic. Roy Rogers, Lynne Roberts, Andy Devine.

    Nightime in Nevada. 1948. 67 minutos. Trucolor. Republic. Roy Rogers, Adele Mara, Andy Devine.

    Grand Canyon Trail. 1948. 67 minutos. Trucolor. Republic. Roy Rogers, Jane Frazee, Andy Devine.

    The Far Frontier. 1948. 67 minutos. Trucolor. Republic. Roy Rogers, Gail Davis, Andy Devine.

    Susanna Pass. 1949. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Estelita Rodriguez.

    Down Dakota Way. 1949. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady.

    The Golden Stallion. 1949. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady.

    Bells of Coronado. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady.

    Twilight in the Sierras. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady.

    Trigger, Jr. 1950. 68 minutos. Trucolor. Republic. Roy Rogers, Dale Evans, Pat Brady, Gordon Jones.

    Sunset in the West. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Penny Edwards, Gordon Jones, Estelita Rodriguez.

    North of the Great Divide. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Penny Edwards, Gordon Jones.

    Trail of Robin Hood. 1950. 67 minutos. Trucolor. Republic. Roy Rogers, Penny Edwards, Gordon Jones.

    Spoilers of the Plains. 1951. 68 minutos. Blanco y Negro. Republic. Roy Rogers, Penny Edwards, Gordon Jones.

    Heart of the Rockies. 1951. 67 minutos. Blanco y Negro. Republic. Roy Rogers, Penny Edwards, Gordon Jones.

    In Old Amarillo. 1951. 67 minutos. Blanco y Negro. Republic. Roy Rogers, Penny Edwards, Pinky Lee, Estelita Rodriguez.

    South of Caliente. 1951. 67 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, Pinky Lee.

    Pals of the Golden West. 1951. 68 minutos. Blanco y Negro. Republic. Roy Rogers, Dale Evans, Pinky Lee, Estelita Rodriguez.

    Colorado Sundown. 1952. 67 minutos. Blanco y Negro. Republic. Rex Allen, June Vincent, Mary Ellen Kay, Slim Pickens.

    The Last Musketeer. 1952. 67 minutos. Blanco y Negro. Republic. Rex Allen, Mary Ellen Kay, Slim Pickens.

    Border Saddlemates. 1952. 67 minutos. Blanco y Negro. Republic. Rex Allen, Mary Ellen Kay, Slim Pickens.

    Old Oklahoma Plains. 1952. 60 minutos. Blanco y Negro. Republic. Rex Allen, Elaine Edwards, Slim Pickens.

    South Pacific Trail. 1952. 60 minutos. Blanco y Negro. Republic. Rex Allen, Estelita Rodriguez, Slim Pickens.

    Old Overland Trail. 1953. 60 minutos. Blanco y Negro. Republic. Rex Allen, Virginia Hall, Slim Pickens.

    Iron Mountain Trail. 1953. 54 minutos. Blanco y Negro. Republic. Rex Allen, Nan Leslie, Slim Pickens.

    Down Laredo Way. 1953. 54 minutos. Blanco y Negro. Republic. Rex Allen, Dona Drake, Marjorie Lord, Slim Pickens.

    Shadows of Tomsbtone. 1953. 54 minutos. Blanco y Negro. Republic. Rex Allen, Jeanne Cooper, Slim Pickens.

    The Outcast. 1954. 90 minutos. Trucolor. Republic. John Derek, Joan Evans, Jim Davis, Catherine McLeod.

    Santa Fe Passage (Senderos de violencia). 1955. 90 minutos. Trucolor. Republic. John Payne, Faith Domergue, Rod Cameron, Slim Pickens.

    Stranger at My Door (Un extrano a mi puerta). 1956. 85 minutos. Blanco y Negro. Republic. MacDonald Carey, Patricia Medina, Skip Homeier.

    Zorro Rides Again (co-d.: John English). 1959. 68 minutos. Blanco y Negro. Republic. John Carroll, Helen Christian, Duncan Renaldo.

    The Long Rope. 1961. 61 minutos. Blanco y Negro. CinemaScope. Fox. Hugh Marlowe, Lisa Montell, Alan Hale, Jr.

    Apache Rifles. 1964. 93 minutos. Color DeLuxe. Fox. Audie Murphy, Michael Dante, Linda Lawson.

    Arizona Raiders (El renegado de Arizona). 1965. 88 minutos. Technicolor. Techniscope. Admiral (Columbia). Audie Murphy, Michael Dante, Gloria Talbott, Ben Cooper.

    40 Guns to Apache Pass. 1967. 95 minutos. Eastmancolor. Admiral (Columbia). Audie Murphy, Laraine Stephens, Michael Burns.