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charles+barton

  • 1 Barton, Charles T.

    1902-1981
       Sus primeros anos los ocupa en labores de actor de vodevil. Aprende el oficio de realizador de James Cruze, que le da la alternativa en 1934, con Amor en ruta, modesta pelicula de serie basada en una obra de Zane Grey. Su labor como director, con casi noventa peliculas en su haber, entre cine y television, fue anodina, destacando eso si por su eficacia como gestor, lo que hizo que le fueran encomendados muchos proyectos en los que no se deseaba gastar demasiado dinero. Lo mejor de si mismo lo dio en la comedia, genero al que se dedico preferentemente a partir de los anos 40. Trabajo con alguna asiduidad para la pareja Bud Abbott-Lou Costello, manteniendo una importante relacion personal con el segundo de ellos. Su ultimo western estrenado, Zorro, the Avenger (1960), es una sintesis de 6 episodios de la serie televisiva que, con el mismo titulo, produjo Walt Disney. Excepcionalmente se incluye aqui, debido a la labor de sintesis realizada, que la aproxima a una obra de creacion genuina.
        Wagon Wheels (Amor en ruta). 1934. 56 minutos. Blanco y Negro. Paramount. Randolph Scott, Gail Patrick.
        Rocky Mountain Mystery. 1935. 63 minutos. Blanco y Negro. Paramount. Randolph Scott, Charles Sale, Ann Sheridan.
        Nevada (Nevada). 1935. 58 minutos. Blanco y Negro. Paramount. Buster Crabbe, Kathleen Burke.
        Forlorn River. 1937. 56 minutos. Blanco y Negro. Paramount. Buster Crabbe, June Martel.
        Thunder Trail. 1937. 58 minutos. Blanco y Negro. Paramount. Gilbert Roland, Charles Bickford, Marsha Hunt.
        Born to the West. 1937. 59 minutos. Blanco y Negro. Paramount. John Wayne, Marsha Hunt, Johnny Mack Brown.
        Out West with the Peppers. 1940. 63 minutos. Blanco y Negro. Columbia. Edith Fellows, Dorothy Ann Seese.
        Shut My Big Mouth. 1942. 71 minutos. Blanco y Negro. Columbia. Victor Jory, Fritz Feld, Lloyd Bridges, Adele Mara, Joe E. Brown.
        The Wistful Widow of Wagon Gap. 1947. 78 minutos. Blanco y Negro. Universal. Bud Abbott, Lou Costello, Marjorie Main.
        Zorro, the Avenger. 1960. Blanco y Negro. Walt Disney. Guy Williams, Charles Korvin.

    English-Spanish dictionary of western films > Barton, Charles T.

  • 2 Macintosh, Charles

    [br]
    b. 29 December 1766 Glasgow, Scotland
    d. 25 July 1843 Dunchattan, near Glasgow, Scotland
    [br]
    Scottish inventor of rubberized waterproof clothing.
    [br]
    As the son of the well-known and inventive dyer George Macintosh, Charles had an early interest in chemistry. At the age of 19 he gave up his work as a clerk with a Glasgow merchant to manufacture sal ammoniac (ammonium chloride) and developed new processes in dyeing. In 1797 he started the first Scottish alum works, finding the alum in waste shale from coal mines. His first works was at Hurlet, Renfrewshire, and was followed later by others. He then formed a partnership with Charles Tennant, the proprietor of a chemical works at St Rollox, near Glasgow, and sold "lime bleaching liquor" made with chlorine and milk of lime from their bleach works at Darnley. A year later the use of dry lime to make bleaching powder, a process worked out by Macintosh, was patented. Macintosh remained associated with Tennant's St Rollox chemical works until 1814. During this time, in 1809, he had set up a yeast factory, but it failed because of opposition from the London brewers.
    There was a steady demand for the ammonia that gas works produced, but the tar was often looked upon as an inconvenient waste product. Macintosh bought all the ammonia and tar that the Glasgow works produced, using the ammonia in his establishment to produce cudbear, a dyestuff extracted from various lichens. Cudbear could be used with appropriate mordants to make shades from pink to blue. The tar could be distilled to produce naphtha, which was used as a flare. Macintosh also became interested in ironmaking. In 1825 he took out a patent for converting malleable iron into steel by taking it to white heat in a current of gas with a carbon content, such as coal gas. However, the process was not commercially successful because of the difficulty keeping the furnace gas-tight. In 1828 he assisted J.B. Neilson in bringing hot blast into use in blast furnaces; Neilson assigned Macintosh a share in the patent, which was of dubious benefit as it involved him in the tortuous litigation that surrounded the patent until 1843.
    In June 1823, as a result of experiments into the possible uses of naphtha obtained as a by-product of the distillation of coal tar, Macintosh patented his process for waterproofing fabric. This comprised dissolving rubber in naphtha and applying the solution to two pieces of cloth which were afterwards pressed together to form an impermeable compound fabric. After an experimental period in Glasgow, Macintosh commenced manufacture in Manchester, where he formed a partnership with H.H.Birley, B.Kirk and R.W.Barton. Birley was a cotton spinner and weaver and was looking for ways to extend the output of his cloth. He was amongst the first to light his mills with gas, so he shared a common interest with Macintosh.
    New buildings were erected for the production of waterproof cloth in 1824–5, but there were considerable teething troubles with the process, particularly in the spreading of the rubber solution onto the cloth. Peter Ewart helped to install the machinery, including a steam engine supplied by Boulton \& Watt, and the naphtha was supplied from Macintosh's works in Glasgow. It seems that the process was still giving difficulties when Thomas Hancock, the foremost rubber technologist of that time, became involved in 1830 and was made a partner in 1834. By 1836 the waterproof coat was being called a "mackintosh" [sic] and was gaining such popularity that the Manchester business was expanded with additional premises. Macintosh's business was gradually enlarged to include many other kinds of indiarubber products, such as rubber shoes and cushions.
    [br]
    Principal Honours and Distinctions
    FRS 1823.
    Further Reading
    G.Macintosh, 1847, Memoir of Charles Macintosh, London (the fullest account of Charles Macintosh's life).
    H.Schurer, 1953, "The macintosh: the paternity of an invention", Transactions of the Newcomen Society 28:77–87 (an account of the invention of the mackintosh).
    RLH / LRD

    Biographical history of technology > Macintosh, Charles

  • 3 Nazarro, Ray

    1902-1986
       Nacido en Boston, a Ray Nazarro se le asocia con dos criterios: Columbia Films, para la que hizo la mayor parte de sus peliculas, y rapidez, la que demostro entre 1945 y 1958, tiempo en que dirigio ochenta filmes, a un ritmo que en algunas temporadas supero el de uno al mes. A pesar de todo, sus westerns, que lo fueron la mayoria de sus peliculas, no resultaron nada desdenables por termino medio, mostrando una notable habilidad para desarrollar los argumentos que se le encomendaban, virtud que se agudiza en algunas de sus producciones de los anos 50. Aunque su primer largometraje es Outlaws of the Rockies, ya habia dirigido en 1932, en este caso peliculas de corta duracion. Termina su carrera en Europa.
        Outlaws of the Rockies. 1945. 55 minutos. Blanco y Negro. Columbia. Charles Starrett, Carole Mathews, Tex Harding, Dub Taylor.
        Song of the Prairie. 1945. 62 minutos. Blanco y Negro. Columbia. Ken Curtis, Guinn Williams, June Storey.
        Texas Panhandle. 1945. 57 minutos. Blanco y Negro. Columbia. Charles Starrett, Nanette Parks, Tex Harding, Dub Taylor.
        Roaring Rangers. 1946. 55 minutos. Blanco y Negro. Columbia. Charles Starrett, Adelle Roberts, Smiley Burnette.
        Throw a Saddle on a Star. 1946. 60 minutos. Blanco y Negro. Columbia. Ken Curtis, Guinn Williams, Adelle Roberts.
        Gunning for Vengeance. 1946. 56 minutos. Blanco y Negro. Columbia. Charles Starrett, Phyllis Adair, Smiley Burnette.
        Galloping Thunder. 1946. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Adelle Roberts, Smiley Burnette.
        That Texas Jamboree. 1946. 59 minutos. Blanco y Negro. Columbia. Ken Curtis, Guinn Williams, Carolina Cotton.
        Two-Fisted Stranger. 1946. 50 minutos. Blanco y Negro. Columbia. Charles Starrett, Doris Houck, Smiley Burnette.
        The Desert Horseman. 1946. 57 minutos. Blanco y Negro. Columbia. Charles Starrett, Adelle Roberts, Smiley Burnette.
        Cowboy Blues. 1946. 62 minutos. Blanco y Negro. Columbia. Ken Curtis, Guy Kibbee, Guinn Williams, Carolina Cotton.
        Heading West. 1946. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Doris Houck, Smiley Burnette.
        Singing on the Trail. 1946. 60 minutos. Blanco y Negro. Columbia. Ken Curtis, Guy Kibbee, Guinn Williams, Rita Hayworth.
        Terror Trail. 1946. 55 minutos. Blanco y Negro. Columbia. Charles Starrett, Barbara Pepper, Smiley Burnette.
        Lone Star Moonlight. 1946. 67 minutos. Blanco y Negro. Columbia. Ken Curtis, Joan Barton, Guy Kibbee, Claudia Drake.
        Over the Santa Fe Trail. 1947. 63 minutos. Blanco y Negro. Columbia. Ken Curtis, Jennifer Holt, Guinn Williams, Guy Kibbee.
        The Lone Hand Texan. 1947. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Smiley Burnette, Mary Newton.
        West of Dodge City. 1947. 57 minutos. Blanco y Negro. Columbia. Charles Starrett, Nancy Saunders, Smiley Burnette.
        Law of the Canyon. 1947. 55 minutos. Blanco y Negro. Columbia. Charles Starrett, Nancy Saunders, Smiley Burnette.
        Buckaroo from Powder River. 1947. 55 minutos. Blanco y Negro. Columbia. Charles Starrett, Eve Miller, Smiley Burnette.
        Last Days of Boot Hill. 1947. 56 minutos. Blanco y Negro. Columbia. Charles Starrett, Virginia Hunter, Smiley Burnette.
        Six-Gun Law. 1948. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Nancy Saunders, Smiley Burnette.
        Phantom Valley. 1948. 53 minutos. Blanco y Negro. Columbia. Charles Starrett, Virginia Hunter, Smiley Burnette.
        West of Sonora. 1948. 52 minutos. Blanco y Negro. Columbia. Charles Starrett, Anita Castle, Smiley Burnette.
        Song of Idaho. 1948. 69 minutos. Blanco y Negro. Columbia. Kirby Grant, June Vincent.
        Blazing Across the Pecos. 1948. 56 minutos. Blanco y Negro. Columbia. Charles Starrett, Patricia White, Smiley Burnette.
        Trail to Laredo. 1948. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Virginia Maxey, Smiley Burnette.
        Singin’ Spurs. 1948. 62 minutos. Blanco y Negro. Columbia. Kirby Grant, Jay Silverheels, Patricia Knox.
        El Dorado Pass. 1948. 56 minutos. Blanco y Negro. Columbia. Charles Starrett, Elena Verdugo, Smiley Burnette.
        Quick of the Trigger. 1948. 55 minutos. Blanco y Negro. Columbia. Charles Starrett, Helen Parrish, Smiley Burnette.
        Smoky Mountain Melody. 1948. 61 minutos. Blanco y Negro. Columbia. Roy Acuff, Guinn Williams, Sybil Merritt.
        Challenge of the Range. 1949. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Paula Raymond, Smiley Burnette.
        Home in San Antone. 1949. 62 minutos. Blanco y Negro. Columbia. Roy Acuff, Jacqueline Thomas.
        Arkansas Swing. 1949. 62 minutos. Blanco y Negro. Columbia. Gloria Henry, Ken Triesch, Paul Triesch.
        Laramie. 1949. 55 minutos. Blanco y Negro. Columbia. Charles Starrett, Smiley Burnette, Marjorie Stapp.
        The Blazing Trail. 1949. 56 minutos. Blanco y Negro. Columbia. Charles Starrett, Marjorie Stapp, Smiley Burnette.
        South of Death Valley. 1949. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Gail Davis, Smiley Burnette.
        Bandits of El Dorado. 1949. 56 minutos. Blanco y Negro. Columbia. Charles Starrett, Smiley Burnette.
        Renegades of the Sage. 1949. 56 minutos. Blanco y Negro. Columbia. Charles Starrett, Leslie Banning, Smiley Burnette.
        Trail of the Rustlers. 1950. 55 minutos. Blanco y Negro. Columbia. Charles Starrett, Gail Davis, Smiley Burnette.
        The Palomino. 19450. 73 minutos. Technicolor. Columbia. Jerome Courtland, Beverly Tyler.
        Outcasts of Black Mesa. 1950. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Martha Hyer, Smiley Burnette.
        Texas Dynamo. 1950. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Lois Hall, Smiley Burnette.
        Hoedown. 1950. 64 minutos. Blanco y Negro. Columbia. Eddy Arnold, Jock Mahoney, Carolina Cotton.
        Streets of Ghost Town. 1950. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Mary Ellen Kay, Smiley Burnette.
        Frontier Outpost. 1950. 55 minutos. Blanco y Negro. Columbia. Charles Starrett, Lois Hall, Smiley Burnette.
        Al Jennings of Oklahoma. 1951. 79 minutos. Technicolor. Columbia. Dan Duryea, Gale Storm, Dick Foran.
        Fort Savage Raiders. 1951. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Smiley Burnette.
        Cyclone Fury. 1951. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Smiley Burnette.
        The Kid from Amarillo. 1951. 56 minutos. Blanco y Negro. Columbia. Charles Starrett, Smiley Burnette.
        Indian Uprising. 1952. 75 minutos. Supercinecolor. Columbia. George Montgomery, Audrey Long.
        Laramie Mountains. 1952. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Smiley Burnette.
        Montana Territory. 1952. 64 minutos. Technicolor. Columbia. Lon McCallister, Preston Foster, Wanda Hendrix.
        The Rough Tough West. 1952. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Carolina Cotton, Smiley Burnette.
        Cripple Creek. 1952. 78 minutos. Technicolor. Columbia. George Montgomery, Karin Booth, Richard Egan.
        Junction City. 1952. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Kathleen Case, Smiley Burnette.
        Kansas Pacific. 1953. 73 minutos. Cinecolor. Allied. Sterling Hayden, Eve Miller, Barton MacLane.
        Gun Belt. 1953. 77 minutos. Technicolor. Global (UA). George Montgo mery, Tab Hunter, Helen Westcott.
        The Lone Gun. 1954. 73 minutos. Color Corp. of America. Superior Talking (UA). George Montgomery, Dorothy Malone.
        Southwest Passage (Travesia del desierto). 1954. 82 minutos. Pathe color. 3-D. Small (UA). John Ireland, Joanne Dru, Rod Cameron.
        The Black Dakotas. 1954. 65 minutos. Technicolor. Columbia. Gary Merrill, Wanda Hendrix, John Bromfield.
        Top Gun. 1955. 73 minutos. Blanco y Negro. UA. Sterling Hayden, William Bishop, Karen Booth.
        The White Squaw. 1956. 73 minutos, Blanco y Negro. Screem Gems (Columbia). David Brian, May Wynn.
        The Phantom Stagecoach. 1957. 79 minutos. Blanco y Negro. Screem Gems (Columbia). William Bishop, Kathleen Crowley.
        The Hired Gun. 1957. 63 minutos. Blanco y Negro. CinemaScope. Rorvic (MGM). Rory Calhoun, Anne Francis.
        Domino Kid. 1957. 74 minutos. Blanco y Negro. Rorvic (Columbia). Rory Calhoun, Kristine Miller.
        Return to Warbow. 1958. 67 minutos. Technicolor. Screem Gems (Colum bia). Philip Carey, Catherine McLeod.
        Apache Territory. 1958. 75 minutos. Technicolor. Rorvic (Columbia). Rory Calhoun, John Dehner, Barbara Bates.

    English-Spanish dictionary of western films > Nazarro, Ray

  • 4 Selman, David

       Dirige una pelicula en 1922. A comienzos del sonoro es ayudante de direccion de realizadores considerados de primer nivel en ese momento, por ejemplo, Frank Capra. Irrelevante director que entre 1934 y 1938 dirigio un punado de filmes, casi todos westerns (hasta una docena de ellos), sucesivamente para Tim McCoy, Charles Starrett y William Boyd.
        The Prescott Kid. 1934. 60 minutos. Blanco y Negro. Columbia. Tim McCoy, Sheila Mannors.
        The Westerner (El domador). 1934. 58 minutos. Blanco y Negro. Colum bia. Tim McCoy, Marion Shilling.
        Square Shooter. 1935. 57 minutos. Blanco y Negro. Columbia. Tim McCoy, Julie Bishop, John Darrow.
        The Revenge Rider (Venganza de sangre). 1935. 60 minutos. Blanco y Negro. Columbia. Tim McCoy, Billie Seward, Robert Allen.
        Fighting Shadows (Sangre en la nieve). 1935. 58 minutos. Blanco y Negro. Columbia. Tim McCoy, Geneva Mitchell, Si Jenks.
        Justice of the Range (Justicia serrana). 1935. 58 minutos. Blanco y Negro. Columbia. Tim McCoy, Billie Seward, Ward Bond.
        Riding Wild. 1935. 57 minutos. Blanco y Negro. Columbia. Tim McCoy, Billie Seward, Niles Welch.
        The Gallant Defender (El galante defensor). 1935. 60 minutos. Blanco y Negro. Columbia. Charles Starrett, Joan Perry.
        The Mysterious Avenger (El vengador misterioso). 1936. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Joan Perry, Edward LeSaint, Wheeler Oakman.
        Secret Patrol (Mision secreta). 1936. 60 minutos. Blanco y Negro. Columbia. Charles Starrett, Finis Barton.
        The Cowboy Star. 1936. 56 minutos. Blanco y Negro. Columbia. Charles Starrett, Iris Meredith, Si Jenks.
        Texas Trail. 1937. 58 minutos. Blanco y Negro. Paramount. William Boyd, Judith Allen, George Hayes, Russell Hayden.

    English-Spanish dictionary of western films > Selman, David

  • 5 James, Alan

    1890-1952 (o Alvin J. Neitz)
       Realizador y guionista, Alan James, que popularizo su seudonimo, Alvin J. Neitz, repartio sus casi 80 realizaciones entre el cine mudo y el sonoro, a partes iguales. Curiosamente, y a pesar de que ambas funciones, la de director y la de guionista, las simultaneo, no es excesiva la cifra de las peliculas en que de sempeno ambos cometidos. Fue todo lo prolifico que las circunstancias –peliculas de una hora de duracion en productos baratos de consumo inmediato– aconsejaban. Casi la tercera parte de sus westerns sonoros los protagonizo el actor Ken Maynard.
        Firebrand Jordan. 1930. 55 minutos. Blanco y Negro. National Players/Big 4. Lane Chandler, Aline Goodwin, Yakima Canutt.
        Canyon Hawks (co-d.: J.P. McGowan). 1930. 60 minutos. Blanco y Negro. Big 4. Yakima Canutt, Rene Borden, Wally Wales.
        Trails of Peril. 1930. 63 minutos. Blanco y Negro. Big 4. Wally Wales, Virginia Brown Faire.
        Breed of the West. 1930. 59 minutos. Blanco y Negro. Big 4. Wally Wales, Virginia Brown Faire, Buzz Barton.
        Red Fork Range. 1931. 59 minutos. Blanco y Negro. Big 4. Wally Wales, Ruth Mix.
        Hell’s Valley. 1931. 55 minutos. Blanco y Negro. Big 4. Wally Wales, Virginia Brown Faire.
        Pueblo Terror. 1931. 59 minutos. Blanco y Negro. Cosmos. Jay Wilsey, Jack Harvey, Wanda Hawley.
        Flying Lariats (co-d.: David Kirkland). 1931. 60 minutos. Blanco y Negro. Big 4. Wally Wales, Sam Garrett, Buzz Barton, Bonnie Gray.
        Lariats and Sixshooters. 1931. 55 minutos. Blanco y Negro. Cosmos. Jack Perrin, Ann Lee.
        Come On, Tarzan (Con Tarzan me basta/Tarzan, potro salvaje). 1932. 61 minutos. Blanco y Negro. World Wide. Ken Maynard, Merna Kennedy, Kate Campbell.
        Tex Takes a Holiday. 1932. 60 minutos. Naturalcolor. Argosy. Wallace MacDonald, Virginia Brown Faire, James Dillon.
        Tombstone Canyon. 1932. 62 minutos. Blanco y Negro. KBS Productions. Ken Maynard, Cecilia Parker.
        Phantom Thunderbolt. 1933. 63 minutos. Blanco y Negro. World Wide. Ken Maynard, Frances Lee, Frank Rice.
        The Lone Avenger (El vengador solitario). 1933. 61 minutos. Blanco y Negro. World Wide. Ken Maynard, Muriel Gordon.
        King of the Arena. 1933. 59 minutos. Blanco y Negro. Universal. Ken Maynard, Lucile Browne.
        The Trail Drive. 1933. 60 minutos. Blanco y Negro. Universal. Ken Maynard, Cecilia Parker, Frank Rice.
        Strawberry Roan (El potro indomable). 1933. 59 minutos. Blanco y Negro. Universal. Ken Maynard, Ruth Hall, Frank Yaconelli.
        Fargo Express (El incorregible). 1933. 61 minutos. Blanco y Negro. KBS Productions. Ken Maynard, Helen Mack.
        Gun Justice (Un mal paso). 1933. 59 minutos. Blanco y Negro. Universal. Ken Maynard, Cecilia Parker.
        Wheels of Destiny (Tierra de promision). 1934. 64 minutos. Blanco y Negro. Universal. Ken Maynard, Dorothy Dix.
        Honor of the Range (Deuda de honor). 1934. 61 minutos. Blanco y Negro. Universal. Ken Maynard, Cecilia Parker.
        Smoking Guns (La vuelta del perseguido). 1934. 62 minutos. Blanco y Negro. Universal. Ken Maynard, Gloria Shea.
        When a Man Sees Red. 1934. 60 minutos. Blanco y Negro. Universal. Buck Jones, Peggy Campbell, LeRoy Mason, Dorothy Revier.
        Valley of Wanted Men. 1935. 62 minutos. Blanco y Negro. Ambassador. Frankie Darro, LeRoy Mason.
        Swifty. 1935. 58 minutos. Blanco y Negro. Diversion. Hoot Gibson, June Gale.
        Lucky Terror. 1936. 61 minutos. Blanco y Negro. Grand National. Hoot Gibson, Lona Andre.
        Wild Horse Round-Up. 1936. 58 minutos. Blanco y Negro. Ambassador. Kermit Maynard, Beth Marion.
        The Painted Stallion (co-d.: Ray Taylor, William Witney). 1937. 212 minu tos. 12 capitulos. Blanco y Negro. Republic. Ray Corrigan, Hoot Gibson, LeRoy Mason, Duncan Renaldo, Julia Thayer.
        West of Rainbow’s End. 1938. 57 minutos. Blanco y Negro. Monogram. Tim McCoy, Kathleen Eliot.
        The Painted Stallion (co-d.: Ray Taylor, William Witney). 1938. 67 minutos. Blanco y Negro. Republic. Ray Corrigan, Hoot Gibson, Jean Carmen.
        Land of Fighting Men. 1938. 53 minutos. Blanco y Negro. Monogram. Jack Randall, Bruce Bennett, Louise Stanley.
        Call of the Rockies. 1938. 54 minutos. Blanco y Negro. Columbia. Charles Starrett, Donald Grayson, Iris Meredith, Bob Nolan.
        Two Gun Justice. 1938. 57 minutos. Blanco y Negro. Monogram. Tim McCoy, Betty Compson.
        Flaming Frontiers (co-d.: Ray Taylor). 1938. 15 capitulos. Blanco y Negro. Universal. Johnny Mack Brown, Eleanor Hansen.
        Trigger Smith. 1939. 59 minutos. Blanco y Negro. Monogram. Jack Randall, Joyce Bryant.
        Wild Horse Stampede. 1943. 59 minutos. Blanco y Negro. Monogram. Ken Maynard, Hoot Gibson, Betty Miles.
        The Law Rides Again. 1943. 58 minutos. Blanco y Negro. Monogram. Ken Maynard, Hoot Gibson, Betty Miles.

    English-Spanish dictionary of western films > James, Alan

  • 6 Great Seal of the United States

    Государственная эмблема США. Принята 20 июня 1782. Разработана по проекту секретаря Конгресса Ч. Томсона [Thomson, Charles] при участии специалиста по геральдике У. Бартона [Barton, William]. Рисунок на лицевой стороне является государственным гербом США. Это изображение орлана [ bald eagle], держащего в правой лапе оливковую ветвь с тринадцатью оливками как символ миролюбия и тринадцать стрел - в левой - как символ готовности защитить себя. В клюве орлана лента с надписью по-латыни, выбранной комиссией в составе Б. Франклина [ Franklin, Benjamin], Дж. Адамса [ Adams, John] и Т. Джефферсона [ Jefferson, Thomas]: E pluribus unum = "Из многих (штатов) единая (нация)". Над головой орлана созвездие из 13 звезд в окружении "славы" - золотистого ореола, пробивающегося сквозь облако. На реверсе - изображение недостроенной пирамиды пирамиды из 13 рядов камня, над которой в треугольнике светит Глаз Провидения. По окружности надпись "Annui coeptis" = "Он (Господь) благосклонен к нашему начинанию" и "Novus ordo seclorum" = "Новый порядок на века" (перифраза из Вергилия "Seclorum novus nascitur ordo" = "рождается новый порядок веков"). Постоянно повторяющийся мотив тринадцати символизирует число штатов, первоначально составивших Союз [ Thirteen Colonies]. Лицевая сторона печати используется на официальных государственных документах. Обратная сторона так и не была выгравирована, а ее рисунок используется на однодолларовой банкноте. Реальная печать (только с лицевой стороной) - четвертый экземпляр в истории США (используется с 1904)

    English-Russian dictionary of regional studies > Great Seal of the United States

  • 7 Beebe, Ford

    1888-1978
       Ford Beebe es, sin duda, uno de los reyes de los seriales. Dirigio un buen punado de ellos a lo largo de su medio siglo de carrera como director, con frecuencia compartiendo realizacion con alguno de sus colegas especialista en ese quehacer. Westerns, peliculas de ciencia ficcion, de misterio, comedias, dramas; todo vale para este profesional, del que se recuerda su Flash Gordon Conquers the Universe (1940), serial en 12 episodios, cuya realizacion compartio con Ray Taylor. Nada es demasiado interesante en la obra de Ford Beebe, aunque cumple su funcion.
        The Vanishing Legion (co-d.: B. Reeves Eason). 1931. 220 minutos. 12 capitulos. Blanco y Negro. Mascot. Harry Carey, Edwina Booth.
        The Last of the Mohicans (El ocaso de los mohicanos) (co-d.: B. Reeves Eason). 1932. 231 minutos. 12 capitulos. Blanco y Negro. Mascot. Harry Carey, Hobarth Bosworth, Edwina Booth.
        Law Beyond the Range (Balas de papel). 1935. 60 minutos. Blanco y Negro. Columbia. Tim McCoy, Billie Seward, Walter Brennan.
        Man from Guntown. 1935. 61 minutos. Blanco y Negro. Puritan. Tim McCoy, Billie Seward.
        Stampede. 1936. 58 minutos. Blanco y Negro. Columbia. Charles Starrett, Finis Barton.
        Wild West Days (co-d.: Clifford Smith). 1937. 268 minutos. 13 capitulos. Blanco y Negro. Universal. Johnny Mack Brown, Lynn Gilbert, George Shelley, Frank Yaconelli, Bob Kortman.
        The Oregon Trail (co-d.: Saul A. Goodkind). 1939. 320 minutos. 15 capitu los. Blanco y Negro. Universal. Johnny Mack Brown, Louise Stanley, Fuzzy Knight.
        Oklahoma Frontier. 1939. 58 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Anne Gwynne, Fuzzy Knight, Bob Baker.
        Winners of the West (co-d.: Ray Taylor). 1940. 247 minutos. 13 episodios. Blanco y Negro. Universal. Dick Foran, Anne Nagel.
        Son of Roaring Dan. 1940. 63 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Nell O’Day, Jeanne Kelly, Fuzzy Knight.
        Riders of Death Valley (Los jinetes de la muerte) (co-d.: Ray Taylor). 1941. 283 minutos. 15 episodios. Blanco y Negro. Universal. Dick Foran, Leo Carrillo, Jeanne Kelly.
        The Masked Rider. 1941. 58 minutos. Blanco y Negro. Universal. Johnny Mack Brown, Nell O’Day, Virginia Carroll, Fuzzy Knight.
        Overland Mail (co-d.: John Rawlins). 1942. 279 minutos. 15 episodios. Blanco y Negro. Universal. Lon Chaney, Jr., Helen Parrish, Don Terry.
        Frontier Badman (co-d.: William McGann).1943. 80 minutos. Blanco y Negro. Universal. Diana Barrymore, Robert Paige.
        Six Gun Serenade. 1947. 54 minutos. Blanco y Negro. Monogram. Jimmy Wakely, Lee “Lasses” White, Kay Morley.
        Courtin’ Trouble. 1948. 56 minutos. Blanco y Negro. Monogram. Jimmy Wakely, Dub Taylor, Virginia Belmont.
        Satan’s Craddle. 1949. 60 minutos. Blanco y Negro. UA. Duncan Renaldo, Leo Carrillo, Ann Savage.
        The Dalton Gang. 1949. 58 minutos. Blanco y Negro. Lippert. Don Barry, Robert Lowery, Julie Adams.
        Red Desert. 1949. 60 minutos. Blanco y Negro. Lippert. Don Barry, Jack Holt, Margia Dean.
        Wagons West. 1952. 70 minutos. Cinecolor. Monogram. Rod Cameron, Peggie Castle.

    English-Spanish dictionary of western films > Beebe, Ford

  • 8 Brindley, James

    SUBJECT AREA: Canals
    [br]
    b. 1716 Tunstead, Derbyshire, England
    d. 27 September 1772 Turnhurst, Staffordshire, England
    [br]
    English canal engineer.
    [br]
    Born in a remote area and with no material advantages, Brindley followed casual rural labouring occupations until 1733, when he became apprenticed to Abraham Bennett of Macclesfield, a wheelwright and millwright. Though lacking basic education in reading and writing, he demonstrated his ability, partly through his photographic memory, to solve practical problems. This established his reputation, and after Bennett's death in 1742 he set up his own business at Leek as a millwright. His skill led to an invitation to solve the problem of mine drainage at Wet Earth Colliery, Clifton, near Manchester. He tunnelled 600 ft (183 m) through rock to provide a leat for driving a water-powered pump.
    Following work done on a pump on Earl Gower's estate at Trentham, Brindley's name was suggested as the engineer for the proposed canal for which the Duke of Bridge water (Francis Egerton) had obtained an Act in 1759. The Earl and the Duke were brothers-in-law, and the agents for the two estates were, in turn, the Gilbert brothers. The canal, later known as the Bridgewater Canal, was to be constructed to carry coal from the Duke's mines at Worsley into Manchester. Brindley advised on the details of its construction and recommended that it be carried across the river Irwell at Barton by means of an aqueduct. His proposals were accepted, and under his supervision the canal was constructed on a single level and opened in 1761. Brindley had also surveyed for Earl Gower a canal from the Potteries to Liverpool to carry pottery for export, and the signal success of the Bridgewater Canal ensured that the Trent and Mersey Canal would also be built. These undertakings were the start of Brindley's career as a canal engineer, and it was largely from his concepts that the canal system of the Midlands developed, following the natural contours rather than making cuttings and constructing large embankments. His canals are thus winding navigations unlike the later straight waterways, which were much easier to traverse. He also adopted the 7 ft (2.13 m) wide lock as a ruling dimension for all engineering features. For cheapness, he formed his canal tunnels without a towpath, which led to the notorious practice of legging the boats through the tunnels.
    Brindley surveyed a large number of projects and such was his reputation that virtually every proposal was submitted to him for his opinion. Included among these projects were the Staffordshire and Worcestershire, the Rochdale, the Birmingham network, the Droitwich, the Coventry and the Oxford canals. Although he was nominally in charge of each contract, much of the work was carried out by his assistants while he rushed from one undertaking to another to ensure that his orders were being carried out. He was nearly 50 when he married Anne Henshall, whose brother was also a canal engineer. His fees and salaries had made him very wealthy. He died in 1772 from a chill sustained when carrying out a survey of the Caldon Canal.
    [br]
    Further Reading
    A.G.Banks and R.B.Schofield, 1968, Brindley at Wet Earth Colliery: An Engineering Study, Newton Abbot: David \& Charles.
    S.E.Buckley, 1948, James Brindley, London: Harrap.
    JHB

    Biographical history of technology > Brindley, James

  • 9 Edwards, Humphrey

    [br]
    fl. c.1808–25 London (?), England
    d. after 1825 France (?)
    [br]
    English co-developer of Woolf s compound steam engine.
    [br]
    When Arthur Woolf left the Griffin Brewery, London, in October 1808, he formed a partnership with Humphrey Edwards, described as a millwright at Mill Street, Lambeth, where they started an engine works to build Woolf's type of compound engine. A number of small engines were constructed and other ordinary engines modified with the addition of a high-pressure cylinder. Improvements were made in each succeeding engine, and by 1811 a standard form had been evolved. During this experimental period, engines were made with cylinders side by side as well as the more usual layout with one behind the other. The valve gear and other details were also improved. Steam pressure may have been around 40 psi (2.8 kg/cm2). In an advertisement of February 1811, the partners claimed that their engines had been brought to such a state of perfection that they consumed only half the quantity of coal required for engines on the plan of Messrs Boulton \& Watt. Woolf visited Cornwall, where he realized that more potential for his engines lay there than in London; in May 1811 the partnership was dissolved, with Woolf returning to his home county. Edwards struggled on alone in London for a while, but when he saw a more promising future for the engine in France he moved to Paris. On 25 May 1815 he obtained a French patent, a Brevet d'importation, for ten years. A report in 1817 shows that during the previous two years he had imported into France fifteen engines of different sizes which were at work in eight places in various parts of the country. He licensed a mining company in the north of France to make twenty-five engines for winding coal. In France there was always much more interest in rotative engines than pumping ones. Edwards may have formed a partnership with Goupil \& Cie, Dampierre, to build engines, but this is uncertain. He became a member of the firm Scipion, Perrier, Edwards \& Chappert, which took over the Chaillot Foundry of the Perrier Frères in Paris, and it seems that Edwards continued to build steam engines there for the rest of his life. In 1824 it was claimed that he had made about 100 engines in England and another 200 in France, but this is probably an exaggeration.
    The Woolf engine acquired its popularity in France because its compound design was more economical than the single-cylinder type. To enable it to be operated safely, Edwards first modified Woolf s cast-iron boiler in 1815 by placing two small drums over the fire, and then in 1825 replaced the cast iron with wrought iron. The modified boiler was eventually brought back to England in the 1850s as the "French" or "elephant" boiler.
    [br]
    Further Reading
    Most details about Edwards are to be found in the biographies of his partner, Arthur Woolf. For example, see T.R.Harris, 1966, Arthur Woolf, 1766–1837, The Cornish Engineer, Truro: D.Bradford Barton; Rhys Jenkins, 1932–3, "A Cornish Engineer, Arthur Woolf, 1766–1837", Transactions of the Newcomen Society 13. These use information from the originally unpublished part of J.Farey, 1971, A Treatise on the Steam Engine, Vol. II, Newton Abbot: David \& Charles.
    RLH

    Biographical history of technology > Edwards, Humphrey

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