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Distribution: S. Sakhalin to Japan (N. Hokkaido) (31 SAK 38 JAP)
Lifeform: Tuber geophyte
Homotypic Names:
* Arisaema amurense var. sachalinense Miyabe & Kudô, J. Fac. Agric. Hokkaido Imp. Univ. 26: 282 (1932).
(* Basionym/Replaced Synonym)
Today, both "The Land That Time Forgot" and "The People That Time Forgot" are fan favorites and hold a special 'cult' status among film buffs. I just goes to show that sometimes great films
don't need huge budgets to succeed, just dinosaurs and sexy cave women.
The Land That Time Forgot (1975)
Additional Photos in Set.
www.flickr.com/photos/morbius19/sets/72157639657354056/
youtu.be/d0K97czqecQ?t=1s Trailer
Amicus Pictures
Directed By: Kevin Connor
Written By: Edgar Rice Burroughs, Jim Cawthorn, Michael Moorcock, Milton Subotsky
Cast:
Doug McClure as Bowen Tyler
John McEnery as Captain Von Schoenvorts
Susan Penhaligon as Lisa Clayton
Keith Barron as Bradley
Anthony Ainley as Dietz
Godfrey James as Borg
Bobby Parr as Ahm
Declan Mulholland as Olson
Colin Farrell as Whiteley
Ben Howard as Benson
Roy Holder as Plesser
Andrew McCulloch as Sinclair
Ron Pember as Jones
Grahame Mallard as Deusett
Andrew Lodge as Reuther
Runtime: 90 Minutes
Color: Color
Story
In the year 1916 during WW1, an Allied vessel carrying civilians, the SS Montrose, is torpedoed by a German submarine. The survivors manage to board the sub and successfully take control of it. After the two sides continuously plot to overthrow the other, the group become lost. With supplies and fuel dwindling, the two opposing factions decide to work together. They find a strange continent in the icy region of the Atlantic ocean, but strangely, the water surrounding it is warm. Christened Caprona by an early Italian navigator named Caproni, the ice encroached island has no place to land. Traversing a winding underwater cavern, the U-boat ascends into a river.
The group find themselves in a strange land filled with prehistoric creatures. With dangers lurking at every turn, the lost travelers haven't enough fuel for a return trip. The group journey North across the land of Caprona in search of fuel. The further north they go, the more highly advanced the creatures and inhabitants become. They later find crude oil deposits and build
machinery with which to refine the lubricant for use in the subs engines. Attempting to leave, the mysterious volcanic continent threatens to rip itself apart to keep the involuntarily exiled travelers from escaping The Land That Time Forgot.
The set design is amazing with the makers getting full use out of Shepperton Studios, the home of Amicus. Some years later, the famed Pinewood Studios would acquire Shepperton. The Director of Photography on LAND, Alan Hume, does an admirable job capturing the colorful landscapes and fauna of the lost world of Caprona. Hume also took the job of DP on the three other Connor directed monster movies. Hume would later perform photographic duties on several of the Bond pictures in addition to the comedic prehistoric opus, CAVEMAN (1981) starring Ringo Starr among a cast of other recognizable faces.
The first in a series of popular fantasy adventure movies from the team of producer John Dark and director Kevin Conner. A highly ambitious British film from Amicus Productions, the chief rival to Hammer Films. Hammer had done their own series of prehistoric epics beginning with ONE MILLION YEARS B.C. (1966). That film featured stop motion animation by famed animator Ray Harryhausen. The film was so successful a follow-up was ordered albeit somewhat hesitantly considering the length of time it took for the stop motion effects to be created.
Doug McClure leads the cast to Caprona in a role that suits his former cowboy persona on THE VIRGINIAN television program. McClure replaced Stuart Whitman who was originally cast. Apparently, Whitman never received his full compensation to not participate in the picture and McClure was a likewise unwanted commodity as well. At the time, he was going through a divorce and a spate of drinking which kept him in a volatile mood from time to time. However, according to Susan Penhaligon, McClure was always a gentleman with her. McClure is very good and any hint of rambunctious behavior behind the scenes isn't evident in his pulpy performance.
McClure would take the lead role for AT THE EARTH'S CORE (1976), in which he would be paired with a rather spunky Peter Cushing. In 1977's THE PEOPLE THAT TIME FORGOT, McClure took a 'Guest Star' credit and only appears during the finale although he's the main focus of the story when Patrick Wayne journey's to Caprona to rescue him. It's the only film in the series that is a direct link with one of the other pictures. The fourth film, WARLORDS OF ATLANTIS (1978), isn't a Burroughs tale and also isn't an Amicus picture. Columbia handled distribution in the US.
In the early 1970s’ Amicus Pictures (Owned by Milton Subotsky and Max J Rosenberg) decided to pump some life into the declining British fantasy film industry by bringing the works of Tarzan creator Edgar Rice Burroughs to the big screen. At about the same time the film company’s rival, Hammer, had abandoned its standard horror films for features starring half naked women in an attempt to put more bodies in the seats. Amicus felt that the time seemed right for a series of films based on Burroughs strait forward action tales to fill the cinematic void.
The first of the four Burrough’s stories to be produced by Amicus would be an adaptation of the short story “The Land That Time Forgot” which was first published in Blue Book Magazine in 1918. Milton Subotsky had first penned a screenplay for the film back in the early 1960s’ but his first draft was initially rejected by the late Burrough’s estate. It was under their prodding that the script was rewritten by Jim Cawthorn and Michael Moorcock. Their dialogue heavy, light on the action script however didn’t meet Subotsky’s approval, so it was reworked yet again.
"The Land that Time Forgot" began production at Pinewood Studios in April 1974 with a meager $750,000 budget that had been put up by American International Pictures in exchange for the American distribution rights. This extremely low budget forced the film-makers to settle for cost cutting measures in the effects department. Hand puppets were used for the films dinosaurs in many scenes where costly stop motion animation had intended to be used. The effect looks
primitive when compared to modern CGI effects, but for the time period in which it was created, these effects in "The Land That Time Forgot" fared well against most rival productions.
Script problems and hand held dino’s were not the only problems the production would face in its early stages. Originally Stuart Whitman was cast as the American engineer Bowen Tyler, but Samuel Arkoff of AIP protested. Their next choice, Doug McClure, finally agreed to take the role after initially passing on it. McClure was billed as the perfect leading man by director Kevin Connor. McClure had earned a reputation as a marketable lead on the TV Western “The Virginian.” On the set however, McClure earned another type of reputation after his tendency to hit the bottle caused him to miss a couple of days shooting and punch a hole in producer Johnny Dark’s office door. Despite this McClure was considered a nice guy by his costars. He even held the hand of a nervous Susan Penhaligon (cast as biologist Lisa Clayton) during the explosions of the films volcano erupting climax. John McEnry, who played the German U-boat Captain von Schoverts, was continually acting up on the set due to his belief that the production was beneath him as an actor. This lead to his voice being dubbed over by Anton Diffrin due to his demeanor and lackluster tone. Aside from this however none of the other off screen troubles manifested themselves in the finished product.
The films plot is a strait forward Burroughs adventure story.
John McEnery, who plays the somewhat honorable Captain Von Shoenvorts, the leader of the German forces, was dubbed by Anton Diffring. The first 15 or 20 minutes of the film are very well handled, having the American and British survivors take command of the Nazi sub only to have the Germans take the vessel back, only to lose it once more. During the final switch, the Allied survivors get some poetic justice on their German captors. When the sub is to rendezvous with a Nazi supply ship, Tyler quietly launches torpedoes destroying the enemy vessel in recompense for the prior destruction of the civilian ship.
Anthony Ainley as Dietz is the true antagonist of the picture. He appears to have much respect for his Captain, but at the beginning after the Germans have sunk the civilian vessel, Dietz asks if there is an order to surface to look for survivors. Capt. Von Shoenvorts declines, yet Dietz responds with, "Survivors may live to fight another day." The Captain then says, "They are in enough trouble already...besides, these were civilians." As the Captain walks away there is a look of unmitigated and deceitful envy on the face of Dietz.
He secretly harbors desires to command his own unit and this materializes during the finale when Dietz shoots his Captain and takes over the doomed submarine. Ainley played a much different character in THE BLOOD ON SATAN'S CLAW (1971) in which he played a priest who is seduced by a harbinger of the Devil.
Derek Meddings was in charge of special effects on the picture and his work here would foreshadow some great things to come. Meddings would tackle effects chores on a number of big movies including a slew of the James Bond movies and big budgeted fantasy pictures such as SUPERMAN 1 and 2, KRULL and the 1989 version of BATMAN.
Monster designer Roger Dicken was in charge of the ambitious dinosaur sequences seen in THE LAND THAT TIME FORGOT. He also created special effects for several Hammer films including WHEN DINOSAURS RULED THE EARTH (1970) in which Dicken worked alongside fellow luminaries, Jim Danforth and Dave Allen. Dicken was Danforth's assistant here but on LAND, Dicken was on his own.
Douglas Gamley composed the score which has that Amicus sound to it, but given the nature of the film, Gamley peppers the score with at least one rousing composition which is saved for the finale. The scene in question has Tyler and Lisa racing back to the refinery as the land explodes around them. The group has left without them, though. As the U-boat makes its way back across the now burning river, Tyler and Lisa watch as the sub is destroyed from the boiling water and overwhelming heat.
During the finale, Caprona (described as a gigantic volcanic crater) begins to seemingly erupt destroying life on the island. In the third film, also during the finale, Tyler tells his friend, McBride that the land is alive and will stop their escape. Tyler states that the volcano controls everything. This adds a mystical element to the narrative making Caprona a living character. Taking what is said by Tyler in the third film, the erupting of the volcano in LAND seems to be in retaliation against the stranded travelers attempting to escape the island. By destroying the sub and its inhabitants, Caprona's secret remains hidden away from the eyes of modern man. The film ends as it began, with Tyler tossing a canister with notes detailing Caprona and the creatures residing therein.
The survivors of a torpedoed allied cargo ship turn the tables on their German attackers and seize control of their U-boat. The ever scheming German crew manage to damage the ships compass and instead of steaming to a neutral port, the group finds itself off the coast of the legendary island of Caprona, where time has stood still since prehistoric times. Forced to venture ashore in search of food, supplies and fuel, the crew encounters a bevy of dinosaurs that intend on making sure no one escapes alive. As in all good adventure stories of this type, just about everything and everyone the group encounters is set on doing them mortal harm and danger lies behind every turn. The groups focus is a simple a straight forward one, keep from being eaten and figure out a way to get off the island before it consumed in a river of molten rock. Seems all good dinosaur flicks have to end in some kind of volcanic catastrophe, and this film is no exception, even though Moorcock had originally written it with a different ending.
James Cawthorn (1929-2008) Artist
Jim Cawthorn is best known to Burroughs fans for his early work on the British fanzine Burroughsiana, edited by Michael Moorcock from 1956-1958, and for Erbania, edited by Pete Ogden during the same period. He also illustrated for Tarzan Adventures, a series of Tarzan comics interspersed with other stories and articles, also edited by Michael Moorcock. The series was reprinted by Savoy in 1977.
American Burroughs fans were generally unfamiliar with the British Tarzan publications before the Internet came onto the scene, but they are certainly familiar with the film production of The Land That Time Forgot, for which Jim Cawthorn and Michael Moorcock wrote the screenplay.
This Amicus film starred Doug McClure, making his first appearance in a British film under the auspices of American International Pictures, Inc. Cawthorn is reported to have been dissatisfied with the changes made to their screenplay which was written and signed on October, 1973, and which was filmed a year later. Besides changing names, characters and situations, they blew up Caprona which did not sit well with most American fans.
Cawthorn had produced many unpublished comic strips, including The Land That Time Forgot, and was working on A Princess of Mars when he died on December 2, 2008. He and Moorcock edited Fantasy: The 100 Best Books, published in London by Xanadu in 1988.
Cawthorn had many admirers, including Tarzan artist Burne Hogarth who wrote that the young artist’s work had a quality "most compelling and fascinating... He has an authentic talent." Of the many Cawthorn illustrations available for viewing, we found an early (1958) original in the Burroughs Memorial Collection which he drew for one of Maurice B. Gardner’s Bantan books.
The narrow path near my home, I used to walk this path to go home, now the last part of it will be demolished soon. Expired Fujicolor 100 Film (Expired Date: 2009-12)
A boy on a queue with water containers to get clean water at Wolgeba village in Halaba
Community - water distribution point constructed by the Government of Ethiopia with UNICEF support © UNICEF Ethiopia/ 2015/Nahom Tesfaye
Mix together a ½ ton Pickup truck, Baja Racer, sportscar, and family car and you pretty much get the Ford F150 Raptor. I’m not sure who originally came up with the idea, but it has proven popular since its introduction in 2010. The second generation P552 Raptor shown here was introduced as a 2017 model. Gone was the previous V8 engine, replaced by a 450 PS version of the 3.5 GTDi EcoBoost V6 – a group of technologies including direct fuel injection and turbocharging, punching out 591 lb.ft (691 Nm) of torque.
Putting all this power to the ground is a 10-speed automatic transmission, dual-ratio electronic transfer case and AWD with locking front and rear axles. Ford has developed an advanced chassis control technology system that selects ratios, throttle maps, transfer case torque distribution and brake and stability program settings to maximise performance of a large number of different terrains, including tarmac. The goal – to be the fastest pickup truck over any and every track and surface.
As well as all the power and chassis drivetrain technologies, Ford added wider front and rear track, long travel suspension, FOX brand shock absorbers and larger 33 inch tires. Brand imaging for the original 2010 Raptor included a bright orange truck jumping in the air – no doubt accompanied by a bellowing V8 roar. Many YouTube videos show customers attempting to repeat the feat, sometimes heading home in an ambulance, and the car heading back on a flatbed truck. Although capable, driving any vehicle in this manner is not recommended for one’s long term health.
Many Raptor customers buy two cars, one, stock for the road, with a modified trailered 2nd car for offroad racing events such as the Baja series in the US south west.
This Lego miniland-scale 2017 Ford P552 F150 Raptor has been created for Flickr LUGNuts' 116th Build Challenge, - "Pickups and Vans", - a challenge to build pickups and vans.
Rabbit: Oryctolagus cuniculus
Distribution: originally from north-western Africa, Spain and Portugal but now widespread across much of Europe. Also introduced to many countries and islands, including Australia, New Zealand and Chile.
Habitat: a wide variety, ranging from farmland to moorlands, woodlands and sand dunes.
Description: greyish-brown fur with orange at nape of neck (black rabbits are fairly common). Long ears (up to 7cm) but shorter than hares' and no black tips. Short tail, black on top and white underneath.
Size: Male (buck) 48cm (19in) long. Female (doe) smaller with narrower head.
Life-span: about 9 years. In the wild most rabbits live less than one year.
Food: mainly grasses, clovers and other green plants; also bark of trees.
Rabbits were brought to Britain by the Romans about 2,000 years ago. Rabbit remains were found in an archaeological dig near Thetford, Norfolk in 2005. These rabbits were bred for food and were kept in walled enclosures with deep foundations so that they could not escape into the wild and almost certainly the population died out when the Romans left.
Rabbits first escaped into the wilds of Britain when they were reintroduced by the Normans, who kept them in large, enclosed warrens for their fur and meat. They have gnawing teeth and so used to be classed as rodents, but rabbits and hares have been re-classified into a group of their own, lagomorpha.
Rabbit Habits
Territory; rabbits are sociable animals and live in colonies in burrow systems known as warrens. A warren is dug to a depth of 3 metres, may cover a large area and has many entrances. The inside is a maze of interconnecting tunnels, living quarters and nesting chambers
Usually there is a dominant doe within the colony and she will fight other does for the best nest site. Dominant bucks run up and down the boundary lines of their territories, marking as they go; they may do this by depositing droppings on top of an anthill, scratching out shallow scrapes in the ground, or rubbing the ground with the chin to mark the place with scent from glands. Dominant rabbits are the most successful at breeding.
Subordinate rabbits do not establish a territory and they mix happily with other subordinates. They are, however, driven off if they venture into the territory of a dominant rabbit.
Daily Life: rabbits are mainly nocturnal, emerging from their burrows at dawn and dusk, although on warm, sunny days, or in undisturbed places, they may be out during broad daylight. Feeding takes place close to the warren, so the vegetation around it is kept short by grazing. The rabbit, having many enemies, is always on the alert for danger. If a rabbit spots danger, it will warn others by thumping with a hind foot. A flash of white from under its tail as it runs for a burrow also acts as an alarm signal. The rabbit's prominent eyes are set so that it can see over a wide area.
Most of the day is spent underground, resting and passing soft, almost black droppings; these they then eat so that more nourishment can be extracted from them. The rabbits then produce hard, pellet-like droppings above ground, usually in a special 'latrine'.
Rabbits keep themselves clean by washing regularly and grooming, using their teeth, tongue and claws.
Breeding: "breed like rabbits" is a common expression and rabbits are indeed prolific breeders! In one year, a doe can produce more than 20 offspring and many of these will breed themselves when only 4 months old. Spring and summer are the main reproductive periods, but breeding can start in January.
The babies (kits) are born in special nests made by the doe which is in a dead end burrow, often separate from the main warren. The doe makes a nest from grass or straw and lines it with fur plucked from her chest. After a gestation period (time between mating and birth) of 28 - 31 days, a litter of 3 - 8 babies is born. At birth they are blind, deaf, hairless and hardly able to move for their first week. Their mother visits them for only a few minutes every 24 hours to suckle them and then she seals off the nesting chamber with soil.
By the eighth day, the young are covered with fur and two days later their eyes open. By the sixteenth day, they have ventured out of the burrow and started to eat solid food. They are weaned and independent at 30 days. Their mother will already have mated and be expecting another litter.
This prolific breeding is normally balanced by many deaths caused by predators, road traffic, shooting and trapping. Apart from man, rabbits' predators include foxes, badgers, stoats, weasels, buzzards and cats.
Rabbits and humans
Humans have been the rabbit's main enemy since it has been regarded as a major pest for the last 200 years. Rabbits cause a lot of damage to crops, gardens and the countryside. Earlier this century when the rabbit population was much larger, they caused such extensive damage to crops and trees that they were included in the Pests Act 1954.
In 1954, a flea-carried virus called myxomatosis was introduced to the wild rabbit population and this killed more than 95% of Britain's rabbits. Myxomatosis is a distressing disease, affecting the eyes and brain. The drastic reduction in rabbit numbers also caused a decline in the number of foxes, buzzards and other predators as well as affecting the growth of vegetation; unwanted plants such as gorse, bramble and coarse grasses were encouraged to grow. However, rabbits are once again more common, having developed a resistance to the virus, although populations in some areas are occasionally affected by new strains of the virus.
Even though rabbits are once again causing damage to crops and forest plantations, they are providing their predators with much needed food. Also, without rabbits, much of our downland and cliff tops would be overgrown with gorse, bramble and hawthorn scrub. Rabbits suppress the growth of shrubs by nibbling the growing shoots; the resulting turf encourages the growth of low-growing plants such as vetches and trefoils. In turn, these small flowering plants attract many butterflies and the short grass is suitable for other insects such as ants. The insects in turn attract many species of birds. Cliff tops are not suitable for crops, so rabbits are tolerated here and actually do more good than harm.
Local residents in Bung village, Maban, South Sudan, get registered to receive seeds during a distribution.
Read more about FAO and the crisis in South Sudan.
Photo credit must be given: ©FAO/UNHCR Albert Gonzalez Farran. Editorial use only. Copyright FAO.
Parsons Nationwide Distribution Ltd Scania R480 Highline, reg. no. T27 PAR, seen here at Truckfest South West 2018, Royal Bath & West Showground, Shepton Mallet.
The picture was taken on 1 September 2018.
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German J. Krieglsteiner (ed.), Die Großpilze Baden-Württembergs, 5 volumes, Ulmer Verlag Stuttgart, 2000-2010
(in German)
Band 3 : incl. Lentinellaceae, Polyporaceae, Agaricales part 1; 635 pp., 297 photos, 388 distribution maps
Band 4 : incl. Agaricales part 2; 467 pp., 259 photos, 266 distribution maps
Photo submitted by Jason Glynn
This photograph is being made available only for use by Montefiore and/or for personal use/printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in any media, commercial or political materials, advertisements, emails, products, or promotions.
The Art Gallery of Knoxville
January 1-27, 2007
"Distribution Religion" was developed in 1973 by Chicago artists Dan Sandin and Phil Morton as a text to describe the schematic plans for Sandin's Image Processor, an analog computer optimized for video processing. The "Distribution Religion" expressed a determined belief in the idea of free and open copying, which is a central aspect of the Chicago School and a notion that has begun to become important to many contemporary artists.
From January 1 – 27, The Art Gallery of Knoxville will examine situations of sharing and exchange provided by three contemporary Chicago groups: criticalartware, People Powered , and Temporary Services. Each of these artists have developed interests in distribution and it's role as an important social / cultural concern.
criticalartware is a contemporary group led by artists jonCates, jon.satrom and bensyverson. A central part of their work involves the public distribution / presentation of interviews, video and text featuring the key players of early code or concept based Art. They are particularly interested in enabling "shared cultural resources connecting these conversations." In Knoxville, criticalartware will coordinate an electronic system for the sharing and exchange of this information – primarily through a custom computer interface.
People Powered is a Chicago group run by artist Kevin Kaempf. His work integrates itself socially, becoming a means for the distribution of physical tools. People Powered "adopts consumer culture's aesthetic forms to distribute information about sustainable living practices such as community composting, recycling, and free public transportation." A recent People Powered exhibit at the Chicago Museum of Contemporary Art highlighted prototypes for "Chicago Blue Bikes," in which junked bicycles are salvaged and rebuilt into a fleet of public bicycles. The Knoxville exhibition will become part of the project "Loop Limited: Recycled Paints" where unfinished cans of used paint are recycled/mixed together and redistributed into the community. Cans of paint will be available for free in the Gallery space.
The artists of Temporary Services are founders of the Chicago space "Mess Hall" and widely known for their public and social works. Often the group aims to "provide a network for the collection and distribution of artistic work going on looking at the line between art and ethics, power and art, and the role of the public." In Knoxville, the group's Booklets, a large collection of self published material on a wide range of subjects, will be freely available. Alongside this substantial library, an example set of works given away at the Temporary Services event "Free For All" will be shown. "Free For All" was a public art project where multiples of many small objects were collected by the public within a cardboard box that acted as a portable, distributed exhibition.
Temporary Services: Free For All by Marc Fischer "Over 10,000 objects were given away! Over 50 artists, individuals and organizations contributed work that was distributed for free at this one-day-only event. Artists' work was integrated with a wide range of material submerging the work in a broader context than it normally enjoys. Religious tracts, booklets, flyers, stickers, matchbooks, posters, audio tapes, and postcards were among the items given away. … 100 boxes (like the one pictured above) were provided for free. Visitors were invited to take anything they wanted making their own portable exhibitions to take with them."
"Free For All" is a self-replicating exhibit, one which is shared and exchanged in both the collecting and the viewing of it. Through "make-shift methods of distribution and display that are commonly found in flea markets, garage sales and craft shows" Temporary Services created an alternative, distributed exhibition that enabled a public to engage with cultural information on a level of personal ownership. The exhibition dealt not only with the free use of Art – but the creation of free and open systems as Art.
On the night of Friday, January 5, 2007 members of criticalartware will be involved in creating a free computer art and cultural event, (A) r4WB1t5 micro.Fest at the Pilot Light on January 5th. "(A) r4WB1t5 micro.Fest in Knoxville parallel processes The Art Gallery of Knoxville and the Pilot Light nightclub with intersections of New Media Art, realtime audio video processing, computer art geekery, digital punk rock, noise music, the Blues and freak folktronics!" Please join us to celebrate the Distribution Religion opening at both The Art Gallery of Knoxville and The Pilot Light.