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hudson,+henry

  • 21 Stevens, John

    [br]
    b. 1749 New York, New York, USA
    d. 6 March 1838 Hoboken, New Jersey, USA
    [br]
    American pioneer of steamboats and railways.
    [br]
    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.
    [br]
    Bibliography
    1812, Documents Tending to Prove the Superior Advantages of Rail-ways and Steam-carriages over Canal Navigation.
    He took out patents relating to steam-engines in the USA in 1791, 1803, and 1810, and in England, through his son John Cox Stevens, in 1805.
    Further Reading
    H.P.Spratt, 1958, The Birth of the Steamboat, Charles Griffin (provides technical details of Stevens's boats).
    J.T.Flexner, 1978, Steamboats Come True, Boston: Little, Brown (describes his work in relation to that of other steamboat pioneers).
    J.R.Stover, 1961, American Railroads, Chicago: University of Chicago Press.
    Transactions of the Newcomen Society (1927) 7: 114 (discusses tubular boilers).
    J.R.Day and B.G.Wilson, 1957, Unusual Railways, F.Muller (discusses Stevens's locomotive).
    PJGR

    Biographical history of technology > Stevens, John

  • 22 Mann, Anthony

    1906-1967
       Nacido 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.

    English-Spanish dictionary of western films > Mann, Anthony

  • 23 WH

    1) Американизм: WithHolding (taxes)
    2) Спорт: Walking Horse
    3) Техника: Water Heated, Well Hung, waste holdup
    4) Грубое выражение: Wet Head, Wet Hole
    5) Кино: Weak Hit
    6) Политика: South Shetland Islands
    8) Университет: Williams Hall, Miami University, Wilson Hall
    10) Нефть: wellhead
    11) Картография: water hole
    12) Фирменный знак: Westcott Hort, Westinghouse, Winn Harrison, Winters Heart
    13) Глоссарий компании Сахалин Энерджи: waste heat exchanger
    14) Макаров: wheel house
    15) Собаководство: Wolf Hybrids
    16) Имена и фамилии: Wayne Hemingway, William Hardy, William Henry, William Hull
    17) ООН: World Heroes
    18) Общественная организация: World Help
    19) Чат: And Who His
    20) Правительство: West Hanover, Western Hudson, Woodland Heights
    21) NYSE. Whitman Corporation
    22) СМС: We Have

    Универсальный англо-русский словарь > WH

  • 24 Wh

    1) Американизм: WithHolding (taxes)
    2) Спорт: Walking Horse
    3) Техника: Water Heated, Well Hung, waste holdup
    4) Грубое выражение: Wet Head, Wet Hole
    5) Кино: Weak Hit
    6) Политика: South Shetland Islands
    8) Университет: Williams Hall, Miami University, Wilson Hall
    10) Нефть: wellhead
    11) Картография: water hole
    12) Фирменный знак: Westcott Hort, Westinghouse, Winn Harrison, Winters Heart
    13) Глоссарий компании Сахалин Энерджи: waste heat exchanger
    14) Макаров: wheel house
    15) Собаководство: Wolf Hybrids
    16) Имена и фамилии: Wayne Hemingway, William Hardy, William Henry, William Hull
    17) ООН: World Heroes
    18) Общественная организация: World Help
    19) Чат: And Who His
    20) Правительство: West Hanover, Western Hudson, Woodland Heights
    21) NYSE. Whitman Corporation
    22) СМС: We Have

    Универсальный англо-русский словарь > Wh

  • 25 wh

    1) Американизм: WithHolding (taxes)
    2) Спорт: Walking Horse
    3) Техника: Water Heated, Well Hung, waste holdup
    4) Грубое выражение: Wet Head, Wet Hole
    5) Кино: Weak Hit
    6) Политика: South Shetland Islands
    8) Университет: Williams Hall, Miami University, Wilson Hall
    10) Нефть: wellhead
    11) Картография: water hole
    12) Фирменный знак: Westcott Hort, Westinghouse, Winn Harrison, Winters Heart
    13) Глоссарий компании Сахалин Энерджи: waste heat exchanger
    14) Макаров: wheel house
    15) Собаководство: Wolf Hybrids
    16) Имена и фамилии: Wayne Hemingway, William Hardy, William Henry, William Hull
    17) ООН: World Heroes
    18) Общественная организация: World Help
    19) Чат: And Who His
    20) Правительство: West Hanover, Western Hudson, Woodland Heights
    21) NYSE. Whitman Corporation
    22) СМС: We Have

    Универсальный англо-русский словарь > wh

  • 26 Marshall Field's

    "Маршалл Филд"
    Универсальный магазин [ department store] на Стейт-стрит [ State Street] в районе Луп [ Loop, the] в центре г. Чикаго. Первоначально принадлежал фирме "Маршалл Филд энд Ко." [Marshall Field and Co.], с 1990 - "Дейтон Хадсон" [Dayton Hudson Corp.], ныне "Таргет" [Target Corporation]. Построен в 1885-87 до широкого распространения электрического освещения, поэтому секции расположены таким образом, что каждая выходит в освещенный внутренний двор. Автор проекта - архитектор Г. Ричардсон [ Richardson, Henry Hobson]. Традиционное лакомство для посетителей магазина - фирменное мятное мороженое [Frango mint ice cream] и шоколад [Frango chocolates]. Является наиболее известным в сети 64 универсальных магазинов (начало 2002) в нескольких штатах Среднего Запада [ Midwest]

    English-Russian dictionary of regional studies > Marshall Field's

  • 27 Moses, Robert

    (1888-1981) Мозес, Роберт
    Видный деятель штата Нью-Йорк. В течение длительного периода пользовался огромным влиянием в штате, будучи председателем парковой комиссии [Park Commission] штата (1924-63), а также главным инспектором парков г. Нью-Йорка [Park Commissioner of New York City] (1934-60). Благодаря ему значительно изменился внешний облик г. Нью-Йорка и его окрестностей, был разбит парк "Флашинг Медоус-Корона" [ Flushing Meadows-Corona Park], зона отдыха "Джонс-бич" [ Jones Beach], парковая автострада Генри Хадсона [Henry Hudson Parkway] и мост Трайборо [ Triborough Bridge], его именем названа зона отдыха и пляж на песчаном острове Файер-Айленд к востоку от "Джонс-бич" [Robert Moses State Park]

    English-Russian dictionary of regional studies > Moses, Robert

  • 28 mountain men

    ист
    Искатели приключений, устремившиеся в первой половине XIX в. в регион Скалистых гор [ Rocky Mountains] в поисках ценной пушнины, особенно меха бобра. Этим они содействовали заселению отдаленных районов страны. Их массовое продвижение в эти края началось в 1822 с экспедиции У. Эшли [Ashley, William H.] и Э. Хенри [ Henry, Andrew] в верховья р. Миссури [ Missouri River]. В последующие 15 лет американские, а также французские и испанские трапперы [ trapper] открыли перевалы через Скалистые горы, в том числе Южный перевал [South Pass], изучили Большой Бассейн [ Great Basin] и земли дальнего Юго-Запада [ Southwest], а также нашли несколько новых путей в Калифорнию и Орегон. Дж. Бриджер [ Bridger, Jim], Т. Фицпатрик [Fitzpatrick, Thomas] и Дж. Смит [ Smith, Jedediah Strong (Jed)] и др. внесли значительный вклад в изучение западных земель. В 1830-е гг. на Дальнем Западе [ Far West] находились около 3 тыс. маунтинменов. Некоторые из них работали на крупные фирмы, такие как Американская пушная компания [ American Fur Company], Пушная компания Скалистых гор [ Rocky Mountain Fur Company] и Компания Гудзонова залива [ Hudson's Bay Company], другие действовали самостоятельно и продавали меха на своеобразных летних аукционах, проводившихся ежегодно в 1825-40 гг. Несмотря на репутацию полудикарей, многие маунтинмены были достаточно образованными людьми, не лишенными коммерческой хватки. Большую часть года они проводили в горах и во многом восприняли стиль жизни и опыт индейцев. После спада в торговле пушниной в 40-е гг. большая часть из них вернулась к цивилизованной жизни, а некоторые, например Бриджер, Фицпатрик и Кит Карсон [ Carson, Kit], остались на Западе и стали работать проводниками, агентами по делам индейцев [ Indian Agent], скаутами

    English-Russian dictionary of regional studies > mountain men

  • 29 trapper

    ист
    Охотник на пушного зверя. В 1820-е трапперы и торговцы мехами стали пионерами освоения Дальнего Запада [Far West]. Предприимчивые, как правило, небогатые люди, они пошли на Запад в поисках новых земель и приключений. Среди них были Кит Карсон [ Carson, Kit], Уильям Эшли [Ashley, William H.] и Джим Бриджер [ Bridger, Jim]. Трапперы-одиночки, месяцами охотились в горах, спускаясь в долины, чтобы обменять добычу на нужные им товары и припасы. Для этих целей торговцы пушниной организовывали в условных местах ежегодные аукционы - "встречи с трапперами" [trapper rendezvous]. Одним из первых таких мест была открытая Эшли в 1825 на р. Грин [ Green River] фактория "Развилка Генри" [Henry's Fork]. К приходу торговцев здесь собирались охотники [ mountain men] с мехами, добытыми за предшествующий год-два. С первой трети XIX в. большую активность на Дальнем Западе проявляли пушные компании, в частности "Пушная компания Скалистых гор" [ Rocky Mountain Fur Company] (создана в 1822), которая господствовала в этих местах до 1834; Тихоокеанская пушная компания [Pacific Fur Company] Дж. Астора [ Astor, John Jacob] и его же Американская пушная компания [ American Fur Company] (1808-42), а также английская Компания Гудзонова залива [ Hudson's Bay Company].

    English-Russian dictionary of regional studies > trapper

  • 30 Vancouver

    Город на юго-западе штата Вашингтон, на северном берегу р. Колумбия [ Columbia River]. 143,5 тыс. жителей (2000; в 90-е годы XX в. численность населения выросла на 209,5%), пригород Портленда, шт. Орегон. Порт для судов типа "река-море". Выплавка алюминия, деревообработка, производство картона; электроника. Старейший город штата; основан в 1825 как форт Ванкувер [ Fort Vancouver], до 1845 служил западным форпостом Компании Гудзонова залива [ Hudson's Bay Company]; статус города с 1857. Получил дальнейшее развитие в 1860-е в период "золотой лихорадки" [ Gold Rush] в восточной части штата Вашингтон и в Айдахо. В период второй мировой войны на судоверфи компании "Кайзер" [ Kaiser, Henry John], построенной в 1942, было спущено на воду более ста военных кораблей. Среди достопримечательностей форт [Fort Vancouver National Historic Site] и аэропорт Пирсон [Pearson Airfield] - старейший действующий аэропорт в США. Здесь в 1937 приземлился самолет В. Чкалова, Г. Байдукова и А. Белякова после первого беспосадочного перелета СССР-США (об этом событии напоминают памятник Чкалову [Chkalov Monument] и экспозиция Музея авиации Пирсона [Pearson Air Museum])

    English-Russian dictionary of regional studies > Vancouver

  • 31 Sherman, George

    1908-1991
       Nacido en Nueva York. Ayudante de direccion desde 1932 y director de mas de cien peliculas desde 1937, primero para Republic hasta 1944, mas tarde para Columbia hasta 1948, y despues hasta 1956 para Universal. A medida que pasaba de una productora a otra los presupuestos de sus peliculas iban siendo mas holgados, por lo que no es de extranar que su ultimo western, que es tambien su ultima pelicula, El gran Jack, sea la de presupuesto mas amplio y, dicho sea de paso, la mejor. Sherman es, sin lugar a dudas, uno de los grandes especialistas del western. Una ojeada a su filmografia hace innecesarias otras explicaciones; entre 1937 y 1943 trabaja a un ritmo frenetico para satisfacer las necesidades de algunas de las estrellas del genero, destacando, en particular, su dedicacion a la serie The Three Mes quiteers. A partir de 1946 realiza sus obras mas personales, que, sin pasar de discretas, cumplen sobradamente su cometido.
        Wild Horse Rodeo. 1937. 55 minutos. Blanco y Negro. Republic. Robert Livingston, Ray Corrigan, Max Terhune, June Martel.
        The Purple Vigilantes. 1938. 58 minutos. Blanco y Negro. Republic. Robert Livingston, Ray Corrigan, Max Terhune, Joan Barclay.
        Outlaws of Sonora. 1938. 55 minutos. Blanco y Negro. Republic. Robert Livingston, Ray Corrigan, Max Terhune, Jean Joyce.
        Riders of the Black Hills. 1938. 55 minutos. Blanco y Negro. Republic. Robert Livingston, Ray Corrigan, Max Terhune, Ann Evers.
        Heroes of the Hills. 1938. 56 minutos. Blanco y Negro. Republic. Robert Livingston, Ray Corrigan, Max Terhune, Priscilla Lawson.
        Pals of the Saddle. 1938. 55 minutos. Blanco y Negro. Republic. John Wayne, Ray Corrigan, Max Terhune, Doreen McKay.
        Overland Stage Raiders. 1938. 58 minutos. Blanco y Negro. Republic. John Wayne, Ray Corrigan, Max Terhune, Louise Brooks.
        Rhythm of the Saddle. 1938. 58 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Peggy Moran.
        Santa Fe Stampede. 1938. 58 minutos. Blanco y Negro. Republic. John Wayne, Ray Corrigan, Max Terhune, June Martel.
        Red River Range. 1938. 56 minutos. Blanco y Negro. Republic. John Wayne, Ray Corrigan, Max Terhune, Polly Moran, Lorna Gray.
        Mexicali Rose. 1939. 58 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Luana Walters.
        The Night Riders. 1939. 58 minutos. Blanco y Negro. Republic. John Way ne, Ray Corrigan, Max Terhune, Doreen McKay, Ruth Rogers.
        Three Texas Steers. 1939. 59 minutos. Blanco y Negro. Republic. John Wayne, Ray Corrigan, Max Terhune, Carole Landis.
        Wyoming Outlaw. 1939. 62 minutos. Blanco y Negro. Republic. John Wayne, Ray Corrigan, Raymond Hatton, Adele Pearce.
        Colorado Sunset. 1939. 61 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, June Storey.
        New Frontier. 1939. 57 minutos. Blanco y Negro. Republic. John Wayne, Ray Corrigan, Raymond Hatton, Phyllis Isley (Jennifer Jones).
        The Kansas Terrors. 1939. 57 minutos. Blanco y Negro. Republic. Robert Livingston, Raymond Hatton, Duncan Renaldo, Jacqueline Wells (Julie Bishop).
        Rovin’ Tumbleweeds. 1939. 62 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, Mary Carlisle.
        The Cowboys from Texas. 1939. 57 minutos. Blanco y Negro. Republic. Robert Livingston, Raymond Hatton, Duncan Renaldo, Carole Landis.
        South of the Border. 1939. 71 minutos. Blanco y Negro. Republic. Gene Autry, Smiley Burnette, June Storey, Lupita Tovar.
        Ghost Valley Raiders. 1940. 57 minutos. Blanco y Negro. Republic. Don Barry, Lona Andre, LeRoy Mason.
        Covered Wagon Days. 1940. 56 minutos. Blanco y Negro. Republic. Robert Livingston, Raymond Hatton, Duncan Renaldo, Kay Griffith, Ruth Robinson.
        Rocky Mountain Rangers. 1940. 58 minutos. Blanco y Negro. Republic. Robert Livingston, Raymond Hatton, Duncan Renaldo, Rosella Towne.
        One Man’s Law. 1940. 57 minutos. Blanco y Negro. Republic. Don Barry, Janet Waldo, Dub Taylor.
        The Tulsa Kid. 1940. 57 minutos. Blanco y Negro. Republic. Don Barry, Luana Walters, Jimmy Wakely.
        Under Texas Skies. 1940. 57 minutos. Blanco y Negro. Republic. Robert Livingston, Bob Steele, Rufe Davis, Lois Ranson.
        Frontier Vengeance (co-d.: Nate Watt). 1940. 57 minutos. Blanco y Negro. Republic. Don Barry, Betty Moran.
        The Trail Blazers. 1940. 58 minutos. Blanco y Negro. Republic. Robert Livingston, Bob Steele, Rufe Davis, Pauline Moore.
        Texas Terrors. 1940. 57 minutos. Blanco y Negro. Republic. Don Barry, Julie Duncan, Al St. John.
        Lone Star Raiders. 1940. 57 minutos. Blanco y Negro. Republic. Robert Livingston, Bob Steele, Rufe Davis, June Johnson, Sarah Padden.
        Wyoming Wildcat. 1941. 56 minutos. Blanco y Negro. Republic. Don Barry, Julie Duncan, Syd Taylor.
        The Phantom Cowboy. 1941. 56 minutos. Blanco y Negro. Republic. Don Barry, Virginia Carroll, Rex Lease.
        Two Gun Sheriff. 1941. 56 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick.
        Desert Bandit. 1941. 56 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick.
        Kansas Cyclone. 1941. 58 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick.
        The Apache Kid. 1941. 56 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick, Al St.John.
        Death Valley Outlaws. 1941. 56 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick.
        A Missouri Outlaw. 1941. 58 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick.
        Arizona Terror. 1942. 56 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick, Al St.John.
        Stagecoach Express. 1942. 57 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick, Al St.John.
        Jesse James, Jr. 1942. 56 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick, Al St. John.
        Cyclone Kid. 1942. 57 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick, Lloyd Andrews.
        The Sombrero Kid. 1942. 56 minutos. Blanco y Negro. Republic. Don Barry, Lynn Merrick, Lloyd Andrews.
        The West Side Kid. 1943. 58 minutos. Blanco y Negro. Republic. Don Ba rry, Dale Evans, Henry Hull.
        Renegades (Renegados). 1946. 88 minutos. Technicolor. Columbia. Eve lyn Keyes, Willard Parker, Larry Parks.
        Last of the Redmen. 1947. 77 minutos. Cinecolor. Key Pictures (Columbia). Jon Hall, Julie Bishop, Evelyn Ankers, Michael O’Shea.
        Relentless. 1948. 93 minutos. Technicolor. Cavalier Productions (Colum bia). Robert Young, Marguerite Chapman, Willard Parker, Akim Tamiroff.
        Black Bart (El enmascarado). 1948. 80 minutos. Technicolor. Universal. Yvonne De Carlo, Dan Duryea, Jeffrey Lynn.
        River Lady (Rio abajo). 1948. 78 minutos. Universal. Yvonne De Carlo, Dan Duryea, Rod Cameron, Helena Carter.
        Red Canyon (Huracan). 1949. 82 minutos. Technicolor. Universal. Ann Blyth, Howard Duff, George Brent.
        Calamity Jane and Sam Bass. 1949. 85 minutos. Technicolor. Universal. Yvonne De Carlo, Howard Duff, Dorothy Hart, Willard Parker.
        Comanche Territory (Orgullo de comanche). 1950. 76 minutos. Techni color. Universal. Maureen O’Hara, MacDonald Carey, Will Geer.
        Tomahawk (El piel roja). 1951. 82 minutos. Technicolor. Universal. Yvo n ne De Carlo, Van Heflin, Preston Foster, Rock Hudson.
        The Battle at Apache Pass. 1951. 85 minutos. Technicolor. Universal. John Lund, Jeff Chandler, Beverly Tyler, Susan Cabot.
        The Lone Hand. 1953. 80 minutos. Technicolor. Universal. Joel McCrea, Barbara Hale, Alex Nicol.
        War Arrow (Asalto al Fuerte Clark). 1954. 78 minutos. Technicolor. Uni versal. Jeff Chandler, Maureen O’Hara, John McIntire, Suzan Ball.
        Border River. 1954. 81 minutos. Technicolor. Universal. Joel McCrea, Yvon ne De Carlo, Pedro Armendariz.
        Dawn at Socorro. 1954. 80 minutos. Technicolor. Universal. Rory Calhoun, Piper Laurie, David Brian, Kathleen Hugues.
        Chief Crazy Horse (El gran jefe). 1955. 86 minutos. Technicolor. Cinema - Scope. Universal. Victor Mature, Suzan Ball, John Lund, Ray Danton.
        Count Three and Pray. 1955. 102 minutos. Technicolor. CinemaScope. Co pa Productions (Columbia). Van Heflin, Joanne Woodward, Phil Carey.
        The Treasure of Pancho Villa (El tesoro de Pancho Villa). 1955. 96 min. Technicolor. Superscope. RKO. Rory Calhoun, S. Winters, Gilbert Roland.
        Comanche (Duelo de razas). 1956. 87 minutos. Color DeLuxe. Cinema Sco pe. UA. Dana Andrews, Kent Smith, John Litel, Linda Cristal.
        Reprisal! 1956. 74 minutos. Technicolor. Lewis J. Rachmil (Columbia). Guy Madison, Felicia Farr, Kathryn Grant.
        The Hard Man. 1957. 80 minutos. Technicolor. Romson (Columbia). Guy Madison, Valerie French, Lorne Greene.
        The Last of the Fast Guns. 1958. 82 minutos. Eastmancolor. CinemaScope. Universal. Jock Mahoney, Eduard Franz, Gilbert Roland, Linda Cristal.
        Ten Days to Tulara. 1958. 77 minutos. Blanco y Negro. UA. Sterling Hay den, Grace Raynor.
        Hell Bent for Leather. 1960. 82 minutos. Eastmancolor. Panavision. Uni versal. Audie Murphy, Stephen McNally, Felicia Farr.
        For the Love of Mike. 1960. 87 minutos. Color DeLuxe. CinemaScope. Fox. Richard Basehart, Stuart Edwin, Elsa Cardenas.
        Joaquin Murrieta. 1965. 108 minutos. Eastmancolor. Pro-Artis Iberica. Jeffrey Hunter, Arthur Kennedy, Sara Lezana, Diana Lorys.
        Smoky. 1966. 103 minutos. Color DeLuxe. Fox. Fess Parker, Katy Jurado, Diana Hyland.
        Big Jake (El gran Jack). 1971. 110 minutos. Technicolor. Panavision. Natio nal General. John Wayne, Richard Boone, Maureen O’Hara.

    English-Spanish dictionary of western films > Sherman, George

  • 32 Fulton, Robert

    SUBJECT AREA: Ports and shipping
    [br]
    b. 14 November 1765 Lancaster, Pennsylvania, USA
    d. 24 February 1815 New York, USA
    [br]
    American pioneer of steamships and of North American steam navigation.
    [br]
    The early life of Fulton is documented sparsely; however, it is clear that he was brought up in poor circumstances along with three sisters and one brother by a widowed mother. The War of Independence was raging around them for some years, but despite this it is believed that he spent some time learning the jeweller's trade in Philadelphia and had by then made a name for himself as a miniaturist. Throughout his life he remained skilled with his hands and well able to record technical detail on paper. He witnessed many of the early trials of American steamboats and saw the work of William Henry and John Fitch, and in 1787 he set off for the first time to Europe. For some years he examined steamships in Paris and without doubt saw the Charlotte Dundas on the Forth and Clyde Canal near Glasgow. In 1803 he built a steamship that ran on the Seine at 4 1/2 mph (7.25 km/h), and when it was lost, another to replace it. All his designs were based on principles that had been tried and proved elsewhere, and in this respect he was more of a developer than an inventor. After some time experimenting with submersibles and torpedoes for the British and French governments, in 1806 he returned to the United States. In 1807 he took delivery of the 100 ton displacement paddle steamer Clermont from the yard of Charles Browne of East River, New York. In August of that year it started the passenger services on the Hudson River and this can be claimed as the commencement of world passenger steam navigation. Again the ship was traditional in shape and the machinery was supplied by Messrs Boulton and Watt. This was followed by other ships, including Car of Neptune, Paragon and the world's first steam warship, Demolgos, launched in New York in October 1814 and designed by Fulton for coastal defence and the breaking of the British blockade. His last and finest boat was named Chancellor Livingston after his friend and patron Robert Livingston (1746–1813); the timber hull was launched in 1816, some months after Fulton's death.
    [br]
    Further Reading
    H.P.Spratt, 1958, The Birth of the Steamboat, London: Griffin. J.T.Flexner, 1978, Steamboats Come True, Boston: Little, Brown.
    "Robert Fulton and the centenary of steam navigation", Engineer (16 August 1907).
    FMW

    Biographical history of technology > Fulton, Robert

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