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1 Palmer, John
[br]b. 1743 Bath, Avon, Englandd. 1818 Bath, Avon, England[br]English pioneer in mail transport.[br]He was the son of a brewer and maltster and part-owner of a theatre in Bath. In his early 20s his father sent him to London to organize the petition for a licence for the Orchard Street theatre, which was granted in 1768. He then organized a series of post-chaises to transport ac-tors between this and another theatre in Bristol in which his father also had an interest. By 1782 he had ready a plan for a countrywide service of mail coaches to replace the existing arrangements of conveying the mail by post-boys and -girls mounted on horseback who were by law compelled to carry the mail "at a Rate of Six Miles in the Hour at least" on penalty of one month's hard labour if found loitering. Lord Camden, Member of Parliament for Bath, put Palmer's plan before Prime Minister Pitt, who approved of it. An experimental run was tried on 2 August 1782, a coach leaving Bristol at 4 pm and arriving in London at 8 am the next morning, to return the following night from London at 8 pm and reaching Bristol at 10 am. In March 1785 the Norwich Mail Coach was started and during that year services were started to Portsmouth, Dover, Exeter, Leeds, Manchester, Liverpool, Birmingham, Shrewsbury, Chester, Holyhead, Worcester, South Wales and Milford Haven. A feature of importance was that each mail coach was accompanied by an armed guard. In August 1786 Palmer was appointed Surveyor and Comptroller-General of the Post Office at a salary of £1,500 per annum and a bonus depending on all revenue over £300,000 each year. The popularity of the new service is shown by the feet that by 1813 his 2 1/2 per cent bonus came to £50,000. Due to the intrigues of his deputy, he was removed from office, but he was given a pension of £3,000 a year. He received the freedom of some eighteen towns, was made Mayor of Bath and represented that constituency in Parliament four times.[br]Further ReadingE.Vale, 1960, The Mail-Coach Men, London: Cassell.IMcN -
2 Hunter, John
SUBJECT AREA: Medical technology[br]b. 14 (registered 13) February 1728 East Kilbride, Lanarkshire, Scotlandd. 16 October 1793 London, England[br]Scottish surgeon and anatomist, pioneer of experimental methods in medicine and surgery.[br]The younger brother of William Hunter (1718–83), who was of great distinction but perhaps of slightly less achievement in similar fields, he owed much of his early experience to his brother; William, after a period at Glasgow University, moved to St George's Hospital, London. In his later teens, John assisted a brother-in-law with cabinet-making. This appears to have contributed to the lifelong mechanical skill which he displayed as a dissector and surgeon. This skill was particularly obvious when, after following William to London in 1748, he held post at a number of London teaching hospitals before moving to St George's in 1756. A short sojourn at Oxford in 1755 appears to have been unfruitful.Despite his deepening involvement in the study of comparative anatomy, facilitated by the purchase of animals from the Tower menagerie and travelling show people, he accepted an appointment as a staff surgeon in the Army in 1760, participating in the expedition to Belle Isle and also serving in Portugal. He returned home with over 300 specimens in 1763 and, until his appointment as Surgeon to St George's in 1768, was heavily involved in the examination of this and other material, as well as in studies of foetal testicular descent, placental circulation, the nature of pus and lymphatic circulation. In 1772 he commenced lecturing on the theory and practice of surgery, and in 1776 he was appointed Surgeon-Extraordinary to George III.He is rightly regarded as the founder of scientific surgery, but his knowledge was derived almost entirely from his own experiments and observations. His contemporaries did not always accept or understand the concepts which led to such aphorisms as, "to perform an operation is to mutilate a patient we cannot cure", and his written comment to his pupil Jenner: "Why think. Why not trie the experiment". His desire to establish the aetiology of gonorrhoea led to him infecting himself, as a result of which he also contracted syphilis. His ensuing account of the characteristics of the disease remains a classic of medicine, although it is likely that the sequelae of the condition brought about his death at a relatively early age. From 1773 he suffered recurrent anginal attacks of such a character that his life "was in the hands of any rascal who chose to annoy and tease him". Indeed, it was following a contradiction at a board meeting at St George's that he died.By 1788, with the death of Percival Pott, he had become unquestionably the leading surgeon in Britain, if not Europe. Elected to the Royal Society in 1767, the extraordinary variety of his collections, investigations and publications, as well as works such as the "Treatise on the natural history of the human teeth" (1771–8), gives testimony to his original approach involving the fundamental and inescapable relation of structure and function in both normal and disease states. The massive growth of his collections led to his acquiring two houses in Golden Square to contain them. It was his desire that after his death his collection be purchased and preserved for the nation. It contained 13,600 specimens and had cost him £70,000. After considerable delay, Par-liament voted inadequate sums for this purpose and the collection was entrusted to the recently rechartered Royal College of Surgeons of England, in whose premises this remarkable monument to the omnivorous and eclectic activities of this outstanding figure in the evolution of medicine and surgery may still be seen. Sadly, some of the collection was lost to bombing during the Second World War. His surviving papers were also extensive, but it is probable that many were destroyed in the early nineteenth century.[br]Principal Honours and DistinctionsFRS 1767. Copley Medal 1787.Bibliography1835–7, Works, ed. J.F.Palmer, Philosophical Transactions of the Royal Society, London.MG -
3 Land transport
See also: INDEX BY SUBJECT AREA[br]Austin, HerbertHamilton, Harold LeeIssigonis, Sir Alexander Arnold ConstantineMa JunMorris, William RichardSauerbrun, Charles de -
4 Telecommunications
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5 Railways and locomotives
Biographical history of technology > Railways and locomotives
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6 Civil engineering
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7 Selander, Lesley
1900-1979Sus origenes en el cine se situan dentro de la tarea de operador de camara y, despues, ayudante de direccion. Su carrera como director comienza realmente en 1936. Lesley Selander es uno de los grandes especialistas del western, con mas de cien peliculas a sus espaldas. Decir “uno de los grandes especialistas” no es lo mismo que decir “uno de los grandes nombres” y, en efecto, la trayectoria de Selander, en lo que a la calidad de sus peliculas se refiere, es irregular. Lo que, sin embargo, sorprende es que la valoracion media de sus westerns no es baja, lo que indica que el director poseia un especial instinto para el genero, que pone de manifiesto con una plastica mas que correcta y un buen manejo del tiempo de la narracion. Inabarcable por su extension, es dificil senalar los filmes que destacan en tan amplia muestra, pero si me veo en la obligacion de citar alguno, no dudaria en elegir las peliculas que hizo para Allied Artists a finales de los anos 40 y principios de los 50, y algunas otras de las ultimas que realizo, como Dakota Lil o The Broken Star.Ride’ Em Cowboy. 1936. 59 minutos. Blanco y Negro. Universal. Buck Jo nes, Luana Walters.The Boss Rider of Gun Creek. 1936. 65 minutos. Blanco y Negro. Univ er sal. Buck Jones, Muriel Evans.Empty Saddles. 1936. 67 minutos. Blanco y Negro. Universal. Buck Jones, Louise Brooks, Claire Rochelle.Sandflow. 1937. 58 minutos. Blanco y Negro. Universal. Buck Jones, Lita Chevret.Left Handed Law. 1937. 63 minutos. Blanco y Negro. Universal. Buck Jones, Noel Francis, Nina Quartero.Smoke Tree Range. 1937. 59 minutos. Blanco y Negro. Universal. Buck Jones, Muriel Evans.Hopalong Rides Again. 1937. 65 minutos. Blanco y Negro. Paramount. William Boyd, Lois Wilde, Russell Hayden, George Hayes.The Barrier. 1937. 90 minutos. Blanco y Negro. Paramount. Leo Carrillo, Jean Parker, James Ellison.Partners of the Plains. 1938. 68 minutos. Blanco y Negro. Paramount. William Boyd, Gwen Gaze, Russell Hayden, Harvey Clark.Cassidy on Bar 20. 1938. 56 minutos. Blanco y Negro. Paramount. William Boyd, Nora Lane, Russell Hayden, Frank Darien.Heart of Arizona. 1938. 68 minutos. Blanco y Negro. Paramount. William Boyd, Natalie Moorhead, Russell Hayden, George Hayes.Bar 20 Justice. 1938. 70 minutos. Blanco y Negro. Paramount. William Boyd, Gwen Gaze, Russell Hayden, George Hayes.Pride of the West. 1938. 56 minutos. Blanco y Negro. Paramount. William Boyd, Charlotte Field, Russell Hayden, George Hayes.The Mysterious Rider. 1938. 74 minutos. Blanco y Negro. Paramount. Douglas Drumbrille, Russell Hayden, Charlotte Field.The Frontiersman. 1938. 74 minutos. Blanco y Negro. Paramount. William Boyd, Evelyn Venable, Russell Hayden, George Hayes.Sunset Trail. 1939. 60 minutos. Blanco y Negro. Paramount. William Boyd, Charlotte Wynters, Jane Clayton, Russell Hayden, George Hayes.Heritage of the Desert. 1939. 74 minutos. Blanco y Negro. Paramount. Donald Woods, Russell Hayden, Evelyn Venable, Robert Barrat.Silver on the Sage (De cara a cara). 1939. 68 minutos. Blanco y Negro. Paramount. William Boyd, Ruth Rogers, Russell Hayden, George Hayes.The Renegade Trail. 1939. 61 minutos. Blanco y Negro. Paramount. William Boyd, Charlotte Wynters, Russell Hayden, George Hayes.Range War. 1939. 66 minutos. Blanco y Negro. Paramount. William Boyd, Betty Moran, Russell Hayden, Britt Wood.Santa Fe Marshal. 1940. 65 minutos. Blanco y Negro. Paramount. William Boyd, Bernadine Hayes, Russell Hayden, Britt Wood.Knights of the Range. 1940. 68 minutos. Blanco y Negro. Paramount. Russell Hayden, Jean Parker, Victor Jory.The Light of Western Stars. 1940. 67 minutos. Blanco y Negro. Para mount. Russell Hayden, Victor Jory, Jo Ann Sayers.Hidden Gold. 1940. 61 minutos. Blanco y Negro. Paramount. William Boyd, Ruth Rogers, Russell Hayden, Britt Wood.Stagecoach War. 1940. 63 minutos. Blanco y Negro. Paramount. William Boyd, Julie Carter, Russell Hayden, Eddy Waller.Cherokee Strip. 1940. 86 minutos. Blanco y Negro. Paramount. Richard Dix, Florence Rice, Victor Jory, Andy Clyde.Three Men from Texas (Hombres del Oeste). 1940. 70 minutos. Blanco y Negro. Paramount. William Boyd, Esther Estrella, Russell Hayden, Andy Clyde.Doomed Caravan. 1941. 62 minutos. Blanco y Negro. Paramount. William Boyd, Georgia Hawkins, Russell Hayden, Andy Clyde.The Roundup. 1941. 90 minutos. Blanco y Negro. Paramount. Richard Dix, Patricia Morison, Preston Foster.Pirates on Horseback. 1941. 69 minutos. Blanco y Negro. Paramount. Wi lliam Boyd, Eleanor Stewart, Russell Hayden, Andy Clyde.Wide Open Town (La ley del Oeste). 1941. 78 minutos. Blanco y Negro. Paramount. William Boyd, Evelyn Brent, Bernice Kay, Russell Hayden, Andy Clyde.Riders of the Timberline. 1941. 59 minutos. Blanco y Negro. Paramount. William Boyd, Eleanor Stewart, Brad King,Stick to Your Guns. 1941. 63 minutos. Blanco y Negro. Paramount. William Boyd, Jennifer Holt, Brad King, Andy Clyde.Thundering Hoofs. 1942. 61 minutos. Blanco y Negro. RKO. Tim Holt, Luana Walters, Lee White, Ray Whitley.Bandit Ranger. 1942. 58 minutos. Blanco y Negro. RKO. Tim Holt, Joan Barclay, Cliff Edwards.Undercover Man. 1942. 68 minutos. Blanco y Negro. UA. William Boyd, Nora Lane, Esther Estrella, Jay Kirby, Andy Clyde.Border Patrol. 1943. 66 minutos. Blanco y Negro. UA. William Boyd, Claudia Drake, Jay Kirby, Andy Clyde.Buckskin Frontier. 1943. 74 minutos. Blanco y Negro. UA. Richard Dix, Jane Wyatt, Lee J. Cobb, Albert Dekker.Colt Comrades. 1943. 67 minutos. Blanco y Negro. UA. William Boyd, Gayle Lord, Jay Kirby, Andy Clyde.Red River Robin Hood. 1942. 57 minutos. Blanco y Negro. RKO. Tim Holt, Barbara Moffett, Cliff Edwards.Bar 20. 1943. 54 minutos. Blanco y Negro. UA. William Boyd, Dustine Farnum, George Reeves, Andy Clyde.Riders of the Deadline. 1943. 70 minutos. Blanco y Negro. UA. William Boyd, Frances Woodward, Jimmy Rogers, Andy Clyde.Lost Canyon. 1942. 61 minutos. Blanco y Negro. UA. William Boyd, Nora Lane, Jay Kirby, Andy Clyde.Lumberjack. 1944. 65 minutos. Blanco y Negro. UA. William Boyd, Ellen Hall, Jimmy Rogers, Andy Clyde.Forty Thieves. 1944. 60 minutos. Blanco y Negro. UA. William Boyd, Louise Currie, Jimmy Rogers, Andy Clyde.Call of the Rockies. 1944. 56 minutos. Blanco y Negro. Republic. Sunset Carson, Smiley Burnette, Ellen Hall.Bordertown Trail. 1944. 55 minutos. Blanco y Negro. Republic. Sunset Carson, Smiley Burnette, Ellen Lowe.Stagecoach to Monterey. 1944. 55 minutos. Blanco y Negro. Republic. Allan Lane, Peggy Stewart, Roy Barcroft.Cheyenne Wildcat. 1944. 56 minutos. Blanco y Negro. Republic. Bill Elliott, Peggy Stewart, Bob Blake.Sheriff of Sundown. 1944. 55 minutos. Blanco y Negro. Republic. Allan Lane, Max Terhune, Linda Sterling.Firebrands of Arizona. 1944. 55 minutos. Blanco y Negro. Republic. Sunset Carson, Smiley Burnette, Peggy Stewart.Sheriff of Las Vegas. 1944. 55 minutos. Blanco y Negro. Republic. Bill Elliott, Peggy Stewart, Bob Blake.The Great Stagecoach Robbery. 1945. 56 minutos. Blanco y Negro. Republic. Bill Elliott, Bob Blake.Trail of Kit Carson. 1945. 57 minutos. Blanco y Negro. Republic. Allan Lane, Helen Talbot.Phantom of the Plains. 1945. 56 minutos. Blanco y Negro. Republic. Bill Elliott, Bob Blake.Out California Way. 1946. 67 minutos. Trucolor. Republic. Monte Hale, Adrian Booth, John Dehner, Bobby Blake.Last Frontier Uprising. 1947. 67 minutos. Trucolor. Republic. Monte Hale, Adrian Booth, Roy Barcroft.Saddle Pals. 1947. 72 minutos. Blanco y Negro. Republic. Gene Autry, Lynne Roberts, Sterling Holloway.Robin Hood of Texas. 1947. 71 minutos. Blanco y Negro. Republic. Gene Autry, Lynne Roberts, Sterling Holloway.The Red Stallion. 1947. 81 minutos. Cinecolor. Eagle Lion. Robert Paige, Noreen Nash.Belle Star’s Daughter. 1947. 85 minutos. Blanco y Negro. Alson (Fox). George Montgomery, Rod Cameron, Ruth Roman.Panhandle (Imperio del crimen). 1948. 85 minutos. Blanco y Negro. Allied. Rod Cameron, Cathy Downs, Reed Hadley, Anne Gwynne.Guns of Hate. 1948. 62 minutos. Blanco y Negro. RKO. Tim Holt, Nan Leslie, Richard Martin.Indian Agent. 1948. 63 minutos. Blanco y Negro. RKO. Tim Holt, Nan Leslie, Richard Martin, Lee “Lasses” White.Brothers in the Saddle. 1949. 60 minutos. Blanco y Negro. RKO. Tim Holt, Virginia Cox, Richard Martin.Rustlers. 1949. 61 minutos. Blanco y Negro. RKO. Tim Holt, Martha Hyer, Richard Martin.Stampede. 1949. 78 minutos. Blanco y Negro. Allied. Rod Cameron, Johnny Mack Brown, Gale Storm.Masked Raiders. 1949. 60 minutos. Blanco y Negro. RKO. Tim Holt, Marjorie Lord, Richard Martin.The Mysterious Desperado. 1949. 61 minutos. Blanco y Negro. RKO. Tim Holt, Movita, Richard Martin.Dakota Lil. 1950. 88 minutos. Cinecolor. Fox. George Montgomery, Marie Windsor, Rod Cameron.Riders of the Range. 1950. 60 minutos. Blanco y Negro. RKO. Tim Holt, Jacqueline White, Richard Martin.Storm Over Wyoming. 1950. 60 minutos. Blanco y Negro. RKO. Tim Holt, Noreen Nash, Betty Underwood, Richard Martin.Rider from Tucson. 1950. 60 minutos. Blanco y Negro. RKO. Tim Holt, Elaine Riley, Veda Ann Borg, Richard Martin.Rio Grande Patrol (Patrulla de Rio Grande). 1950. 60 minutos. Blanco y Negro. RKO. Tim Holt, Jane Nigh, Richard Martin.The Kangaroo Kid. 1950. 72 minutos. Blanco y Negro. Allied Australian. Jock Mahoney, Veda Ann Borg, Douglass Dumbrille, Martha Hyer.Short Grass. 1950. 82 minutos. Blanco y Negro. Allied. Rod Cameron, Johnny Mack Brown, Cathy Downs.Law of the Badlands. 1951. 60 minutos. Blanco y Negro. RKO. Tim Holt, Joan Dixon, Richard MartinSaddle Legion. 1951. 61 minutos. Blanco y Negro. RKO. Tim Holt, Dorothy Malone, Richard Martin.Cavalry Scout. 1951. 78 minutos. Cinecolor. Monogram. Rod Cameron, Audrey Long, Jim Davis.Gunplay. 1951. 69 minutos. Blanco y Negro. RKO. Tim Holt, Joan Dixon, Richard Martin.Pistol Harvest. 1951. 60 minutos. Blanco y Negro. RKO. Tim Holt, Joan Dixon, Richard Martin.Overland Telegraph. 1951. 60 minutos. Blanco y Negro. RKO. Tim Holt, Gail Davis, Richard Martin.Fort Osage. 1952. 72 minutos. Cinecolor. Monogram. Rod Cameron, Jane Nigh.Trail Guide (Rastro oculto). 1952. 60 minutos. Blanco y Negro. RKO. Tim Holt, Linda Douglas (Mary Jo Tarola), Richard Martin.Road Agent. 1952. 60 minutos. Blanco y Negro. RKO. Tim Holt, Noreen Nash, Richard Martin.Desert Passage. 1952. 60 minutos. Blanco y Negro. RKO. Tim Holt, Joan Dixon, Richard Martin.The Raiders. 1952. 80 minutos. Technicolor. Universal. Richard Conte, Viveca Lindfords, Richard Martin, Barbara Britton.Fort Vengeance (Fort Venganza). 1953. 75 minutos. Cinecolor. Allied. James Craig, Rita Moreno, Keith Larsen.Cow Country. 1953. 82 minutos. Blanco y Negro. Allied. Edmond O’Brien, Peggie Castle, Robert Barrat, Helen Westcott.War Paint. 1953. 89 minutos. Pathecolor. K-B Productions (UA). Robert Stack, Joan Taylor, Charles McGraw.Arrow in the Dust (Flechas incendiarias). 1954. 80 minutos. Technicolor. Allied. Sterling Hayden, Coleen Gray, Keith Larsen.The Yellow Tomahawk. 1954. 82 minutos. Color Corp. Of America. Bel-Air (UA). Rory Calhoun, Peggie Castle, Peter Graves.Shotgun (La pradera sangrienta). 1955. 81 minutos. Technicolor. Allied. Sterling Hayden, Yvonne De Carlo, Zachary Scott.Fort Yuma. 1955. 78 minutos. Technicolor. Bel-Air (UA). Peter Graves, Jean Vohs, John Hudson, Joan Taylor.Tall Man Riding. 1955. 83 minutos. Warnercolor. WB. Randolph Scott, Dorothy Malone, Robert Barrat, Peggie Castle.The Broken Star. 1956. 82 minutos. Blanco y Negro. Bel-Air (UA). Howard Duff, Lita Baron, Bill Williams.Quincannon - Frontier Scout. 1956. 83 minutos. Color DeLuxe. Bel-Air (UA). Tony Martin, Peggie Castle, John Bromfield.Tomahawk Trail. 1957. 60 minutos. Blanco y Negro. Bel-Air (UA). Chuck Connors, Susan Cummings, John Smith.Revolt at Fort Laramie. 1957. 73 minutos. Color DeLuxe. Bel-Air (UA). John Dehner, Gregg Palmer, Frances Helm.Outlaw’s Son. 1957. 87 minutos. Blanco y Negro. Bel-Air (UA). Dane Clark, Ben Cooper, Lori Nelson.The Lone Ranger and the Lost City of Gold. 1958. 80 minutos. East man color. UA. Clayton Moore, Jay Silverheels, Noreen Nash.Convict Stage. 1965. 71 minutos. Blanco y Negro. Fox. Harry Lauter, Do nald Barry, Jodi Mitchell.War Party. 1965. 72 minutos. Blanco y Negro. Fox. Michael T. Mikler, Do nald Barry, Laurie Mack.Fort Courageous. 1965. 72 minutos. Blanco y Negro. Fox. Fred Beir, Do nald Barry, Hanna Landy.Town Tamer. 1965. 89 minutos. Technicolor. Techniscope. A.C. Lyles (Para mount). Dana Andrews, Terry Moore, Pat O’Brien, Coleen Gray.The Texican/Texas Kid (Texas Kid). 1966. 86 minutos. Eastmancolor. Techniscope. M.C.R./Balcazar (Columbia). Audie Murphy, Broderick Craw ford, Diana LorysFort Utah. 1967. 83 minutos. Technicolor. Techniscope. A.C. Lyles (Para mount). John Ireland, Virginia Mayo, Scott Brady.Arizona Bushwhackers. 1968. 86 minutos. Technicolor. Techniscope. A.C. Lyles (Paramount). Howard Keel, Yvonne De Carlo, John Ireland.English-Spanish dictionary of western films > Selander, Lesley
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8 Wright, Mack V.
1894-1965Entre 1917 y 1955 trabajo en infinidad de filmes de diversos generos, especialmente westerns, con rapidez y economia. Fue de todo: especialista, actor, productor, guionista, ayudante de direccion y director. Se recuerda su trabajo de realizacion, a comienzos de los 30, en cuatro peliculas Warner Bros protagonizadas por un joven John Wayne. Hizo, ademas, otras cuatro peliculas con el cowboy-cantante Gene Autry, otras tantas de la serie “The Three Meskiteers” con el trio Robert Livingston, Ray Corrigan y Max Terhune, y dos seriales, uno en colaboracion con Ray Taylor, y el otro con Sam Nelson. Fueron, en total, 26 films, rodados entre 1920 y 1947. Mas tarde, volvio a ser ayudante de direccion y supervisor de produccion de peliculas de serie B, particularmente con el realizador W. Lee Wilder.Haunted Gold. 1932. 58 minutos. Blanco y Negro. WB. John Wayne, Sheila Terry, Harry Woods.Somewhere in Sonora. 1933. 59 minutos. Blanco y Negro. WB. John Wayne, Shirley Palmer, Henry B. Walthall.The Man from Monterey. 1933. 57 minutos. Blanco y Negro. WB. John Wayne, Ruth Hall, Luis Alberni.Comin’ Round the Mountain. 1936. 60 minutos. Blanco y Negro. Republic. Gene Autry, Ann Rutherford, Smiley Burnette.The Singing Cowboy. 1936. 56 minutos. Blanco y Negro. Republic. Gene Autry, Lois Wilde, Smiley Burnette.Winds of the Wasterland. 1936. 54 minutos. Blanco y Negro/Color. Republic. John Wayne, Phyllis Fraser, Lew Kelly.The Vigilantes Are Coming (co-d.: Ray Taylor). 1936. 229 minutos. 12 capitulos. Blanco y Negro. Republic. Robert Livingston, Kay Hugues, Guinn Williams, Raymond Hatton.The Big Show. 1936. 70 minutos. Blanco y Negro. Republic. Gene Autry, Kay Hugues, Smiley Burnette.Roarin’ Lead (co-d.: Sam Newfield). 1936. 57 minutos. Blanco y Negro. Republic. Bob Livingston, Ray Corrigan, Max Terhune, Christine Maple.Riders of the Whistling Skull. 1937. 58 minutos. Blanco y Negro. Republic. Bob Livingston, Ray Corrigan, Max Terhune, Mary Russell.Hit the Saddle. 1937. 57 minutos. Blanco y Negro. Republic. Bob Livingston, Ray Corrigan, Max Terhune, Rita Hayworth.Rootin’ Tootin’ Rhythm. 1937. 60 minutos. Blanco y Negro. Republic. Gene Autry, Armida, Smiley Burnette.Range Defenders. 1937. 56 minutos. Blanco y Negro. Republic. Bob Livingston, Ray Corrigan, Max Terhune, Eleanor Stewart.The Great Adventures of Wild Bill Hickcok (co-d.: Sam Nelson). 1938. 15 capitulos. Blanco y Negro. Columbia. Bill Elliott, Carole Wayne, Kermit Maynard.English-Spanish dictionary of western films > Wright, Mack V.
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9 Cahn, Edward L.
1899-1963Neoyorquino, montador en Universal, una de sus primeras peliculas como realizador, Un hombre de paz, basada en una novela de W.R. Burnett, con guion de John Huston, es una magnifica muestra del mejor ci ne del oeste. En lo sucesivo, su trabajo sera bastante desordenado y poco interesante hasta que en cuentra al guionista Orville H. Hampton, con el que realiza, al final de su carrera, un punado de atractivos westerns (Gunfighters of Abilane, Oklahoma Territo ry, Frontier Uprising y The Gambler Wore a Gun), mo destos pero muy interesantes. Los filmes de genero de Cahn, y especialmente sus westerns, han sido re vitalizados, tal vez algo artificialmente, por el tiempo.Law and Order (Un hombre de paz). 1932. 70 minutos. Blanco y Negro. Universal. Walter Huston, Harry Carey, Raymond Hatton.Flesh and the Spur. 1956. 80 minutos. Pathecolor. American Inter na tional. John Agar, Marla English, Mike Connors.Gunfighters of Abilene. 1960. 66 minutos. Blanco y Negro. UA. Buster Crabbe, Barton MacLane, Judith Ames.Oklahoma Territory. 1960. 67 minutos. Blanco y Negro. UA. Bill Williams, Gloria Talbott, Ted De Corsia.Noose for a Gunman. 1960. 69 minutos. Blanco y Negro. UA. Jim Davis, Barton MacLane, Lyn Thomas.Five Guns to Tombstone. 1961. 71 minutos. Blanco y Negro. UA. James Brown, John Wilder, Robert Karnes, Della Sharman.Frontier Uprising. 1961. 68 minutos. Blanco y Negro. UA. Jim Davis, Nancy Hadley, Ken Mayer.Gun Fight. 1961. 67 minutos. Blanco y Negro. UA. James Brown, Joan Stanley, Gregg Palmer.The Gambler Wore a Gun. 1961. 66 minutos. Blanco y Negro. UA. Jim Davis, Mark Allen, Merry Anders.Gun Street. 1961. 67 minutos. Blanco y Negro. UA. James Brown, Jean Willes, John Clarke.English-Spanish dictionary of western films > Cahn, Edward L.
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10 Mann, Anthony
1906-1967Nacido en Point Loma, hoy integrado en la ciudad de San Diego, California, hijo de emigrantes alemanes, trabaja como actor en Nueva York, ciudad a la que se habian trasladado sus padres. De actor pasa a ser regidor y, algo despues, director. Segun sus propias palabras, trabajo y aprendio mucho con hombres de teatro como Rouben Mamoulian, David Belasco y Chester Erskine. A finales de 1937 lo encontramos trabajando para David O’Selznick como director de casting.Finalizada esta etapa breve, se introduce en Paramount, donde aprende verdaderamente el oficio de director. Asi, en 1942 tiene su primera oportunidad como tal; la pelicula, un inteligente producto de serie B, se llamaba Dr. Broadway. En la serie B permanecio Mann durante varios anos, trabajando para Universal (una vez), Republic, RKO y Eagle Lion hasta que, en 1949, Metro-Goldwyn-Mayer lo contrata para hacer un punado de peliculas que, si no disponian de presupuestos muy generosos, si le otorgaron la posibilidad de rodar su primer western, La puerta del Diablo (luego pasaria a ser el tercero porque Winchester 73 y Las furias se estrenaron antes). Tan to La puerta del Diablo como Las furias, que rodo para Paramount, tienen tintes shakespearea nos, especialmente la segunda, y desde luego son westerns con un elevado grado de madurez, westerns “distintos”. Pero sera ese mismo ano, 1950, el que vera nacer la primera de un conjunto de peliculas modelicas, cinco en total, dirigidas por Anthony Mann y protagonizadas por James Stewart, que consolidaran al realizador como uno de los iconos del western moderno. Aunque en lo sucesivo se alternaran en la filmografia del director los westerns y los filmes de otro tipo, por ejemplo, los grandes espectaculos visuales como El Cid (1961) y La caida del imperio romano (The Fall of the Roman Empire, 1963), dirigidas en Espana para Samuel Bronston, Mann sera, ya para siempre, “el hombre del oeste”. Budd Boetticher, Delmer Daves, John Ford, Ho ward Hawks, Anthony Mann y Sam Peckinpah son, por orden alfabetico, los grandes nombres del western. A ellos se pueden acercar Henry Hathaway y William A. Wellman, pero probablemente el primero de todos es Anthony Mann, autor de una obra rica y coherente en la que combina a la perfeccion el espacio abierto y sus cualidades, con el ser humano y sus pasiones. El dolor mitico asociado a la venganza lo expresa James Stewart, el actor clave de los westerns de Mann, de modo incomparable, aunque hay que detenerse en la leccion, que roza lo sublime, que nos dictan, a duo, director y actor, en este caso Gary Cooper, en esa obra maestra que se llama El hombre del Oeste. Recurriendo por una vez a la frivolidad, se podria acunar un eslogan publicitario parecido a este: “Si quiere decir western, diga Anthony Mann”.Winchester 73 (Winchester 73). 1950. 92 minutos. Blanco y Negro. Universal. James Stewart, Shelley Winters, Dan Duryea, Stephen McNally, Millard Mitchell, John McIntire.The Furies (Las furias). 1950. 109 minutos. Blanco y Negro. Paramount. Barbara Stanwyck, Walter Huston, Wendell Corey, Gilbert Roland, Judith Anderson.Devil’s Doorway (La puerta del diablo). 1950. 81 minutos. Blanco y Negro. MGM. Robert Taylor, Paula Raymond, Louis Calhern.Bend of the River (Horizontes lejanos). 1952. 91 minutos. Technicolor. Universal. James Stewart, Julia Adams, Arthur Kennedy, Rock Hudson, Jay C. Flippen, Lori Nelson.The Naked Spur (Colorado Jim). 1953. 91 minutos. Technicolor. MGM. James Stewart, Janet Leigh, Robert Ryan, Ralph Meeker, Millard Mitchell.The Far Country (Tierras lejanas). 1955. 97 minutos. Technicolor. Uni versal. James Stewart, Ruth Roman, Corinne Calvet, Walter Brennan, Jay C. Flippen, John McIntire.The Man from Laramie (El hombre de Laramie). 1955. 104 minutos. Technicolor. CinemaScope. Columbia. James Stewart, Cathy O’Donnell, Arthur Kennedy, Donald Crisp.The Last Frontier. 1955. 98 minutos. Technicolor. CinemaScope. Columbia. Victor Mature, Guy Madison, Anne Bancroft. Robert Preston.The Tin Star (Cazador de forajidos). 1957. 93 minutos. B y N. VistaVision. Paramount. Henry Fonda, Anthony Perkins, Betsy Palmer, Neville Brand.Man of the West (El hombre del Oeste). 1958. 100 minutos. Color DeLuxe. CinemaScope. UA. Gary Cooper, Julie London, Lee J. Cobb, Arthur O’Connell.Cimarron (Cimarron). 1961. 147 minutos. Metrocolor. Panavision. MGM. Glenn Ford, Maria Schell, Anne Baxter, Arthur O’Connell, Russ Tamblyn, Mercedes McCambridge. -
11 Chicago
[ʃi:ˊkɑ:gǝu] г. Чикаго, 3- й по величине ( после Нью-Йорка и Лос-Анджелеса) город США, с населением ок. 8 млн. Прозвища: «мировой центр свинобоен» [*‘Hog Butcher of the World'], «город ветров» [*Windy City], «перекрёсток континента» [*Crossroads of the Continent], «город у озера» [*Lake City], «мировой центр съездов и конференций» [*World’s Leading Convention City]. Житель: чикагец [Chicagoan]. Ассоциации: огромный город тружеников, по выражению Карла Сэндберга «город с широкими плечами» [‘City of broad shoulders']; город небоскрёбов, впервые возникших здесь после знаменитого чикагского пожара 1871 [Chicago fire]; здесь находится самый высокий небоскрёб Сирс- Тауэр [Sears Tower]; постоянный соперник Нью-Йорка; город различных этнических групп; первый из крупнейших городов, избравший на выборах 1983 мэра-негра; чикагские гангстеры 1920—30-х гг., и среди них знаменитый Ал Капоне [*Capone, Al]; город, где в 1942 была впервые получена цепная ядерная реакция; знаменитая «Петля» [Loop] — деловой центр Чикаго и Мичиган- авеню [Michigan Avenue] с небоскрёбами, отражающимися в зеркале озера Мичиган, и др. Река: Чикаго- Ривер [*Chicago River]. Районы, улицы, площади: «Петля» [*Loop], «Миля великолепия» [*‘Magnificent Mile'], Мичиган- авеню [*Michigan Avenue], Старый город [*Old Town], «Золотой берег» [*Gold Coast], Бэдлендс [*Badlands III], Мидуэй [*Midway I], Стейт- стрит [*State Street]. Комплексы, здания: Чикагская торговая палата [*(Chicago) Board of Trade], Муниципальный центр [*Civic Center], зал «Аудитория» [*Auditorium], здание компании «Сирс и Робак» [*Sears, Roebuck], небоскрёб «Марина-Сити» [*Marina City], «Хэнкок-Центр» [*John Hancock Center], «Большой Джон» [‘Big John'], здание компании «Стандард ойл» [*Standard Oil building], Пруденшл- билдинг [*Prudential Building]. Музеи, памятные места, экскурсионные маршруты: Водонапорная башня [*Water Tower], Арчи- Центр [*Archie Center], Музей науки и промышленности [*Museum of Science and Industry], Музей естественной истории им. Филда [*Field Museum of Natural History], полицейский департамент Чикаго [*Chicago Police Department]. Худ. музеи, выставки: Чикагский художественный институт [*Art Institute (of Chicago)]. Культурные центры, театры: «Шуберт» [*Shubert], «Студебекер» [*Studebaker II], «Сивик» [*Civic], «Гудман мемориал» [*Goodman Memorial], «Блэкстон-театр» [*Blackstone Theater], «Друри- Лейн Уотер- Тауэр-плейс» [*Drury Lane Water Tower Place], Театр «Аудитория» [*Auditorium Theater], Театральный центр «Аполло» [*Apollo Theater Center], Чикагский симфонический оркестр [*Chicago Symphony Orchestra], Чикагская лирическая опера [*Lyric Opera of Chicago]. Учебные заведения: Чикагский университет [*University of Chicago]. Периодические издания: «Сан таймс» [*‘Sun Times'], «Трибюн» [*‘Tribune, The’ I], «Ридер» [*‘Reader'], «Чикаго» [*‘Chicago’ II]. Парки, зоопарки, аквариумы, планетарии: планетарий Адлера [Adler Planetarium], аквариум Шедда [Shedd Aquarium], парк Линкольна [Lincoln Park], нетронутый уголок природы Гарфилд- Парк [Garfield Park Conservatory], Брукфилдский зоопарк [Brookfield Zoo], парк аттракционов Мариотта [Mariott's Great America]. Спорт: Чикагский стадион [*Chicago Stadium]; скачки «Арлингтонский миллион» [*Arlington Million]; спортивные команды: бейсбольные «Белые носки» [*‘White Sox'] и «Щенята» [*‘Cubs'], футбольные «Медведи» [*‘Bears'] и «Блиц» [*‘Blitz'], баскетбольная «Быки» [*‘Bulls'], хоккейная «Чёрные ястребы» [*‘Black Hawks']. Магазины, рынки: универмаг «Маршалл Филдс» [*Marshall Fields]. Отели: «Ритц-Карлтон» [*‘Ritz-Carlton'], «Хайят- Ридженси-Чикаго» [*‘Hyatt Regency Chicago'], «Палмер-Хаус» [*‘Palmer House'], «Шерман-Хаус» [*‘Sherman House'], «Пик-Конгресс» [*‘Pick Congress']. Рестораны: «Таверна у боен» [*‘Stock Yard Inn'], «Ле Перрокет» [Le Perroquet]. Транспорт: Международный аэропорт О' Хейр [*O'Hare International Airport], аэропорт Мидуэй [*Midway Airport], единая система внутригородского транспорта [Chicago Transit Authority]. Достопримечательности: жилой городок компании Пульман [*Pulman Community], массив Дубовый Парк [*Oak Park], пригороды Северного Берега [*North Shore suburbs]. Фестивали: «Равиниа фестивал» [*Ravinia Festival] в Хайлендском парке, скачки «Арлингтонский миллион» [*Arlington Million], выставка-продажа картин в Старом городе, Открытый чемпионат по гольфу [Western Open Golf Tournament] II • ‘Chicago’ «Чикаго», ежемесячный журнал. Издаётся в Чикаго ( штат Иллинойс) III • ‘Chicago’ «Чикаго», стихотворение Карла Сэндберга [*Sandburg, Carl] (1914) IV • ‘Chicago’ «Чикаго», бродвейский мюзикл -
12 Sirk, Douglas
1897-1987Hans Detlef Sierck, nacido en Hamburgo de padres daneses, es uno de los reyes del melodrama cinematografico. En 1922 empieza su carrera teatral. Contratado por la UFA en 1934, dirige unas cuantas peliculas hasta que se ve obligado a salir de Alemania en 1937. Empieza a dirigir peliculas en los Estados unidos en 1942, pero su epoca gloriosa empieza un par de anos despues de ser contratado por Univer sal en 1950. Realiza hasta 1958 un punado de peliculas, algunas de ellas remakes de las dirigidas en los anos 30 por John M. Stahl, del que parece recoger el testigo de especialista en el melodrama mas genuino. Este estupendo director supo mostrar ma gistralmente el conglomerado de contradictorios sentimientos que forman parte del discurrir vital de los seres humanos. Peliculas como Escrito sobre el viento (Written in the Wind, 1956) o Imitacion a la vida (Imitation of Life, 1958), la ultima que dirigio, convierten el cine en una experiencia irresistible. Abordo, a lo largo de su carrera, otros generos, la mayoria de las veces con solvencia. Por ejemplo, estos dos gratos westerns que, desde luego, no forman parte de lo mas granado de su obra, pero que soportan con holgura cualquier mirada atenta.Take Me to Town. 1953. 81 minutos. Technicolor. Universal. Ann Sheridan, Sterling Hayden, Philip Reed, Lee Patrick.Taza, Son of Cochise (Raza de violencia). 1954. 79 minutos. Technicolor. 3-D. Ross Hunter Productions/Universal. Rock Hudson, Barbara Rush, Gregg Palmer. -
13 Lee, Revd William
SUBJECT AREA: Textiles[br]d. c. 1615[br]English inventor of the first knitting machine, called the stocking frame.[br]It would seem that most of the stories about Lee's invention of the stocking frame cannot be verified by any contemporary evidence, and the first written accounts do not appear until the second half of the seventeenth century. The claim that he was Master of Arts from St John's College, Cambridge, was first made in 1607 but cannot be checked because the records have not survived. The date for the invention of the knitting machine as being 1589 was made at the same time, but again there is no supporting evidence. There is no evidence that Lee was Vicar of Calverton, nor that he was in Holy Orders at all. Likewise there is no evidence for the existence of the woman, whether she was girlfriend, fiancée or wife, who is said to have inspired the invention, and claims regarding the involvement of Queen Elizabeth I and her refusal to grant a patent because the stockings were wool and not silk are also without contemporary foundation. Yet the first known reference shows that Lee was the inventor of the knitting machine, for the partnership agreement between him and George Brooke dated 6 June 1600 states that "William Lee hath invented a very speedy manner of making works usually wrought by knitting needles as stockings, waistcoats and such like". This agreement was to last for twenty-two years, but terminated prematurely when Brooke was executed for high treason in 1603. Lee continued to try and exploit his invention, for in 1605 he described himself as "Master of Arts" when he petitioned the Court of Aldermen of the City of London as the first inventor of an engine to make silk stockings. In 1609 the Weavers' Company of London recorded Lee as "a weaver of silk stockings by engine". These petitions suggest that he was having difficulty in establishing his invention, which may be why in 1612 there is a record of him in Rouen, France, where he hoped to have better fortune. If he had been invited there by Henry IV, his hopes were dashed by the assassination of the king soon afterwards. He was to supply four knitting machines, and there is further evidence that he was in France in 1615, but it is thought that he died in that country soon afterwards.The machine Lee invented was probably the most complex of its day, partly because the need to use silk meant that the needles were very fine. Henson (1970) in 1831 took five pages in his book to describe knitting on a stocking frame which had over 2,066 pieces. To knit a row of stitches took eleven separate stages, and great care and watchfulness were required to ensure that all the loops were equal and regular. This shows how complex the machines were and points to Lee's great achievement in actually making one. The basic principles of its operation remained unaltered throughout its extraordinarily long life, and a few still remained in use commercially in the early 1990s.[br]Further ReadingJ.T.Millington and S.D.Chapman (eds), 1989, Four Centuries of Machine Knitting, Commemorating William Lee's Invention of the Stocking Frame in 1589, Leicester (N.Harte examines the surviving evidence for the life of William Lee and this must be considered as the most up-to-date biographical information).Dictionary of National Biography (this contains only the old stories).Earlier important books covering Lee's life and invention are G.Henson, 1970, History of the Framework Knitters, reprint, Newton Abbot (orig. pub. 1831); and W.Felkin, 1967, History of the Machine-wrought Hosiery and Lace Manufactures, reprint, Newton Abbot (orig. pub. 1867).M.Palmer, 1984, Framework Knitting, Aylesbury (a simple account of the mechanism of the stocking frame).R.L.Hills, "William Lee and his knitting machine", Journal of the Textile Institute 80(2) (a more detailed account).M.Grass and A.Grass, 1967, Stockings for a Queen. The Life of William Lee, the Elizabethan Inventor, London.RLH
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