Carl Esmond was an Austrian film and stage actor, born in Vienna, Austria. Although his age was given as 33 in the passenger list when he arrived in the USA in January 1938, in his naturalization petition his birth year is stated as 1902, his birth name was Karl Simon with his stage names being Willy Eichberger and Charles Esmond and to Carl Esmond. He trained at Vienna's State Academy of Dramatic Arts, made his film debut in the operetta The Emperor's Waltz in 1933, he was active in the Viennese genre of shallow romantic comedies so popular in the Austria of the interwar period. Like many of his fellow actors, Esmond fled Germany following the Nazi takeover, first to England and in January 1938 to the USA. Esmond continued to appear on stage as well as in American films, he appeared in over numerous television programs. Esmond died in Brentwood, Los Angeles in 2004 at the age of 102. Carl Esmond on IMDb Photographs of Carl Esmond Carl Esmond Obituary in The Independent
A documentary film is a nonfictional motion picture intended to document some aspect of reality for the purposes of instruction, education, or maintaining a historical record. "Documentary" has been described as a "filmmaking practice, a cinematic tradition, mode of audience reception", continually evolving and is without clear boundaries. Documentary films were called'actuality' films and were only a minute or less in length. Over time documentaries have evolved to be longer in length and to include more categories, such as educational and even'docufiction'. Documentaries are educational and used in schools to teach various principles. Social media platforms such as YouTube, have allowed documentary films to improve the ways the films are distributed and able to educate and broaden the reach of people who receive the information. Polish writer and filmmaker Bolesław Matuszewski was among those who identified the mode of documentary film, he wrote two of the earliest texts on cinema Une nouvelle source de l'histoire and La photographie animée.
Both were published in 1898 in French and among the early written works to consider the historical and documentary value of the film. Matuszewski is among the first filmmakers to propose the creation of a Film Archive to collect and keep safe visual materials. In popular myth, the word documentary was coined by Scottish documentary filmmaker John Grierson in his review of Robert Flaherty's film Moana, published in the New York Sun on 8 February 1926, written by "The Moviegoer". Grierson's principles of documentary were that cinema's potential for observing life could be exploited in a new art form. In this regard, Grierson's definition of documentary as "creative treatment of actuality" has gained some acceptance, with this position at variance with Soviet film-maker Dziga Vertov's provocation to present "life as it is" and "life caught unawares"; the American film critic Pare Lorentz defines a documentary film as "a factual film, dramatic." Others further state that a documentary stands out from the other types of non-fiction films for providing an opinion, a specific message, along with the facts it presents.
Documentary practice is the complex process of creating documentary projects. It refers to what people do with media devices, content and production strategies in order to address the creative and conceptual problems and choices that arise as they make documentaries. Documentary filmmaking can be used as a form of advocacy, or personal expression. Early film was dominated by the novelty of showing an event, they were single-shot moments captured on film: a train entering a station, a boat docking, or factory workers leaving work. These short films were called "actuality" films. Many of the first films, such as those made by Auguste and Louis Lumière, were a minute or less in length, due to technological limitations. Films showing many people were made for commercial reasons: the people being filmed were eager to see, for payment, the film showing them. One notable film clocked in at over an hour and The Corbett-Fitzsimmons Fight. Using pioneering film-looping technology, Enoch J. Rector presented the entirety of a famous 1897 prize-fight on cinema screens across the United States.
In May 1896, Bolesław Matuszewski recorded on film few surigical operations in Warsaw and Saint Petersburg hospitals. In 1898, French surgeon Eugène-Louis Doyen invited Bolesław Matuszewski and Clément Maurice and proposed them to recorded his surigical operations, they started in Paris a series of surgical films sometime before July 1898. Until 1906, the year of his last film, Doyen recorded more than 60 operations. Doyen said that his first films taught him how to correct professional errors he had been unaware of. For scientific purposes, after 1906, Doyen combined 15 of his films into three compilations, two of which survive, the six-film series Extirpation des tumeurs encapsulées, the four-film Les Opérations sur la cavité crânienne; these and five other of Doyen's films survive. Between July 1898 and 1901, the Romanian professor Gheorghe Marinescu made several science films in his neurology clinic in Bucharest: Walking Troubles of Organic Hemiplegy, The Walking Troubles of Organic Paraplegies, A Case of Hysteric Hemiplegy Healed Through Hypnosis, The Walking Troubles of Progressive Locomotion Ataxy, Illnesses of the Muscles.
All these short films have been preserved. The professor called his works "studies with the help of the cinematograph," and published the results, along with several consecutive frames, in issues of "La Semaine Médicale" magazine from Paris, between 1899 and 1902. In 1924, Auguste Lumiere recognized the merits of Marinescu's science films: "I've seen your scientific reports about the usage of the cinematograph in studies of nervous illnesses, when I was still receiving "La Semaine Médicale," but back I had other concerns, which left me no spare time to begin biological studies. I must say I am thankful to you that you reminded them to me. Not many scientists have followed your way." Travelogue films were popular in the early part of the 20th century. They were referred to by distributors as "scenics." Scenics were among the most popu
Gaius Suetonius Tranquillus known as Suetonius, was a Roman historian belonging to the equestrian order who wrote during the early Imperial era of the Roman Empire. His most important surviving work is a set of biographies of twelve successive Roman rulers, from Julius Caesar to Domitian, entitled De Vita Caesarum, he recorded the earliest accounts of Julius Caesar's epileptic seizures. Other works by Suetonius concern the daily life of Rome, politics and the lives of famous writers, including poets and grammarians. A few of these books have survived, but many have been lost. Gaius Suetonius Tranquillus was born about 69 AD, a date deduced from his remarks describing himself as a "young man" twenty years after Nero's death, his place of birth is disputed, but most scholars place it in Hippo Regius, a small north African town in Numidia, in modern-day Algeria. It is certain that Suetonius came from a family of moderate social position, that his father, Suetonius Laetus, was a tribune of equestrian rank in the Thirteenth Legion, that Suetonius was educated when schools of rhetoric flourished in Rome.
Suetonius was letter-writer Pliny the Younger. Pliny describes him as "quiet and studious, a man dedicated to writing." Pliny helped him buy a small property and interceded with the Emperor Trajan to grant Suetonius immunities granted to a father of three, the ius trium liberorum, because his marriage was childless. Through Pliny, Suetonius came into favour with Hadrian. Suetonius may have served on Pliny’s staff when Pliny was Proconsul of Bithynia Pontus between 110 and 112. Under Trajan he served as secretary of studies and director of Imperial archives. Under Hadrian, he became the Emperor's secretary, but Hadrian dismissed Suetonius for the latter's excessive informality with the empress Sabina. He is remembered as the author of De Vita Caesarum—translated as The Life of the Caesars although a more common English title is The Lives of the Twelve Caesars or The Twelve Caesars—his only extant work except for the brief biographies and other fragments noted below; the Twelve Caesars written in Hadrian's time, is a collective biography of the Roman Empire's first leaders, Julius Caesar, Tiberius, Claudius, Galba, Vitellius, Vespasian and Domitian.
The book was dedicated to his friend Gaius Septicius Clarus, a prefect of the Praetorian Guard in 119. The work tells the tale of each Caesar's life according to a set formula: the descriptions of appearance, family history, a history are given in a consistent order for each Caesar. De Viris Illustribus, to which belong: De Illustribus Grammaticis De Claris Rhetoribus De Poetis De Historicis Peri ton par' Hellesi paidion Peri blasphemion The two last works were written in Greek, they survive in part in the form of extracts in Greek glossaries. The below listed lost works of Suetonius are from the foreword written by Robert Graves in his translation of the Twelve Caesars. Royal Biographies Lives of Famous Whores Roman Manners and Customs The Roman Year The Roman Festivals Roman Dress Greek Games Offices of State On Cicero’s Republic Physical Defects of Mankind Methods of Reckoning Time An Essay on Nature Greek Objurations Grammatical Problems Critical Signs Used in BooksThe introduction to Loeb edition of Suetonius, translated by J. C.
Rolfe, with an introduction by K. R. Bradley, references the Suda with the following titles: On Greek games On Roman spectacles and games On the Roman year On critical signs in books On Cicero's Republic On names and types of clothes On insults On Rome and its customs and mannersThe volume goes on to add other titles not testified within the Suda. On famous courtesans On kings On the institution of offices On physical defects On weather signs On names of seas and rivers On names of windsTwo other titles may be collections of some of the aforelisted: Pratum On various matters Edwards, Catherine Lives of the Caesars. Oxford World’s Classics.. Robert Graves, Suetonius: The Twelve Caesars Donna W. Hurley, Suetonius: The Caesars. J. C. Rolfe, Lives of the Caesars, Volume I. J. C. Rolfe, Lives of the Caesars, Volume II. C. Suetonii Tranquilli De vita Caesarum libros VIII et De grammaticis et rhetoribus librum, ed. Robert A. Kaster. Suetonius on Christians Barry Baldwin, Suetonius: Biographer of the Caesars.
Amsterdam: A. M. Hakkert, 1983. Gladhill, Bill. “The Emperor's No Clothes: Suetonius and the Dynamics of Corporeal Ecphrasis.” Classical Antiquity, vol. 31, no. 2, 2012, pp. 315–348. Lounsbury, Richard C; the Arts of Suetonius: An Introduction. Frankfurt: Lang, 1987. Mitchell, Jack “Literary Quotation as Literary Performance in Suetonius.” The Classical Journal, vol. 110, no. 3, 2015, pp. 333–355 Newbold, R. F. “Non-Verbal Communication in Su
Aaron Rosenberg was an "all-American" college football player and a film and television producer with more than sixty credits. His most noted film credit is Mutiny on the Bounty. Born in Brooklyn, with Jewish origins, he studied at the University of Southern California and played college football, he was an Offensive Guard He was selected for the All-America team in 1932 and 1933, elected to the College Football Hall of Fame in 1966. Following his college career, Rosenberg worked for nearly fifteen years as an assistant director at the 20th Century-Fox Film Studios, he turned to producing in the early 1950s, produced the box office hits The Glenn Miller Story, The Benny Goodman Story, as well as Mutiny on the Bounty. Rosenberg was nominated for the Academy Award for Best Picture as a producer of Mutiny on the Bounty, he retired after producing Reflections of Murder for television in 1974. Director Budd Boetticher called Rosenberg his "favorite producer of all time because he was so damn honest.
He and I had a lot of arguments because we both wanted to make better pictures than Universal wanted us to make." Aaron Rosenberg on IMDb Aaron Rosenberg at Find a Grave
Jerrald King Goldsmith was an American composer and conductor most known for his work in film and television scoring. He composed scores for such films as Star Trek: The Motion Picture and four other films within the Star Trek franchise, The Sand Pebbles, Logan's Run, Planet of the Apes, Papillon, The Wind and the Lion, The Omen, The Boys from Brazil, Capricorn One, Outland, The Secret of NIMH, Hoosiers, Total Recall, Basic Instinct, Air Force One, L. A. Confidential, The Mummy, three Rambo films, Explorers, he collaborated with some of film history's most accomplished directors, including Robert Wise, Howard Hawks, Otto Preminger, Joe Dante, Richard Donner, Roman Polanski, Ridley Scott, Michael Winner, Steven Spielberg, Paul Verhoeven, Franklin J. Schaffner, his work for Donner and Scott involved a rejected score for Timeline and a controversially edited score for Alien, where music by Howard Hanson replaced Goldsmith's end titles and Goldsmith's own work on Freud: The Secret Passion was used without his approval in several scenes.
Goldsmith was nominated for six Grammy Awards, five Primetime Emmy Awards, nine Golden Globe Awards, four British Academy Film Awards, eighteen Academy Awards. Goldsmith, was born February 1929, in Los Angeles, California, his family was Romanian Jewish. His parents were Tessa, a school teacher, Morris Goldsmith, a structural engineer, he started playing piano at age six, but only "got serious" by the time. At age thirteen, he studied piano with concert pianist and educator Jakob Gimpel and by the age of sixteen he was studying both theory and counterpoint under Italian composer Mario Castelnuovo-Tedesco, who tutored such noteworthy composers and musicians as Henry Mancini, Nelson Riddle, Herman Stein, André Previn, Marty Paich, John Williams. At age sixteen, Goldsmith saw the 1945 film Spellbound in theaters and was inspired by veteran composer Miklós Rózsa's soundtrack to pursue a career in music. Goldsmith enrolled and attended the University of Southern California where he was able to attend courses by Rózsa, but dropped out in favor of a more "practical music program" at the Los Angeles City College.
There he was able to coach singers, work as an assistant choral director, play piano accompaniment, work as an assistant conductor. In 1950, Goldsmith found work at CBS as a clerk typist in the network's music department under director Lud Gluskin. There he began writing scores for such radio shows as CBS Radio Workshop, Frontier Gentleman, Romance. In an interview with Andy Velez from BarnesandNoble.com, Goldsmith stated, "It was about 1950. CBS had a workshop, once a week the employees, whatever their talents, whether they were ushers or typists, would produce a radio show, but you had to be an employee. They needed someone to do music, I knew someone there who said I'd be great for this. I'd just gotten married and needed a job, so they faked a typing test for me. I could do these shows. About six months the music department heard what I did, liked it, gave me a job." He progressed into scoring such live CBS television shows as Climax! and Playhouse 90. He scored multiple episodes of the television series The Twilight Zone.
He remained at CBS until 1960, after which he moved on to Revue Studios and to MGM Studios for producer Norman Felton, whom he had worked for during live television and would compose music for such television shows as Dr. Kildare and The Man from U. N. C. L. E.. His feature film debut occurred, he continued with scores to such films as the 1957 western Face of a Fugitive and the 1959 science fiction film City of Fear. Jerry Goldsmith began the decade composing for such television shows as Dr. Kildare and Thriller as well as the 1960 drama film The Spiral Road. However, he only began receiving widespread name recognition after his intimate score to the 1962 classic western Lonely Are the Brave, his involvement in the picture was the result of a recommendation by veteran composer Alfred Newman, impressed with Goldsmith's score on the television show Thriller and took it upon himself to recommend Goldsmith to the head of Universal Pictures' music department, despite having never met him. That same year, Goldsmith composed the atonal and dissonant score to the 1962 pseudo-biopic Freud that focused on a five-year period of the life of psychoanalyst Sigmund Freud.
Goldsmith's score went on to garner him his first Academy Award nomination for Best Original Score, though he lost to fellow first-time nominee Maurice Jarre for his music to Lawrence of Arabia. In 1963, Goldsmith composed a score to The Stripper, his first collaboration with director Franklin J. Schaffner for whom Goldsmith would score the films Planet of the Apes, Patton and The Boys from Brazil. Following his success with Lonely Are the Brave and Freud, Goldsmith went on to achieve more critical recognition with the theme music to The Man from U. N. C. L. E. and scores to such films as the 1964 western Rio Conchos, the 1964 political thriller Seven Days in May, the 1965 romantic drama A Patch of Blue, the 1965 epic war film In Harm's Way, the 1966 World War I air combat film The Blue Max, the 1966 period naval war epic The Sand Pebbles, the 1967 thriller Warning Shot, the 1967 western Hour of the Gun, the 1968 controversial mystery The Detective. His score for The Blue Max is regarded by many Goldsmith aficionados as one
Martin Kosleck was a German film actor. Like many other German actors, he fled. Inspired by his deep hatred of Adolf Hitler and the Nazis, Kosleck made a career in Hollywood playing villainous Nazis in films. While in the United States, he appeared in more than 80 films and television shows in a 46-year span, his icy demeanor and piercing stare on screen made him a popular choice to play Nazi villains. He portrayed Joseph Goebbels, Adolf Hitler's propaganda minister, five times, appeared as an SS trooper and a concentration camp officer. Kosleck was born in Barkotzen in Pomerania, the son of a forester, his family was "German-Russian". He became interested in acting at an early age, he spent six years in the Max Reinhardt Dramatic School excelling in Shakespearian roles, working in revues and musicals in Berlin. At the age of 23, he appeared in his first film, a silent movie directed by Johannes Brandt called Der Fahnenträger von Sedan. Two years he appeared in Lupo Pick's Napoleon auf St. Helena.
Kosleck appeared in two more films in Germany in 1930, the science-fiction thriller Alraune and Die Singende Stadt. In the early 1930s, Hitler and the Nazi Party were growing in power. Kosleck decided to leave Germany in 1931 for Britain; the following year, he arrived in New York City and traveled west to Hollywood. In 1933, when Hitler and the Nazi Party came to power, because of his opposition to the Nazis, Kosleck was placed on the Gestapo list of "undesirables", he appeared in his first American film Fashions of 1934 starring Bette Davis. However, he found little work in Hollywood, so he returned to the stage. While Kosleck was acting in The Merchant of Venice on Broadway, Anatole Litvak invited him to Hollywood for a role in a Warner Bros. film. The controversial Confessions of a Nazi Spy, starring Edward G. Robinson, Francis Lederer, Paul Lukas, George Sanders, was based on The Nazi Spy Conspiracy in America, a book by Leon Turron, an FBI agent who had uncovered the network of Nazi organizations throughout the United States.
Kosleck, in a small role playing Nazi Propaganda Minister Joseph Goebbels, revealed a sinister streak of evil, sought after in wartime movies to come. Many other German actors at the time resented being typecast as Nazis, he appeared in numerous anti-Nazi films of the early 1940s: Nurse Edith Cavell, Espionage Agent, Berlin Correspondent, Bomber's Moon, Chetniks! The Fighting Guerrillas. However, it was his impression of Goebbels that will remain in the memories of moviegoers in Paramount's 1944 pseudo-documentary The Hitler Gang. With the end of the Second World War, roles as Nazis declined. Kosleck moved into horror B movies, such as The Frozen Ghost and The Mummy's Curse, House of Horrors, She-Wolf of London, starring June Lockhart; the House of Horrors gave him his best-remembered role beyond Goebbels, as an insane sculptor, Marcel De Lange, who saves a monster from drowning and gets revenge by having the monster kill his critics. With fewer film opportunities presenting themselves, Kosleck returned to New York City with his wife, the German-born actress Eleonore von Mendelssohn, a great x3 grand daughter of Moses Mendelssohn.
Kosleck appeared on Broadway in The Madwoman of Chaillot in early 1950s. He appeared on television in episodes of numerous shows. In 1951, he appeared in the "I Lift Up My Lamp" episode of Hallmark Hall of Fame, a television anthology of plays and books, episodes of The Motorola Television Hour, where he played Goebbels again, Studio One, The Rifleman, Voyage to the Bottom of the Sea, The Outer Limits, Get Smart, The Man from U. N. C. L. E; the F. B. I; the Wild Wild West, Mission: Impossible, It Takes a Thief, Sanford and Son. In 1970, Kosleck played General Mueller in the television comedy Hogan's Heroes, episode: "The Gestapo Takeover", he suffered from a heart attack in the 1970s, thereafter worked only mostly in television. During this time, he appeared in Love, American Style and Sanford and Son. In 1980, he appeared in The Man with Bogart's Face. Aside from acting, Kosleck was an accomplished painter who supported himself through his work as a portrait artist while waiting for a movie role. An impressionist-style portrait-painter, he painted both Bette Marlene Dietrich.
In 1951, his wife committed suicide. Kosleck died at following abdominal surgery, in a Santa Monica convalescent home. Martin Kosleck on IMDb Martin Kosleck at the Internet Broadway Database Martin Kosleck at Find a Grave
Strikeforce: Morituri was a comic book series published by Marvel Comics from 1986 to 1989. The series was created by writer Peter B. Gillis and artist Brent Anderson; the premise is that aliens have invaded Earth and nearly succeeded in conquering it and stripping it of its resources. A scientist discovers a process which can provide humans with superhuman powers creating a group of defending superheroes. However, the process would ensure that the empowered humans would die within a year of being empowered; the series thus focused on the heroism of the main characters in fighting the invaders, while living with the knowledge that their fates were sealed regardless of whether or not they prevailed. The title comes from the Latin phrase "Ave Imperator, morituri te salutant", a salute that according to popular legend was uttered by Roman gladiators before battle in the arena; the subtitle of the comic was "We who are about to die". Gillis and Anderson left the series within two years; the series ended after thirty-one issues, while under the tenure of writer James Hudnall and artist Mark Bagley.
In 2069, an alien race called. Although they were technologically advanced far beyond humanity at that time, they were savage. Examples of this savagery include the retaliatory slaughter of human slaves, the nuclear destruction of San Diego, the decapitation of children in order to establish dominance over newly captured human slaves, it was discovered that they had stolen their technology from a kindly alien race that visited their planet who were attempting to rescue the Horde species. The Horde had caused severe environmental damage to their planet due to excessive pollution which laid much of the world an uninhabitable wasteland. After pulling the Horde back from the brink of extinction the aliens planned to leave the Horde planet in peace once their rescue mission was accomplished. Before they could leave, the alien pacifists were ruthlessly and mercilessly attacked and slaughtered by the Horde; the Horde stole the aliens' ships and advanced technology for themselves and set out into space to establish their savage and war-like empire.
The Horde traveled the galaxy in order to steal resources and technologies, since they had no knowledge of how to fix the ships they used. They viewed the Earth and other such planets as a resource to be plundered and discarded once all resources have been used up. If the Horde had wanted to conquer mankind they could have done so. Instead, they satisfied themselves with brutal raids that left the Earth functioning, but reeling under their vicious onslaught; the Padeia Institute, which governed the entire planet at the time, began to organize Earth defenses against these attacks. Humankind's best hope was discovered in 2072; this was a two-step process that allowed people with a specific type of genetic structure to have a new metabolism overlaid on top of their original one, granting them enhanced physical attributes. The second phase of the process would allow for unique superhuman powers. However, there were three mitigating factors inherent in the use of the Morituri Process: The process was compatible with few persons.
The optimal age for subjects for the Morituri Process was between 18 and 21. The nature of the energy-based metabolism was such that, within one standard year, the human body would reject it; the rejection of the Morituri metabolism by the human body is 100% fatal. In most cases, the subject's imminent death was indicated by massive upsurges in the subject's power and ability levels; the first group of test subjects known as "the Black Watch", were volunteer soldiers. Of the five members, two died before seeing active service during a power activation exercise in a specialized testing area known as'Biowar Facility Alpha'; the remaining three had their first field test in Cape Town, South Africa, taking on Horde forces there. Commander of the program, Beth Luis Nion, had secretly undergone the Morituri Process, after starting an affair with a member of the Black Watch, although she kept her powers a secret. Tuolema deduced that the older the subject, the quicker their system would reject the process – it was at this point that Dr. Tuolema realized recipients between 18 and 21 were the optimal choice regarding maximized life expectancy.
The Morituri Process consisted of two distinct phases: In the first phase, candidates underwent a procedure which granted them an enhanced physicality (in some c