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Cyberforce est la première série de comics lancée par Top Cow Productions au démarrage d'Image Comics, qui met en scène l'équipe du même nom.

Tout d'abord commencée par une mini-série faisant partie de l'arc « Killer Instinct » de la série WildCATS, elle continua par une série régulière d'une cinquantaine de numéros. Cyberforce était au départ dessiné par Marc Silvestri et scénarisé par Eric Silvestri. D'autres artistes prirent ensuite le relais, dont David Finch. La série a été publiée en France en kiosques par Semic dans la revue du même nom, puis dans la dernière version du magazine Titans. Elle a aussi fait l'objet d'albums en librairie publiés par les Éditions USA.

Synopsis
Les héros sont des mutants, munis d'implants robotiques augmentant leurs capacités physiques ou psychiques, qui luttent contre Cyberdata, le groupe qui a fait d'eux des « Special Hazardous Operations Cyborg » (S.H.O.C.), des cyborgs améliorés puis les a manipulés à des fins criminelles.

Biographie des personnages
Les membres du groupe sont Stryker, Cyblade, Ballistic, Heatwave, Velocity, Impact et Strykeforce.

Ripclaw
Quand il était jeune, Robert avait déjà la peau blanche et tout le monde pensait qu'il s'agissait d'une maladie de peau. Un jour, alors qu'il pratiquait les arts martiaux dans un dojo, la colère transforma ses mains en griffes et il blessa son adversaire. Il fut renvoyé du dojo, ce qui n'arrangea pas ses relations déjà houleuses avec son père. Celui-ci refusait de parler à Robert et à son frère Michael de leur passé, il avait même fait changer leur nom de famille. En fouillant dans ses affaires, Robert découvre que leur vrai nom est Bearclaw (griffe d'ours) et qu'ils descendent d'une tribu indienne. Voulant en savoir plus sur son passé, il quitte sa famille et se rend en Arizona dans la réserve où a grandi son père. Là il est recueilli par Pahute, le shaman des Navajo. Celui-ci pense que Robert fait partie d'une des légendes indiennes. Il lui propose de faire le rituel de la danse du soleil, censé le faire entrer en contact avec le monde des esprits. Là, les esprits lui apprennent qu'il est le guerrier fantôme qu'ils attendaient depuis des siècles et le transforment en Ripclaw. Plus tard, il est capturé par Cyberdata qui coupent ses mains et les remplace par des mains en alliage à mémoires. Ils lui implantent également une brain-box et l'intègrent aux S.H.O.C.s où il fera équipe avec Warblade (cf WildC.A.T.s). Mais lors d'une mission, les esprits entrent en contact avec lui et le libèrent de l'influence de Cyberdata. Il rejoindra ensuite Cyberforce pour se venger de ce que lui a fait subir Cyberdata. Les deux mains de Ripclaw sont faites d'un métal qu'il peut modeler à volonté pour en faire des griffes de tailles variables. Ses sens sont très développés, il possède une agilité surhumaine et peut communiquer avec le monde des esprits.

Stryker

Alors qu'il était major dans les Forces Spéciales, Morgan Stryker perdit trois de ses bras dans une explosion qui lui arracha également la moitié du visage, d'où son œil bionique. Il fut récupéré par le Dr Reinbek qui fit des expériences sur lui. Reinbek remplaça ainsi ses bras par des membres bioniques et lui greffa un œil bionique. Il lui donna également un élixir censé prolonger sa durée de vie. Après avoir travaillé pour plusieurs agences dont la C.I.A., Stryker fut recruté par Cyberdata qui lui donna des bras plus perfectionnés, à l'intérieur desquels sont logés de nombreuses armes. Grièvement blessé lors d'une mission, il fut sauvé par le Dr Corben qui lui retira sa « brain-box ». Il rejoignit alors Cyberforce. Stryker est né avec quatre bras (un d'un côté et trois de l'autre). Les trois bras qui sont du même côté ayant été arrachés lors d'une explosion, ils ont été remplacés par des bras bioniques. Son œil droit est également bionique. Il possède donc une grande puissance de feu mais aussi une grande précision grâce à cet œil.

Cyblade

De son vrai nom Dominique Thiebaut, Cyblade vient d'une famille très riche dont elle est la seule héritière - elle a un frère qui est prisonnier de Cyberdata, mais il est censé être mort. Cet argent est utilisé par Cyberforce pour financer toutes les techniques de pointe que l'équipe utilise quotidiennement. Ses pouvoirs se sont manifestés quand elle n'était encore qu'une petite fille alors que des cyborgs de Cyberdata essayaient de l'enlever. Son père engage alors une mercenaire, Jocelyn, pour qu'elle lui apprenne à se défendre, sans savoir que celle-ci travaille pour Cyberdata. Après la mort de son père et de son frère (organisée par Jocelyn), Cyblade accompagne la mercenaire dans diverses missions pour Cyberdata. Elle est alors persuadée d'agir pour le bien et d'accomplir des actes d'héroïsme, car Jocelyn lui ment sur l'identité de leurs victimes. Elle fait ensuite des études de médecine avant que Cyberdata ne la reprenne pour en faire une S.H.O.C. après lui avoir implanté des implants mémoriels. Après que le Dr Corben ait désactivé ses implants et ceux d'Heatwave, ils délivrent ensemble de l'emprise de Cyberdata les futurs membres de Cyberforce. Depuis la mort apparente d'Heatwave, Cyblade est devenu la leader de l'équipe. Comme le reste des membres de l'équipe, Cyblade a vu son corps être cybernétiquement amélioré. Elle possède le pouvoir mutant de générer et de projeter des rafales d'énergie électromagnétique.

Heatwave

Quand ses pouvoirs se manifestèrent, Dylan Cruise tua accidentellement son frère, ce qui le força à quitter sa famille et à s'engager dans la Navy. Il entra dans les SEAL, puis se maria et eut une fille nommée Dana. Lors d'une attaque terroriste en représailles contre lui, sa fille fut tuée, ce qui mit fin à son mariage, et son équipe quasiment décimée. Cyberdata le captura alors pour en faire l'un de ses S.H.O.C.s. Après que le Dr Corben ait désactivé ses implants mémoriels, il sauva Stryker et les McNallys des griffes de Cyberdata avec l'aide de Cyblade. Leur association fonctionna tellement bien que Heatwave, Cyblade et Stryker décidèrent de former Cyberforce dont Heatwave devint le leader. Plus tard, on apprit que Dylan Cruise était à l'origine un mercenaire et que la personnalité qu'il croyait être vraie avait peut-être implantée par Cyberdata. Lors de Devil's Reign, ses implants mémoriels se déréglèrent et il devint un allié de Mephisto. Mais il retrouva finalement la raison et parut mourir en sauvant l'univers de Mephisto. Heatwave est un mutant qui peut absorber, canaliser et renvoyer l'énergie solaire. Il a été cybernétiquement amélioré par Cyberdata et porte un costume spécialement adapté pour lui permettre de contrôler et de contenir cette énergie et de la renvoyer sous la forme de plasma surchauffé. Il peut aussi voler en utilisant les courants d'air chaud qu'il génère lui-même.

Ballistic

Fille de l'agent de la C.I.A. Frank Taylor et grande sœur de Velocity, Cassie tua accidentellement l'homme avec qui sa mère s'était remariée en voulant protéger sa mère et sa sœur. Alors qu'elle était au lycée, elle était la vedette de l'équipe de baseball grâce à son don. Lorsqu'elle rompit avec son petit ami, celui-ci brisa son bras droit avec une batte de baseball. Elle rejoignit Cyberdata dans des circonstances inconnues ; ceux-ci lui greffèrent un bras et un œil bioniques avant d'en faire un des leaders des S.H.O.C.s. Elle rencontra Cyberforce pour la première fois alors qu'elle essayait de capturer Velocity qui s'était échappé de Cyberdata. Lors d'une autre confrontation, elle commença à se souvenir de Carin, ce qui la libéra de l'influence de Cyberdata. Cyberforce lui retira alors ses implants mémoriels mais elle ne rejoignit pas l'équipe. Elle vient pourtant souvent les aider dans certaines missions, surtout pour protéger sa sœur Velocity. Elle a eu une liaison avec Stryker.

Son pouvoir mutant lui donne une incroyable habileté. Elle atteint 99,2% des cibles qu'elle vise, à condition qu'elles soient à sa portée. Son bras cybernétique et son œil bionique renforce encore plus ce pouvoir.

Velocity

Velocity (Carin Taylor) est la petite sœur de Ballistic. Le vrai père de Velocity et de Ballistic était l'agent de la C.I.A. Frank Taylor. Pour des raisons inconnues, il quitta sa femme et ses deux filles. Sa femme se remaria avec un homme alcoolique qui les battait régulièrement. Celui-ci fut accidentellement tué par Cassie alors qu'elle tentait de protéger sa mère et sa sœur. Carin fut placée dans un orphelinat où on lui fit le tatouage qu'elle porte sur le visage. Elle fut adoptée par Mother May I pour le compte de Cyberdata. Grâce aux implants mémoriels, Cyberdata fit croire à Velocity et Ballistic que Mother May I était leur mère, mais l'identité de leur vraie mère reste inconnue. Cyberdata transforma Velocity en S.H.O.C.s mais elle réussit à s'échapper avant de s'être vue confiée sa première mission et fut recueillie par Cyberforce. Velocity a le pouvoir de courir vite, très vite. D'après Cyberdata, elle pourrait atteindre Mach 5, ce qui ne s'est cependant encore jamais produit. On sait en tout cas qu'elle peut atteindre Mach 1, créant ainsi un bang sonique. Cyberdata a implanté dans son cerveau une puce qui lui permet de réagir à grande vitesse pour qu'elle évite les obstacles. Elle a aussi une seconde peau en kevlar sous sa peau, ce qui permet à son corps de ne pas se déformer sous la pression et les frottements dus à la vitesse.

Impact

Huntar et Korvus, deux guerriers géants extra-terrestres, dévastèrent plusieurs planètes dans leur combat titanesque. Désireux d'en finir avec ce carnage, Huntar se jeta à travers un portail spatial, emmenant Korvus avec lui. Leur passage dans le portail détruisit leurs enveloppes corporelles et transporta leur énergie vitale à l'autre bout de la galaxie. Korvus atterrit sur Terre et choisit le Dr. O'Shea, le père de Boomer, pour qu'il l'aide à rejoindre le monde physique. Il lui transmit les connaissances technologiques nécessaires pour créer un sérum de croissance et ainsi fabriquer un corps suffisamment grand pour qu'il puisse contenir son énergie vitale. Sous l'influence de Korvus, O'Shea injecta le sérum à Boomer, qui fut aussitôt possédé par Korvus. Mais un incendie se déclencha alors dans le laboratoire et toute la maison explosa. Korvus abandonna alors le corps de Boomer car celui-ci était atrocement mutilé. La totalité de son corps était brûlée au troisième degré et son système nerveux était touché. Cyberdata le recruta alors, greffa un alliage métallique high-tech sur son corps, lui implanta une brain-box pour s'assurer de son obéissance et l'intégra à ses S.H.O.C.s. Plus tard, le Dr. Corben parvint à lui retirer ses implants mémoriels, et il intégra Cyberforce. Impact possède une force et une résistance surhumaine. Son armure le rend virtuellement invulnérable.

Collaborateurs

Marc Silvestri, Eric Silvestri, Scott Williams, Joe Chiodo, David Finch, Billy Tan, Ron Marz, Pat Lee, David Wohl, Brian Holguin, Jason Gorder, Klaus Janson, Mark Pennington, Joe Weems V, Matt Banning, D-Tron, Troy Hubbs, Todd McFarlane, Greg Capullo, John Cleary, Al Vey, Kevin Lau, Anthony Chun, Scott Lee, Kevin Conrad, Chuck Drost, David Meikis, Norm Rapmund, Brandon Peterson, Michael Turner, Robert Jones, Kirk Van Wormer, Livesay, Brian Haberlin

Bibliographie

 Cyberforce Vol.I: #1-4 (Octobre 1992 - Septembre 1993)
 Cyberforce Vol.II: #1-35 (Novembre 1993 - Septembre 1997)
 Cyberforce Vol.III: #1-6 (Avril 2006 - présent)
 Cyberforce Universe Sourcebook
 Cyberforce Origins
 Cyberforce Annual
 Cyberforce / X-Men

Voir aussi

Articles connexes
 Aphrodite IX 1996 (Top Cow Productions)
 Hunter-Killer 2005 (Top Cow Productions)

Liens externes
  comicsvf.com

Série de comics Top Cow
Équipe de super-héros
Cyborg de fiction

redpajama_set_name: RedPajamaWikipedia


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Poetry in America — Season 2
By Evan Cogswell in Reviews April 1, 2020
One element of any great work of art is that it always provides something new, something more to see, when you return to it. What impressed me most about New's interviews in this episode is not only how personal each actor's analysis of the song is, but how several of them highlight aspects of it that had not occurred to me, such as Donna Lynne Champlin's observation that the melody reflects Georges Seurat's painting motions. It makes perfect sense, especially considering the painting motives from earlier in the musical that feature in the song, but it is so subtle in the song itself that it could easily go unnoticed.
Champlin also suggests that the poetry of Sondheim's music comes equally from the lyrics and music, and one is incomplete without the other. Again, it's an observation that seems inconsequential, but in regards to a song about the entirety of creative process and the ways it can be socially distancing, that integration of music and lyrics is part of what makes this song and Sunday in the Park with George so powerful.
New interviews Raúl Esparza (2006 Company revival), Donna Lynne Champlin (2005 Sweeney Todd revival), Kerry O'Malley (2002 Into the Woods revival), and several other actors who have worked with Sondheim revealing their insights into one of Sondheim's most famous songs.
Interspersed throughout the episode are excerpts of various performances of "Finishing the Hat," always emphasizing what has been discussed. When the episode concludes with Raúl Esparza performing the entire song, after discussing the subtle lyric and tone changes over the course of the song, the poetry of "Finishing the Hat" and his performance can both be appreciated even more.
Tags: Poetry in America
Hooking Up (Raineau, 2020)
Streetlight Harmonies (Wilson, 2020)

redpajama_set_name: RedPajamaCommonCrawl


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Čičavica (serbiska: Čičevica, Čičavica Planina, albanska: Çiçavicë, serbiska: Čičanica) är en bergskedja i Kosovo. Den ligger i den norra delen av landet,  km väster om huvudstaden Priština.

Čičavica sträcker sig  km i sydostlig-nordvästlig riktning. Den högsta toppen är Kodra e Stanices,  meter över havet.

Topografiskt ingår följande toppar i Čičavica:

 Doševačko Brdo
 Kodra e Stanices
 Kodra Špijes
 Krš
 Magura
 Prelovce
 Zmić

Klimatet i området är fuktigt och subtropiskt. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är augusti, då medeltemperaturen är  °C, och den kallaste är december, med  °C. Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är maj, med i genomsnitt  mm nederbörd, och den torraste är augusti, med  mm nederbörd.

Kommentarer

Källor

Drenica
Berg i Kosovo
Berg i Kosovo 500 meter över havet eller högre


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Early Irish Cinema
What's On in Irish Cinemas – 100 Years Ago
Category Archives: Lorcan Sherlock
From the Stomach to the Front: Projecting the World on Irish Screens in April 1915
Posted on April 30, 2015 by EarlyIrishCinema
The growth of picture houses in the 1910s provided Irish people with unprecedented visual access to the world. The increasing number of cinemagoers could view otherwise difficult or impossible to see geographical spaces, the geopolitical spaces of Europe's battlefields and even the intimate spaces within the human body.
Dublin Evening Mail 24 March 1915: 5.
"You can take a series of X-Ray pictures at intervals of a few minutes each, while the stomach is busy digesting food," observed an article in the Dublin Evening Mail in late March 1915.
[P]ut these pictures together on a film, thrown them on a screen, and –
You virtually have a MOVING PICTURE of the stomach in action while digesting your food. ("Moving Pictures of the Stomach.")
Designed to look like a news item, this article was actually an advertisement for Bisturated Magnesia, a treatment for excess stomach acid. It used the term "moving pictures" – capitalized like no other word in the body of the article – to attract the roving eye of newspaper readers (and film historians), dyspeptic or not. Some advertisers clearly saw moving pictures as a desirable technology with which to associate their product in this way, as the promoters of White's Fruit Jelly Crystals had done in the same newspaper in August 1913 ("Really Moving Picture").
In their use of stomach X-rays, the advertisers of Bisturated Magnesia were, however, undoubtedly making a specific reference to Dr John MacIntyre's experiments in what is now called medical imaging and specifically to Dr John MacIntyre's X-Ray Film (1896, 1909), which includes early cineradiography of the stomach. Despite being a medical doctor and pioneer of radiography, MacIntyre could also see that X-rays were a spectacular visual technology, of interest far beyond the medical community (Cartwright 22). As such, he had something in common with the showmen who in the late 1890s exploited the entertainment possibilities of X-rays in theatres and fairgrounds, including in Ireland (Condon). This occurred at precisely the same time as the first projected moving pictures were being exhibited. Unlike moving pictures, however, the entertainment career of X-rays was short. For a start, the danger of radiation burns from prolonged exposure to the rays soon became obvious. As well as this, once audiences had seen the bones of their hands or the contents of a locked wooden box, the novelty value of X-rays was exhausted, but they retained a strong imaginative fascination. By contrast, moving pictures were inexhaustible in the potential subjects they could show, from X-ray images of such interior spaces to the exterior spaces of the historical world and the imagined spaces of fiction.
Moving pictures has also prompted the creation of the new social spaces of the picture houses, which were becoming increasingly ubiquitous on the Irish streetscape in April 1915. Although the Grand in Lurgan, Co. Armagh, had opened in autumn 1914, it garnered attention beyond local audiences when it was reviewed in glowing terms by the Bioscope's "Jottings from Ulster" columnist on 1 April 1915. "Situate on the main street and approached through a spacious and ornate foyer," the Grand held about 1,000 patrons who were stratified by their ability to pay 3d., 6d. or 1s. This was not, then, a utopian space of horizontal social relations. Although a stepped floor ensured that all patrons had a good view of the screen, "the patrons of the highest priced seats are comfortably and exclusively catered for in a handsome balcony abreast of the operating chamber, nest-o'spring seats and deep framed backs being provided in this section" ("Jottings," 1 Apr.). Jottings favoured a programme that combined films with live acts, expressing strong approval of the fact that H. G. Austin, who managed the Grand for proprietor Sam Hewitt, had introduced varieties acts into the programme. As a result of this combination of entertainments, Jottings concluded: "I would not be surprised to find the magnificent tapestry with which the walls are decorated, being removed to make room for the appreciative crowds." However, like other Irish towns with a similar population (12,553), Lurgan had more than one picture house. At the longer-established Picture House in Carnegie Street, manager Clarke embodied Jotting's favoured combination of variety and cinema, having been part of the variety duo Clarke and Clare ("Jotings," 22 Apr.).
Evening Telegraph 3 Apr. 1915: 1.
If the Lurgan Grand was in many ways typical of the picture houses opening in mid-sized Irish towns at this time, Dublin's Coliseum Theatre, which opened on Easter Monday, 5 April 1915, was exceptional. With a seating capacity of 3,000, it was Ireland biggest entertainment venue, and its stage was "one of the largest in the kingdom, being not less than 80 ft. wide and 40 ft. deep, capable of staging the largest spectacular scenes" ([Editorial Item]). In its initial stage of development, the Coliseum had been planned as a large picture house called the Premier Picture Palace, but its promoters had decided that another Dublin variety theatre would be more lucrative than a cinema. Nevertheless, given that film projection had become a stable part of variety programmes, a projection booth had been incorporated into the plans for the building and not as an unsightly supplementary structure within the auditorium, as was the case in older theatres. Praising the features of the Coliseum in advance of its opening, the Evening Herald noted that the "biograph chamber is so designed that it will beautify not mar the general scheme" ("Dublin's New Theatre").
Despite a general acknowledgment of the quality of the construction and the beauty of the finished theatre, controversy dogged both the building and the opening of the Coliseum. As noted in an earlier post, although other Dublin theatre owners had objected at an August 1914 hearing to the granting of a patent to this new venue, architect, diarist and theatregoer Joseph Holloway had spoken in favour of the new theatre because it offered the prospect of more drama in the city. The most immediate drama came offstage, from such craftspeople as local fibrous-plaster companies and furniture makers who were denied contracts for work in favour of cheaper British firms. In Dublin, the support of local industries was not only a way of creating good will among potential theatregoers but also of mollifying nationalist Anglophobia. With an ill-tempered public correspondence between the theatre and contractors conducted through the newspapers, the negative publicity for the theatre continued over months, causing Holloway to change his mind about its promise and "wish the new theatre a speedy failure under the circumstances. There is no hope ahead for us poor playgoers in Dublin!" (Holloway, 17 Mar. 1915).
Zona Vevey and Max Erand. Source: http://footlightnotes.tumblr.com/post/39830711458/husband-and-wife-max-erard-and-zona-vevey
Holloway attended the Coliseum's opening night, and unlike the newspapers' positive reviews, his diary entries suggest that the management misjudged the Dublin audience. This is noteworthy given that Lorcan Sherlock, the city's former Lord Mayor, was one of the theatre's directors. The theatre's opening bill was headed by the singer Zona Vevey accompanied on organ by Max Erand. Although their act had been going very well and they had been called back for several encores,
the turn that was doing so well was completely spoiled by her singing of a recruiting Jingo song, "Your Country Wants You." "It does, and we intend to stop it" said a man behind me as she sang. "Give us something Irish" shouted another, and then I knew trouble was brewing for her, and sure enough when she had finished, a stream of hissing and booing broke out and the two artists, retired amid a tornado of ugly sounds. (Holloway, 5 Apr. 1915.)
Opened in Easter 1915, the Coliseum was destroyed in the fighting of Easter 1916. "The possibility of fire is put almost outside the pale of consideration" ("Dublin's New Theatre"). Source: http://comeheretome.com/2014/05/09/is-it-over-yet-hiding-out-in-the-coliseum-theatre-1916/
The bioscope pictures – "introducing the Topical Budget of up-to-date current events" – with which the programme concluded appears to have been entirely unremarkable because they received no coverage, but Holloway claims that the opening night ended ignominiously:
A bar of England's anthem brought the first show to an inglorious end, amid hissing, which cut short the music, as the imported conductor dropped his baton when he saw the way the land lay. This anthem has always been translated, when played in Ireland, into 'To Hell With The Catholics', and will always, I fear until we are allowed to govern ourselves. Therefore, it is better omitted from programmes of a general nature. (Ibid.)
Despite Holloway's misgivings, the Coliseum's opening was widely reported a success, and its advent tipped the balance of entertainment seats in Dublin city centre firmly back from picture house to theatre. The Evening Herald's Man About Town was disappointed by the hackneyed nature of some of the opening acts, but he also saw a packed house that included "a few eminent K.C.'s, a land commissioner, several leading medicos, an Abbey Theatre author of distinction, and a trustee of the same concern." For the Evening Telegraph, among the reasons that the Coliseum "opened its career auspiciously" was that it enjoyed an "advantageously central position […] adjoining the General Post Office and at the tram terminus for all parts of the city and suburbs" ("Coliseum Theatre").
Those same trams might bring pleasure seekers away from the city centre and to the increasing number of picture houses in the suburbs. The arrival of the picture house had reconfigured entertainment space in the city. Some of the suburban picture houses courted more middle-class patrons in search of higher standard of entertainment in the guise of exclusive films, comfortable surroundings and musical offerings. The Bohemian Picture Theatre in Phibsboro – an area on the northern edge of the city well served by two tramlines – was building its reputation as a venue that provided enhanced musical accompaniment. The Bioscope's Paddy observed that "one of the finest orchestras to be found in any picture outside London – or in London for the matter of that – is that now installed in the Bohemian." The Bohemian had twelve musicians "and every instrument seems to have been pressed into use, thus affording a musical feast absolutely unapproached by any other house in Ireland" (Paddy, 25 Mar.).
Cinemas also competed for audience by offering more luxurious furnishings. Dublin's Pillar Picture House had "an immense mirror […] beautifully set in a gilded frame[…] Thick luxurious carpets are on the stairs leading to the balcony, and the general appearance of the entrance leads one to imagine that a fairy palace of some sort was about to be entered" (Paddy, 4 Mar.). Some picture houses offered early evening patrons free tea. "A big feature is now being made of glow-lamp teas at Kinema House, Belfast," noted Jottings. "Dainty tables with shaded lights are arranged in full view of the screen, and considerable advantage is being taken of the innovation by those who sacrifice their siestas to the pictures in the afternoons" (Jottings, 1 Apr.). This kind of offering seemed to have been designed to appeal largely to middle-class women who had the leisure to visit the picture houses while shopping in cities and towns in the afternoons.
Some religious groups and magistrates saw cinemagoing as an activity to be restricted rather than encouraged among the middle class. One of the main ways in which they sought to do this was through restrictions or a ban on Sunday opening. The ongoing controversy on Sunday opening came to something of a head at the end of March, when the Recorder of Dublin heard applications for music-and-dancing licences for picture houses. The Recorder reiterated his view that Sunday opening should be restricted to working-class areas of the city, where people had little opportunity to attend entertainments during the week. He therefore granted just a six-day music licence to Jacob Elliman's Blackrock Picture House because it was located in "a residential place, with a very small number of working people" ("Picture Theatres"). And he again refused a Sunday licence to the Dame Street Picture House, which, he argued, was not frequented by working-class people because it was located on a city-centre shopping street similar to Grafton Street and Sackville/O'Connell Street.
These cases reveal a curious class, sectarian and even acoustic geography of the city that emerged in relation to its picture houses.
Cartwright, Lisa. Screening the Body: Tracing Medicine's Visual Culture. Minneapolis: U Minnesota P, 1995.
"Coliseum Theatre: The Opening on Monday." Evening Telegraph 3 Apr. 1915: 4.
Condon, Denis. "'Spleen of a Cabinet Minister at Work': Exhibiting X-Rays and the Cinematograph in Ireland, 1896." Film History and National Cinema: Studies in Irish Film 2. Ed. John Hill and Kevin Rockett. Four Courts Press: Dublin, 2005.
"Dublin's New Theatre: The Opening of the Coliseum on Monday." Evening Herald 2 Apr. 1915: 5.
"Jottings from Ulster." Bioscope 1 Apr. 1915: 33; 15 Apr. 1915: 260.
The Man About Town. "Things Seen and Heard." Evening Herald 6 Apr. 1915: 4.
"Moving Pictures of the Stomach During Digestion." Dublin Evening Mail 24 Mar. 1915: 5.
Paddy. "Pictures in Ireland." Bioscope 4 Mar. 1915: 824; 18 Mar. 1915: 1051; 25 Mar. 1915: 1111.
"Picture Theatres: Recorder and Sunday Opening: Many Applications." Evening Herald 29 Mar. 1915: 5.
"A Really Moving Picture." Dublin Evening Mail 12 Jul. 1913: 3.
"Sunday Opening in Dublin: Important Cases." Bioscope 8 Apr. 1915: 155.
Posted in Abraham Elliman, Bohemian Picture Theatre, Coliseum Theatre (Dublin), Dame Street, Division based on ticket price, Easter, Electric lighting, Fibrous plaster, Furnishings, Grafton Street, Grand (Lurgan), Great Northern Kinema (Belfast), H. G. Austin, Irish manufacturers, Irish Week, Jacob Elliman, Joseph Holloway, Jottings from Ulster (Bioscope), Live acts, Lorcan Sherlock, Lurgan, Man About Town (Evening Herald), Mr Clarke, Number of musicians, Number of seats, O'Connell/Sackville Street, Organ, Phibsboro, Picture House (Lurgan), Pictures in Ireland by Paddy (Bioscope), Pillar Picture House, Population, Rake, Recorder of Dublin, Sam Hewitt, Suburbs, Sunday shows, Tapestry, Tea rooms, The Messiah (France: Pathé 1913), Ticket Prices, Trams, X-rays	| 1 Reply
"Driven to See Pictures Instead of Plays": Joseph Holloway Goes Out in 1914 Dublin
Posted on September 30, 2014 by EarlyIrishCinema
Joseph Holloway's self-portrait "My Reflection in Mirror at Barbers," 21 Sep. 1914. National Library of Ireland.
On Friday, 31 July 1914, Joseph Holloway – the sometimes architect but more often theatregoer – recorded a moment of cultural angst: "Was at two picture Houses during the day – the Grafton & Rotunda, where a few good films were on view," he noted in his diary before adding: "It's terrible to be driven to see pictures instead of plays! I fear the theatres in Dublin are dead for the present." The death of theatre in Dublin was a cause of serious concern for Holloway, whose diary records the minute attention he paid to shows at Dublin's "legitimate" theatres – the Theatre Royal and Gaiety – at its melodrama house – the Queen's Royal Theatre – and at its music halls – the Empire and Tivoli. Despite his unhappiness with theatrical offerings at this time, he nevertheless attended as many plays and shows as he could fit in a life largely filled with the leisure that a small inheritance allowed him. The diary in which he records the details of these shows – as well as his conversations and correspondence with the luminaries and ordinary people of the time – is an incredible work of life writing that has been estimated as running to more than 25 million words (Ferriter). This is not because of the great critical insights he offers; his diary has been described by Irish author Frank O'Connor as "that donkey's detritus" and by Sean O'Casey as "an impossible pile of rubbish" (ibid). Nevertheless, despite the limited perspective of a middle-class conservative Catholic nationalist, it offers fascinating glimpses into life and leisure as they were experienced in Dublin in the 1910s, including the city's emerging cinema culture.
Holloway's viewing of the two film shows in late July 1914 was not unprecedented, nor was it the first time he had expressed his dissatisfaction with picture houses while being a regular cinemagoer. Since the Picture House in Sackville/O'Connell Street had opened in April 1910, Holloway had often visited it and the other picture houses that opened with increasing regularity in its wake. Although he sometimes visited picture houses alone, he also accompanied his mother Anne Holloway and his niece Eileen O'Malley, with whom he lived, demonstrating the popularity of the picture house across three generations (Condon 143). By September 1914, Holloway's life was changing along with the city's entertainment offerings, not to mention the political upheavals of the period. The death of his mother in May 1912, and the marriage of Eileen on 16 September 1914 left him living alone and without a cinema-going companion.
Theatre Royal, Dublin. http://archiseek.com/2012/1897-theatre-royal-hawkins-st-dublin/#.VCrJYBYg9OI
As well as this, the breakdown of the longstanding distinctions between Dublin's legitimate theatre, melodrama house and music hall was particularly visible just as the war began in the autumn of 1914. This was part of an international process by which entertainment companies were buying up and building theatres of all kinds to create chains that sought large popular audiences by providing a modified form of variety entertainment that could accommodate popular music hall artistes and dramatic actors, as well as film. Dublin's Theatre Royal had long been experimenting with this modified variety, which it called by a name already popular in many British cities: hippodrome. Marvelling at the popularity of the Royal's hippodrome seasons during the summer period when the theatres usually closed, the theatrical columnist of Irish Life dubbed hippodrome "the Chief Priest and Apostle of the Music Hall in Dublin" ("Between the Acts"). "[I]ts hold over the public is simply amazing. The "two-nightly house" show can apparently thrive under any circumstances. In Dublin it has captured all classes, and has proved itself a most profitable undertaking to those engaged in it" (ibid). Film featured not only as part of the evening programme in the guise of the Royal Bioscope but also at a separate film matinee.
Poster for the Theatre Royal Hippodrome and Winter Gardens, Sep. 1914, featuring film matinees of Nature's Zoo (Britain: Cherry Kearton, 1913), a film that the Royal also exhibited a year earlier. National Library of Ireland.
In early August, Ireland's Attorney-General and Solicitor-General heard application for patents that would allow legitimate drama from the Star Theatre of Varieties, Ltd., the company that ran the Empire, and from the Premier Picture Palace (Dublin), which proposed to build a large theatre in the city centre on a site off Henry Street and close to the GPO. As the latter's name suggests, this company had initially planned to open a large picture house but had decided that a variety theatre with the flexibility of mounting plays and showing films would be more profitable. The company would eventually open in April 1915 what was then known as the Coliseum Theatre, a short lived venue that would not be rebuilt following its destruction a year after its opening during the 1916 Rising. The proprietors of the Coliseum included Lord Mayor Lorcan Sherlock, two directors of Dublin's Tivoli Theatre and theatrical agent Fred Willmott (ibid.). Holloway attended the hearing and spoke as an expert witness – "as an old theatre-goer with 40 years experience" – in support of the Star Theatre of Varieties' application, arguing that the granting of a dramatic patent would benefit the city by providing the opportunity for more play to be performed ("What Is a Revue?").
Handbill for opening of the Masterpiece Theatre preserved in Holloway's diary (Holloway 27 Jul.)
While lobbying in support of more plays and continuing to attend theatrical shows of all kinds, Holloway also visited picture houses regularly. During July and the first half of August 1914, he records twenty visits to Dublin picture houses, fourteen of them alone in July. On the evening of Thursday, 2 July, he went to what he insisted on calling the O'Connell Picture House (but the proprietors persisted in calling the Picture House, Sackville Street) where he saw the "beautiful touching film 'Child o' My Heart'" (Britain: London, 1914); on the afternoon of Monday, 6 July, he saw The Afghan Raiders and When Lions Escape (US: Columbus, 1914) at the Rotunda, and "both were full of thrills!"; on the evening of Wednesday, 8 July, he saw the Western Love Triumphant and a newsreel of Joseph Chamberlain's funeral at the Grafton; on the evening of Friday, 10 July, he saw From the Lion's Paw and "a thrilling abduction story, both well acted" at the Rotunda; on the evening of Monday, 13 July, he saw The Game of Life (US: Selig, 1914) at the Rotunda, which he found "a particularly exciting one & also an Indian story of the new medical man" [The New Medicine Man (US: Kalem, 1914)]; on the evening of Saturday, 18 July, the films he saw at the Grafton included Lost at Sea (France: Eclair, 1913), Nan Good-for-Nothing (Britain: London, 1914) and a newsreel from Dublin's Civic Exhibition featuring rival architect George O'Connor, "[a]s large as life & equally as massive!"; on the evening of Monday, 20 July, he admired at the Grafton both The Black Pearls (US: Geroges Méliès, 1914), "a real thriller enacted finely by French players," and The War Bonnet (US: Kalem, 1914), "an Indian story [that] was fairly interesting chiefly because of its beautiful natural setting; on the afternoon of Tuesday, 21 July, he was amused by The Blood Test (US: IMP, 1914) and an unnamed comedy at the Rotunda; on Thursday, 23 July, he visited the Grafton, where he saw "a few good dramatic pictures & others I didn't care for," and later the Rotunda, where The Master Crook Turns Detective (Britain: British and Colonial Kinematograph, 1914) "was the most dramatic & best enacted"; on the evening of Friday, 24 July, His Reformation (Britain: London, 1914) at the O'Connell was the best of "the few more or less interesting pictures" he saw; on Monday, 27 July, he found Joan of Arc (Italy: Savoia, 1914) at the opening of the Masterpiece Theatre "dull and left after ending of part 3," but enjoyed The Mansion of Sobs (US: Lubin, 1914), "a very good child picture & a funny [John] Bunny picture" later at the Grafton; on Friday, 31 July, he had the two visits to the Grafton and Rotunda that caused him such anxiety about the death of theatre.
Evening Telegraph review of programme at the Masterpiece, 22 Sep. 1914: 2.
The first half of August shows the same rate of picture house attendance, with Holloway visiting a cinema on average almost once every two days. On the evening of Saturday, 1 August, he went to the "exciting film drama" Devil's Gap at the Dorset Picture House; on the evening of Monday, 3 August, he and Eileen found the programme at the Grafton poor, particularly the vulgar Across the Hall (US: Keystone, 1914), but the evening was somewhat redeemed by Bertie in the Ladies' College (Britain: Eclair, 1914) and 'Fraid Cat (US: Vitagraph, 1914), "a clever child film"; at the Rotunda on the evening of Thursday, 6 August, he found A Life for a Life "quite pathetic" and was moved – unusually – to write a synopsis of it; Ivy's Elopement (Britain: Ivy Close Films, 1914) at the O'Connell on 8 August was "set in exquisite surroundings & was really beautiful"; on Wednesday, 12 August, he saw England's Menace (Britain: London, 1914) with Eileen at the Grafton, "where we saw some fine films, and were entertained by a man with a most aggressive sneeze"; on Friday, 14 August, he attended the 6:30 show at the Rotunda with just a handful of others, attributing the small attendance to "the unruly elements" of thunder showers, roving soldiers "and the unfortunate girls [who] had come out to meet them."
Over this period, he attended the Rotunda and Grafton almost equally with eight and seven visits respectively. The O'Connell was his next most favoured picture house with three visits; and the Masterpiece and Dorset received one visit each. After the visit to the Masterpiece on 27 July, he appears not to have visited it again until two months later, on Saturday, 26 September, when the well-known comedian Cathal MacGarvey took over its management. Holloway "met Mr M'Garvey at the door – he has only taken up the reins a week ago & scarcely feels his feet yet – he hopes to work it into a big success – The programme was first rate & I told him so as I came out." Holloway did not mention what was on the programme, but MacGarvey's appointment drew some welcome publicity to the Masterpiece, and as a result, notices show that Holloway would have seen the drama Etta of the Footlights (US: Vitagraph, 1914) with Maurice Costello and Mary Charleson – which was also showing at the O'Connell – "some daring feats of equestrianism by the 18th Hussars" in Our Cavalry's Wonderful Horsemanship, the scenic film From Inverlaken to Shiedegg, and a Gaumont Graphic newsreel that included "a review of the National Volunteers at Enniscorthy by Mr. John Redmond and ("Masterpiece Theatre"). It is likely that the location of the last film is mistaken and that this was a film of the infamous speech at Woodenbridge, Co. Wicklow, in which Irish nationalist leader Redmond called on the Volunteers to join the British Army.
Film lover Dr Knott. Holloway Diaries. National Library of Ireland.
Unlike his often very detailed accounts of theatre shows, Holloway wrote frustratingly little on the films he saw, often not even giving their names. He does, however, sometimes remark on the behaviour – and even mention the names – of members of the audience, some of whom he also occasionally sketched. On the evening of Monday, 1 June 1914, he reveals, the large audience at the Grafton included "AE (George Russell) & Prof. Maginnis." The aggressively sneezing man at the Grafton on 12 August allowed him some interaction with other members of the audience:
Even the film drama – "England's Message" – which was loudly applauded – he sneezed often. "Though its subject wasn't to be sneezed at!" I said to Eileen, & the man next her, who had been applauding his hands off almost when the foreign fleet in the picture story turned tail & went home, smiled at & approved of my turn of phrase.
However, the behaviour of other audience members could be annoying, as it was on 8 July at the Grafton during the newsreel of Chamberlain's funeral: "a man behind me kept up a regular tattoo with his fingers on the crown of his straw hat, which was irritating to all save himself. I know he maddened me!" Some people he knew were regular picture house patrons. James Crawford Neil enjoyed natural history pictures (23 Jul. 1914). Dr John Knott, "haunts the picture houses" (16 Sep 1914) and seems to be constantly "seated rather close up to screen" (30 May 1914). Like Knott, Holloway also haunted Dublin's picture houses, and despite his periodic fears about cinema displacing his beloved theatre, he appears, on balance, to have enjoyed his time in front of the screen.
"Between the Acts." Irish Life 10:2 (24 Jul. 1914), p. 68.
Condon, Denis. "'Temples to the Art of Cinematography': Cinema on the Dublin Streetscape, 1895-1929." Visualizing Dublin: Visual Culture, Modernity and the Representation of Urban Space. Ed. Justin Carville. Bern: Peter Lang, 2013. 132-54.
"Drama in Dublin: Premier Picture Palace Application: Lord Mayor's Views." Evening Herald 7 Aug. 1914: 2.
Ferriter, Diarmaid. "Holloway, Joseph." Dictionary of Irish Biography Online. Cambridge UP and Royal Irish Academy, 2009. Web. 30 Sep. 2014.
Holloway, Joseph. Holloway Diaries. National Library of Ireland.
"Masterpiece Theatre." Evening Telegraph 22 Sep. 1914: 2.
"O'Connell Street Pictures." Evening Telegraph 15 Sep. 1914: 2.
"What Is a Revue? Manager Tries to Explain It: Drama in Dublin." Evening Herald 6 Aug. 1914: 3.
Posted in A Life for a Life, Across the Hall (US: Keystone 1914), AE, Audience, 'Fraid Cat (US: Vitagraph 1914), Behaviour, Bertie in the Ladies' College (Britain: Eclair 1914), Between the Acts (Irish Life), Cathal MacGarvey, Child o' My Heart (Britain: London 1914), Coliseum Theatre (Dublin), Devil's Gap, Dorset Street PIcture House, Dr John Knot, Dublin, Dublin Civic Exhibition, Eileen O'Malley, Empire Theatre of Varieties, England's Menace (Britain: London 1914), Etta of the Footlights (US: Vitagraph 1914), Finger drumming, Fred Willmott, From Inverlaken to Shiedegg, From the Lion's Paw, Gaiety Theatre, George L. O'Connor, Henry Street, Hippodrome, His Reformation (Britain: London 1914), Ivy's Elopement (Britain: Ivy Close Films 1914), James Crawford Neil, Joan of Arc (Italy: Savoia 1913), John Bunny, Joseph Chamberlain's Funeral, Joseph Holloway, Lorcan Sherlock, Lost at Sea (France: Eclair 1913), Love Triumphant, Mary Charleson, Masterpiece Theatre, Maurice Costello, Melodrama, Music hall/Variety theatre, Nan Good-for-Nothing (Britain: London 1914), Our Cavalry's Wonderful Horsemanship, Patent hearing, Picture House Grafton Street, Picture House Sackville/O'Connell Street, Proprietors, Queen's Theatre (Dublin), Review of the National Volunteers at Enniscorthy by Mr. John Redmond (Ireland: Gaumont 1914), Rotunda PIctures, Royal Bioscope, Scenics, Sketches, Sneezing, The Afghan Raiders, The Black Pearls (US: Geroges Méliès 1914), The Blood Test (US: IMP 1914), The Game of Life (US: Selig 1914), The Mansion of Sobs (US: Lubin 1914), The Master Crook Turns Detective (Britain: British and Colonial Kinematograph 1914), The New Medicine Man (US: Kalem 1914), The War Bonnet (US: Kalem 1914), Theatre, Theatre Royal (Dublin), Tivoli Theatre, When Lions Escape (US: Columbus, World War I	| Tagged 1911 Census of Ireland, Architect, Attorney-General, Entertainment conglomerates, Handbill, Irish LIfe (Journal), Joseph Holloway's Diaries, LIfe Writing, Solicitor-General, Unruly elements	| 7 Replies
Index Select Category 1916 Rising Audience Accompanying ladies Attacked Bad at school Behaviour Finger drumming Singing Sneezing Stealing Charles and Thomas Boland David Kennedy James Gaffney and John Dillon Laurence Fitzgerald Cinemagoers AE Annie Hughes Bernard Hughes Dr John Knot Eileen O'Malley Jack Murray James Crawford Neil James O'Hare John Connor Joseph Holloway Sketches Michael Creevy Miss Conroy Norah Mahone Rose Kavanagh Thomas Keena Dreams Fans Flapper Imitating Robbery Living Conditions Number of patrons Population Protests Na Fianna Éireann William Larkin Riotous behaviour Seeing yourself Smoking Social class Division based on ticket price Transport Trains Trams Traumatized by war images Weather Cartoon Cinema regulation Amusement tax Building regulations Censorship Defence of the Realm Act (DORA) Lady inspectors War censor Churches Catholic Church Bishop of Cork Cardinal Logue Dublin Vigilance Committee Brass Band Irish Vigilance Association Cinema Commission (1917) Cinema licence Recorder of Dublin Patent hearing Permits to Film Military Sunday shows Film directors Cecil B. DeMille D. W. Griffith Fred O'Donovan Georges Tréville Herbert Brenon J. M. Kerrigan Lois Weber Louis Feuillade Maurice Elvey Maurice-André Maître Norman Whitten Sidney Olcott Walter Macnamara William J. Power Film distributors in Ireland Films Limited Gaumont Gaumont Film Service H. Bromhead Mr Russell Mr Young Ideal Film Renting Company Irish agents in London Lillah Dawson James J. Fisher Jobs at film distributors Despatch clerks Film repairers Messengers London agents in Ireland Ruffells' Exclusives Mr Hagan Film Length Film production companies Essanay Film Company of Ireland (FCOI) Cinematographer John A. Bennett Robert Justice William Moser Henry Fitzgibbon James Mark Sullivan Sales/Marketing Joseph Boland Gaumont General Film Supply (GFS) Benny Cann Cameramen J. Gordon Lewis Irish Events Subscribers Irish Film Productions Pathé Vitagraph Weisker Brothers Film stars "Broncho Billy" Anderson Annette Kellerman Arthur Shields Asta Nielsen Augustus Carney Aurele Sydney Barney Gilmore Blanche Sweet Breffni O'Rourke Brenda Burke Brian Magowan Charlie Chaplin Dermot O'Dowd Dustin Farnum Enid Markey Florence Lawrence Florence Roberts Florence Turner Ford Sterling Fred O'Donovan Gaby Deslys Gene Gauntier Geraldine Farrar Harry Lauder Helen Holmes Henry B. Walthall Ira Allen J. M. Carre J. M. Kerrigan J. Storey Jack Clarke John Bunny Kathleen Murphy Lillian Gish Mabel Normand Mary Charleson Mary Fuller Mary Pickford Maurice Costello Nora Clancy Olga Nethersole Pearl White Peggy Darval Queenie Coleman Tom Mix Valentine Roberts Filmed Events Bachelor's Walk Shootings Battle of the Somme Church Street Disaster Delhi Durbar Dublin Civic Exhibition Dublin Lockout Funeral of the Batchelor's Walk Victims Gallipoli Howth gunrunning Religious festivals Easter St. Patrick's Day Russian Revolution Sinking of the Lusitania World War I Films Aerial reconnaisance Animation Britannia's Message (Ireland: General Film Supply 1914) Sons of John Bull (Ireland: General Film Supply 1914) Tank Cartoons (Britain: Kineto, 1916) British Army Film (1914) Comedies A Film Johnnie (US: Keystone, 1914) Across the Hall (US: Keystone 1914) Bunny's Mistake (US: Vitagraph 1914) Charlie at the Bank Mabel's Strange Predicament (US: Keystone, 1914) Making a Living (US: Keystone, 1914) The Blood Test (US: IMP 1914) The Count (US: Lone Star 1916) The Fireman (US: Lone Star 1916) The Floorwalker (US: Lone Star 1916) The Knockout (US: Keystone 1914) The Property Man (US: Keystone 1914) Tillie's Punctured Romance (US: Keystone 1914) Wiffles Catches a Spy (France: Pathé 1915) Drama A Leader of Men (US: Lubin 1913) A Life for a Life Antony and Cleopatra (Italy: Cines 1913) 'Fraid Cat (US: Vitagraph 1914) Bertie in the Ladies' College (Britain: Eclair 1914) Burnt Wings (Britain: Broadwest 1916) Carmen (US: Lasky 1915 Child o' My Heart (Britain: London 1914) Christopher Columbus (US: Selig 1912) Dante's Inferno (Italy: Milano 1911) David Garrick (Britain: Hepworth 1913) Devil's Gap Dublin Dan: The Irish Detective (US: Solax 1912) England's Menace (Britain: London 1914) Etta of the Footlights (US: Vitagraph 1914) For the Sake of a Man (Denmark: Nordisk 1913) From the Lion's Paw From the Manger to the Cross (US: Kalem 1912) Germinal (France: Pathé 1913) Her Hour of Temptation (Denmark: Nordisk 1914) Her Mother's Wedding Gown (US: Vitagraph 1914) Her Triumph (US: Famous Players 1915) His Reformation (Britain: London 1914) I Tronens Skygge (Denmark: Kinografen 1914) In the Bishop's Carriage (US: Famous Players 1913) In the Days of Trafalgar (Britain: British and Colonial 1914) In the Grip of Circumstance (US: Essanay 1914) In the Grip of Spies (Britain: Big Ben 1914) In the Hands of London Crooks (Britain: Barker 1914) In the Wolf's Fangs (US: Bison 1914) Ivy's Elopement (Britain: Ivy Close Films 1914) Jim the Fireman (Britain: Barker 1914) Joan of Arc (Italy: Savoia 1913) Judith of Bethulia (US: Biograph 1914) Kissing Cup (Britain: Hepworth 1913) Lieutenant Rose and the Sealed Orders (Britain: Clarendon 1914) Lost at Sea (France: Eclair 1913) Lost in the Eternal City Nan Good-for-Nothing (Britain: London 1914) Neptune's Daughter (US: Universal 1914) Old Reliable (US: Vitagraph 1914) or The Mystery of Capt. Dawson (1914) Quo Vadis? (Italy: Cines 1912) Rupert of Henzau (Britain: London 1915) Sapho (France: Eclair 1913) Sapho (US: Majestic 1913) Spartacus (Italy: Pasquali 1913) The Afghan Raiders The Auto Bandits of New York (US: Ruby 1914 The Birth of a Nation (US: Epoch 1915) The Black Pearls (US: Geroges Méliès 1914) The Child from the Sea The Drudge (US: Vitagraph 1914) The Dumb Girl of Portici (US: Universal 1916) The Flaming Diagram (US: IMP, 1914) The Game of Life (US: Selig 1914) The Labour Struggle (US: Kalem 1913) The Last Days of Pompeii (Italy: Ambrosio 1913) The Mansion of Sobs (US: Lubin 1914) The Master Crook Turns Detective (Britain: British and Colonial Kinematograph 1914) The Messiah (France: Pathé 1913) The Rosary (US: Selig 1915) The Secret of Adrianpole (Denmark: Kinografen 1913) The Sign of the Cross (US: Famous Players 1914) The Spoilers (US: Selig 1914) The Spy The Suffragette (Projektions AG 1913) The Three Musketeers (France: Film d'Art 1912) The Village of Death (1914) The Wheels of Destiny (US: Majestic 1914) Up to Her Tricks (Engelein; Germany: Projections-AG Union 1914) V.C. (Britian: London When Lions Escape (US: Columbus Where Are My Children? (US: Universal 1916) Edison's Talking Pictures Educational Everybody's Business (Britain: London 1917) Motherhood (Britain: Trans-Atlantic 1917) Irish A Girl of Glenbeigh (Ireland: FCOI 1916) Aimsir Padraig/In the Days of St Patrick (Ireland: GFS 1920) All for Old Ireland (US: Sid Olcott International Players 1915 An Unfair Love Affair (Ireland: FCOI 1916) Bunny Blarneyed (US: Vitagraph 1913) Food of Love (Ireland: FCOI 1916) Fun at Finglas Fair (Ireland: 1915) Ireland a Nation (US: Macnamara 1914) Irish National Pilgrimage to Lourdes (Ireland: General Film Agency, 1913) Knocknagow (Ireland: FCOI 1918) Life of Saint Patrick: From the Cradle to the Grave (US: Photo-Historic 1912) O'Neil of the Glen (Ireland: FCOI 1916 Puck Fair Romance (Ireland: FCOI 1916) Rafferty's Rise (Ireland: FCOI 1917) Rory O'More (US: Kalem 1911) Rosaleen Dhu (Ireland: Celtic 1920) Sinn Fein Review (Ireland: GFS 1919) The Banshee (US: Kay-Bee 1913) The Colleen Bawn (US: Kalem 1911) The Eleventh Hour (Ireland: FCOI 1916) The Filly (US: Domino 1913) The Innocent Lie (US: Famous Players 1916) The Kerry Gow (US: Kalem 1912) The Mayor from Ireland (US: Kalem 1911) The Miser's Gift (Ireland: FCOI 1916) The O'Neill (US: Kalem 1912) The Shaughraun (US: Kalem 1912) True Irish Hearts (US: Domino 1914) When Love Came to Gavin Burke Widow Malone (Ireland: FCOI 1916) Willy Reilly and His Colleen Bawn (Ireland: FCOI 1920) Woman's Wit (Ireland: FCOI 1916) Kinemacolor Propaganda Battle of the Ancre and Advance of the Tanks (Britain: British Topical Committee for War Films 1917) Battle of the Somme (Britain: British Topical Committee for War Films 1916) Britain Prepared British Army in France On the Way to Gorizia The Allies on the Eastern Front (France 1916) With the British Monster Guns in Action (1916) Scenics From Inverlaken to Shiedegg The Volcanoes of Java Serials Fantômas (France: Gaumont 1913) Lieutenant Daring and the Stolen Invention (Britain: British and Colonial Kinematograph 1914) Sherlock Holmes (France: Éclair 1912) The Adventures of Kathlyn (US: Selig 1913) The Exploits of Elaine (US: Wharton 1914) The Hazards of Helen (US: Kalem 1914) The New Exploits of Elaine (US: Wharton 1915) The Perils of Pauline (US: Pathé 1914) The Vanishing Cracksman (US: Ediston 1913) Ultus and the Secret of the Night (Britain: Gaumont 1917) What Happened to Mary (US: Edison 1912) Who Will Marry Mary? (US: Edison 1913) Sports films Cork v. Tipperary (Munster Hurling Final 1913) Epsom Derby Grand National Steeplechase 1914 Hurling Match between Kilkenny and Cork (Ireland: Gaumont 1913) Ireland v. Wales Rugby Match (Ireland: 1914) Topicals Anti-Partition Meeting at Phoenix Park (Ireland: General Film Supply 1917) Castlebellingham Feis and Louth Volunteers (1914) Children's Fete at Lord Iveagh's Garden Party (Ireland: General Film Supply 1917) Clontarf Aquatic Festival (Ireland: General Film Supply 1917) Cyclists of the Belgian Army (1914) Funeral of Jeremiah O'Donovan Rossa (Ireland: General Film Supply 1915) Funeral of Mrs MacDonagh (Ireland: General Film Supply 1917) Funeral of the Late John Redmond M.P. (Ireland: General Film Supply 1917) Funeral of Thomas Ashe (Ireland: General Film Suply 1917) Funeral of Victims Shooting Affair Sunday July 26th In the Hands of the Kindly Dutch (1914) Joseph Chamberlain's Funeral Kineto War Map Latest Exclusive Pictures of The Czar of Russia Lord Kitchener's Visit to British Army Headquarters in France (1915) Manchester Martyrs' Commemoration 1913 Naval Reserve entraining en route for Portsmouth Opening of Imperial Cinema (1914) Our Cavalry's Wonderful Horsemanship Parade of the South Antrim Brigade of the UVF (Ireland: 1914) Pathé Gazette Return of the Sinn Fein Prisoners (Ireland: General Film Supply 1917) Review of the National Volunteers at Enniscorthy by Mr. John Redmond (Ireland: Gaumont 1914) Scenery around Galway Bay (Ireland: General Film Supply 1914) South Armagh Election (Ireland: General Film Supply 1918) Tanks in Dublin (Ireland: GFS 1917) The 23rd French Dragoons (1914) The Annual Pilgrimage to Wolfe Tone's Grave The Arrival of Sir E. Carson (Ireland: 1914) The Belgian War Scenes The Belgians in Action The Launch of the Britannic (Britain: Gaumont 1914) The Sinking of the Lusitania (1915) The Volunteer Inspection by Sir E. Carson at Balmoral Trooping of the Colours at Dublin Castle (Pathé 1914) Trotting at Shelbourne Park (Ireland: General Film Supply 1917) Twelfth of July Celebrations in and Near Belfast (Ireland: General Film Supply 1917) With King George in France Westerns A Modern Taming of the Shrew (US: Kay-Bee/NewYork 1915) Broncho Billy's True Love Love Triumphant The Escape of Jim Dolan (US: Selig Polyscope 1913) The New Medicine Man (US: Kalem 1914) The War Bonnet (US: Kalem 1914) Institutions Belfast Corporation Lord Mayor Cork County Council Dublin Corporation Public Health Committee Theatre inspector Sir Charles Cameron Fenians/IRB Gaelic Athletic Association IRA (Irish Republican Army) Irish Transport and General Workers' Union Irish Women's Franchise League Ulster Volunteer Force Irish Cinematograph Exhibitors' Association Irish Cinematograph Operators' Association Irish politics Home Rule Irish Parliamentary Party (IPP) Nationalism Sinn Féin Suffragettes Trade unions Unionism Irish Travellers Musical accompaniment Instruments Organ Irish songs Military band Number of musicians Women musicians Other entertainments Concerts Dances Hippodrome Icecream shops Melodrama Music hall/Variety theatre Empire Theatre of Varieties Tivoli Theatre Novels O'Neill of the Glen (M[argaret]. T. Pender) Pantomime Finn Varra Maa (1917-18) Roller skating Serial fiction Theatre Abbey Theatre Gaiety Theatre Grand Opera House (Belfast) Opera House (Cork) Picture house construction Architects Aubrey V. O'Rourke F. J. Waddington George L. O'Connor Thoma McNamara Thomas Houston Conversion Churches Roller skating rinks Decorative features Canopy Electric lighting Fibrous plaster Furnishings Oil paintings Stonework Tapestry Terrazzo flooring Verandah Wood panelling Destruction Electrical supply Irish manufacturers Ladies' retiring room Location Suburbs Lounge Number of seats Projectors Rake Signage Strike Tea rooms Ventilation Picture house staff Advertisement Attendants Daniel McEvoy Lena Johnson Cashiers Charwomen Chocolate boys Doormen Film runners Managers Bob O'Russ Cathal MacGarvey Charles M. Jones Charles McEvoy Ernest Jameson Ernest Matthewson Frank Hardiman Frederick William Sullivan H. G. Austin H. Higginson J.D. Hozier John and P.W. Whittle Mr Clarke Samuel Stonehouse W. J. Hogan W. O. Ashton Will Sommerson William Bowes William Kay Musicians Carlo Berckmans (tenor) Clyde Twelvetrees Erwin Goldwater Eva Hickie Evelyn Duffy F. J. Moffett Faugh-a-Ballaghs Herbert O'Brien Irish Ladies' String Orchestra Irvine Lynch (basso) Jack Larchet Joseph Schofield Mary Burke May Murphy May O'Russ Miss D'Arcy Miss Eager Miss Frazer Miss M. Grundy Patrick Delaney Pavilion Ladies' Orchestra Percy Carver Samuel Golding Signor (Achille) Simonetti Skibbereen Volunteer Band Porters Projectionists Edward McCabe Proprietors Abraham Elliman Alex McEwan David Frame Frank Chambers Frederick Arthur Sparling Frederick Stewart Gerald J. Macaura Jacob Elliman James T. Jameson John J. Farrell M. William Shanly Provincial Cinematograph Theatres Sam Hewitt Southern Coliseums Ulster Ciematography Theatres Rewind boys Ticket Prices Picture houses Abbey Picture House (Enniscorthy) Assembly Rooms Picturedrome (Cork) Ballinasloe Town Hall Bohemian Picture Theatre Boyne Cinema (Drogheda) Camden Street Picture House Carlton Cinema (Dublin) Central Picture Theatre Smithhfield (Belfast) Cinema Theatre (Enniscorthy) City YMCA Hall (Belfast) Clonard Picture House Clontarf Town Hall Coliseum (Cork) Coliseum (Limerick) Coliseum Theatre (Dublin) Proprietors Fred Willmott Lorcan Sherlock Corinthian Cinema Crumlin Picture House (Belfast) Dame Street Picture House Dorset Street PIcture House Duncairn Picture Theatre (Belfast) Electric Palace (Lisburn) Electric Theatre Talbot Street Gaiety Bijou (Limerick) Galway Cinema Theatre Gillooly Memorial Temperance Hall (Sligo) Grand (Dublin) Grand (Lurgan) Grand Central Cinema Grand Picture House (Blackrock Co. Dublin) Great Northern Kinema (Belfast) Grosvenor Hall (Belfast) Imperial Picture House (Belfast) Irish Cinema (Dublin) Kelvin Picture Palace (Belfast) Kinemac (Skibbereen) La Scala Longford Cinema Mary Street Picture House Masterpiece Theatre Metropole Cinema National Picture Palace (Mullingar) New York Cinema (Belfast) Omagh Picture Palace Opera House Derry Palace (Newtownards) Panopticon Picture Theatre Pavilion (Kingstown) Phibsboro Picture Theatre Phoenix Picture Palace Picture House (Lurgan) Picture House Grafton Street Picture House Royal Avenue (Belfast) Picture House Sackville/O'Connell Street Picturedrome (Tralee) Picturedrome Harcourt Road (Dublin) Pillar Picture House Princess Cinema (Rathmines) Princess Picture Palace (Belfast) Queen's Theatre (Dublin) Rink Palace (Limerick) Rotunda PIctures Sandford Cinema St. George's Hall Theatre de Luxe Theatre Royal (Dublin) Royal Bioscope Tivoli Picture House (Limerick) Town Hall Balbriggan Town Hall Picture Palace (Galway) Town Hall Rathmines Volta (Dublin) West Belfast Picture Theatre Willowfield Picture House (Belfast) World's Fair Varieties YMCA Hall Queenstown Picture show Irish Week Live acts Comedian Singer News service Programme Number of days films shown Number of films Publicity Promotional gifts War beneift Places Balbriggan Ballina Ballinasloe Belfast Royal Avenue Blackrock (Co. 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pSivida Announces FDA Acceptance For ...
OSE Immunotherapeutics to Present New ...
pSivida Announces FDA Acceptance For Filing of New Drug Application (NDA) for Durasert™ Three-Year Treatment for Posterior Segment Uveitis
by NASDAQ Market News March 19, 2018
WATERTOWN, Mass., March 19, 2018 (GLOBE NEWSWIRE) — pSivida Corp. (NASDAQ:PSDV) (ASX:PVA), a leader in the development of sustained release drug products and technologies, today announced that its New Drug Application (NDA) for Durasert three-year treatment for posterior segment uveitis has been accepted by the U.S. Food and Drug Administration (FDA) for filing. The acceptance of the NDA reflects the FDA's determination that the application is sufficiently complete to permit a substantive review. The application will be subject to a standard review and will have a Prescription Drug User Fee Act (PDUFA) date of November 5, 2018. The PDUFA date is the goal date for the FDA to complete its review of the NDA.
The NDA includes data from two Phase 3 studies that each successfully achieved the primary efficacy endpoint at six months with a p value < 0.001. In addition, the safety profile in patients treated with Durasert three-year for posterior segment uveitis was consistent with the safety profile of steroid treatments that are currently considered standard of care for this disease.
"The FDA's acceptance for review of our Durasert NDA submission is a major milestone for pSivida and we look forward to continuing to work with the FDA as they review our application," commented Nancy Lurker, President and CEO. "Given the high unmet medical need, we believe that Durasert, if approved, has the potential to become an important new treatment option for the thousands of patients suffering from posterior segment uveitis, the third leading cause of blindness."
About Posterior Segment Uveitis
Posterior segment uveitis is a chronic, non-infectious inflammatory disease affecting the posterior segment of the eye, often involving the retina, which is believed to be a leading cause of blindness in the developed and developing countries. It affects people of all ages, producing swelling and destroying eye tissues, which can lead to severe vision loss and blindness. In the U.S., posterior segment uveitis affects between 80,000 – 100,000 people. Today, patients with posterior uveitis are typically treated with systemic steroids, but over time frequently develop serious side effects that can limit effective dosing. Patients then often progress to steroid-sparing therapy with systemic immune suppressants or biologics, which themselves can have severe side effects including an increased risk of cancer.
About pSivida Corp.
pSivida Corp. (www.psivida.com), headquartered in Watertown, MA, is a leader in the development of sustained release drug products for treating eye diseases. pSivida has developed three of only four FDA-approved sustained-release treatments for back-of-the-eye diseases. The most recent, ILUVIEN®, a micro-insert for diabetic macular edema, licensed to Alimera Sciences, is currently sold directly in the U.S. and several EU countries. Retisert ®, an implant for posterior uveitis, is licensed to and sold by Bausch & Lomb. In January 2018, pSivida submitted a New Drug Application (NDA) to the U.S. FDA for its lead product candidate, Durasert™ micro-insert for posterior segment uveitis. The NDA has been accepted for filing and is currently under standard review with a Prescription Drug User Fee Act (PDUFA) date of November 5, 2018. Two pivotal Phase 3 studies with Durasert achieved their primary efficacy endpoint of prevention of recurrence of uveitis at six months of follow-up with statistical significance. pSivida's pre-clinical development program is focused on using its core platform technology Durasert to deliver drugs to treat wet age-related macular degeneration, glaucoma, osteoarthritis and other diseases. To learn more about pSivida, please visit www.psivida.com and connect on Twitter, LinkedIn, Facebook and Google+.
SAFE HARBOR STATEMENTS UNDER THE PRIVATE SECURITIES LITIGATION REFORM ACT OF 1995: Various statements made in this release are forward-looking, and are inherently subject to risks, uncertainties and potentially inaccurate assumptions. All statements that address activities, events or developments that we intend, expect or believe may occur in the future are forward-looking statements. Some of the factors that could cause actual results to differ materially from the anticipated results or other expectations expressed, anticipated or implied in our forward-looking statements include uncertainties with respect to: our ability to achieve profitable operations and access to needed capital; fluctuations in our operating results; successful commercialization of, and receipt of revenues from, ILUVIEN® for diabetic macular edema ("DME"), which depends on Alimera's ability to continue as a going concern; Alimera's ability to obtain marketing approvals and the effect of pricing and reimbursement decisions on sales of ILUVIEN; the number of clinical trials and data required for the Durasert three-year uveitis marketing approval application in the U.S.; our ability to use data in a U.S. NDA from clinical trials outside the U.S.; our ability to successfully commercialize Durasert three-year uveitis, if approved, in the U.S.; potential off-label sales of ILUVIEN for uveitis; consequences of fluocinolone acetonide side effects; the development of our next-generation Durasert shorter-duration treatment for posterior segment uveitis; potential declines in Retisert® royalties; efficacy and our future development of an implant to treat severe osteoarthritis; our ability to successfully develop product candidates, initiate and complete clinical trials and receive regulatory approvals; our ability to market and sell products; the success of current and future license agreements, including our agreement with Alimera; termination or breach of current license agreements, including our agreement with Alimera; our dependence on contract research organizations, vendors and investigators; effects of competition and other developments affecting sales of products; market acceptance of products; effects of guidelines, recommendations and studies; protection of intellectual property and avoiding intellectual property infringement; retention of key personnel; product liability; industry consolidation; compliance with environmental laws; manufacturing risks; risks and costs of international business operations; effects of the potential U.K. exit from the EU; legislative or regulatory changes; volatility of stock price; possible dilution; absence of dividends; and other factors described in our filings with the Securities and Exchange Commission. You should read and interpret any forward-looking statements in light of these risks. Should known or unknown risks materialize, or should underlying assumptions prove inaccurate, actual results could differ materially from past results and those anticipated, estimated or projected in the forward-looking statements. You should bear this in mind as you consider any forward-looking statements. Our forward-looking statements speak only as of the dates on which they are made. We do not undertake any obligation to publicly update or revise our forward-looking statements even if experience or future changes makes it clear that any projected results expressed or implied in such statements will not be realized.
Barbara Ryan – Investor
Barbara@barbararyanadvisors.co
Thomas Gibson – Media
tom@tomgibsoncommunications.com
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The least expensive month is November, with an average of $139 per night. The most expensive month to stay in Krems is July, with an average price of $238 per night.
The average price of a hotel in April last year was $166 per night. This is 3% less than the average nightly price of $172 seen over the previous 12 months.


Since most of you following me here from the last couple of weeks are new, here is small story about me and of how "Bright" came to be.
At the age of 18, I started of as a vocalist for a Metalcore band called "Demise of Deceased" in the year 2010. As a band we focused majorly on writing music that described the life and times of soldiers in the army and at war.
Having felt that pure vocals was not my thing, I then proceeded to learn how to play the guitar and eventually started playing for a Heavy metal band called "Black Peter", followed by "Chaotic Serenity". "Chaotic Serenity" was a Thrash metal band, whose material was majorly inspired by the work of metal giants like Iron Maiden, Megadeth, Slayer and Pantera. I performed with them till 2012. Towards the end of my time with them, I felt the style of music I was playing wasn't extreme enough for me and quit the band.
I formed the Black metal band "Anti" with other like-minded musicians keen on writing aggressive material as a vocalist, guitarist and lyricist from the year 2012. The band remains active till date. With "Anti" we've had the opportunity of performing as a part of the highly reputed "Bangalore Open Air" metal festival in India in the year 2015. During my time with "Anti", we released one demo album – "A Dark And Shattered Soul" and one raw full-length album – "Anti-Theist".
In the year 2013, bored with the one-dimensional approach my writing had turned into due to genre constraints, I ventured into the instrumental music territory with "Bright", hoping to explore and express the multitude of emotions experienced by a human being through music alone. I made it a point to record and release the guitar based instrumentals myself as my aim was to be unrestricted and have overall control over which direction my songs would take. The solo guitar instrumental work I've done in "Bright" has resulted in a lot of great opportunities and new experiences. In the month of May, 2016, after 3 years of composing instrumental tracks,"Bright" was shortlisted as one of the top artists of the country by Hard Rock Cafe, India for their international event "Hard Rock Rising", in which the top artists of the country in which every Hard Rock Cafe is present are given an opportunity to perform at Hard Rock Cafe with other top notch artists from around the country.
Through the years I have persevered with my life in music relentlessly. I now have enough material for a full-fledged album, tracking and recording of which has commenced. The musical direction i'll be taking with these tracks will be very new for me and I hope to evolve more as a musician through the process.
For those amongst you who are curious about what I do, follow the links below to check out my attempts at living my dream! Thank you all for your consistent support and encouragement. Cheers!