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Orson Welles, after graduating from the Todd School in 1931 and a brief stint at the School of the Art Institute, traveled to Ireland and appeared in productions at the Gate Theater in Dublin.
In 1934 he returned to Woodstock with two actors, Michael MacLiammoir and Hilton Edwards, to stage three productions on the stage at the Woodstock Opera House during the summer months. The first play produces was Trilby by George DuMaurier, on stage July 12-22, 1934.
The reviews of the production were mixed, but 20-year old Welles is praised in this Tribune review.
July 13, 1934
Trilby Opens Drama Season at Woodstck by Charles Collins
Chicago Daily Tribune
Excerpt:
"Orson Welles, leading spirit of the Todd Theater festival, a youth of 20 years with strong promise of a brilliant future on the stage, appears in the role of Svengali which started Wilton Lackaye up the ladder to a star's position. He disguises his boyish countenance with the lank oily whiskers and nose that are familiar to every one who has seen DuMaurier's notable illustrations of his text.
The characterization is so successful in its exterior that Welles' friends and fellow alumni of the Todd school, where his career started, would have failed to recognize him but for the help of the program. He has a striking gift for makeup and the tricks that go with the trade of character acting."
Suspended Animation Classic #421
Originally published January 12, 1997 (#2)
(Dates are approximate)
Mars Attacks; Comic Book; Gamera
By Michael Vance
H. G. Wells created many of the themes of science-fiction almost a century ago. Experienced SF readers scratch their heads over the incredible success of movies like “Independence Day” that re-milk very old themes. Those readers forget one very important fact.
Every new generation starts with a clean slate.
Predictable in plot, ideas and characterization, the first issue of “Mars Attacks” is about the first wave of an invasion of Earth by Martians.
Those who know nothing of the banned bubble-gum cards that led to the movie that led to this comic book will enjoy no added taste of nostalgia.
“Mars Attacks” is simply clean slate science-fiction.
The art on this slate looks like someone held other comic books in front of a broken mirror to learn human anatomy.
That doesn’t mean there is no talent in this talent. In fact, monsters, flying saucers, Martians, and buildings are drawn well. The art is also dynamic, page layouts are entertaining, and the whole visual package is fun.
What is does mean is that “Mars Attacks” is neither the best nor worst comic book on the market. It’s average.
For artists and writers that have overblown egos, the word “average” is worse than any other description other than “bad” … or “reviewer”. But, by definition, almost everyone and everything is average. There can only be one best at anything.
“Mars Attacks” is not the one. But for clean slate readers, it’s fun.
“Mars Attacks” #1/22 pages, $1.95, Image/Story: Keith Giffen; art: Bill Sienkiewics and Andy Smith/available wherever comic books are sold.
MINIVIEW: “Comic Book” #2 [Dark Horse]. Remember when you thought what people do in the bathroom was funny? Some people never grow up, and they (of “Ren and Stimpy” animation fame) write and draw this title.
MINIVIEW, TO: “Gamera: The Guardian of the Universe” [Dark Horse]. Mindless candy shaped like a giant, flying turtle, Gamera is Godzilla in a half-shell with the added twist that this ninja turtle protects the Japanese. Harmless fun.
Director Theophilus Raynsford Mann
~ a Taiwanese social reformer, philosopher, photographer, and film director
“Do Everything for My People”
馬天亮導演
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《造福人民》
SUMMARY
Theophilus Raynsford Mann is a naturalist, occultist, Buddhist and Taoist. In 1982, Mann developed a technique for abstract photography, applied “Rayonism” into photographic works. Mann staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Mann’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Mann’s works have been quoted by the scholars many times, making Mann one of the highly cited technological, artistic, and managing public administrators in the academia. Mann was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
Theophilus Raynsford Mann possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Mann about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Mann takes great pride in his roots, which go back 150 years (since 1864); Mann’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Mann obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Mann’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Mann’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Mann instituted Mann’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Mann studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Mann completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013 www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Mann immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Mann is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand Theophilus Raynsford Mann. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Mann just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Mann understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As Theophilus Raynsford Mann’s saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Mann ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Mann will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Mann’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Mann had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Mann studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Mann would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Mann really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Mann has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Mann settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Mann was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Mann had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Mann developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Mann was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
Theophilus Raynsford Mann Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
Theophilus Raynsford Mann Photographic Exhibition of Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Mann staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Mann was the first exhibitor around the country. All of the invited displays were by the Taiwan’s Government, cultural and artistic organisations, and sponsors. Mann’s earliest exhibition took place in the National Taiwan Arts Education Center (Museum) on 19 December 1983 when Mann was 25 years old; Mann was the youngest exhibitor in the history of the Center in any solo exhibitions. The Center that was opened in March 1957, kept a collection of Mann’s work. It is currently updating the Center’s internal organisation and strengthening co-operation with leading centers and museums around the world. Meanwhile, it widened the center’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Mann’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Mann may sprout, grow and bloom. Mann aims to provide an educational stimulus for society by introducing his works - Mann can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Mann believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Mann should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, Theophilus Raynsford Mann completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Mann was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Mann’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Mann was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “Theophilus Raynsford Mann Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Mann’s writings.
Authorship
Mann’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Mann was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Mann one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Mann’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Mann is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original 「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “Theophilus Raynsford Mann Photographic Exhibitions of Rayonnisme” © May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」(individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Mann’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Mann’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Mann’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Member of The Kaohsiung Life Line Association since 11 January 1979, an association established in the USA.
Member of The Society of Youth Writers, Tien (Catholic) Educational Center, Taipei since 1980.
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Mann promoted and founded the Consortium Juridical Person Mr. Theophilus Raynsford Mann Social Benefit Foundation 財團法人馬天亮先生社會公益基金會籌備處 (Social Charity 社會慈善事業) in Taiwan.
near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Mann was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and filmmaking.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和製作影片。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Mann Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director and Photographer at Shapely Studio of Creative and Cultural Industries, 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。Theophilus Raynsford Mann (TianLiang Maa) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Mann was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
mtltwp.pixnet.net/album/set/1265208
www.facebook.com/sonate1c/info
LINKS:
University of California, Berkeley
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National Yang Ming University 國立陽明大學
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為文化中心把脈, 幼獅文藝
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科學家與守財奴, 中國地方自治
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A Story of Professor Theophilus Raynsford Mann
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University of California, Berkeley period
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The Quanta™ 3D DualBeam™ brings new capabilities and flexibility to engineers and researchers needing to characterize materials, conduct failure analysis or control processes. It combines traditional thermal emission Scanning Electron Microscopy (SEM) with Focused Ion Beam (FIB) to complement your existing characterization laboratory tools and extends your applications range for 3D characterization and nanoanalysis, TEM sample preparation or structural modification of sample surfaces at the nanometer scale.
April 24, 2010
Maryland Day
On Saturday, April 24, 2010 from 10:00 am until 4:00 pm, the University of Maryland’s College Park campus was open for Maryland Day, an annual family-friendly event filled with opportunities for learning, exploration, and fun. It featured over 400 interactive exhibits, workshops, and live performances.
NASA Goddard Space Flight Center was able to showcase its missions, particularly Goddard’s exciting earth science and space science partnerships with the University of Maryland.
NASA Goddard Exhibits Included:
Earth Science/Earth System Science Interdisciplinary Center (ESSIC) – Discussion of Chesapeake Bay research conducted in collaboration with ESSIC. Interactive activity with Goddard interns from University of Maryland and Goddard scientists.
Dynamic Response of the Environment At the Moon (DREAM) – Lunar activities led by Goddard scientists.
MErcury Surface, Space ENvironment, GEochemistry, and Ranging (MESSENGER) – Unlocking the Secrets of Mercury through hands-on activities led by Outreach personnel and students.
Joint Space Science Institute (JSI), International X-ray Observatory (IXO), Laser Interferometer Space Antenna Project (LISA), and the Extrasolar Planet Observation and Characterization and the Deep Impact extended Investigation (EPOXI) will host exhibits coordinated by UMD.
NASA Goddard Missions for 2010
Missions launched or set to launch in 2010 were also highlighted at Maryland Day 2010.
Glory – Set to launch in 2010, the Glory exhibit revealed the mission’s role in increasing understanding of the Earth’s energy balance.
Solar Dynamics Observatory (SDO) – Interactive activities designed for kids to inspire understanding of the Sun’s influence.
James Webb Space Telescope (JWST) – Key project personnel interacted with the public, discussed the engineering challenges of building JWST .
General Goddard – Activities revealed facets of Goddard, information on NASA opportunities.
Credit: NASA/GSFC/Pat Izzo
NASA Goddard Space Flight Center is home to the nation's largest organization of combined scientists, engineers and technologists that build spacecraft, instruments and new technology to study the Earth, the sun, our solar system, and the universe.
Vintage collector's card. Collection Félix Potin, series 1 (c. 1900). Photo by Paul Nadar.
Jean Louis Ernest Meissonier (* 21 February 1815 in Lyon; † 31 January 1891 in Paris) was one of the most famous French painters in the 1850s and 1860s.
Meissonier came to Paris as a young man and became a pupil of Léon Cogniet. At the same time, Meissonier began copying Dutch masters such as Peter Paul Rubens or Anthonis van Dyck in the Louvre. For financial reasons, Meissonier was forced to carry out commissioned work for various book printers at the beginning of his career. Thus he created illustrations for several editions of the Bible and for various works by Jacques Bénine Bossuet, one after the other. "The Raging Roland" (Ludovico Ariosto) was illustrated by Meissonier, as were "Paul and Virginie" and "The Indian Hut" by Jacques-Henri Bernardin de Saint-Pierre. In 1836, at the age of 21, Meissonier made his debut at an exhibition at the Paris Salon with his genre painting "The Little Messenger and the Chess Player". With this he had already found his style and several works followed in the next few years, such as "Monk, Comforting a Sick Man" in 1838 or "The Reader" in 1840. These subjects were enthusiastically received by the public and even the official art critics almost always found only words of praise. His painting "The Game of Chess" was awarded a medal at the Paris Salon exhibition of 1841.
Meissonnier liked to depict people from the time of Louis XIV and Louis XV. His following pictures, which were very numerous but always executed with the utmost conscientiousness, mostly move in the same direction: a sharp but cool characterization that does not penetrate too deeply into the soul and an elegant fabric painting. Occasionally he also reached into the field of modern history, into the campaigns of Napoleon I and Napoleon III, but he only achieved greater effects when he limited himself to a few figures on a small scale. Meissonier's expressiveness was not sufficient for compositions with more figures (for example the cuirassiers of 1805) or for portraits of a larger format.
In 1867 Meissonier was invited to take part in the World Exhibition in Paris. He was represented with five paintings, "Lecture at Diderot's", "The Captain", "Cavaliers in front of an Inn", "General Desaix at the Army of the Rhine" and "The Ordinance", some of which he had created especially for the occasion. From the 1870s, Meissonier was represented by the Galerie Georges Petit. They showed his works in several exhibitions and were also able to sell them to wealthy Americans such as William Thompson Walters (1820-1894) of Baltimore (Walters Art Museum) and William Vanderbilt of New York. His work "The Guard" was commended at the Paris Salon exhibition in 1874. Meissonier did not have very many pupils; his son Jean Charles Meissonier (* 1848), Jean Baptiste Édouard Detaille and also the German painter Fritz Werner should be mentioned. Meissonier died in Paris on 31 January 1891 at the age of 75.
Source: German Wikipedia.
July 12, 2006 - On July 12, 2006 a successful launch was achieved of a THAAD interceptor missile. The primary test objective was to demonstrate interceptor seeker characterization of a ballistic missile target in the high-endoatmosphere (just inside the earth's atmosphere). A unitary (non-separating) Hera target missile was launched for the test and although it was not a primary objective, a successful intercept of the target occurred. Learn more at www.mda.mil/system/thaad.html.
Flint with weathering spherulites from the Pennsylvanian of Ohio, USA.
Flint is the "official" state gemstone of Ohio (actually, there's no such thing as "official" anything). "Flint" is sometimes used as a lithologic term by modern geologists, but it is a synonym for chert. Flint and chert are the same - they are cryptocrystalline, quartzose sedimentary rocks. Rockhounds often assert that flint is high-quality while chert is low-quality. Some geologists assert that "flint" implies a biogenic origin and "chert" implies a chemical origin.
Many cherts do have a chemical origin - chert nodules are moderately common in some limestone units. The nodules form during diagenesis - pre-existing silica components in the carbonate sediments are dissolved, mobilized, and reprecipitated as chert masses. Some cherts do have a biogenic origin - for example, radiolarian cherts (rich in radiolarian microfossils) or spicular cherts (rich in siliceous sponge spicules).
The most famous flint deposit in Ohio is Flint Ridge, in Licking County. At this locality, the Middle Pennsylvanian-aged Vanport Flint is exposed in several places. The geologic literature on the Vanport Flint is relatively sparse, with inaccurate, incomplete descriptions and characterizations. For example, the literature describes the Vanport as a sheet of flint at Flint Ridge - it's actually a meganodule horizon. Other descriptions refer to the chert as the remains of siliceous sponges. In reality, siliceous sponge spicules are quite scarce in Vanport samples.
Two graduate student projects during the 2000s, conducted at two different universities, had very different conclusions & interpretations about the origin of the Vanport Flint. A 2003 study concluded that chert at Flint Ridge is biogenic in origin. A 2006 study concluded that the chert is chemical in origin. Some Pennsylvanian-aged cherts in eastern America are inferred to be ultimately derived from quartzose eolian dust on seafloors.
Modern flint knappers value the Vanport Flint for being multicolored and high-quality (= very few impurities). With artificial heating, the flint is more easily knapped into arrowheads, spear points, and other objects. Prehistoric American Indians quarried the Vanport Flint at many specific sites on Flint Ridge. Old Indian flint pits can be examined along hiking trails in Flint Ridge State Park ("State Memorial"). Many authentic Indian artifacts found in Ohio (arrowheads & spearpoints - "projectile points") are composed of Vanport Flint.
Stratigraphy: Vanport Flint, Allegheny Group, upper Middle Pennsylvanian
Locality: Nethers Flint Quarries - flint pit in the woods on the southwestern side of Flint Ridge Road, eastern Flint Ridge, far-western Muskingum County, east-central Ohio, USA (vicinity of 40° 00.137’ North latitude, 82° 11.544’ West longitude)
This abridgement of Universal's 12-episode serial Buck Rogers stars Buster Crabbe as Dick Calkins' famed comic-strip space adventurer. Buck and Buddy (Jackie Moran) and are recruited to battle against modernistic gangster Killer Kane (Anthony Warde), by Wilma Deering (Constance Moore) and Dr. Huer (C. Montague Shaw). The duo travels to Saturn to get help in their mission, and after Buck and Buddy quell the internal struggles of the Saturnians, Buck triumphs over Killer Kane and his cosmic thugs.
Planet Outlaws Feature link: youtu.be/UD3xKy42KUY
Link to all 12 Serial Episodes:
www.youtube.com/watch?v=iTtc-u3zFGk&feature=share&...
Starring Buster Crabbe, Constance Moore, Jackie Moran, Jack Mulhall, Anthony Warde, C. Montague Shaw, Guy Usher, William Gould, Philson Ahn. Directed by Ford Beebe, Saul A. Goodkind.
Buck Rogers and Buddy Wade are in the middle of a trans-polar dirigible flight when they are caught in a blizzard and crash. Buddy then releases a special gas to keep them in suspended animation until a rescue party can arrive. However, an avalanche covers the craft and the two are in suspended animation for 500 years. When they are found, they awake to find out that the world has been taken over by the outlaw army of Killer Kane. Along with Lieutenant Wilma Deering, Buck and Buddy join in the fight to overthrow Kane and with the help of Prince Tallen of Saturn and his forces, they eventually do and Earth is free of Kane's grip.
This is actually a pretty enjoyable serial, but it seems doomed to be forever overshadowed by the much superior Flash Gordon trilogy. Universal brought BUCK ROGERS out in 1939, in between their own chapterplays FLASH GORDON'S TRIP TO MARS and FLASH GORDON CONQUERS THE UNIVERSE; it also starred Buster Crabbe (but with his natural dark hair instead of Flash's golden curls) and although it is filled with space ships and weird gadgets, BUCK ROGERS lacks most of the elements that gave the Flash serials their intense emotional draw.
For one thing, there is none of the strong sexual charge that the Flash series had. Instead of nubile Dale Arden and sultry Princess Aura both competing for the hero's attention while the villain openly lusted for the heroine, Buck's epic featured Constance Moore as Col. Wilma Deering. Now, Moore is perfectly fine in her role, but she is after all a soldier in the resistance army and not a fair damsel in distress. She has a nice moment when she wrests a ray gun away from a guard and blasts her way out of her cell, but she and Buck seem to be merely chums on the same side.
Also, although BUCK ROGERS has plenty of futuristic gadgets (rayguns and buzzing spaceships which shoot sparks from their backs, teleportation tubes and invisibility rays), there are no grotesque monsters or nonhuman alien races on view. Prisoners have remarkably goofy metal helmets strapped on which turn them into docile zombies, and there are these homely goons called Zuggs moping around, but that's hardly as fascinating as Lion Men and Clay People and horned apes (that Orangapoid critter).
What's ironic about all this is that the comic strip BUCK ROGERS by Philip Nolan and Richard Calkins started in 1929, was immensely popular for many years and it success inspired the creation of Flash. Yet the Flash strip benefitted from the genius of Alex Raymond, one of the all-time great cartoon artists, and it produced stunning visual images (from the samples of Buck's strip I've seen, it was imaginative enough but pretty crude and drab). This contrast carried over to the serials.
Buck Rogers and his sidekick Buddy Wade (Jackie Moran) are pilots who crash in the Arctic in1938 and survive for 500 years because the 'Nirvano' gas they were carrying put them in a state of suspended animation. They both seem to adapt to waking up in the year 2424 pretty well, where I would think most people would be so traumatized it would take a while to adjust. In this dystopic future, the Earth is ruled by a mega-gangster called Killer Kane (another setback; Anthony Warde would be okay as a crimelord but he just doesn't have the imposing presence to convince me this guy can dominate an entire planet).
Luckily, Buck and Buddy have been found by the small resistance movement hopelessly trying to overthrow Kane from their hidden city. Here is Dr Huer (C. Montague Shaw, who I just saw in the UNDERSEA KINGDOM doing the same gig with his wild inventions) and Wilma Deering leading the good fight. For some reason I missed, everyone immediately puts all their trust in Buck and he pretty much takes over. (Maybe he's just one of those charismatic alpha males or something.) Most of the serial involves desperate trips back and forth to Saturn to enlist the aid of the isolationist Saturnians, and this means running the blockade of Kane's ships. The usual fistfights and explosions and captures and escapes normal for this sort of situation ensue. It's a lot of fun if you take it on its own terms, with a strong linear plot and likeable heroes, but it really never kicks into high gear and seems a bit drab.
It's interesting that some (but not all) of the Saturnians are played by Asian actors. Prince Tallen, who gets caught up in most of the fun, was portrayed by a very young Philson Ahn, and I thought for years this was the same guy who in 1972 impressed us as the head of the Shaolin Temple in TV's KUNG FU (he taught all the styles, really amazing if you think about it). Turns out that was Phiip Ahn, Philson's brother.
Dir: Ford Beebe and Saul A. Goodkind - 12 Chapters
BUCK ROGERS (1939): Director Ford Beebe, who also worked on Flash Gordon (1938), came straight from The Phantom Creeps (1939) and then went back to finish Flash Gordon Conquers The Universe (1940). Buck Rogers stars Buster Crabbe or, as his family knew him, Lawrence. Now, Lawrence ‘Larry’ ‘Buster’ Crabbe had previously starred in two Flash Gordon serials, a couple of Tarzan movies and a long string of westerns, so it was only natural for Universal to decide he was perfect as the heroic Buck Rogers, aka that blonde guy who saves the universe but isn’t Flash Gordon. Actually, Buster Crabbe wasn’t the first actor to play Buck Rogers in-the-flesh, so to speak.
That honour goes to an unknown man who played Buck in a Virginia department store, instead of their regular Santa Claus. Santa was off conquering Martians at the time, I think it was an exchange program of sorts. It strikes me that Buck Rogers is not unlike a male fantasy come to life. Just think of it – Buck gets to take a nice five-hundred-year-long sleep-in. With my busy schedule, I’m ecstatic if I can get twenty minutes nap on the weekend. Then, when he wakes up, Buck is the smartest, most dynamic guy around. In reality he’d be treated like something that’s escaped from the zoo. And finally, everyone needs Buck to go on exciting missions, fight the bad guys, test exotic equipment and crash rocket ships – out of the half-dozen flights Buck makes, he only lands successfully once. It’s easy to see the bullet cars used in the movie are the same ones from Flash Gordon’s Trip To Mars (1938), and even the script is rather suspect.
Planet Outlaws
This film is actually a compilation of the Buck Rogers serials that ran originally in 1939. The cliffhanger endings and recap beginnings have been edited out to make it flow better -- with partial success. Some new footage was shot for the introduction and summary. At the opening, there are some newspaper headlines about jets chasing flying discs, and the obligatory checkered V2 launch, etc. to add a modern segue. After that, it's pure 1939.
Sci-fi movie technology had come a long way in the 14 years since Buck's debut. Audiences had grown accustomed to sleek and pointy rockets, flying saucers, strange aliens, etc. The Buck Rogers style world-of-the-future must have looked oddly quaint. (if not laughable) Just why Universal Pictures thought re-releasing Buck Rogers was a good idea is a bit of a mystery. Kids who were 8 or so back in 1939 would be young adults in '53. Perhaps Universal was banking on those young adults would buy tickets for a trip down memory lane.
Plot Synopsis
After a bit of modern ('53) footage about the wonders of modern progress and "flying disks," the old serial begins. Rogers and Buddy crashed in the arctic while on a transpolar flight. They were in suspended animation due to the cold and a vague gas. A patrol finds them in the year 2500 and revives them. In the world of 2500, a despot named Killer Kane is trying to take over the world. The forces of good are holed up in the "hidden city." Buck arranges a decoy maneuver to elude Kane's patrol ships. They fly to the planet Saturn in hopes of finding help. On Saturn, the Council sees Rogers and party as the rebels, and Kane as the rule of law. Rogers et al, escape Saturn, return to earth and seek to disrupt Kane's bamboozling of Prince Tallen, the Saturnian representative. Rogers sneaks into Kane's city, interrupts the treaty signing and convinces Tallen of Kane's evil by revealing Kane's "robot battalion" (slaves wearing mind-control helmets). Rogers and Tallen get to Saturn and the treaty is signed. Rogers escapes Kane's patrols via the Dissolvo Ray which rendered them invisible. Rogers and the war council plan for war. Rogers enlists the Saturnians to help. Meanwhile, Rogers sneaks into Kane's city and de-zombies Minister Krenco to lead an uprising of freed robot-slave-prisoners. Rogers storms Kane's palace and puts one of the robo-slave helmets on Kane. The End
The industrial vision of the future is delightful to watch. The heavily mechanical look of everything is so radically different from the sleek rockets and glowing acrylic audiences were growing accustomed to. The space ships look like they were built at locomotive factories or steamship yards. They spew roman-candle sparks and smoke and buzz as they fly. There are no computers, no radar or electronics. It's a fascinating snapshot of what pre-electronic-age people thought the future would be like.
When originally released in 1939, the Killer Kane character was a thinly disguised allusion to Hitler. In 1953, Kane was intended to represent a communist despot. It wasn't as tidy a fit. The narrator sums it up voicing a hope that scientists will develop the means for men to stand up to today's dictators and make the world safe for democracy. In the early 50s, there's little question of who they meant.
Simple Colors -- One endearing trait of Buck Rogers is the simplicity of the characterizations. The good guys do nothing but good. The bad guys are pure bad. The good guys are crack pilots and sharp shooters and tough as nails. The bad guys do nothing but bad, have trouble hitting a flying barn and are easily knocked out with one punch.
Industrial Baroque -- Somewhat like the baroque era's compulsion to decorate every square inch with swirls and filigree, Industrial Baroque sought to fill every space with heavy-duty hardware. The sets, and especially the rocket interiors are like flying boiler rooms. Valves, pipes, levers, dials, wheels, large flashing light bulbs. To look more "high tech" in the 30s meant cramming in more industrial hardware. Buck Rogers' ships show more affinity for Captain Nemo "steampunk" than the proto-space-age of the 50s.
Family Resemblance -- There is a noticeable similarity in the sets and costumes of Flash Gordon, Buck Rogers. Even serials of the early 50s, like Captain Video and the various Rocketman serials, look more like Flash and Buck than George Pal. The industrial baroque look and costuming are distinctive, making them almost a sub-genre of their own. In that regard, Buck has a timelessness.
Another take on the story and additional background info.
A round-the-world dirigible flight commanded by US Air Force officer Buck Rogers (Buster Crabbe) encounters dangerously stormy weather above the Himalayas; said weather, along with disastrous panic on the part of Rogers’ crewmen, causes the aircraft to crash. The cowardly crewmen ditch the ship and meet quick ends, but Rogers and young Buddy Wade (Jackie Moran), son of the aircraft’s designer, survive the crash. The pair use a cylinder of “Nirvano” gas to place themselves into suspended animation until a rescue party can reach them, but an avalanche buries the ship and all searches prove fruitless; the dirigible and its two dormant inhabitants remain beneath rocks and snow for five hundred years.
Finally, in the year 2440, a spaceship unearths the wreck, and its pilots restore Buck and Buddy to consciousness. The holdovers from the 20th century soon learn that their rescuers are soldiers from the “Hidden City,” a pocket of resistance to the super-criminal who is ruling the 24th-century Earth–one “Killer” Kane (Anthony Warde). Rogers immediately pledges his support to Air Marshal Kragg (William Gould) and Scientist-General Dr. Huer (C. Montague Shaw), the leaders of the Hidden City exiles, and is soon en route to Saturn, hoping to convince that planet’s rulers to aid the Hidden City in freeing the Earth from Kane’s tyranny. To cement the Saturian alliance, Buck must battle Kane’s legions at every step of the way, with able assistance from Buddy and from Dr. Huer’s trusted aide Lieutenant Wilma Deering (Constance Moore).
Ever since its original release, Buck Rogers has stood in the shadow of Universal’s Flash Gordon serials; the studio encouraged such association by casting Flash Gordon star Buster Crabbe as a different sci-fi hero, obviously hoping that the chapterplay would capitalize on the goodwill generated by Flash Gordon and Flash Gordon’s Trip to Mars. The serial did succeed in reminding audiences of the Flash outings–but it reminded them of how much they had liked those serials and forced inevitable comparisons that were not in Rogers’ favor. Universal’s plans for a second Buck Rogers serial were quickly scrapped when the first outing failed to please matinee audiences; the intended Buck sequel was then replaced on the studio’s production schedule by–what else?–a third Flash Gordon chapterplay. Even today, Buck is typically dismissed by fans as a pale echo of the great Gordon serials.
It’s easy to see why Buck Rogers came as a disappointment to audiences expecting an outing in the Flash Gordon tradition. Its production design, while futuristic, is less quirky and more uniform than that of the Gordons; there are no monsters and no weird semi-human races besides the rather uninteresting Zuggs; there are also no supporting characters as developed or as interesting as Dr. Zarkov, Ming, King Vultan, the Clay King, Princess Aura, Prince Barin, and other major figures in the Flash Gordon chapterplays. And yet, taken on its own terms, Buck Rogers is far from a failure; it does not approach the Flash Gordon trilogy in quality, but then few serials do.
Buck Rogers’ script, by former Mascot writers Norman Hall and Ray Trampe, is fast-moving and manages to avoid repetition for most of its length. The trip to Saturn, the attempts to convince Saturnian leader Prince Tallen (Philson Ahn) of the justice of the Hidden City’s cause, the subsequent rescue of Tallen from Kane’s city, the second journey to Saturn to cement the alliance, and the attempts of Kane’s henchman Laska (Henry Brandon) to sabotage it–all these incidents keep the narrative flowing very nicely for the serial’s first eight chapters. As in many of Trampe and Hall’s Mascot scripts, however, the writers seem to run out of plot before the serial’s end. While Chapters Nine and Ten remain interesting (with Buck being converted into a hypnotized robot, Buddy’s rescue of the hero, and an infiltration of the Hidden City by one of Kane’s men), the last two chapters have a definite wheel-spinning feel to them, throwing in a redundant third trip to Saturn and an unneeded flashback sequence.
The last-chapter climax is also something of a disappointment, with Kane being overthrown quickly and undramatically instead of being definitively crushed. Here, Trampe and Hall seem to have been leaving room for the sequel that never came and trying to avoid duplicating the dramatic but very final destruction of MIng which closed the first Flash Gordon serial (and which needed to be explained away in the second). The other weak spot of the scripting is Buck and Buddy’s rather calm reaction when they realize that their old world (and everyone in it) is dead–and their extraordinarily quick adjustment to their new one. One wouldn’t have wanted the writers to dwell on our heroes’ plight (which would be absolutely crushing in real life), but I do wish Trampe or Hall could have given Buck and Buddy a few emotional lines about their displacement before getting on to the main action; Hall in his scripts for other serials (Hawk of the Wilderness, Adventures of Red Ryder), showed himself capable of far more dramatic moments.
As already mentioned, the serial’s visuals are less varied than those of the Flash Gordon serials, but that’s not to say they aren’t impressive by serial standards. Pains seem to have been taken to avoid duplicating too much of Gordon’s “look;” the spaceship miniatures are completely different than the ships in the Gordon trilogy, while Kane’s stronghold–probably the best miniature in the serial–is not the quasi-Gothic palace of Ming but rather an ominous, futuristic-looking version of New York City, complete with towering skyscrapers. The Hidden City’s great rock gates are also nifty, and the massive Saturnian Forum (a life-size set, not a miniature) is very visually impressive. The barren Red Rock Canyon area works well as the Saturnian landscape, but I think it was a mistake to also use the Canyon as the area between the Hidden City and Kane’s capital; Saturn and Earth shouldn’t look so similar.
The only major prop or set reused from the Gordon serials are the “bullet cars” from Flash Gordon’s Trip to Mars; they’re just as fun to watch in action here as in the earlier serial. Other incidental props and sets–Kane’s robot room, his mind-control helmets, the various televiewing devices, the anti-gravity belts, Dr. Huer’s invisibility ray, and the Star-Trek-like molecular transportation chamber–add further colorful touches to the serial., and are respectably represented by Universal’s always above-average array of sets and props. The Zuggs, the “primitive race” ruled by the Saturnians, are somewhat disappointing, however; while suitably grotesque-looking, they’re nowhere near as menacing or memorable–in appearance or demeanor–as their obvious inspiration, the Clay People in Flash Gordon’s Trip to Mars.
The serial’s action scenes are brisk and energetic, suffering not at all from a general lack of fistfights–thanks to the swift-moving direction of Ford Beebe (a Mascot veteran like writers Trampe and Hall) and his co-director Saul Goodkind (usually an editor). The few hand-to-hand tussles–most of them on the rocky hills of Saturn–are executed routinely but skillfully by Dave Sharpe, Tom Steele, Eddie Parker, and other stuntmen; the best of the bunch is the fight between Buck and a Kane man in the control room of the Hidden City, although this is more exciting for the suspenseful situation (Buck trying to close the gates that the henchman has opened to Kane’s oncoming armada) than for any particular flair in the staging.
Most of the action sequences consist of protracted chases and pursuits (both on foot and in rocketships), with occasional quick combats thrown in. Many of these lengthy chases are very exciting–particularly the long incursion into Kane’s city that occupies most of Chapters Three and Four, a great combination of action and suspense. Buddy’s later stealthy visit into Kane’s fortress to rescue Buck from the robot room, and the following escape, is also good, as are Buck’s skillful and repeated elusions of the rebellious Zuggs in Chapter Eight and the bullet car getaway in Chapter Six.
The cliffhanger endings are generally well-staged, with proper build-ups, but too many of them involve spaceship crashes that our heroes rather implausibly live through. The impressive collapsing forum at the end of Chapter Eleven and the bullet car crash at the end of Chapter Six provide nice variety amid the spaceship wrecks, but (alas) are also resolved by mere survival. Still, this is preferable to the blatantly cheating resolution of what is otherwise one the best chapter endings–Killer Kane’s pursuit of Buddy in a darkened council chamber and his apparently lethal zapping of the young hero. At least the resolution features a good stunt bit by Dave Sharpe.
The leading performances in Buck Rogers are all excellent (although most other critics would make a single exception; see below). Buster Crabbe, as always, makes a perfect serial hero–both genially cheerful and grimly serious, unassumingly polite and aggressively tough. As in the Flash Gordon trilogy, his down-to-earth attitude also helps to make the wild sci-fi happenings seem perfectly normal.
Jackie Moran (oddly “reduced” to serial acting only a year after playing Huck Finn in David O. Selznick’s big-budget classic Adventures of Tom Sawyer) does a fine job as Buddy Wade, handling his character’s frequent “golly, gee-whiz” lines in a low-key fashion that keeps Buddy from coming off as too naïve; his chipper but calm demeanor complements Crabbe’s well, and he has no problems carrying an entire chapter and part of another on his own.
Constance Moore, despite being saddled with perhaps the most unflattering costume ever worn by a serial leading lady (basically coveralls and a bathing cap), manages to come off as charming. Her Wilma Deering is self-possessed and capable-seeming but never too coldly efficient; she remains warmly likable even when piloting spaceships or explaining technology to Crabbe.
Henry Brandon is very good as Killer Kane’s chief henchman Captain Laska–suave and sly when acting as Kane’s ambassador to Saturn, haughtily arrogant when threatening people, and nervously jittery in the presence of his overbearing leader. Hard-bitten tough guys Wheeler Oakman and Reed Howes, along with the slicker Carleton Young , form Brandon’s backup squad.
As Killer Kane himself, perennial henchman actor Anthony Warde has been almost universally panned by critics as “miscast.” I have to dissent strongly, however; Warde does a fine job in the part and plays Kane with a memorable combination of viciousness and uncontrollable anger. The character is not a diabolical schemer like Ming, but rather a super-gangster who’s blasted and bullied his way to the top–and Warde’s bad-tempered, aggressive, and thuggish screen personality fits the part perfectly. He veers between intimidating ranting and harshly sinister sarcasm–as when he describes himself as a “kindly ruler” just after wrathfully sending a formerly trusted councilor to the robot room–but is quite menacing in both aspects.
Philson Ahn, brother of frequent serial and feature actor Phillip Ahn, does a good job as Prince Tallen of Saturn; he possesses his sibling’s deep and distinctive voice, which serves him well as a planetary dignitary. His manner also has a slightly tougher edge to it than his refined brother’s, which helps to keep the viewer in uncertainty in the earlier chapters as to whether Tallen will turn out to be friend or foe. Guy Usher plays Aldar, the head of Saturn’s ”Council of the Wise,” and does his best to seem suitably imposing and dignified, despite the almost comical way in which the “Wise” continually change their opinions–backing Kane, opposing him, giving into his demands, defying him, etc. Cyril Delevanti is enjoyable as a grumpy subordinate member of the Council.*
C. Montague Shaw has limited screen time, but is very good as Dr. Huer, balancing statesmanlike dignity with shrewdness and a touch of enjoyable scientific eccentricity (the last is particularly noticeable during his demonstration of his invisibility gas in Chapter Five). Energetic Jack Mulhall is typically affable and enthusiastic as Captain Rankin of the Hidden City, while Kenne Duncan has a rare good guy role as Mulhall’s fellow-officer Lieutenant Lacy. Perennial screen “underworld rat” John Harmon also plays against type as a Hidden City soldier, as does Stanley Price as a Hidden City pilot rescued from existence as a human robot. The dignified but stolid William Gould is good enough as Air Marshal Kragg, but I would have preferred a more dynamic actor in the role–Kragg is, after all, the top military leader of Kane’s enemies. Mulhall could have handled it well, as could Wade Boteler–who does an excellent job as the grim and concerned Professor Morgan in the first chapter, intensely instructing Buddy and Buck in the use of the Nirvano gas.
Lane Chandler also appears in the first chapter, as a military officer who demonstrates the Nirvano gas to a reporter played by another old pro, Kenneth Harlan. An unusually subdued Theodore Lorch is one of Kane’s councilors, while Karl Hackett has a good part as another councilor who gets into an argument with Kane that leads to Hackett’s being converted into a human robot (his terrified pleas as he’s dragged out of the council chamber are quite chilling). Al Bridge has some memorably sinister lines (“when this helmet is in place, you’ll never think or speak again”) in his periodic scenes as the slave-master of Kane’s human robots.
Unusually for Universal, several bit roles are filled by stuntmen; Eddie Parker and Tom Steele pop in as various soldiers and officers, but aren’t as noticeable as Dave Sharpe, who’s given multiple speaking roles as a Kane soldier, a Hidden City soldier, a Saturnian officer, and a Saturnian soldier. His ubiquity can get a little distracting at times, particularly since some of his appearances follow right on the previous one’s heels; he also seems to have a bit of trouble with the formal-sounding Saturnian dialogue, coming off as much more stiff and affected than in his co-starring turn in Daredevils of the Red Circle.
The serial’s music score, like most other Universals of the period, is an eclectic but usually effective array of stock music, some of it cues from the Flash Gordon serials but the majority of it culled from Universal’s horror features, including (most notably) Franz Waxman’s score for Bride of Frankenstein, which furnishes some memorable opening-titles music.
All in all, though Buck Rogers has its share of flaws, it also has more than enough virtues (the acting, the fast pace, the interesting sci-fi trappings) to make it a good chapterplay. Despite its similar themes, it shouldn’t be pitted against the Flash Gordon trilogy–a match it’s bound to lose–but rather judged against the field of competition in general. When judged in this fashion, it’s just as entertaining–and often more entertaining–than many serials with less shabby reputations.
*One has to wonder, though, why some Saturnians are Orientals like Ahn and others Occidentals like Usher and Delevanti; my own theory is that men from various countries emigrated from Earth to Saturn sometime before the bulk of the serial took place; this would explain the racial assortment and also explain why the Hidden City chooses Saturn in particular as an ally (as usual, I’m probably putting too much thought into this).
At the High Explosives Application Facility (HEAF) at Lawrence Livermore National Laboratory, teams of scientists, engineers, and technicians address nearly all aspects of high explosives: research, development, and testing; material characterization; and performance and safety tests. HEAF activities support the Laboratory’s Energetic Materials Center, a national resource for research and development of explosives, pyrotechnics, and propellants. Photo by Jacqueline McBride/LLNL
In 2009 I worked on a portfolio of photographs for my friend Raj. He needed an actor portfolio and this is a photo from that set.
Una tribu habita en los bosques desde tiempos inmemorables, junto con dragones... sus tierras son arrasadas por la "civilización"... si quieres saber más, síguenos. (Información, abajo).
¡Muchas gracias por las vistas!!!
FOTOGRAFÍA Y EDICIÓN: ASHARY
Ashary - fotografocreativo81@gmail.com | www.labrigadagrafica.com
¡Visítanos en la exposición! ¡Hasta el 31 de diciembre! ENTRADA LIBRE
C./ Serranos, 24, (junto a las torres) Valencia - España
Dirección y producción:
Peck - peckfotografia@gmail.com | www.peckfotografia.com/
Ashary - fotografocreativo81@gmail.com | htto://www.labrigadagrafica.com
Guión: Pablo Nuñez Ruiz
Modelos:
Aventureros:
Voro Olmos - brad352@hotmail.com
Elena Lee - elenaleefotografia@gmail.com
Jose Lorente Capitán - tysonblancos@gmail.com
Diego Martinez Sanchez - diego.martinez.san@gmail.com
Evelhyne de Lioncourt
Garantes:
Kimo - kimo.grafico@gmail.com
Recóndita - reconditailustracion@gmail.com
Rey Mono Gráfico - reymonografico@gmail.com
Puto Adler
Manu "Thunder" Silvestre - msilvestreg@gmail.com
Coreógrafos de combate:
Demon Mambo - davidgallen@gmail.com
Manu "Thunder" Silvestre
Atrezzo:
Manu "Thunder" Silvestre
Demon Mambo
Lidia Aparicio Sales
Peck
Recóndita
Caracterización :
Ana López
Gema Pérez
Saray Ruiz - Ocaña
Diseño personajes:
Garantes / Rey Mono Gráfico, Ashary
Aventureros / Peck
Vídeo y realización:
Jose Luis Aparicio - hansokaz@gmail.com
Sponsor:
La brigada Gráfica - www.labrigradagrafica.com/
Suspended Animation Classic #840 First published January 30, 2005 (#5) (Dates are approximate)
Batman: Gotham Adventures
By Mark Allen
At 37 years of age, I still like "kid stuff." I stroll through the toys at department stores (sometimes, even before I hit the electronics dept.).
I spy some of the new cartoons that make it to television. And, some of those new DVD sets (classic Looney Tunes, Flintstones, and Johnny Quest, just to name a few) are must-have's. Is it any wonder that I enjoy, and, perhaps, prefer, all-ages-friendly comics?
Probably not. Case-in-point: Batman: Gotham Adventures, which follows in the tradition of the multiple Batman Adventures comics series, and the animated television program, which birthed it all.
Don't let the "Kids WB" logo fool you; what we have here is Batman at his finest. At least, as fine as anyone has captured the "total" character. Dark and brooding, and quite single minded when it comes to his "war on crime," yet, also the reluctant, yet devoted, ward of at least one young partner (Robin), perhaps two (Batgirl). This particular tome solidifies the "updated" version of the Batman Family to the Batman Adventures universe, with a grown up Dick
Grayson, formerly "Robin," and now "Nightwing," and a new, younger "Robin," Tim Drake.
It also reminds us what great villains the hero has in The Joker, The Riddler, Two-Face, and Mr. Freeze, while casting Catwoman in more of an anti-heroine light. Two-Face, AKA Harvey Dent, even gets a little added depth though additional background information concerning his father. This wonderful characterization is thanks to writer Ty Templeton.
Another large part of what makes this series fun is the energetic and dramatic-yet-"cartoony" art of Rick Burchett. There's a lot to be said for a style that can attract children and adults alike, as Rick's does. If only there was more of it out there!
Batman: Gotham Adventures is recommended for all ages. So, let your child, as well as your inner child, read it.
Batman: Gotham Adventures, published by D.C. Comics, 156 pages, $9.95. Find it at comics shops, comics conventions, and online auctions.
LUNACON IS COMING BACK TO LIFE IN MARCH OF 2016 !
youtu.be/xos2MnVxe-c?list=PL859C112B5578DF45
It’s Alive !!!
Universal Studios made themselves famous for "horror" films in the 1930s. Following the success of their Dracula, starring Bela Lugosi, Universal put out a variation on Mary Shelley's story that would become hugely influential for decades. Universal's Frankenstein. Much has already been written about this film, so this review will not attempt to cover everything. James Whale's Frankenstein was a hybrid -- partly a horror movie, but also partly a sci-fi movie. The goal of FrankenFEST is to explore the science fiction aspects of the many Frankenstein films. Some have more "science". Some are more "horror". Some are just silly.
Synopsis
Henry Frankenstein and his hunchback assistant Fritz dig up a recently buried body and take down a hanged man. Henry still needs an undamaged brain, so Fritz sneaks into a medical college to steal one. He drops the first brain-in-a-jar, so takes the second, labeled "abnormal brain." Henry has his creature assembled on a table and awaits the storm's peak for the jolt to infuse life. Just then, his fiancee, Elizabeth, friend Victor and former teacher, Professor Waldman, come knocking at the door of Henry's spooky tower. Reluctantly, he lets them in. Baited by Victor's accusation that Henry is crazy, Henry shows them his experiment. The storm peaks and the creature moves. "It's Alive!" Waldman stays to help. Victor and Elizabeth express worry to Henry's dad, Baron Frankenstein. Meanwhile, Henry shows off his creature to Waldman. It needs time to mature. However, Fritz taunts it with fire, sending the creature into a rage. It murders Fritz. It beats up Henry before Waldman injects it with anesthetic. Victor, Elizabeth and the Baron arrive and take the sick and battered Henry back to the village. Waldman stays to get rid of the monster. Before he can, the anesthetic wears off. The monster kills Waldman and escapes. In the village, all is festive, music and dancing for the wedding. Elizabeth is troubled with premonitions of doom. The monster comes across a little girl who wants a playmate. She tosses flowers in the lake to watch them float. When she's out of flowers, the monster tosses her in to float. She doesn't. The monster is upset and flees. He goes into the village and sneaks into Elizabeth's bedroom. Before he can do anything, her screams bring everyone running. He escapes unseen. Maria's father brings her dead body into town. The Burgomeister organizes three search parties to find the killer. Henry leads the mountain group. The monster finds Henry alone, knocks him out and carries him away. The mob see this and purse them to a windmill. The monster throws Henry from the upper railing, but he catches on a windmill blade, so doesn't die. The mob burn down the windmill. Henry recovers with Elizabeth's doting. The baron makes a toast to a future "son of Frankenstein." The End
The "science" in Whale's Frankenstein is mostly medical or biological. Waldman describes Henry's work as being in "chemical galvanism" and "electro-biology." Henry himself describes the key being "rays" beyond violet in the spectrum. This "Life Ray" is apparently available in electricity. Much of Henry's lab is filled with large things that spark or arc. Electricity is, in this pre-atomic world, the magical stuff that can do wonders. Compare Henry's lab and creation with Rotwang's in Metropolis ('27). The motif of the mad scientist's lab being stocked with sparky things dates back to this era.
Compared to the Novel
The main characters are retained, although the names of Henry and Victor are swapped, for some reason. Universal's screenplay was more of an adaptation of a stage play written by Peggy Webling in 1927. Her successful play had to do something similar to Edison's screenplay, in paring the story down to some basic elements. Whale's film focused more on the hubris of unfettered "science" than on the philosophical elements of creator-creature obligations. The hubris of the "mad" scientist, as a plot trope, would endure many decades into future films.
Iconic Monster -- The famous monster was a combination of make-up specialist Jack Pierce (who created the flat-top head and bolts on the neck) and the characterization given by actor Boris Karloff. Their "monster" was too captivating to the public imagination, too iconic to ever really die -- as we shall see -- that he would reappear in many later films. Little children would dress up as the monster for halloween. Parodies and spin-offs would key off the Pierce-Karloff monster.
Much of the look of the film stems from the artistic style of German Expressionism. This style is a whole topic unto itself. The stark light and dark, the use of up-lighting, the asymmetry and odd angles all enhance the feeling of instability. Nothing is soft. Nothing is "quite right." Contrast Henry's tower with the village sets. They're all normal enough, and almost Disney quaint. The normal world vs. HIS world: dark, unstable and "off". The artistic style of German Expressionism would not remain popular beyond WWII, but its visuals in association with the mad scientist's lab would endure far beyond.
Far back into the 1800s, probably not long after Shelley penned her story, people would often confuse the monster and the man. The monster, in both the novel and the 1931 movie, had no name. He was, like the novel, called only, "my creation", "the monster" or "the fiend." It was Henry who carried the family name of Frankenstein. Yet, to the public imagination, such a strong character as the monster simply could not go nameless. He was often referred to as "Frankenstein" as if that were his name. That's not the case, but it has been a common enough mistake that it has stuck. The monster is more famous than the man.The more famous character gets the name. After all, children do not dress up as Henry (or Victor) Frankenstein.
Aside from the many Expressionist visuals, there is one scene which, though brief, is an interesting inclusion of a famous painting. When the monster accosts Elizabeth in her room, just as he sneaks out, and the others burst in, note Elizabeth's position on the bed. This very brief moment is also captured on the poster art.This seems an unmistakeable visual reference to Henry Fuseli's famous 1791 painting: "Nightmare" .Maybe this something that only art history majors might enjoy, but it was an interesting bit for Whale to include.
A curious note, is how much Frankenstein as a story had become intertwined with the classic vampire story: Dracula. For one, Universal released them both in 1931. Beyond proximity, Universal had originally cast Bela Lugosi as the monster, but he declined the part. Lugosi would, however, end up playing the monster in a few later iterations. As well, Webling's play, which served as source material, also followed a successful Dracula production by the same star. The two characters sprang from very different literary roots and told very different cautionary tales, yet, they would become paired in the popular imagination, as if they were somehow brothers.
Universal's 1931 Frankenstein is a movie classic that is not to be missed. It is a well-told and well-paced story, but more importunely, it is foundational to almost all the Frankenstein films to come.
British postcard in the Film Star Autograph Portrait Series by L.D. LTD., London, no. 53.
English actor Sir Alec Guinness (1914–2000) was one of the most versatile and subtle actors of his time, in the cinema and on television no less than on the stage. He was master of disguise in several of the classic Ealing Comedies, including Kind Hearts and Coronets (1949) in which he played eight different characters. He later won the Academy Award for Best Actor for his role as Colonel Nicholson in The Bridge on the River Kwai (1957), and he is probably even better known for playing Obi-Wan Kenobi in the original Star Wars trilogy (1977-1983).
Alec Guinness was born as Alec Guinness de Cuffe London in 1914. His mother's maiden name was Agnes Cuff. On Guinness's birth certificate, the space for the mother's name shows Agnes de Cuffe. The space for the infant's name (where first names only are given) says Alec Guinness. The column for name and surname of father is blank. It has been frequently speculated that the actor's father was a member of the Irish Guinness family. However, it was an elder Scottish banker, Andrew Geddes, who paid for Guinness's private school education. From 1875, under English law, when the birth of an illegitimate child was registered, the father's name could only be entered on the certificate if he were present and gave his consent. At five he became Alec Stiven, as a consequence of his mother's three-year marriage to Scottish army captain David Stiven, a violent, shell-shocked veteran of the Irish War of Independence. To persuade Alec's mother to submit to his demands, the captain was given to holding a loaded revolver to the boy's head, or hanging him upside down from a bridge. It was a relief when, at six, Alec was sent away to a prep school, the fees being at least partly paid by Andrew Geddes. At school he directed performances of The Pirates of Penzance and Silas Marner. Later while working as a junior copywriter in an advertising agency, he studied at the Fay Compton Studio of Dramatic Art. In 1934, he made his stage début and in 1936, at the age of 22, he played the role of Osric in John Gielgud's successful production of Hamlet. With the Old Vic he starred in plays by William Shakespeare, George Bernard Shaw, and Anton Chekhov, and worked with actors and actresses who would become his friends and frequent co-stars in the future, including John Gielgud, Peggy Ashcroft, Anthony Quayle, and Jack Hawkins. In 1938, he starred in a famous modern dress production of Hamlet which won him acclaim on both sides of the Atlantic. He also appeared as Romeo in a production of Romeo and Juliet (1939), Andrew Aguecheek in Twelfth Night and as Exeter in Henry V in 1937, both opposite Laurence Olivier, and Ferdinand in The Tempest, opposite Gielgud as Prospero. In 1939, he adapted Charles Dickens' novel Great Expectations for the stage, playing the part of Herbert Pocket. The play was a success. Guinness served in the Royal Navy Volunteer Reserve in World War II, serving first as a seaman in 1941 and being commissioned the following year. He commanded a landing craft taking part in the invasion of Sicily and Elba and later ferried supplies to the Yugoslav partisans. In 1946, he returned to the Old Vic and stayed until 1948, playing Abel Drugger in Ben Jonson's The Alchemist, the Fool in King Lear opposite Laurence Olivier in the title role, DeGuiche in Cyrano de Bergerac opposite Ralph Richardson in the title role, and finally starring in an Old Vic production as Shakespeare's Richard II. After leaving the Old Vic, he played Eric Birling in J. B. Priestley's An Inspector Calls at the New Theatre in October 1946. He played the Uninvited Guest in the Broadway production of T. S. Eliot's The Cocktail Party (1950, revived at the Edinburgh Festival in 1968). His third attempt at the title role of Hamlet, this time under his own direction at the New Theatre (1951), proved a major theatrical disaster.
At British Pictures, David Absalom writes: “Alec Guinness was one of the great acting knights of the century. His reputation is sometimes overshadowed by that of the great triumvirate of Olivier, Gielgud and Richardson and it is true that his theatre work is slightly less distinguished than that of the big three, but when it comes to film acting, he far outstrips them.” Beyond an extra part in Evensong (1934, Victor Saville) with Evelyn Laye, Guinness’ film career began after World War II with the small but memorable role of Herbert Pocket in Great Expectations (1946, David Lean) starring John Mills. Guinness and David Lean would continue to work on acclaimed films together. He appeared as a repulsive Fagin in Oliver Twist (1948, David Lean), what was widely criticized for being a Jewish stereotype. Lean later gave him a starring role as the insanely uncompromising Colonel Nicholson opposite William Holden in The Bridge on the River Kwai (1957, David Lean). For this performance Guinness won an Academy Award. Despite a difficult and often hostile relationship, Lean, referring to Guinness as ‘my good luck charm’, continued to cast Guinness in character roles in his later films: Arab leader Prince Feisal in Lawrence of Arabia (1962, David Lean), the title character's half-brother, Bolshevik leader Yevgraf, in Doctor Zhivago (1965, David Lean), and Indian mystic Godbole in A Passage to India (1984, David Lean). He was also offered a role in Ryan's Daughter (1970, David Lean), but declined. Initially Guinness was associated mainly with the Ealing comedies that made him one of the great character stars of British films. His virtuosity as a master of disguise reached a peak in Kind Hearts and Coronets (1949, Robert Hamer), when he played all eight members of the D'Ascoyne family whom Dennis Price bumped off on his way to the Dukedom of Chalfont. Other Ealing classics include the mild and underpaid bank clerk who plots the perfect robbery in The Lavender Hill Mob (1951, Charles Crichton), an inventor who, to the consternation of management and the unions, invents a fabric that never gets dirty and never wears out in The Man in the White Suit (1951, Alexander Mackendrick), and the unctuous, snaggle-toothed leader of a gang of incompetent burglars in the last great Ealing Comedy, The Ladykillers (1955, Alexander Mackendrick). Director Ronald Neame cast Guinness in his first romantic lead role, opposite Petula Clark in The Card (1952, Ronald Neame). His conversion to Roman Catholicism followed the shooting of Father Brown (1954, Robert Hamer) in which he played GK Chesterton's cheery cleric. The film was shot in Burgundy. Between takes Guinness, wandering about the local village in his clerical fig, found himself taken by the hand and subjected to the prattle of a local boy, who imagined he was a genuine priest. The confidence which the Church inspired in the child made a profound impression. Guinness became a Roman Catholic in 1956. Other notable film roles of this period included the part of the Crown Prince in The Swan (1956, Charles Vidor) starring Grace Kelly, in her second to last film role, and The Horse's Mouth (1958, Ronald Neame) in which Guinness played the part of drunken painter Gulley Jimson as well as contributing the screenplay, for which he was nominated for an Academy Award. He was a vacuum cleaner salesman enlisted into the secret service by Noel Coward in Our Man in Havana (1959, Carol Reed), Marcus Aurelius in The Fall of the Roman Empire (1964, Anthony Mann) starring Sophia Loren, Jacob Marley's Ghost in Scrooge (1970, Ronald Neame) opposite Albert Finney, and Charles I of England in Cromwell (1970, Ken Hughes) featuring Richard Harris. He considered the title role in Hitler: The Last Ten Days (1973, Ennio De Concini) as his best film performance, though critics disagreed. The Telegraph commented in its obituary: “Guinness, having discovered through his usual assiduous research that Hitler was a boring man, unfortunately succeeded brilliantly in bringing this interpretation to the screen.” Guinness won a Tony Award for his Broadway performance as poet Dylan Thomas in Dylan. He next played the title role in Macbeth opposite Simone Signoret at the Royal Court Theatre in 1966, a conspicuous failure.
From the 1970’s, Alec Guinness made regular television appearances. He was perfect as the enigmatic master spy George Smiley in the two television series adapted from John Le Carre's novels, Tinker, Tailor, Soldier, Spy (1979, John Irvin) and Smiley's People (1982, Simon Langton). Le Carré was so impressed by Guinness's performance as Smiley that he based his characterization of Smiley in subsequent novels on Guinness. In the cinema Guinness excelled as Jamessir Bensonmum, the blind butler, in the Neil Simon film Murder By Death (1976, Robert Moore). Guinness is now probably best known as Obi-Wan Kenobi in the original Star Wars trilogy, Star Wars: Episode IV - A New Hope (1977, George Lucas), Star Wars: Episode V - The Empire Strikes Back (1980, Irvin Kershner), and Star Wars: Episode VI - Return of the Jedi (1983, Richard Marquand). The part brought him worldwide recognition by a new generation. Guinness agreed to take the part on the condition that he would not have to do any publicity to promote the film. He was also one of the few cast members who believed that the film would be a box office hit; he negotiated a deal for 2.5 % of the gross, which made him very wealthy in his later life. His role would also result in Golden Globe and Academy Award nominations. Despite these rewards, Guinness soon became unhappy with being identified with the part, and expressed dismay at the fan-following that the Star Wars trilogy attracted. For his role as Obi-Wan Kenobi he was nominated for the Academy Award as Best Supporting Actor in 1977. Guinness won the Academy Award for Best Actor in 1957 for his role in The Bridge on the River Kwai. He was nominated in 1958 for an Oscar for his screenplay adapted from Joyce Cary's novel The Horse's Mouth. He received an Academy Honorary Award for lifetime achievement in 1980. In 1988, he received an Academy Award nomination for Best Supporting Actor for Little Dorrit (1988, Christine Edzard) starring Dereki Jacobi and Joan Greenwood. For his theatre work, he received an Evening Standard Award for his performance as T.E. Lawrence in Ross and a Tony Award for his Broadway turn as Dylan Thomas in Dylan. Guinness was appointed a Commander of the Order of the British Empire (CBE) in 1955, and was knighted in 1959. Guinness married the artist, playwright, and actress Merula Sylvia Salaman in 1938. In 1940, they had a son, Matthew Guinness, who later became an actor. In his biography, Alec Guinness: The Unknown, Garry O'Connor says that Guinness was arrested and fined 10 guineas for a homosexual act in a public lavatory in Liverpool in 1946. Guinness avoided publicity by giving his name to police and court as "Herbert Pocket", the name of the character he played in Great Expectations. The incident did not become public knowledge until April 2001, eight months after his death. Piers Paul Read, Guinness's official biographer, doubts that this incident actually occurred. He believes that Guinness was confused with John Gielgud, who was infamously arrested for such an act around the same period. According to Piers Paul Read, Guinness' friends and family knew of his bisexuality. Guinness wrote three volumes of a bestselling autobiography, beginning with Blessings in Disguise (1985), followed by My Name Escapes Me (1996), and A Positively Final Appearance (1999). He continued to act almost until his death, submerging himself in an amazing array of characters. His final stage performance was at the Comedy Theatre in 1989 in the play A Walk in the Woods. Between 1934 and 1989, he had played 77 parts in the theatre. His final film role was a one-scene cameo in the horror thriller Mute Witness (1994, Anthony Waller) and his last TV role was in the TV-film Eskimo Day (1996, Piers Haggard). Alec Guinness died in 2000, from liver cancer, at Midhurst in West Sussex at the age of 86. In his obituary in The Guardian, Tom Sutcliffe calls him ‘a by nature an unostentatious and reserved man’: “Though he undertook a great variety of roles, all were informed, at heart, with the wisdom of the sad clown. It was that spiritual severity, together with those clear, wide-open eyes - capable of melting in close-up on screen into the most reassuringly serene of smiles - which lent his performances force and authenticity. “
Sources: Brian McFarlane (Encyclopedia of British Cinema), Tom Sutcliffe (The Guardian), David Absalom (British Pictures), Ed Stephan (IMDb), The Telegraph, BritMovie, Wikipedia, and IMDb.
Argonne’s Advanced Protein Characterization Facility is certified LEED Gold. The facility helps scientists produce proteins and grow crystals that are essential for genomic and protein research, including antibiotic resistance and new drug discovery.
A PETROLEUM ENGINEER AT THE BARTLESVILLE ENERGY TECHNOLOGY CENTER.
THE ENGINEER DETERMINES OIL PRODUCTION VIA A THIEFED SAMPLE OF PRODUCED FLUIDS. THIS TANK BATTERY IS AT THE DELAWARE-CHILDERS OILFIELD IN NORTHEASTERN OKLAHOMA WHERE BETC IS CONDUCTING AN IN-HOUSE FIELD DEMONSTRATION ON TERTIARY OIL RECOVERY BY MICELLAR-POLYMER FLOODING. ALSO SEE 188 CHARACTERIZATION.
For more information or additional images, please contact 202-586-5251.
Una tribu habita en los bosques desde tiempos inmemorables, junto con dragones... sus tierras son arrasadas por la "civilización"... si quieres saber más, síguenos. (Información, abajo).
¡Muchas gracias por las vistas!!!
FOTOGRAFÍA Y EDICIÓN: ASHARY
Ashary - fotografocreativo81@gmail.com | www.labrigadagrafica.com
¡Visítanos en la exposición! ¡Hasta el 31 de diciembre! ENTRADA LIBRE
C./ Serranos, 24, (junto a las torres) Valencia - España
Dirección y producción:
Peck - peckfotografia@gmail.com | www.peckfotografia.com/
Ashary - fotografocreativo81@gmail.com | htto://www.labrigadagrafica.com
Guión: Pablo Nuñez Ruiz
Modelos:
Aventureros:
Voro Olmos - brad352@hotmail.com
Elena Lee - elenaleefotografia@gmail.com
Jose Lorente Capitán - tysonblancos@gmail.com
Diego Martinez Sanchez - diego.martinez.san@gmail.com
Evelhyne de Lioncourt
Garantes:
Kimo - kimo.grafico@gmail.com
Recóndita - reconditailustracion@gmail.com
Rey Mono Gráfico - reymonografico@gmail.com
Puto Adler
Manu "Thunder" Silvestre - msilvestreg@gmail.com
Coreógrafos de combate:
Demon Mambo - davidgallen@gmail.com
Manu "Thunder" Silvestre
Atrezzo:
Manu "Thunder" Silvestre
Demon Mambo
Lidia Aparicio Sales
Peck
Recóndita
Caracterización :
Ana López
Gema Pérez
Saray Ruiz - Ocaña
Diseño personajes:
Garantes / Rey Mono Gráfico, Ashary
Aventureros / Peck
Vídeo y realización:
Jose Luis Aparicio - hansokaz@gmail.com
Sponsor:
La brigada Gráfica - www.labrigradagrafica.com/
Una tribu habita en los bosques desde tiempos inmemorables, junto con dragones... sus tierras son arrasadas por la "civilización"... si quieres saber más, síguenos. (Información, abajo).
¡Muchas gracias por las vistas!!!
FOTOGRAFÍA Y EDICIÓN: ASHARY
Ashary - fotografocreativo81@gmail.com | www.labrigadagrafica.com
¡Visítanos en la exposición! ¡Hasta el 31 de diciembre! ENTRADA LIBRE
C./ Serranos, 24, (junto a las torres) Valencia - España
Dirección y producción:
Peck - peckfotografia@gmail.com | www.peckfotografia.com/
Ashary - fotografocreativo81@gmail.com | htto://www.labrigadagrafica.com
Guión: Pablo Nuñez Ruiz
Modelos:
Aventureros:
Voro Olmos - brad352@hotmail.com
Elena Lee - elenaleefotografia@gmail.com
Jose Lorente Capitán - tysonblancos@gmail.com
Diego Martinez Sanchez - diego.martinez.san@gmail.com
Evelhyne de Lioncourt
Garantes:
Kimo - kimo.grafico@gmail.com
Recóndita - reconditailustracion@gmail.com
Rey Mono Gráfico - reymonografico@gmail.com
Puto Adler
Manu "Thunder" Silvestre - msilvestreg@gmail.com
Coreógrafos de combate:
Demon Mambo - davidgallen@gmail.com
Manu "Thunder" Silvestre
Atrezzo:
Manu "Thunder" Silvestre
Demon Mambo
Lidia Aparicio Sales
Peck
Recóndita
Caracterización :
Ana López
Gema Pérez
Saray Ruiz - Ocaña
Diseño personajes:
Garantes / Rey Mono Gráfico, Ashary
Aventureros / Peck
Vídeo y realización:
Jose Luis Aparicio - hansokaz@gmail.com
Sponsor:
La brigada Gráfica - www.labrigradagrafica.com/
Yahoo Labs is proud to be a contributing sponsor of the 2014 ACM CHI Conference on Human Factors in Computing Systems. CHI 2014 is the premier worldwide forum for professionals interested in all aspects of human-computer interaction (HCI). The conference features work on the hardware and software engineering of interactive systems, the structure of communication between human and machine, characterization of the use and contexts of use for interactive systems, methodology of design, design artifacts and experiences, and future technologies.
pokkali grain characterization samples: POKKALI B (IRRI Photo/CPS)
part of the image collection of the International Rice Research Institute (IRRI).
My female teaching crew: "Wendy the Welder," WAC Lieutenant, Actress, Nurse, "Rosie the Riveter." These girls developed displays and characterizations to teach students at another high school about World War II. They had to study quite a bit to qualify for this job.
Argonne researcher Karolina Michalska purifies proteins to be studied at Argonne’s Advanced Protein Characterization Facility, which helps scientists understand how proteins work by revealing their structures.
July 12, 2006 - On July 12, 2006 a successful launch was achieved of a THAAD interceptor missile. The primary test objective was to demonstrate interceptor seeker characterization of a ballistic missile target in the high-endoatmosphere (just inside the earth's atmosphere). A unitary (non-separating) Hera target missile was launched for the test and although it was not a primary objective, a successful intercept of the target occurred. Learn more at www.mda.mil/system/thaad.html.
Una tribu habita en los bosques desde tiempos inmemorables, junto con dragones... sus tierras son arrasadas por la "civilización"... si quieres saber más, síguenos. (Información, abajo).
¡Muchas gracias por las vistas!!!
FOTOGRAFÍA Y EDICIÓN: ASHARY
Ashary - fotografocreativo81@gmail.com | www.labrigadagrafica.com
¡Visítanos en la exposición! ¡Hasta el 31 de diciembre! ENTRADA LIBRE
C./ Serranos, 24, (junto a las torres) Valencia - España
Dirección y producción:
Peck - peckfotografia@gmail.com | www.peckfotografia.com/
Ashary - fotografocreativo81@gmail.com | htto://www.labrigadagrafica.com
Guión: Pablo Nuñez Ruiz
Modelos:
Aventureros:
Voro Olmos - brad352@hotmail.com
Elena Lee - elenaleefotografia@gmail.com
Jose Lorente Capitán - tysonblancos@gmail.com
Diego Martinez Sanchez - diego.martinez.san@gmail.com
Evelhyne de Lioncourt
Garantes:
Kimo - kimo.grafico@gmail.com
Recóndita - reconditailustracion@gmail.com
Rey Mono Gráfico - reymonografico@gmail.com
Puto Adler
Manu "Thunder" Silvestre - msilvestreg@gmail.com
Coreógrafos de combate:
Demon Mambo - davidgallen@gmail.com
Manu "Thunder" Silvestre
Atrezzo:
Manu "Thunder" Silvestre
Demon Mambo
Lidia Aparicio Sales
Peck
Recóndita
Caracterización :
Ana López
Gema Pérez
Saray Ruiz - Ocaña
Diseño personajes:
Garantes / Rey Mono Gráfico, Ashary
Aventureros / Peck
Vídeo y realización:
Jose Luis Aparicio - hansokaz@gmail.com
Sponsor:
La brigada Gráfica - www.labrigradagrafica.com/
"Plasma-derived particles: A Planetary System of Intercellular Communication"
This image is important in extracellular vesicle research as it highlights the diversity of plasma-derived extracellular vesicles (EVs) and their co-occurrence with lipoproteins. By providing a visual representation, the image showcases the complexity of plasma-derived particles and the importance of isolating and characterizing specific subpopulations for downstream analysis. This complexity also challenges standardizing particle isolation and characterization methods, which are critical for diagnostics and therapeutics applications. Furthermore, this image underscores the potential functional diversity of plasma-derived particles, including EVs, as different shapes and sizes may indicate different biological functions. Overall, this image emphasizes 'the need for continued consideration of the heterogeneous nature of particles one can recover from biological samples such as blood plasma.
My personal tribute to this great character of "Song of Ice and Fire" (aka "Game of Thrones").
If you like it, please, click "I Like" in my Facebook profile:
www.facebook.com/leticiaicabezas
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Mi tributo personal a este gran personaje de la saga "Canción de Hielo y Fuego" (aka "Juego de Tronos").
Si te ha gustado, haz click en "Me Gusta" en mi perfil de Facebook:
Una tribu habita en los bosques desde tiempos inmemorables, junto con dragones... sus tierras son arrasadas por la "civilización"... si quieres saber más, síguenos. (Información, abajo).
¡Muchas gracias por las vistas!!!
FOTOGRAFÍA Y EDICIÓN: ASHARY
Ashary - fotografocreativo81@gmail.com | www.labrigadagrafica.com
¡Visítanos en la exposición! ¡Hasta el 31 de diciembre! ENTRADA LIBRE
C./ Serranos, 24, (junto a las torres) Valencia - España
Dirección y producción:
Peck - peckfotografia@gmail.com | www.peckfotografia.com/
Ashary - fotografocreativo81@gmail.com | htto://www.labrigadagrafica.com
Guión: Pablo Nuñez Ruiz
Modelos:
Aventureros:
Voro Olmos - brad352@hotmail.com
Elena Lee - elenaleefotografia@gmail.com
Jose Lorente Capitán - tysonblancos@gmail.com
Diego Martinez Sanchez - diego.martinez.san@gmail.com
Evelhyne de Lioncourt
Garantes:
Kimo - kimo.grafico@gmail.com
Recóndita - reconditailustracion@gmail.com
Rey Mono Gráfico - reymonografico@gmail.com
Puto Adler
Manu "Thunder" Silvestre - msilvestreg@gmail.com
Coreógrafos de combate:
Demon Mambo - davidgallen@gmail.com
Manu "Thunder" Silvestre
Atrezzo:
Manu "Thunder" Silvestre
Demon Mambo
Lidia Aparicio Sales
Peck
Recóndita
Caracterización :
Ana López
Gema Pérez
Saray Ruiz - Ocaña
Diseño personajes:
Garantes / Rey Mono Gráfico, Ashary
Aventureros / Peck
Vídeo y realización:
Jose Luis Aparicio - hansokaz@gmail.com
Sponsor:
La brigada Gráfica - www.labrigradagrafica.com/
Suspended Animation Classic #394
Originally published July 7, 1996 (#27)
(Dates are approximate)
Artemis: Requiem; Triumvirate
By Michael Vance
“Artemis: Requiem” #s 1, 3 and 4/22 pages and $1.75 each, DC Comics/art: Ed Benes/sold in comics shops and by mail.
Artemis is a female warrior who briefly replaced the first super heroine, Wonder Woman, when sales sagged.
Sales soared.
Her spin-off, “Artemis: Requiem”, is much ado about almost nothing but sales.
Among the almost nothings are costumes that Artemis almost wears and cheesecake poses dominating almost every page that is drawn for boys who are almost men.
“Artemis: Requiem” is also drawn by almost an artist. The first issue is a knockout with powerful visual punches jumping off of pages. The third and fourth issues are crude, rushed, and obviously by an artist who cannot meet deadlines. (That’s the definition of an almost comics artist).
Also among the almost nothings are characterization, originality, plot, and cliché-free dialog and story, which is the biggest and only surprise in “Artemis: Requiem”. Writer William Messner-Loebs is known for excellent characterization and dialog.
One can almost hear editorial wheels grinding between the lines of this new series.
‘Let’s have lots of skimpy, sexy clothes, lots of jumping, lots of over-muscled monsters, exaggerated anatomy, tons of hitting and kicking.
‘If there’s room left, stick in a plot and a little personality at least in Artemis. If you have to.’
You have to, but William didn’t. What he did was drag Artemis out of Hell and assign her to killing supernaturals who are invading Earth for unexplained reasons. That’s the plot.
He made Artemis an obnoxious, self centered b****, hating everyone (that’s the personality), who grits her teeth (those thong bikinis have to hurt), and beats the Hell out of slobbering, long-toothed creatures without motive or direction for their destruction.
So, is “Artemis: Requiem” worth reading? Almost.
MINIVIEW: “Triumvirate” #1/”Pinnacle” #1 [Catacomb Publications; flip-book]. “Pinnacle”: A man falls from a spaceship. “Triumvirate”: A superman recounts his origin and fights a werewolf. More promise than polish (the writing in “Triumvirate” is above average), there’s not much to flip about.
Students experiment with extracting strawberry DNA in a lab within the Advanced Protein Characterization Facility (APCF).
Argonne researcher Sabine Gallagher prepares a surface area analyzer for the characterization of battery materials.
Argonne’s new Advanced Battery Materials Synthesis and Manufacturing R&D Program is focused on scalable process R&D to produce advanced battery materials in sufficient quantity for industrial testing. This work is intended to support domestic battery manufacturing and to enable the transition of new materials and technology to the market.
Image courtesy of Argonne National Laboratory.
29647D402 copy
"TEM of DLD-1 EVs"
This image provides visual evidence of EVs collected from human colon cancer cell line DLD-1. The image shows the morphology and size of EVs, which can be important for their identification and characterization.
February 11, 2013 - NREL scientists Michael Crowley and Antti-Pekka Hynninen have developed algorithms that speed calculations done by the software tool CHARMM by several orders of magnitude, using code such as the one pictured. Using NREL's new petascale supercomputer housed in the Energy Systems Integration Facility, they can simulate the motions of thousands of atoms, leading to greater understanding of how molecular models work. (Photo Illustration by Dennis Schroeder / NREL)
At National Renewable Energy Laboratory, EV vehicles in the Optical Characterization and Thermal Systems (OCL) lab in the ESIF.
The Optimization and Control Lab’s electric vehicle grid integration research bays perform advanced high power chargers to determine how they can be added to the grid, potentially combining buildings and EV charging.
www.flickr.com/photos/departmentofenergy/collections/7215...
EnergyTechnologyVisualsCollectionETVC@hq.doe.gov
For more information or additional images, please contact 202-586-5251.
Contrary to common characterizations all Oxisols are not acid and infertile. This profile, photographed in the western part of Minas Gerais state, Brazil and fully studied by Dr. Waldemar Moura (Moura and Buol.1972. Studies of a Latosol Roxo (Eutrutox) in Brazil. Experientie 13:201-247) is an example of Oxisols with a high base saturation and formed in sediments derived from basalt and other basic rock. These soils usually supported seasonally deciduous forest vegetation. Early European farmers found that crops could be grown on these soils and have largely removed all traces of the forest and have cultivate such soils for many years.
LEGO Star Wars 9494 Anakin Skywalker Review
While it was great to finally see Darth Vader's history, I just don't think the child actor and his characterization were fitting Darth Vader. For one, I expected to see a rough looking kid with mood swings but no, he’s too cute, clean, and good. The adult Anakin looked the part but I just wasn’t convinced about his acting. The scene with his mom was powerful though but that was because of the music, in my opinion. Anyway, now that Disney owns Lucasfilms, I hope they can repair the damages done to the franchise and make better movies like thousands of years before or after the movies.
Design
-I love Anakin’s non-smiling face. It does really look evil.
-Sadly, they didn’t use his animated character’s shoulder guards but then again the movie didn’t show him wearing it but it would have been a good deviation.
-And thank goodness, they didn’t forget to color his right hand black (this was cut off by Count Dooku with what is known as the mou kei maneuver, a favorite of the Sith and used only as a last resort by the Jedi as what Obi-Wan did when he cut off the rest of Anakin’s limbs).
Paint
- The paint is cleanly applied but there are some scratches on his left eye and lips but this is probably due to contacts with the other pieces. I do wish LEGO would have a separate internal packaging for the minifigures to reduce the likelihood of scratches. I don’t mind scratches on the vehicles though.
Accessories
-Anakin Skywalker is also a Guardian, a Jedi that focuses more on battle so he has a blue lightsabre as well.
-He also comes with a lava collector droid or a panning droid. However, it is not also an accurate representation of one (the action figure from Hasbro is more accurate: www.jeditemplearchives.com/galleries/2012/Review_Mustafar...)
Fun
- A Sith minifigure would always be fun and at now my evil minifigures have someone to look up to (they don’t dare mess with him or he will be Forced to see things his way, if you get my drift.)
Gripe
- None really but my wish list is to see a burned version, he he.
Score: 5.5
I can’t quote Anakin because all his lines were horrible and I’m not the only who one who noticed, see freeteawithpurchase.com/post/17641550521/the-top-10-worst....
Script and actor selection fail!
Suspended Animation Classic #779 First published November 30, 2003 (#48) (Dates are approximate)
Felix the Cat: House of 1,000 Ha Ha’s; Styx Taxi: Pastrami for the Dead
By Michael Vance
This is not your grandpa's Felix. That edgy cat with a magic bag of tricks began as an animated cartoon in 1923, and then moved to comic books and strips. That Felix appealed to adults and kids.
This cat is for kids.
That doesn't make this Felix bad. If fact, this cat is cool for six-year-old youngsters. Felix the cat and cast act like men, so believable dialog, plot, and setting are thrown out. That 'throwing out' makes Felix fantasy, and Felix fantasy is delightful. Acting like men, the simple, thick-lined art suspends disbelief by a visual internal logic. That visual logic is the simple style of a coloring book.
So what makes Felix cool?
Felix is recommended for pre-literate and young kids for nice art and story and because he is fun.
Felix the Cat: House of 1,000 Ha Ha's!/22 pgs., $2.50, Felix Comics/ various artists and writers/sold at comics shops.
The Styx Taxi line serves the dead, offering them "a chance to make things right before moving on". The cabbies in this issue do so while competing for twelve hours of freedom on Earth for themselves. They are also dead.
The premise is intriguing. So, are the art and words solid entertainment? Dialog and characterizations are believable, but there are some clumsy scene transitions that make readers work to suspend disbelief. A smattering of unnecessary profanity also makes this title inappropriate for young children.
Its reality-based art is also blemished. Some pages are visually cluttered and some are not, creating visual inconsistency. In addition, the artist hasn't learned that varying line-widths create depth; foregrounds need a heavier line than backgrounds.
So, is it thumbs up or down for Styx Taxi? Hey! I'll have a thumb out someday for a ride with a friendly cabbie, so I'll let you decide.
Styx Taxi: Pastrami for the Dead #1/$2.50, 24 pgs., FWDbooks/ Steven Goldman, words; Jeremy Arambulo, art/available at comics shops
Link : youtu.be/RJoDhBPN4zc
The Crimson Ghost (12 chapters) (Sept. 21-Dec. 7, 1946)
Clayton Moore
September 14th, 1914 — December 28th, 1999
Clayton Moore, though best remembered today as television’s Lone Ranger, had a lengthy and distinguished career in serials. Moore was a physically ideal serial lead, but his greatest strengths were his dramatic, quietly intense speaking voice and expressive face. These gifts helped Moore to convey a sincerity that could make the most unbelievable dialogue or situations seem real. The bulk of Moore’s cliffhanger work was done after World War 2, when serials’ shrinking budgets cut back on original action scenes and made the presence of skilled leading players more important than in the serial’s golden age. Moore, with his sincerity and acting skill, was just the type of actor the post-war serials needed.
Clayton Moore was born Jack Carlton Moore in Chicago. He began to train for a career as a circus acrobat at the age of eight, and joined a trapeze act called the Flying Behrs after finishing high school; as a member of the Behrs, Moore would perform for two circuses and at the 1934 World’s Fair. An injury to his left leg around 1935 forced him out of the aerialist business, and after working briefly as a male model in New York he moved to Hollywood in 1937, beginning his film career as a stuntman. He played numerous bit roles in addition to his stunt work for the next three years, among them a miniscule part in his first serial, Zorro’s Fighting Legion (Republic, 1939), as one of the members of the titular group. Edward Small, an independent producer allied with United Artists, cast Moore in his first credited parts in a pair of 1940 films, Kit Carson and The Son of Monte Cristo. The former featured Moore as a heroic young pioneer, the latter as an army officer aiding masked avenger Louis Hayward. Following these two films, Moore began to get credited speaking parts in other pictures. In 1941 he played the romantic lead in Tuxedo Junction, one of Republic Pictures’ “Weaver Brothers and Elviry” comedies, and the next year the studio signed him for his first starring serial, Perils of Nyoka (Republic, 1942).
Perils of Nyoka (Republic, 1942) was a vehicle for Republic’s new “Serial Queen,” Kay Aldridge, who played Nyoka Gordon, a girl seeking her missing scientist father in the deserts of North Africa. Moore was the heroic Dr. Larry Grayson, a member of an expedition searching for the “Tablets of Hippocrates,” an ancient list of medical cures sought by Nyoka’s father before he disappeared. Nyoka joined forces with Grayson and his expedition to locate Professor Gordon and the tablets–and to battle Arab ruler Vultura (Lorna Gray) and her band of desert cutthroats, who were after the Tablets and the treasure hidden with them. Perils of Nyoka was a highly exciting serial, with consistently imaginative and varied action sequences, and colorful characters and locales. Although Moore took second billing to Aldridge, his character received as much screen time as hers and his performance was a major part of the serial’s success. Moore, with his intense sincerity, made his nearly superhuman physician character believable; the audience never felt like questioning Dr. Grayson’s ability to perform emergency brain surgery on Nyoka’s amnesiac father in a desert cave, or his amazing powers of riding, wall-scaling, marksmanship, and sword-fighting, far beyond those of the average medical school graduate.
Moore went into the army in 1942, almost immediately after the release of Perils of Nyoka. He served throughout World War Two, and didn’t resume his film career until 1946, when he returned to Republic Pictures to appear in The Crimson Ghost. The impact of his starring turn in Perils of Nyoka was diminished by his long hiatus, and he found himself playing a supporting role in this new serial. He was cast as Ashe, the chief henchman of the mysterious Crimson Ghost, and aided that villain in his attempts to steal a counter-atomic weapon called a “Cyclotrode.” Ashe was ultimately brought to justice, along with his nefarious master, by stars Charles Quigley and Linda Stirling. The Crimson Ghost showed that Moore could play intensely mean villains as well as intensely courageous heroes. His sneering, bullying Ashe came off as thoroughly unpleasant, as he stalked through the serial doing his best to kill off hero and heroine.
Moore returned to heroic parts in his next cliffhanger, Jesse James Rides Again (Republic, 1947). The serial’s plot had Jesse, retired from outlawry, forced to go on the run because of new crimes committed in his name. Jesse and his pal Steve (John Compton) wound up in Tennessee, where, under the alias of “Mr. Howard,” Jesse came to the aid of a group of farmers victimized by an outlaw gang called the Black Raiders. The Raiders, secretly bossed by local businessman Jim Clark (Tristram Coffin), were after oil reserves beneath the local farmland, but Mr. Howard ultimately outgunned them. James’ own identity was exposed in the process, but he was allowed to escape arrest by a sympathetic marshal. Jesse James Rides Again was Republic’s best post-war Western serial, thanks in part to the unusual plot device of an ex-badman hero. Moore was able to give Jesse James a dangerous edge that most other serial leads couldn’t have pulled off; his cold, steely-eyed glare when gunning down villains seemed very much in keeping with dialogue references to Jesse’s outlaw past.
G-Men Never Forget (Republic, 1947), Moore’s next serial, cast him as Ted O’Hara, an FBI agent battling a racketeer boss named Vic Murkland (Roy Barcroft). O’Hara broke up various protection rackets organized by Murkland, but his efforts were hampered by Murkland’s impersonation of a kidnaped police commissioner (also played by Barcroft). G-Men Never Forget possessed a tough and realistic atmosphere not typical of gang-busting serials, and Moore delivered a grimly determined performance well-fitted to the serial’s mood. Moore’s acting, good supporting performances, skilled direction, and a well-written script made G-Men Never Forget a superior serial, one that could hold its own against earlier gang-busting chapterplays like the Dick Tracy outings.
Moore’s next serial was Adventures of Frank and Jesse James (Republic, 1948), in which he reprised his Jesse James role. Joined this time by Steve Darrell as Frank James, Moore tried to help a former gang member named John Powell (Stanley Andrews) develop a silver mine. Part of the mine’s proceeds were to be used to pay back victims of James Gang robberies, but the plan was derailed by a crooked mining engineer (John Crawford), who discovered the mine contained gold instead of silver and murdered Powell to keep this find secret. Crawford then used every trick in the book to keep Moore, Darrell, and Noel Neill (as Powell’s daughter) from developing the mine, but the James Boys unmasked his treachery by the end. Frank and Jesse James drew heavily on stock footage and plot elements from Republic’s earlier Adventures of Red Ryder, and was thus more predictable than its predecessor, but it was still an entertaining and well-made serial. Moore again made Jesse seem both sympathetic and (when fighting the bad guys) somewhat frightening.
By now, Moore was established as Republic’s premiere serial hero; however, his next cliffhanger would lead to his departure from the studio and change the course of his career. The last in a long line of Republic Zorro serials, Ghost of Zorro (1949) starred Moore as Ken Mason, the original Zorro’s grandson, who donned his ancestor’s mask to help a telegraph company establish a line in the wild West in the face of outlaw sabotage. Like Adventures of Frank and Jesse James, the serial was somewhat derivative of earlier outings (particularly Son of Zorro), but smoothly and professionally done. Moore delivered another strong performance, but for some odd reason Republic chose to have his voice dubbed by another actor in scenes where he was masked as Zorro. This strange production decision did not diminish Moore’s potential as a masked hero in the eyes of a group of television producers who were trying to find an actor to play the Lone Ranger on a soon-to-be-launched TV show; Moore’s turn in Ghost of Zorro landed him the part. Moore debuted as the Ranger in 1949, and played the part for two seasons on TV. During this period, he did make one apparent serial appearance in Flying Disc Man From Mars (Republic, 1950), but all his footage actually came from The Crimson Ghost.
In 1952, Moore was dropped from The Lone Ranger without any explanation from the producers, who apparently feared that Moore was becoming too identified as the Lone Ranger, and that he might become so sure of his position that he’d ask for a bigger salary. John Hart replaced Moore as the Ranger for the show’s third season, and Moore returned to freelance acting. He played numerous small roles in feature films, made multiple guest appearances (usually as a heavy) on TV shows like Range Rider and The Gene Autry Show, and also found time to make four more serials.
The first of these was Radar Men from the Moon (Republic, 1952), which featured Moore as a gangster named Graber, who was working with lunar invaders to bring the Earth under the dominion of Retik, Emperor of the Moon (Roy Barcroft). Scientist “Commando” Cody (George Wallace) opposed the planned conquest with the aid of his flying rocket suit and other handy gadgets. Moore met a fiery demise when his car plummeted off a cliff in the last chapter, and Retik came to a similarly sticky end shortly thereafter. Moore’s characterization in Radar Men from the Moon was reminiscent of his performance as “Ashe;” once again he performed deeds of villainy with swaggering relish.
Moore’s next serial, Columbia’s Son of Geronimo (1952), was his first non-Republic cliffhanger. He returned to playing a hero in this outing, an undercover cavalry officer named Jim Scott out to quell an Indian uprising led by Rodd Redwing as Porico, son of Geronimo. The uprising was being encouraged by outlaws John Crawford and Marshall Reed to serve their own ends, and Scott and Porico ultimately joined forces to defeat them. Son of Geronimo remains one of the few popular late Columbia serials, due to its strong and unusually violent action scenes and the forceful performances of Moore and his co-stars, particularly Reed and Redwing.
Moore’s last Republic serial was Jungle Drums of Africa (1952), in which he played Alan King, an American mining engineer developing a valuable uranium deposit in the African jungles. Moore was assisted by lady doctor Phyllis Coates and fellow engineer Johnny Sands and opposed by a group of Communist spies (Henry Rowland, John Cason) and their witch-doctor accomplice (Roy Glenn). While Drums drew extensively on stock shots of African animals to augment its jungle atmosphere, it relied to an unusually large extent on original footage for its action scenes and chapter endings, and the result was a modestly-budgeted but enjoyable serial that served as a good finish to Moore’s career at Republic.
Gunfighters of the Northwest (Columbia, 1953), Moore’s final serial, cast him as the second lead, a Mountie named Bram Nevin who backed up RCMP Sergeant Jock Mahoney. Moore, in his first and only “sidekick” role, played well off Mahoney; while the latter’s character was the focus of the serial’s action, Moore’s role was really more that of co-hero than of a traditional sidekick. The serial pitted the two leads against the “White Horse Rebels,” a gang of outlaws trying to overthrow the Canadian government. Though thinly-plotted, Gunfighters, with its nice location photography and good acting, was the last really interesting Columbia serial; it was also Moore’s last serial. In 1954, he returned to the Lone Ranger series, its producers having been forced to realize that Moore was firmly established as the Ranger and that audiences wouldn’t warm up to his substitute John Hart. The fourth and fifth seasons of the show featured Moore in his familiar place as the “daring and resourceful masked rider of the plains.”
After the Lone Ranger series ended in 1956, Moore reprised the role in two big-screen movies and then retired from acting. He remained in the public view, however, making personal appearances throughout the country in his Lone Ranger garb. Publicly and privately, he upheld the ideals that the Lone Ranger–and his serial heroes–had upheld on the screen: courage, charity, and a sense of justice. In 1979, he was barred by court order from making personal appearances as the Lone Ranger because the property’s owners worried that Moore’s close identification with the character would undercut a new Lone Ranger film. Moore nevertheless maintained his status as the “real” Lone Ranger in the eyes of fans, and, after the failure of the new Ranger feature, he was allowed to resume his mask in 1984. Moore died in Los Angeles in 1999, leaving behind several generations of fans that honored him not only for his TV persona, but for the kindess that characterized the off-screen man behind the mask.
Part of Clayton Moore’s success as the Lone Ranger was due to his respectful attitude towards the character. While some actors would have had a hard time taking a masked cowboy from a children’s radio show seriously, Moore’s performance was as heartfelt as if he had been playing a Shakespearian role; he gave the part all the benefit of his considerable acting talent. Moore played his cliffhanger roles, heroic and villainous, with the same respect and the same wholeheartedness. It’s no wonder that serial fans hold him in the same high regard that the Lone Ranger’s fans do.
THE CRIMSON GHOST (1946)
(Jan 24, 2002)
This Republic serial is a lot of fun to watch, but somehow it's never been one of my favorites. All the right ingredients are there but it seems like not enough is done with them. The first thing fans remember is (of course) the Crimson Ghost his own self--- one of the coolest- looking masked villains ever to hit the screen. In his hood and robes, skeleton-design gloves and gruesome skull mask, he certainly must have sent a few younger viewers out to the lobby when he first appeared. The Crimson Ghost is not only a mastermind willing to commit murder to obtain the gizmo he craves, he's also a traitor. He intends to sell the death ray Cyclotrode to the highest bidder, even if it's the Soviet Union. In 1946, with the Cold War getting bitter, this marked him as vile indeed.
Yet it's humbling when he fares poorly in hand to hand fights, getting knocked out several times in free-for-alls and getting run down by a dog. I also wondered why the heck he informs everyone he's a member of the academic science council in his real identity. You think that's the last thing he would want his henchmen and adversaries to know.
Linda Stirling is fine as the heroine, leaping out of cars at the last second and looking completely serious as she discusses how to counter the Crimson Ghost. She is also very restful to gaze upon. As the hero, Charles Quigley is energetic and athletic but he makes no lasting impression and seems a bit bland. I haven't watched my copy of DAREDEVILS OF THE RED CIRCLE yet, and maybe that will show him in a better light.
Clayton Moore is almost always very good as a hero or a villain, and here he pretty much carries the thrust of the plot, acting as the Ghost's lieutenant. Moore can handle himself in the action scenes, and he's very convincing as a thug. Check out his wicked leer as the mask is pulled off when he's been impersonating the Crimson Ghost-- that's about as far from the noble Lone Ranger as you can get.
Republic villains all seemed to belong to some sort of underground brotherhood, judging by the gadgets they have access to. Did the Crimson Ghost buy his slave-making control collars from the same firm that supplied similar devices to Dr Satan? Or (more likely) did the Ghost get them on the black market after Dr Satan met his fate? And what about all these wonderful blasters? If you assembled this serial's Cyclotrode, the Sonic Decimator (KING OF THE ROCKETMEN), the Golden Scorpion (CAPTAIN MARVEL) the ray cannon (THE PURPLE MONSTER STRIKES) and the Munitions Disintegrator (SECRET SERVICE IN DARKEST AFRICA), you'd be able to repel an attack by Godzilla!
Dir: William Witney and Fred Bannon - 12 Chapters
Preparation of raw peanuts for analytical sample extractions in the characterization of allergen proteins by liquid chromatography and mass spectrometry. Hundreds of FDA scientists are working to develop the tools needed to keep bacterial and chemical contaminants out of the food supply, and to rapidly identify the disease-causing bacteria that do infiltrate foods and cause outbreaks of foodborne illnesses. Among them are the researchers at FDA's Center for Food Safety and Applied Nutrition (CFSAN), in College Park, Md.
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Presidential Candidate 總統候選人
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TianLiang Maa
~ A Taiwanese social reformer, philosopher, photographer and film director
“Touching Fairness and Justice”
馬天亮
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《感動的公平與正義》
TianLiang Maa, alternative spelling: Tianliang Ma, also known as Theophilus Raynsford Mann; Ma, Tianliang; Chinese: 馬天亮; 马天亮.
SUMMARY
TianLiang Maa is a naturalist, occultist, and Taoist. In 1982, Maa developed a technique for abstract photography, applied “Rayonism” into photographic works. Maa staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Maa’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Maa’s works have been quoted by the scholars many times, making Maa one of the highly cited technological, artistic, and managing public administrators in the academia. Maa was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
TianLiang Maa possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Maa about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Maa takes great pride in his roots, which go back 150 years (since 1864); Maa’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Maa obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Maa’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Maa’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Maa instituted Maa’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Maa studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Maa completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013
www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Maa immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Maa is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand TianLiang Maa. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Maa just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Maa understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As TianLiang Maa’s (馬天亮) saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Maa ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Maa will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Maa’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Maa had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Maa studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Maa would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Maa really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Maa has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Maa settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Maa was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Maa had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Maa developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Maa was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Maa staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Maa was the first exhibitor around the country. All of the invited displays were by the Chinese Government, cultural and artistic organisations, and sponsors. Maa’s earliest exhibition took place in the National Taiwan Arts Education Institute (Museum) on 19 December 1983 when Maa was 25 years old; Maa was the youngest exhibitor in the history of the Institute in any solo exhibitions. The Institute that was opened in March 1957, kept a collection of Maa’s work. It is currently updating the Institute’s internal organisation and strengthening co-operation with leading institutes and museums around the world. Meanwhile, it widened the institute’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Maa’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Maa may sprout, grow and bloom. Maa aims to provide an educational stimulus for society by introducing his works - Maa can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Maa believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Maa should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, TianLiang Maa completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Maa was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Maa’s writings - scenario original「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 (then Maa was 18 years old). The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Maa’s writings.
Authorship
Maa’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Maa was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Maa one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Maa’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Maa is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985
新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」(individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Maa’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Maa’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Maa’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Maa promoted and founded the Consortium Juridical Person Mr. TianLiang Maa Social Benefit Foundation 財團法人馬天亮先生社會公益基金會籌備處 (Social Charity 社會慈善事業) in Taiwan.
near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Maa was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和影片製作。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Maa Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director & Photographer at Photographer and Film Director (Shapely), 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
www.facebook.com/filmshapely/info
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。TianLiang Maa (Theophilus Raynsford Mann) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
www.facebook.com/hunyun22/info
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Maa was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
mtltwp.pixnet.net/album/set/1265208
album.blog.yam.com/mtltwp&folder=9369697
photo.roodo.com/photos/mtltwp/albums/small/100477.html
www.facebook.com/sonate1c/info
LINKS:
University of California, Berkeley
berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...
berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...
oskicat.berkeley.edu/record=b11283690~S1
University of Michigan
mirlyn.lib.umich.edu/Record/006237256
catalog.hathitrust.org/Record/006237256
WorldCat® Identities
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www.worldcat.org/wcidentities/np-ma,%20tianliang$1958
Google Books
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National Bibliographic Information Network (NBINet)
nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...
192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE
National Yang Ming University 國立陽明大學
library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...
National Taiwan University of Science and Technology 國立臺灣科技大學
millennium.lib.ntust.edu.tw/record=b1016706~S1
Wikimedia Commons 維基共享資源
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國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引
readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...
聲音藝術的審美角度, 大學雜誌, 天然
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為文化中心把脈, 幼獅文藝
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科學家與守財奴, 中國地方自治
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画像検索
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Japan Photos and Pictures
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University of California, Berkeley period
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University of Michigan period
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University of Oxford period
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University of Glamorgan period
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University of Huddersfield period
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art galleries uk
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Mitrasites system
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articles.whmsoft
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German
www.wer-ist.org/person/Jin_Mann
www.naif.org.tw/upload/76/20140408_202152.28156.pdf
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