C I N e B u D S - cinema research on a daily (I wish !) basis

<<<\nYou're not human tonight, Marlowe.\n<<<\nChandler, //The Little Sister//\n<<<\nShe was exquisite, she was dark, she was deadly.\n<<<\n(and, indeed, three pages later, she is dead).

''How to convey a musical joke in a silent film ?''\nFrom [[M'Liss (1918)]].\nM'Liss/Mary Pickford is trying to put her doll to sleep. But she sings off-key. How to convey this in silence? \n*father and hen both wake up, frightened. But there's an element of joke in the scene that also needs to be conveyed.\n*The intertitle is the answer. A little animation of notes falling off -- an elegant solution, no ?\n[[insert here frame of intertitle]]

Film westerns inherit several traits from book westerns:\n* romantic, awesome landscapes (Wister)\n* chivalrous heroes\n* a code of honor among western types that defines western civilization in opposition to the settled, legal environment of the East\nBut they differ most in their uncompromising ruggedness. And the chivalry is watered down and boiled to a minimum set of traits (courtesy to the ladies, bravery), which do not include language anymore (listen to [[The Virginian]] learning how to speak and read proper). The cowboy will be happy (or not) to be an illiterate //prolétaire// of the plains.\nsee [[#2]] | [[New Worlds a bit confused]]

In ref. to [[#1]]: this is of course A westerns I'm talking about. B Westerns would seem to toe the literary line much more. (No coincidence either). If you've never seen [[Roy Rogers singing on a California beach to his belle while there's an earthquake]] (if that's not a typical melodramatic tightening of events as [[the melodramatic compact]] requires it, then I don't know what is), then you got to see [[In Old Caliente (1939)|http://www.imdb.com/title/tt0031478/combined?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9aW4gb2xkIGNhbGllbnRlfGZ0PTF8bXg9MjB8bG09NTAwfGNvPTF8aHRtbD0xfG5tPTE_;fc=1;ft=20]] to find a good film equivalent of [[The Virginian]].

Can [[hokum]] be realism ?\n!!!!!* Consider the entries of the Oxford American Writer Thesaurus, 1st ed., for [[realism]] (aesthetic sense):\n<<<\na degree of realism: authenticity, fidelity, verisimilitude, truthfulness, faithfulness.\n<<<\nNow 'authenticity', 'fidelity', 'truthfulness' and 'faithfulness' all refer to some sort of real pro-filmic world. Whether or not there is such a thing, whether or not anyone can be a reliable judge of what is real or not -- those are then other issues to explore. But 'verisimilitude' ? This can almost entirely be defined by reference //not// to the pro-filmic world, but to the internal coherence of the tale. With it, realism then becomes a matter of know-how (the old Hollywood trick of not throwing the audience off). Thus, if [[hokum]] is the showman's know-how\n<<<\nto evoke a desired audience response\n<<<\nand if that audience response so desired is to "make it look like real life" ([[verisimilitude]] -- check out the latin origin of that word: it's not just "like" the real world, it's also "probable"), then [[hokum]], the art of manipulating an audience, can be geared towards [[realism]]. The argument that "it's just a show" does not matter (it's //because// it's just a show that realism is at all possible, otherwise it's real and there's no show). It doesn't prove that [[hokum]] is [[realism]], of course, but it does establish that there may not be any contradiction between the demands of [[hokum]] and the demands of [[realism]]. \n!!!!!* Consider this, from [[Merton of the Movies]] |\n\n\n

I remember a film where a huge computer beast started getting nasty to a scientist and his (blonde) kid. But I doubt it was in 1953 exactly though

If you've been thinking that America's not the democracy it says it is, I have the reading just for you. George Creel, //How We Advertised America//, published in 1920, tells the efforts of the Committee on Public Information, created by President Wilson in 1917, and discontinued in 1919 by order of Congress. Creel was in charge of all the efforts of the Committee, and was he an active busybody for a while ! His responsibility was to organise the effort of the US government to communicate efficiently about its war effort, and to win hearts and minds, both at home and abroad among allies and enemies. (I'll let you decide if it's a sign of a healthy democracy or not to have a book about such a subject published so quickly after the facts -- and then again, no need to read in the past our own problems is there?)\nBack then embedding correspondents was not an option (rather, official tours of the front were the norm, or faked reconstitutions of battles). What Creel attempted was to bring the government news to the newspapers of the world -- without it being government propaganda. It's quite a trick to pull and it doesn't quite work out, at least in his book. (I'm yet to check on how some of the newspapers covered his activities back then).\n*On the one hand, he is adamant that no censorship was ever established, but that he communicated the facts, and only the facts. This is his defense of the Division of News in his Committee:\n<<<\n"On the part of the press there was the fear, and a very natural one, that the new order of things meant "press-agenting" on a huge scale. This fear could not be argued away, but had to be met by actual demonstration of its groundlessness. Our job, therefore, was to present the facts without the slightest trace of color or bias, either in the selection of news or the manner in which it was presented. Thus, in practice, the Division of News set forth in exactly the same colorless style the remarkable success of the Browning guns, on the one hand, and on the other the existence of bad health conditions in three or four of the cantonments. In time the correspondents realized that we were running a government news bureau, not a press agency, and their support became cordial and sincere."\np. 73\n<<<\n*but on the other hand, he is equally clear about the role of the Committee: to win the support of the American (and later, the world's) population for the war, including a fascist-like call for the fusion of the individual with the State:\n<<<\n"What we had to have was no mere surface unity, but a passionate belief in the justice of America's cause that should weld the people of the United States into one white-hot mass instinct with fraternity, devotion, courage, and deathless determination. The war-will, the will-to-win, of a democracy depends upon the degree to which each one of all the people of that democracy can concentrate and consecrate body and soul and spirit in the supreme effort of service and sacrifice. What had to be driven home was that all business was the nation's business, and every task a common task for a single purpose."\np.5\n<<<\nThe interesting point, for me, is how he reconciles the obvious contradictions between truth and government message. He is aware of the contradiction, since he himself points out that such committee could only exist in war-time, \n<<<\nsince "eace is far from simple, and has as many objectives as there are parties and political aims and prejudices. No matter how honest its intent or pure its purpose, a Committee on Public Information operating in peace-times would be caught inevitably in the net of controversy, affording thhe highly improper spectacle of a government organization using public moneys to advance the contentions of one side or the other."\np. 401-2\n<<<\nBut he's not too concerned with it either. Concurrent with a time when news was faked, when documentaries pretended to show the real thing (an example of that is given in the note on [[Homer Croy]] but did not, truth and the ideological opinion I have of truth tends to be the same thing for him. \n<<<\nWe did not call it propaganda, for that word, in German hands, had come to be associated with deceit and corruption. Our effort was educational and informative throughout, for we had such confidence in our case as to feel that no other argument was needed than the simple, straightforward presentation of facts.\np. 5\n<<<\nBut later, this educational and "informative" emphasis gives way to something more sinister:\n<<<\nit was not only that the committee put motion pictures into foreign countries. Just as important was the work of keeping certain motion pictures out of these countries. As a matter of bitter fact, much of the misconception about America before the war was due to American motion pictures portraying the lives and exploits of New York's gun-men, Western bandits, and wild days of the old frontier, all of which were accepted in many parts of the world as representative of American life.\nWhat we wanted to get into foreign countries were pictures that presented the wholesome life of America, giving fair ideas of our people and our institutions. What we wanted to keep out of world circulation were the "thrillers," that gave entirely fallse impressions of American life and morals. Film dramas portraying the exploits of "Gyp the Blood" or "jesse James" wee bound to prejudice our fight for the good opinion of neutral nations.\np. 281\n<<<\nCreel wants to have it both ways. He wants to show America in a good light (and he is proud of his success, pointing that "From being the most misunderstood nation, America became the most popular. A world that was either inimical, contemptuous, or indifferent was changed into a world of friends and well-wishers" p. 11), and he wants the world to believe that this is the truth about America. \nIn other words, this is another hit taken by the already much-maligned notion of [[authenticity]]. He's not blind to ideology, he just plainly states that his is the authentic version.

...there was //Ingagi//.\nHere's the [[L.A.Times story on that|http://www.calendarlive.com/movies/cl-ca-ingagi8jan08,2,3536535.story]]:\n<<<\nREEL HISTORY\nIllegitimate dad of 'Kong'\nOne of the Depression's highest-grossing films was an outrageous fabrication, a scandalous and suggestive gorilla epic that set box office records.\n\nBy Andrew Erish, Special to The Times\n\nA safari venturing into unexplored territory stumbles upon natives who sacrifice a woman to a large gorilla in order to spare the rest of their tribe.\n\nIt sounds like a scene from Merian C. Cooper and Ernest B. Schoedsack's legendary "King Kong," but it's actually part of the climactic sequence from the film "Ingagi," released three years earlier. "Ingagi" is largely forgotten, but "Kong" might never have gotten made if not for the success of its scandalous predecessor.\n\nADVERTISEMENT\n \n"Ingagi" arrived in 1930 to satisfy a hunger for jungle pictures piqued by Theodore Roosevelt's African safari and fueled by the success of such nickelodeon hits as "Heart of Africa," documenting a 1915 Kenyan safari by Lady Grace Mackenzie, and "Hunting Big Game in Africa," a phony account of the Roosevelt trip filmed entirely in a Chicago studio by Col. William Selig, one of the most successful and innovative producers of the day.\n\nAs only a handful of zoos and circuses exhibited apes during the early 20th century, movies featuring all forms of monkeys emerged as a popular genre, and some filmmakers, such as William S. Campbell, seemed to specialize in monkey-themed films, with "Monkey Stuff" and "Jazz Monkey," in 1919, and "Prohibition Monkey" in 1920. Schoedsack warmed up for "King Kong" by directing "Chang" in 1927 (with Cooper) and "Rango" in 1931, both of which prominently featured monkeys in real jungle settings. The debate about evolution at the Scopes monkey trial of 1925 further spurred interest in primate pictures.\n\nCapitalizing on the craze, Congo Pictures Ltd. released "Ingagi." All advertisements for the film explained that "ingagi" means "gorilla." And every ad and article stated that the movie documented an authentic, scientific two-year expedition in the Belgian Congo, produced by Sir Hubert Winstead of the Royal Geological Society, who appeared in the film along with American sportsman Capt. Daniel Swayne.\n\nCongo Pictures, formed expressly to make the film, could afford only one print, and it arranged for a two-week run at a theater in San Diego, where it played to more than 40,000 people. But efforts to interest New York-based film distributors failed, and Congo had to book "Ingagi" theater by theater.\n\nCongo rented Chicago's Garrick Theatre, advertising the film as "an authentic incontestable celluloid document showing the sacrifice of a living woman to mammoth gorillas!" The Motion Picture News credited "lurid lobby advertising depicting a gorilla fondling a near-nude native woman" for drawing crowds to the Garrick.\n\n"Ingagi" was an unabashed exploitation film, almost immediately running afoul of the Hollywood code of ethics created by the Motion Picture Producers and Distributors Assn. (MPPDA), a consortium of the major motion picture studios popularly known as the Hays Office. A week after "Ingagi's" Chicago debut, the Hays Code was modified to state that: "Sex perversion or any inference of it is forbidden" and "Complete nudity is never permitted."\n\nThe lure of the forbidden\n\nThat was a plus for "Ingagi." Exploitation cinema during Hollywood's "Golden Age" deliberately dealt with subject matter that the Hays Office prohibited, luring customers to "forbidden spectacle." And "Ingagi" was loaded with it.\n\nThe movie follows white hunters Winstead and Swayne, accompanied by cameramen and black porters, into the Belgian Congo jungle in search of a tribe that engages in human sacrifice to a band of gorillas. Along the way they encounter a 65-foot python, shoot a baby rhino and observe animals at a watering hole. The party also discovers a new species of animal, the tortadillo.\n\nA cameraman is killed by a wounded lion, and upon entering " 'Ingagi' Country," the hunters stumble upon a tribe of shy pygmies. There are glimpses of naked women foraging in a thicket, then native porters briefly capture a gorilla that overpowers them and escapes. Finally, the hunters watch as a bare-breasted woman is carried off by a gorilla, but Swayne saves her by shooting the beast dead.\n\nThe film moved from Chicago to San Francisco, where it opened April 5 at the Orpheum, which was owned by RKO. Variety reported that the movie had been offered to every theater along Market Street.\n\nThe Orpheum had been the crown jewel of western vaudeville until Joseph Kennedy secretly bought a controlling interest in the monopolistic ~Keith-Orpheum circuit, then turned around and sold the theaters at an enormous profit to David Sarnoff to help Sarnoff's RCA recording process become the standard used for talking pictures. The new company, ~Radio-Keith-Orpheum (RKO), soon killed off vaudeville and became one of the five major motion picture companies in Hollywood.\n\nThe advertising campaign remains striking for its innovation — and its success. Handbills offered a hyperbolic synopsis of the film. Ads in the Chronicle reiterated the film's prurient aspects, suggesting evidence of a missing link between humans and apes, and asked "Was Darwin Right?" Artwork depicted a topless African woman held by a gorilla.\n\nCongo transformed the Orpheum's lobby and foyer with painted canvases of African scenes, stuffed zebras and hyenas, and a life-sized lion attacking a gazelle. A loudspeaker broadcast jungle-sound records from a hidden phonograph, stopping passersby in droves. The ticket booth became a straw hut. And the ushers wore puttees and pith helmets.\n\nDespite ticket prices ranging from only 30 to 65 cents, the film earned almost $4,000 on its opening day and outgrossed the competition throughout its monthlong run.\n\nThe movie was so successful that RKO had additional prints made and booked the film into at least seven more of its theaters, including the Oakland and Los Angeles orpheums.\n\nBy May, "Ingagi" was in 14 cities, breaking box office records in every theater it played. Newspapers referred to it as "the gorilla 'sex' picture," and the movie was such a hit that a Tin Pan Alley songwriter published a tune titled "My Ingagi."\n\nMost critics raved about the film, but some questioned its authenticity. Yet the San Francisco Chronicle continued printing "Ingagi" press releases. "By actual film record," one such story ran, "one man was killed and another seriously mauled in this exciting encounter." Booking theaters on its own as an independent production unaffiliated with the Hays Office, "Ingagi" was free to run anywhere it could gain approval from the censor board of a state or a Canadian province. According to Hays Office files at the Motion Picture Academy Library, the Ohio censor insisted that scenes of close dancing between native men and women be removed, that all nudity be edited out of the film, that narration and title cards implying that women were sacrificed in order to consort with gorillas be eliminated, and that all references and images of hairy children as offspring of the unions be deleted.\n\nOn May 21, Congo took out an ad in the trades listing receipts from 14 cities that totaled $642,300. But that same day the Hays Office ordered its members to cease from distributing or exhibiting "Ingagi." And oddly, it wasn't because of the insinuations of relations between the African women and gorillas, but because Congo Pictures had represented the film as authentic when in fact it wasn't.\n\nThe Hays Office revealed that "Ingagi" was a conglomeration of stock shots from older films, including a significant portion of Lady Mackenzie's "Heart of Africa," and the scenes of the women with the gorillas had been shot at the zoo William Selig had created for filming jungle movies.\n\nThe Hays ruling was prompted by an investigation by the national Better Business Bureau, which found that there was no such person as Sir Hubert Winstead. Nor was there a Capt. Daniel Swayne.\n\nIts report also revealed that the American Society of Mammalogists deplored the film's "numerous fictitious features which are misleadingly mingled with genuine natural history records." One expert noted that the "tortadillo," proclaimed as a new discovery to science, was a "turtle with wings, scales and a long tail glued on to it."\n\nThe Los Angeles Examiner reported that "Central Avenue Negroes" were employed as African tribesmen, and that the pygmies "were Negro children from Los Angeles' black belt." It was also noted that Jackie, better known as the trademark MGM lion, and its trainer Mel Koontz staged the scene in which a lion attacked one of the expedition's cameramen.\n\nIt soon came to light that Nat Spitzer, the president of Congo Pictures Ltd., was the real producer of "Ingagi," and also the film's narrator. He claimed that the movie was 85% authentic and that the remaining shots were directed by William S. Campbell at the Selig zoo "for the purpose of obtaining suitable transition sequences to round out the picture."\n\nWhen asked by the Better Business Bureau whether the scenes between the "Ingagi" and the "native" woman were authentic, he replied that they were "absolutely genuine."\n\nThe Hays decision to ban "Ingagi" led RKO to drop the film from its theaters, but Congo Pictures brokered even more lucrative deals with independent theaters, and those theaters did much better business than ever before. "Ingagi's" notoriety pulled in the crowds, setting box office records from Kansas City to Baltimore to the Dakotas, with audience response divided between those who found the whole thing hilarious and those who were repulsed.\n\nEven after the "Ingagi" canards became public, the film was approved for showing in Illinois and Massachusetts, known for their notoriously tough censors. More startling was the reversal of the Ohio censor, who approved the film in its complete form, with the only stipulation being "that the advertising used must state that the picture is not authentic."\n\nA policy takes shape\n\nOn June 22, an Advertising Code of Ethics was adopted by the Hays Office, in large part as a response to the "Ingagi" scandal. Congress was beginning to heed the protests of independent producers and theater owners who asserted that they were victims of unfair trade practices by the Hays Office. Realizing that an official ban of "Ingagi" would subject it to further charges of monopolistic practices, Hays soon backpedaled and declared there was no ban — it was up to the individual member theaters whether or not to show "Ingagi."\n\nCongo followed up by placing a series of ads in newspapers and trade magazines around the country to argue its case before the public, declaring "THE BATTLE IS ON!" It boasted that after 13 weeks in release in 29 cities, "Ingagi" had grossed more than $1 million in box office receipts.\n\nThe battle was, indeed, on. At the end of July, Byron P. Mackenzie, African game hunter and son of "Lady" Mackenzie (who it turns out wasn't legitimately titled at all), sued Congo, charging unauthorized use of his mother's "Heart of Africa." Three months later, the court awarded Mackenzie a judgment of $150,000 against the company.\n\nThe Humane Society jumped on the anti-"Ingagi" bandwagon, threatening to lead a boycott in conjunction with various women's clubs and the Campfire Girls of America against all movies not approved by their organization. "Ingagi" was cited as one of the worst offenders for showing cruelty to animals, though ironically those scenes in which animals had been killed were lifted from films of years past.\n\nThen in October, a detective working for the Hays Office finally prevailed upon Charles Gemora to sign an affidavit admitting that he had portrayed the principal gorilla in "Ingagi." Up to and including his work in "Ingagi," every role Gemora played was intended to fool the audience into thinking it was watching a real gorilla. He hinted to Motion Picture magazine that the threat of being blacklisted by the Hays Office if he didn't spill the beans about "Ingagi" was what led him to finally admit his role in the affair.\n\nIt took until 1933 for the Federal Trade Commission to issue a conditional "cease and desist" order against the showing of "Ingagi," by now long played out. Congo was to cease representing the film as a true and authentic record of an expedition in Africa, "or any other country," unless all the scenes of "Ingagi" were actually made in Africa.\n\nThe commission included in its report the old laundry list of canards, its only revelation being that "Ingagi" was a fictitious name for "gorilla," no such word having been found in any African language dictionary.\n\nBeyond bad taste\n\nMuch of "Ingagi" is kitsch of the sort only bad, low-budget filmmaking can produce. The soundtrack consists solely of meandering organ music and narration that offers occasional flashes of wit amid the condescension. An extended shot of a tribe dancing is accompanied by: "The African native is very emotional. He dances, and how he dances. Such a dance must be seen to be fully appreciated…. Like something out of an opium smoker's dream."\n\nThe actors playing Winstead and Swayne in the Campbell-directed sequences wear fedoras and Bermuda shorts, but are intercut with genuine safari footage of hunters in pith helmets.\n\nThe movie purports that not only are tribal women sacrificed to the "Ingagi," but some otherwise barren women mate with the gorillas by choice in order to conceive. At the climax of the film, a naked woman emerges from the bush to mourn her dead gorilla lover. But "Ingagi's" most offensive moment shows a topless black woman cradling a baby adorned with patches of glued-on fur, described as "a strange-looking child, seemingly more ape than human."\n\nThere don't appear to have been any contemporary statements issued by the NAACP or leading African American newspapers regarding the inherent racism of "Ingagi." But it's undeniable that both filmmakers and audience helped exploit degrading attitudes toward blacks. While it's true that "Ingagi" contains many entertaining moments, they are overwhelmed by the suggestions of black women mating with gorillas, among the ugliest, most disturbing concepts in movie history.\n\nSince it was produced and distributed independently, "Ingagi" isn't listed on any box office charts, which base their figures on those supplied by ~MPPDA-member companies. But it's likely that "Ingagi" earned about $4 million, making it one of the highest-grossing films of the Depression. Like many independent productions of the era, "Ingagi" has virtually disappeared since relatively few prints were made and none were properly maintained. In fact, only 1 1/2 prints are known to exist in American archives.\n\nAlthough producer Merian C. Cooper never listed "Ingagi" among his influences for "King Kong," it's long been held that RKO green-lighted "Kong," despite the studio having fallen into receivership in the midst of the Depression, because of the bottom-line example of "Ingagi": Gorillas plus sexy women in peril equals enormous profits. And if that was indeed the case, there's no doubt that "King Kong" was by far the best thing to be spawned by "Ingagi."\n\n(Erish is a Los Angeles film historian and filmmaker.)\n<<\n

--Genealogies...\nJeff Chandler is Cochise in this hopeful vision of peace between Whites and Apaches, with Jimmy Stewart in his first major western role (10 years after //Destry Rides Again//, the first of many western roles). 4 years later, Chandler is the dying Cochise in Sirk's //Taza, Son of Cochise// with Rock Hudson as Taza, and Barbara Rush as Taza's wife Oona. Both reappear in Sirk's //Captain Lighfoot// the following year, while Chandler is in another Sirk's costume drama (about Attila this time; Chandler is a Roman) in 1954, //Sign of the Pagan//. But then, in 1952, Chandler had again been Cochise (this time at George Sherman's //Battle at Apache Pass//), and one way or the other was busily engaged in those years trying to find peace between a couple of Indian tribes (the Kiowas, through war, in War Arrow; the Sioux, through diplomacy, in //The Great Sioux Uprising//) and Whites. It does seem that after //Taza//, Chandler killed off Cochise for good -- or, for that matter,any impersonation of Indian leaders. \nA good cycle, that: make peace with Stewart, back up on the backstory by going over Apache Pass (which Stewart mentions in //Broken Arrow//...), and then, after a couple of less graceful tries, make your exit with Taza.\nAh, genealogies. Now, seems only Bertrand Tavernier is bothered that a Jewish actor should play Cochise (but he's not bothered by Debra Paget playing Soonseearayh, and she's no Apache that I know). What this genealogy suggests to me is rather good Hollywood sense in using an actor: Daves took a bet on him, his stature carried the role, then Hollywood tried to squeeze all the juice out of that orange, and then he went off to other things. \n//Bird of Paradise// of 1951 has him and Debra Paget again (when do they get enough of a good thing?) on a South Sea island now...

<<<\nFunction: noun\nEtymology: Middle English budde\n1 : a small lateral or terminal protuberance on the stem of a plant that may develop into a flower, leaf, or shoot\n([[The Merriam-Webster Dictionary | http://www.m-w.com]])\n<<<\nI post here thoughts and tidbits in a [[Tiddly]] format that may or may not be of use in future research (I'm a film scholar). Most of it is summary, simple analysis, read-thrus, and there's little theoretical shorthand indeed.\n\n[[Contact|mailto:flyczba@free.fr]] me to contribute your own.

I wrote a post here about how I thought Douglas Sirk's use of real Irish locations in //Captain Lightfoot// struck me as odd. The really real Irish locations, the village for instance,\n\n[img[irish village|http://flyczba.free.fr/blogimages/lightfootsmallpicture1.jpg]]\n\n[img[prison|http://flyczba.free.fr/blogimages/lightfootsmallpicture2.jpg]]\n\nor the prison-castle, seemed very touristy to me, and rather artificial (even though as you can see on those stills they are authentic)-- while the fields, the stone walls, the rivers, in other words, the open air that could have been shot anywhere seemed very Irish, and very real, probably because it fit the mood of playful larks, of anything-goes with those crazy Irish temperaments ("the bad good old Ireland" as the introductory title says). In other words, they seemed real because seeing Rock Hudson playing pranks on British soldiers in a field seemed so logical.\n\n[img[field|http://flyczba.free.fr/blogimages/lightfootsmallpicture3.jpg]]\n\nApparently I'm not the only one to think there's something going on with Sirk's use of the Irish landscape. ~Jean-Loup Bourget writes in [[Bright Lights issue #6 of 1977-1978|http://www.brightlightsfilm.com/48/sirkintro.htm]] ([[Sirk and his critics|http://www.brightlightsfilm.com/48/sirkcritics.htm]]):\n<<<\nSirk's admirers have done him as much disservice as those who forgot him. In the Dictionnaire du Cinema published by Editions Universitaires, 1965, Patrick Bachau, after an interesting passage on the decadent and autumnal quality of the Sirkian universe, stakes everything on his own personal discovery of the high point of Sirk's work, which, in his case, happens to be //Captain Lightfoot// (1955). Regaling us with an account of his favorite film, Bachau refers to "a happy, humorous adventure story about the Scottish rebellion" with "the little moorland villages, the harps, the scarecrows, the pubs reeking of ale, and the fields of Scotland." In fact, Captain Lightfoot tells of an episode in the Irish struggle against the English, and the entire film is suffused with a totally Irish atmosphere about which Sirk himself has spoken at length (in the interview published in Cahiers du Cinema). Bachau is the only one to be taken in by the harp; perhaps he was simply thinking of Brigadoon.\n<<<\n\nWhile the confusion is pretty funny indeed, I can see where Bachau went wrong.\n\n[img[ruins|http://flyczba.free.fr/blogimages/lightfootsmallpicture4.jpg]]\n\nAgain, in the film, Ireland is more in the link between action and background, than in the background buildings themselves, though they are still supposed to indicate time and place. We are far from //Brigadoon// indeed, but there's some ambiguity worth investigating here...

Speak of a mega-production. This one overflows with romance - Spanish caballeros, dons and "wentches" - and history. The music by Alfred Newman is epic as it should be, the compass is wide, moving from Spain to the New World in one swift move (no boats or caravels plying through the Atlantic). The finish, amid colored Mexican landscapes and painted in sunsets through clouds of smoke from ever-smouldering volcanoes (!), on the beat of the now "Conquest" USC Trojan march (!), with a voice-over motivational speech from Hernan Cortes as his army marches to conquer Mocteczuma (!), the finish, I say, is as grandiose as they make (or made) 'em.\nIt is gorgeous and quick paced, with little time lost between episodes. The first third in Spain is particularly engaging, with its brutal portrayal of class relations (Coatl the running slave, and his master, and another gentleman De Vargas, our Tyrone Power...The opening dialogue about hunting for this man is particularly effective. The inkeeper is servile if friendly, etc. etc.). The violence (whipping, dogs) is unvarnished, and one is expecting a particularly cynical version of Cortes' destruction of Inca civilization. \nBut then Henry King gets all dewy eyes about "The New World" and gets his [[New Worlds a bit confused]], finding in this Spanish Conquest accents worthy of 19th century Jews dreaming of American opportunity (see the love affair between the "wentch" and the nobleman...). And so Cortes is both the conquistador thinking only about gold and the herald of a new world of glory for all -- a dichotomy that the film, willingly nillingly, carries with two characters, Cortes, and the priest of the expedition, the one talking of riches, the other of freedom (yes ! This is where it gets a bit confusing: as Cortes marches on the Incas, the priest talks the peons of Cortes' army into the fight by clamoring about new opportunities, etc., the American Dream indeed).\nSo there is no cynicism here, indeed not a hint of a shadow of a critical perspective on Cortes and the conquistadores (sorry, strike that, there are a grand total of FIVE words, "killers of women and children", said by one of the characters WHILE DRUNK), a sickening plastering of the wrong ideology on the wrong set of facts. Worse. Given the beginning, one expects the criticism, and feels it is just around the corner, that the imperial ballooney of Cortes is about to be busted, that one can enjoy the joke of seeing such a grand-sounding Cortes about to be humbled - and so we enjoy the show, until quite late in the film. Sad, indeed.

Dir.: Schoedsack and Cooper\ntitles by achmed abdullah over a still image of jungle vegetation\n<<<\nThe Natives "who have never seen a moving picture" (//even though they are very good actors, as will be shortly seen//)\nWild beasts "who have never had to fear a modern rifle" (//even though Kru and the other villagers will use nothing but rifles to do their hunting//)\n"before man trod the earth - then, as now, there stretched across vast spaces of farther Asia a great green threatening mass of vegetation...the Jungle..."\n<<<\n[[hokum]] all...(even though the rifles really are not modern, and even if this is really the first -- and last -- film these actors ever played in)\n\nThe beginning is about...the beginning of civilisation itself: the battle between civilisation and the jungle. Rather than a "historical" introduction, it serves to build plot rather than background. Immediately after the film shows the life of the Kru family: daily life, details of farming, husking the grain. But the difference with a Flaherty is clear: Flaherty lets each gesture go to its natural limit, taking the time it needs (the tatoo ceremony in //Moana//), while here all gestures are as much as possible made to fit into some suspenseful narrative (the attack of the leopard, or the planting of the rice which is right away tuned into the suspense of rain and survival). Similarly, the "night" scene (obviously shot in the day) plants the family retiring to its fort-like house (retiring the ladder, closing a gate on top), and then lets loose all kinds of dramatic encounters (tiger and buffalo, leopard and goat). \n\nIn the editing, it's enough to let you agree with Bazin that reality in cinema is better translated in the long take...(whereas the editing carries meaning, plot meaning or philosophical or political or...).\n\nThe transformation into narrative and drama is astonishing: even the flight from the elephants and the subsequent leopards is staged, the family //faking// the panic, the flight of the monkey edited to make it look like it catches up with the family who waits for it at some point, the father //faking// his near-fall in the trap, and so on. It's more than subtitles telling a story: the editing is strongly fictional. And even when, as opposed to Flaherty, the lifestyle may not be reconstructed. Those villagers have guns and those do seem to be their houses--though this should be checked of course.Flaherty re-creates a reality long gone, but lets actions flow morre or less naturally (though drama is there too), so that he gives us a bit of nostalgic reality. Schoedsack and Cooper take a bit of current reality and turn it into a drama, to the point where even the elephants seem to obey them (or when the villagers transform what was their village into a huge elephant trap, one has the feeling to be watching the rehearsal for a Griffith battle -- feeling also of desolation: what price for those spectacular images ? the entire village ? Why did villagers submit to this extensive safari ? Why did they agree to be turned into extras ? Apparently they got help from local missionaries into selecting the actors for the film -- Kru for instance played the lead role, his wife in the film was some one else's wife). On the one hand, reconstituted fiction turned documentary; on the other, actual reality channeled into fiction.\n\nEven if that "reality" is strongly focused on the hunting. The plot is at times nonsensical: the village destroyed, do they repair it ? No, they build an elephant trap and go capturing part of a herd. Everyday reality, undramatic, is abandonned rather quickly indeed.\n\nBut then, also unlike Flaherty, Schoedsack and Cooper are upfront about it: they wanted to make a fiction, planned it as such. Flaherty disguises his staging as documentary truth.\n\nIs it a [[realistic fiction]], then ?

<<<\nFunction: noun\nEtymology: Middle English budde\n1 : a small lateral or terminal protuberance on the stem of a plant that may develop into a flower, leaf, or shoot\n([[The Merriam-Webster Dictionary | http://www.m-w.com]])\n<<<\nI post here thoughts and tidbitsin a [[Tiddly]] format that may or may not be of use in future research (I'm a film scholar). Most of it is summary, simple analysis, read-thrus, and there's little theoretical shorthand indeed.\n\n[[Contact|mailto:flyczba@free.fr]] me to contribute your own.

* Mitford M. Matthews, //A Dictionary of Americanisms on Historical Principles//, the University of Chicago Press (Chicago, 1951)\n* James K. Folsom, //The American Western Novel//, College and Universityy Press (New Haven, 1966)\n* Douglas Branch, //The Cowboy and its interpreters//, Appleton and Company (New York, 1926)\n* Emerson Hough, //The Story of the Cowboy//, Appleton and Company (New York, 1897)\n* Joe B. Frantz and Julian Ernest Choate, Jr., //The American Cowboy: Myth and Reality//, University of Oklahoma Press (Norman, 1955)\n* G. Edward White, //The Eastern Establishment and the Western Experience: The West of Frederic Remington, Theodore Roosevelt, and Owen Wister//, Yale Univeresity Press (New Haven, 1968)\n

Film as entertainment / film as science / and the illusion of reality as a good way to teach about life, or about how to destroy life:\n<<<\nIn preparation, motion pictures were found, not only by military experts, but by congressional bodies, to be as important in the drilling of soldiers and in the teaching of marksmanship as in the gathering of information in time of conflict. Motion pictures may be used for the teaching of marsmanship by a means worked out and put into practice by the Animated Target Company. The motion-picture target, meant for better instruction in marksmanship, consists of an iron frame set up on a target range with a paper front looking something like the screen in a motion-picture theater. The paper which takes the place of the fiber screen is slowly progressed by means of machinery, while on the moving paper pictures are projected by means of a standard projector. The pictures are similar to those seen in a motion-picture theater, with the exception that thhe subjects are chosen for purposes of marksmanship rather than amusment. Pictures taken on the western-front battle-line, of enemy soldiers coming up out of the trenches and advancing, are shown on the screen at the size they would appear to the oppsing troops who were called upon to repel them.\n(...) With the firing of a shot the motion pictures on the paper stop while a light appears showing the location of the shot. The light appears for two and a half seconds that the marksman may see the effect of his shot and so determine a better placing. At the expiration of the two and a half seconds the pictures continue their activities and the moving paper screen closes up the hole, giving the marsman a new pose for his aim. The picture may show a bombing squad coming up out of a trench, and by the stopping of the film and that of the paper the light shows where the shot took effect, so that the experimenter may better place his shot on future occasioins. Marksmen able to make perfect scores on a bull's-eye target find their drilling of little service for placing shots on a moving target.\nBy an arrangement of lenses the objects on the screen are of the size they would appear to the soldiers in the trenches called upon to repulse an attack. Thus the marsmen are given preliminary practice under conditions that will have to be faced by them later on the firing-line.\n([[Homer Croy]], //How Motion Pictures Are Made//, 1918, pp. 266-7)\n<<<

[[What's new]]

<<tabs txtFavourite\n\n"Genesis by Wister" "Priority 1" "world of Genesis"\n\n"Genesis Smells" "Priority 2" "world of Genesis ? Old Faithful: the Cheese"\n\n"A Hole in the Wall" "Priority 3" "Hole in the Wall"\n\n>>\n\n

[[Production details|http://www.imdb.com/title/tt0037642/?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9ZGljayB0cmFjeSBkZXRlY3RpdmV8ZnQ9MXxteD0yMHxsbT01MDB8Y289MXxodG1sPTF8bm09MQ__;fc=1;ft=20]]\n

[[Production details|http://www.imdb.com/title/tt0039320/?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9ZGljayB0cmFjeSBtZWV0cyBncnVlc29tZXxmdD0xfG14PTIwfGxtPTUwMHxjbz0xfGh0bWw9MXxubT0x;fc=1;ft=1]]\nShamelessly exploiting the Gould strip as the title makes it clear\n[img[title|http://cinebuds.online.fr/images/dicktracymeetsgruesometitle1.jpg]]\n\nbut then quickly (one establishing shot, camera panning left then down) moving into //noir// territory:\n[img[title|http://cinebuds.online.fr/images/dicktracymeetsgruesomeshot1.jpg]] [img[title|http://cinebuds.online.fr/images/dicktracymeetsgruesomeshot2.jpg]] [img[title|http://cinebuds.online.fr/images/dicktracymeetsgruesomeshot3.jpg]]\n(the shadow of the knot also serves as a visual link with the titles that used the Chester Gould drawings)\nAnd further establishing the mood with some pretty dark urban landscape\n[img[title|http://cinebuds.online.fr/images/dicktracymeetsgruesomeshot4.jpg]]

[[Production details|http://www.imdb.com/title/tt0039321/combined?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9ZGljayB0cmFjeSdzIGRpbGVtbmF8ZnQ9MXxteD0yMHxsbT01MDB8Y289MXxodG1sPTF8bm09MQ__;fc=1;ft=3;fm=1]]\nRalph Byrd as Dick Tracy, the last before the last. Tight (it all takes place in ''one'' night), //noir//, brutal (how many murders, hits, and scares in that hour of fiction?), with lengthy shadows creeping on the walls, and Jack Lambert in top make-up condition with the brutal sadness of a pathological killer going bum (a has-been from Prohibition days: a nice touch, that; American thrillers are purging their past, and the great Prohibition gangster has become an unemployed rat---or so one hopes after the war. [[Key Largo|http://www.imdb.com/title/tt0040506/combined?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9a2V5IGxhcmdvfGZ0PTF8bXg9MjB8bG09NTAwfGNvPTF8aHRtbD0xfG5tPTE_;fc=1;ft=21]] would be a more ambitious, and profound, statement about the lousy post-war Prohibition big shot). \nNothing fancy about this Dick Tracy. Tess Trueheart is stuck for the night as she seems to always be, waiting for a Tracy that looks like a detective--not like an avenger of crime. But then he's been at it for quite a while.\nI'll be looking at [[Dick Tracy, the Republic serial (1935)]] next.

From 1931 on, Chester Gould designed Dick Tracy's adventures in comic strips. There's an interesting interview in the edition I just got (//Dick Tracy's Celebrated Adventures// which offers a nice selection of pretty good stories) of Gould himself, in the 1950s, and he confirms the Sherlock Holmes link I had noted in watching [[the Republic serial|Dick Tracy, the Republic serial (1935)]]. Dick Tracy, he says there in substance, was created because of Gould's admiration for both Sherlock and the work of policemen. Gould is very clear about his genuine respect for law enforcement -- that's something one catches also very rapidly when reading his strips. That crime does not pay is about the most important lesson Gould wants to teach -- crime against which the police fights a war.\nThe stories themselves are indeed quite good, hard-boiled, complex cases. Often, the original villain disappears after a few pages, killed by an even worse one whose stupidity, cupidity or just plain cruelty defeats him (or her!) in the end. The violence of the villains is raw (Tracy'shand gets crushed, etc), the world of crime is shown as a descent into primal, but profoundly pathological emotions. It is quite haunting, and fascinating. The story of [[midget and xoxo]] is quite extraordinary for that.\nTracy is the square-jaw, V-shaped athletic type -- not quite your gentle and slim-looking Ralph Byrd of the serial (or of the subsequent post-1945 movies). He does some research //à la// Holmes but his police work is much more detailed and professional -- and one sense easily Gould's desire to show police work, albeit in the most positive light possible. But his Tracy is not invincible either: ~Flat-Top, for one, is indeed about to finish him off, unceremoniously, in one of the most shocking cartoons of the story.\nIt is the sheer complexity of the narrative structure that strikes one after viewing the Hollywood spinoffs. All Gould's stories use intricate schemes of cross-cutting to advance the story, with two or more plots ongoing at the same time. The characters develop in original ways, but always with some coherent psychology. The characters roam all over the place, all over the American continent, with often ironic interplays of meanings in how the environments (countryside, Montana West, high-rise cities, glass-roofed train stations) are utilized. And Tracy does not only work at night (a film convention that reaches absurd proportions in [[Dick Tracy Detective (1945)]] as Tracy is made to work all day on paperwork to justify his being able to work outside at night -- the night atmosphere is better employed in [[Dick Tracy meets Gruesome (1947)]] and [[Dick Tracy's Dilemma (1947)]] where it carries distinct noirish connotations). Though the drawings compensate for this by stark black and white schemes that help explain the dynanism of the strip.\nCompared to the matinée Tracy (the Republic serial) where the audience would be mostly teenage, Gould's Tracy is a more adult-oriented production. Adult, and moralistic (there is no hint of sex), with a serious purpose on its mind. Rather than the Tracy movies made from it, it should rather be compared to some of the best noir films (Hawks's //The Big Sleep// comes to mind).

''Ch. 1 "The Spider"''\nByrd, still, earlier (1935), and as a G-man in his office. The Spider, who wants to destroy the Bay Bridge as it is being inaugurated (when was it?), has the same dragging walk that the Claw had in [[Dick Tracy's Dilemma (1947)]].\nThe establishment of the plot is rather long, as we see the Spider destroy two of its own members (rather unclear why. Also rather unclear who the Spider/the Lame one is), which leads to Martino the clown being arrested, which leads in turn to the actual plot: the blowing of the Bay Bridge if Martino is not released (terrorism 101)...which occupies really only a third of this episode.\nAnd what is it with the spider on the forehead ?\n[img[spider|http://cinebuds.online.fr/images/dicktracych5spider.jpg]]\n \nThe good thing about serials is that they are over in a flash. But there's something funny about how civil servant like Dick Tracy looks here (he's a bit, a tiny weeny bit, more dashing in [[Dick Tracy's Dilemma (1947)]] -- but then he's a detective working at night, and not a g-man keeping office hours anymore): when he's not driving a fleet of trucks to the Bay Bridge, he is sitting in his roomy office waiting for the phone to ring -- but without a moment to spare (in France at least this would be a good definition of a civil servant).

Cliffhanger: the Zep falls into San Francisco bay, with tracy trapped inside ?\nCliffhanger solution: Tracy had hitched a parachute ride with the evil foreign agent just before.\nAnother sea-borne episode in San Francisco bay. And another utter failure by the Spider ring (about money again, a complicated scheme that involves boring through the sides of a ship)

Coulter, the government engraver, and the whole episode is best left alone. Who could manage to care for engraving after the attack on the Bay bridge and the spectacular Zep ?

Cliffhanger: Dick Tracy's boat (again we're out in SF bay) is out of control and is about to crash against a bigger one.\nCliffhanger solution: the boat was not so out of control that Tracy couldn't veer off at the last second. (observe the logic of cliffhangers: they function as an exercise in logic)\nAbout to wrap it up in the next 3 episodes, this serial sorts of sums up the action so far. It also break the cycle of the failures of the Spider ring. Each episode, monotonously, has shown how inept the ring really is. And then the episodes were getting silly. Chapter 11, about the capture of some nondescript police employee, really was no fun. Time to spice it up, and then call it a day.\nTracy, in his office, returns to the crimes of episode 1. Not that it explains better who those murderer were -- just Tracy at long, long last connects those murders with the ring (yes, this Dick Tracy is a bit slow sometimes). He also connects Gordon with the ring (though it's pretty clear Gordon is going to be operated back into being a nice guy again by chapter 15).\nDick knows too much: the spider flashes the infamous sign on his forehead--that's the cliffhanger.

Cliffhanger: the sign of the Spider is on Dick Tracy !\nCliffhanger solution: hm...Dick Tracy ducks. (OK, that's a very lame one)\nAnd Junior manages to snap a picture of the Lame one. (hopefully that's not too backlit--the Lame one is always shot heavily backlit so we can't see his face)\nBut then we'll never know because the negative is ruined by one from the gang (a rare case of the Spider ring being efficient)

A longer chapter this.\nWere it not for superfast boats racing across San Francisco Bay, one would see very little high-tech gadgetery in this serial (they repeat "two-way radio" like it was the greatest novelty, but even by 1937 it must have been pretty old hat). But here they are galore. Haven't used their financial resources on aerial episodes, the serial returns to the ground for the end.\n(Budget constraints probably explain the choice of San Francisco as a general background -- like Chicago it has water and high-rise buildings, and this is a very Chicago-like San Francisco: we're never shown one SF hill in the whole serial, which must amount to quite a record)\nHowever once the action moves on to streets and roads, we're back in the Los Angeles hills. Quite a geographical mix indeed.

As per plan, Gordon, being hit on the head by the Lame one, becomes the old nice Gordon again. The Lame one's identity is uncovered (but we have //no// clue as to who this guy is anyway, so who cares. They mumble his name twice, so?). The nice twist comes with Gordon's accident (remember he'd been captured by the Spider ring after a first car accident), so that realistically Gordon picks up where he left off.

''Chapter 2, "Bridge of Terror"''\nBy now the formula is fairly obvious: between the beginning -- a generous repeat of the end of the previous chapter -- and the end -- a long action-packed sequence -- there is some plot development, but not much. In this case here, it's all about discovering where the Spider ring parks its four-propeller, fancy-winged plane. \nAs often the case with those serials (I remember the same sort of technique from this other Republic serial, [[Mark of Zorro]]), the action drives the plot, and little incongruities, half-hatched shemes, and incomplete bits of business that may develop along the way are not to be bothered with. \nOn looking back, of course, those incongruities that would be most troublesome in an A film are what makes this B- serial endearing. Consider the plane (in this shot, being followed by the small police plane).\n[img[plane|http://flyczba.free.fr/blogimages/dicktracych2planes.jpg]]\nI'm not sure I know where the inspiration came from for this sort of plane, but the naivety in the scale relationship, and in the fakery of the background projection, makes it quite a keeper. Unrealistic as everything, yes, but charming in its ray-like aspect.

''Chapter 3, "the Fur Pirates"''\nThe game with real cliffhangers is what trick was used to resolve an apparently insoluble problem for the hero. Last week, we saw, //saw//, that he had most surely died. This was plausible, lifelike, realistic -- something we could count on. The only implausible element was that it killed the hero -- and the fictive, unwritten pact between audience and serial film is that the hero cannot die. There's quite a feat here: serials manage to overturn their own verisimilitude, from one week to the next. Part of their strength is their hard-nosed outdoor realism -- when it's not their utter conventionalism -- or when they're not changing the rules, as in the case of the cliffhanger.\nFor example: realistically, in the world of this serial (with its very realistic location shooting, the factory, the ladders, the windows and doors and shadowy tunnels), who can survive this ?\n[img[crash|http://flyczba.free.fr/blogimages/dicktracych3planecrash.jpg]]\nYet, in chapter 3, Tracy walks out with barely a scratch.\n[img[recovery|http://flyczba.free.fr/blogimages/dicktracych3recovery.jpg]]\n(observe how the framing, //between// the bridge posts, reinforces the visual realism, and the sense of continuity, despite the high implausibility of the recovery: we accept it, visually, because we are under the same bridge the plane hit).\nBut then, we could have guessed that there was still hope. Despite the dramatic impact of the plane against the bridge, the next shot is a reaction of shot of Dick trying to protect himself, in continuity with shots //before// the impact.\n[img[impact|http://flyczba.free.fr/blogimages/dicktracych3planehit.jpg]] | [img[reaction|http://flyczba.free.fr/blogimages/dicktracych3reactionshot.jpg]].\n\n

''Chapter 4, "Death Rides the Sky"''\nCliffhanger problem: Tracy, pursuing Gordon in San Francisco harbor, is trapped between two tankers about to collide.\nCliffhanger solution: they don't collide. Some sailor throws a bag that pushes the other boat out. Tracy's wet again though.\nThis chapter is about the Mogra necklace. Don't ask why, but the Lame one simply must have it. The main sequence is in the dirigible where the necklace is kept. Just to be cool, Tracy and his assistant pretend to be news cameramen\n[img[camera|http://cinebuds.online.fr/images/dicktracych4camera.jpg]]\nso that visually at least you have //two// cool things at once, the two heroes of the times: the aviator/newspaperman (I've argued in [[Dick Tracy, chapter 9]] that this serial is not really about modern technological wonders, but rather about an image of modern, mechanical cool.) The aviator-newspaperman is cool, rather than futuristic (in fact Tracy's plane is a bit of an old-fashioned contaption).\nBut then this chapter boasts one of the [[most ridiculous exits]] of all times.\n<<<\n|which in itself also gives us a nice lesson about film [[realism]]. The bumped hat kills the scene right off, and destroys any sense of [[verisimilitude]], while up to then we were quite taken in by the actor playing the villain. The hat is just plain funny. But wait a second here ! Why does he have a hat on in the first place ? In chapter 1, when Dick gets a phone call, he leaves in a hurry //but after// taking time to get his hat from the rack. His hat, but no coat. Same thing here. Hat, no coat. Now the guy is about to jump in parachute. Seems to me he'd need a coat rather than a hat. OK, let's back up a bit: he's got a hat on not because of any link with reality (anyhow he wouldn't jump out of the dirigible and the whole scene would crumble if "reality" were the litmus test); he's got a hat on because of film realism that plays on our sense of visual expectation, our sense of what's [[obvious]]ly going to follow, what must follow. A man about to go out has got a hat on, period. We expect that (visually, the sense that he's about to go out is stronger than the sense he's about to parachute out), a bit of visual logic that is destroyed when he bumps it against the window: in a police adventure, a man's got a hat on when going out, and a man does not bump his hat (a fool does). He's a movie gangster man, informed by movies mores, and only the rules of gangster movies should apply to him (those rules, as defined in the corpus of gangster films, that define the horizon of our expectations from the film). Film realism as genre expectations fulfilled...but the hat bump bungles the whole job: it seems to want to change the rules of the game (by veering into, ever so slightly, the slapstick) while in fact we remain within the same police/gangster 1930 adventure genre. |\n<<

''Chapter 5, "Brother Against Brother"''\nCliffhanger: the plane where Junior and Dick are trapped crashes.\nCliffhanger solution: Junior and Dick had parachuted out of it just before\n(similar problem and solution at the end of chapter 8: with a twist, that time Gordon will attempt to fire on the parachuters.)\n[img[planes|http://cinebuds.online.fr/images/dicktracych5planes.jpg]]\n\nThe Stratosphere Advendture in [[Dick Tracy, chapter 9]] offers some nice airplane [[hokum]] too...

''Chapter 6, "Dangerous Waters"''\nApparently, there's some Sherlock in Dick Tracy. He can be found, at times, spending nights analyzing products to counfound criminals. But that's about where the comparison stops. Here Dick must save scientific secrets about to be stolen by the Spider ring for some foreign powers (this spying game will resume in chapter 8 with the Speed plane) -- and his scientific mind gives him some credibility in going after these specialized crooks. But really, this is about the brawl, a steady item on the Dick Tracy menu (there's a good brawl in chapter8 , then in chapter 9, there was a good one on the stairs in chapter 7...). Here the bar-room //fracas// is a bit more elaborate, with a funky flashy statue eye that the Lame one uses to spy on the activities in the bar (a nice trick here: his lameness allows him to lift himself to the eye level!).\n[img[eye|http://cinebuds.online.fr/images/dicktracych6theeye.jpg]]\n(the cowboy on the wall)\nNow, I like this cowboy. He's a hint of serial westerns so popular in the 1930s, a fancy, low-tech prop that fits right in the Dick Tracy atmosphere. And it's so out of place in this 1930 San Francisco //river// bar, especially since there is //nothing else// on the walls. Speak about an obviously intriguing prop...It's the sort of [[obvious]] element in serial story-telling that needs some exploring, since it is central to the pleasure of watching those serials.

The speed plane is probably the clearest super-modern object in this serial. Sadly, it just looks like an ordinary Cessna plane, with slightly smoother curves and shinier wing material. For entertainment's sake, they've thrown in a female, blond pilot (daughter of the inventor), but even that fails to live up to its romantic potential. So it's back to good ol' brawling tactics, with a 5 minute affair at the end where Tracy bumps off half a dozen burlier opponents. (in chapter 14 ~McGurk will recount his fake heroic episode where he defeats half a dozen men, then another half dozen, etc. One wonders: could this be self-conscious, reflexive irony ? Probably just an accident)

''Chapter 9, "Stratosphere Adventure"''\nThis is where this serial is at its best: up in the air, flying contraptions chasing one another (here the Wing, the G-men's good old Cessna, and the foreigners' dirigible. The chase sequence is thus long, and who cares if the landing is indeed in the L.A. area, and not in the San Francisco terrain where Dick Tracy is supposed to operate. And who cares if Gordon Tracy is starting to sound more and more like some Bagdad Bob, that next time, Dick Tracy will not be in the way. The appeal is mechanistic, for it is not really technology that one sees (even though the Wing is quite a contraption), but rather the love of machines as they operate -- simple, or not. \nAnd then there's some childish delight indeed in seeing these matte and process shots. Good old cinema [[hokum]], to be sure - a bit like a child's drawing becoming animated.This is the last shot, of the dirigible (with, of course, Tracy trapped inside) falling into what purports to be San Francisco bay (see that ship artfully placed on the distant right?):\n[img[zep|http://cinebuds.online.fr/images/dicktracych9zep.jpg]]\n

<<tabs txtFavourite\n\n"ch.1" "Priority 1" "Dick Tracy, chapter 1"\n\n"ch.2" "Priority 2" "Dick Tracy, chapter 2"\n\n"ch.3" "Priority 3" "Dick Tracy, chapter 3"\n\n"ch.4" "Priority 4" "Dick Tracy, chapter 4"\n\n"ch.5" "Priority 5" "Dick Tracy, chapter 5"\n\n"ch.6" "Priority 6" "Dick Tracy, chapter 6"\n\n"ch.7" "Priority 7" "Dick Tracy, chapter 7"\n\n"ch.8" "Priority 8" "Dick Tracy, chapter 8"\n\n"ch.9" "Priority 9" "Dick Tracy, chapter 9"\n\n"ch.10" "Priority 10" "Dick Tracy, chapter 10"\n\n"ch.11" "Priority 11" "Dick Tracy, chapter 11"\n\n"ch.12" "Priority 12" "Dick Tracy, chapter 12"\n\n"ch.13" "Priority 13" "Dick Tracy, chapter 13"\n\n"ch.14" "Priority 14" "Dick Tracy, chapter 14"\n\n"ch.15" "Priority 15" "Dick Tracy, chapter 15"\n\n>>

<<exportTiddlers inline>>

/***\n''Export Tiddlers Plugin for TiddlyWiki version 2.0''\n^^author: Eric Shulman - ELS Design Studios\nsource: http://www.elsdesign.com/tiddlywiki/#ExportTiddlersPlugin\nlicense: [[Creative Commons Attribution-ShareAlike 2.5 License|http://creativecommons.org/licenses/by-sa/2.5/]]^^\n\nWhen many people edit copies of the same TiddlyWiki document, the ability to easily copy and share these changes so they can then be redistributed to the entire group is very important. This ability is also very useful when moving your own tiddlers from document to document (e.g., when upgrading to the latest version of TiddlyWiki, or 'pre-loading' your favorite stylesheets into a new 'empty' TiddlyWiki document.)\n\nExportTiddlersPlugin let you ''select and extract tiddlers from your ~TiddlyWiki documents and save them to a local file'' or a remote server (requires installation of compatible server-side scripting, still under development...). An interactive control panel lets you specify a destination, and then select which tiddlers to export. A convenient 'selection filter' helps you pick desired tiddlers by specifying a combination of modification dates, tags, or tiddler text to be matched or excluded. ''Tiddler data can be output as ~TiddlyWiki "storeArea ~DIVs" that can be imported into another ~TiddlyWiki or as ~RSS-compatible XML that can be published for RSS syndication.''\n\n!!!!!Inline interface (live)\n<<<\n<<exportTiddlers inline>>\n<<<\n!!!!!Usage\n<<<\nOptional "special tiddlers" used by this plugin:\n* SiteUrl^^\nURL for official server-published version of document being viewed\ndefault: //none//^^\n* SiteHost^^\nhost name/address for remote server (e.g., "www.server.com" or "192.168.1.27")\ndefault: //none//^^\n* SitePost^^\nremote path/filename for submitting changes (e.g., "/cgi-bin/submit.cgi")\ndefault: //none//^^\n* SiteParams^^\narguments (if any) for server-side receiving script\ndefault: //none//^^\n* SiteID^^\nusername or other authorization identifier for login-controlled access to remote server\ndefault: current TiddlyWiki username (e.g., "YourName")^^\n* SiteDate^^\nstored date/time stamp for most recent published version of document\ndefault: current document.modified value (i.e., the 'file date')^^\n<<<\n!!!!!Example\n<<<\n<<exportTiddlers>>\n<<<\n!!!!!Installation\n<<<\nImport (or copy/paste) the following tiddlers into your document:\n''ExportTiddlersPlugin'' (tagged with <<tag systemConfig>>)\n\ncreate/edit ''SideBarOptions'': (sidebar menu items) \n^^Add "< < exportTiddlers > >" macro^^\n<<<\n!!!!!Revision History\n<<<\n''2005.12.27 [2.0.0]''^^\nUpdate for TW2.0\nDefer initial panel creation and only register a notification function when panel first is created\n''2005.12.24 [0.9.5]''^^\nMinor adjustments to CSS to force correct link colors regardless of TW stylesheet selection\n''2005.12.16 [0.9.4]''^^\nDynamically create/remove exportPanel as needed to ensure only one instance of interface elements exists, even if there are multiple instances of macro embedding.\n^^\n''2005.11.15 [0.9.2]''^^\nadded non-Ajax post function to bypass javascript security restrictions on cross-domain I/O. Moved AJAX functions to separate tiddler (no longer needed here). Generalized HTTP server to support UnaWiki servers\n^^\n+++[previous releases...]\n''2005.11.08 [0.9.1]''^^\nmoved HTML, CSS and control initialization into exportInit() function and call from macro handler instead of at load time. This allows exportPanel to be placed within the same containing element as the "export tiddlers" button, so that relative positioning can be achieved.\n^^\n''2005.10.28 [0.9.0]''^^\nadded 'select opened tiddlers' feature\nBased on a suggestion by Geoff Slocock\n^^\n''2005.10.24 [0.8.3]''^^\nCorrected hijack of 'save changes' when using http:\n^^\n''2005.10.18 [0.8.2]''^^\nadded AJAX functions\n^^\n''2005.10.18 [0.8.1]''^^\nCorrected timezone handling when filtering for date ranges.\nImproved error checking/reporting for invalid filter values and filters that don't match any tiddlers.\nExporting localfile-to-localfile is working for IE and FF\nExporting server-to-localfile works in IE (after ActiveX warnings), but has security issues in FF\nCross-domain exporting (localfile/server-to-server) is under development\nCookies to remember filter settings - coming soon\nMore style tweaks, minor text changes and some assorted layout cleanup.\n^^\n''2005.10.17 [0.8.0]''^^\nFirst pre-release.\n^^\n''2005.10.16 [0.7.0]''^^\nfilter by tags\n^^\n''2005.10.15 [0.6.0]''^^\nfilter by title/text\n^^\n''2005.10.14 [0.5.0]''^^\nexport to local file (DIV or XML)\n^^\n''2005.10.14 [0.4.0]''^^\nfilter by start/end date\n^^\n''2005.10.13 [0.3.0]''^^\npanel interaction\n^^\n''2005.10.11 [0.2.0]''^^\npanel layout\n^^\n''2005.10.10 [0.1.0]''^^\ncode framework\n^^\n''2005.10.09 [0.0.0]''^^\ndevelopment started\n^^\n===\n<<<\n!!!!!Credits\n<<<\nThis feature was developed by EricShulman from [[ELS Design Studios|http:/www.elsdesign.com]]\n<<<\n!!!!!Code\n***/\n// // +++[version]\n//{{{\nversion.extensions.exportTiddlers = {major: 2, minor: 0, revision: 0, date: new Date(2005,12,27)};\n//}}}\n// //===\n\n// // +++[macro handler]\n//{{{\nconfig.macros.exportTiddlers = {\n label: "export tiddlers",\n prompt: "Copy selected tiddlers to an export document",\n datetimefmt: "0MM/0DD/YYYY 0hh:0mm:0ss" // for "filter date/time" edit fields\n};\n\nconfig.macros.exportTiddlers.handler = function(place,macroName,params) {\n if (params[0]!="inline")\n { createTiddlyButton(place,this.label,this.prompt,onClickExportMenu); return; }\n var panel=createExportPanel(place);\n panel.style.position="static";\n panel.style.display="block";\n}\n\nfunction createExportPanel(place) {\n var panel=document.getElementById("exportPanel");\n if (panel) { panel.parentNode.removeChild(panel); }\n setStylesheet(config.macros.exportTiddlers.css,"exportTiddlers");\n panel=createTiddlyElement(place,"span","exportPanel",null,null)\n panel.innerHTML=config.macros.exportTiddlers.html;\n exportShowPanel(document.location.protocol);\n exportInitFilter();\n refreshExportList(0);\n store.addNotification(null,refreshExportList); // refresh listbox after every tiddler change\n return panel;\n}\n\nfunction onClickExportMenu(e)\n{\n if (!e) var e = window.event;\n var parent=resolveTarget(e).parentNode;\n var panel = document.getElementById("exportPanel");\n if (panel==undefined || panel.parentNode!=parent)\n panel=createExportPanel(parent);\n var isOpen = panel.style.display=="block";\n if(config.options.chkAnimate)\n anim.startAnimating(new Slider(panel,!isOpen,e.shiftKey || e.altKey,"none"));\n else\n panel.style.display = isOpen ? "none" : "block" ;\n e.cancelBubble = true;\n if (e.stopPropagation) e.stopPropagation();\n return(false);\n}\n//}}}\n// //===\n\n// // +++[Hijack saveChanges] diverts 'notFileUrlError' to display export control panel instead\n//{{{\nwindow.coreSaveChanges=window.saveChanges;\nwindow.saveChanges = function()\n{\n if (document.location.protocol=="file:") { coreSaveChanges(); return; }\n exportShowPanel(document.location.protocol);\n document.getElementById("exportPanel").style.display = "block" ;\n}\n//}}}\n// //===\n\n// // +++[IE needs explicit scoping] for functions called by browser events\n//{{{\nwindow.onClickExportMenu=onClickExportMenu;\nwindow.onClickExportButton=onClickExportButton;\nwindow.exportShowPanel=exportShowPanel;\nwindow.exportShowFilterFields=exportShowFilterFields;\nwindow.refreshExportList=refreshExportList;\n//}}}\n// //===\n\n// // +++[CSS] for floating export control panel\n//{{{\nconfig.macros.exportTiddlers.css = '\s\n#exportPanel {\s\n display: none; position:absolute; z-index:12; width:30em; right:105%; top:6em;\s\n background-color: #eee; color:#000; font-size: 8pt; line-height:110%;\s\n border:1px solid black; border-bottom-width: 3px; border-right-width: 3px;\s\n padding: 0.5em; margin:0em; -moz-border-radius:1em;\s\n}\s\n#exportPanel a, #exportPanel td a { color:#009; display:inline; margin:0px; padding:1px; }\s\n#exportPanel table { width:100%;border:0px;padding:0px;margin:0px; font-size:8pt;line-height:110%}\s\n#exportPanel tr { border:0px;padding:0px;margin:0px; }\s\n#exportPanel td { border:0px;padding:0px;margin:0px; }\s\n#exportPanel select { width:100%;margin:0px;font-size:8pt;line-height:110%;}\s\n#exportPanel input { width:100%;padding:0px;margin:0px;font-size:8pt;line-height:110%}\s\n#exportPanel .box { border:1px solid black; padding:3px; margin-bottom:5px; background:#f8f8f8; -moz-border-radius:5px;}\s\n#exportPanel .topline { border-top:2px solid black; padding-top:3px; margin-bottom:5px; }\s\n#exportPanel .rad { width:auto; }\s\n#exportPanel .chk { width:auto; }\s\n#exportPanel .btn { width:auto; }\s\n#exportPanel .btn1 { width:98%; }\s\n#exportPanel .btn2 { width:48%; }\s\n#exportPanel .btn3 { width:32%; }\s\n#exportPanel .btn4 { width:24%; }\s\n#exportPanel .btn5 { width:19%; }\s\n';\n//}}}\n// //===\n\n// // +++[HTML] for export control panel interface\n//{{{\nconfig.macros.exportTiddlers.html = '\s\n\s\n<table cellpadding="0" cellspacing="0"><tr><td width=50%>\s\n export to\s\n <select size=1 id="exportTo" onchange="exportShowPanel(this.value);">\s\n <option value="file:" SELECTED>this computer</option>\s\n <option value="http:">web server (http)</option>\s\n <option value="https:">secure web server (https)</option>\s\n <option value="ftp:">file server (ftp)</option>\s\n </select>\s\n</td><td width=50%>\s\n output format\s\n <select id="exportFormat" size=1>\s\n <option value="DIV">TiddlyWiki (DIVs)</option>\s\n <option value="XML">RSS feed (XML)</option>\s\n </select>\s\n</td></tr></table>\s\n\s\n\s\n<div id="exportLocalPanel" style="margin-bottom:5px;margin-top:5px;">\s\nlocal path/filename<br>\s\n<input type="file" id="exportFilename" size=46 style="width:100%"><br>\s\n</div>\s\n\s\n\s\n<div id="exportHTTPPanel" style="display:none;margin-bottom:5px;margin-top:5px;">\s\ndocument URL<br>\s\n<input type="text" id="exportHTTPSiteURL" onfocus="this.select()"><br>\s\nserver script / parameters<br>\s\n<input type="text" id="exportHTTPServerURL" onfocus="this.select()"><br>\s\n</div>\s\n\s\n\s\n<div id="exportFTPPanel" style="display:none;margin-bottom:5px;margin-top:5px;">\s\n<table cellpadding="0" cellspacing="0" width="33%"><tr valign="top"><td>\s\n host server<br>\s\n <input type="text" id="exportFTPHost" onfocus="this.select()"><br>\s\n</td><td width="33%">\s\n username<br>\s\n <input type="text" id="exportFTPID" onfocus="this.select()"><br>\s\n</td><td width="33%">\s\n password<br>\s\n <input type="password" id="exportFTPPW" onfocus="this.select()"><br>\s\n</td></tr></table>\s\nFTP path/filename<br>\s\n<input type="text" id="exportFTPFilename" onfocus="this.select()"><br>\s\n</div>\s\n\s\n\s\n<table><tr align="left"><td>\s\n select:\s\n <a href="JavaScript:;" id="exportSelectAll"\s\n onclick="onClickExportButton(this)" title="select all tiddlers">\s\n  all </a>\s\n <a href="JavaScript:;" id="exportSelectChanges"\s\n onclick="onClickExportButton(this)" title="select tiddlers changed since last save">\s\n  changes </a> \s\n <a href="JavaScript:;" id="exportSelectOpened"\s\n onclick="onClickExportButton(this)" title="select tiddlers currently being displayed">\s\n  opened </a> \s\n <a href="JavaScript:;" id="exportToggleFilter"\s\n onclick="onClickExportButton(this)" title="show/hide selection filter">\s\n  filter </a> \s\n</td><td align="right">\s\n <a href="JavaScript:;" id="exportListSmaller"\s\n onclick="onClickExportButton(this)" title="reduce list size">\s\n   </a>\s\n <a href="JavaScript:;" id="exportListLarger"\s\n onclick="onClickExportButton(this)" title="increase list size">\s\n  + </a>\s\n</td></tr></table>\s\n<select id="exportList" multiple size="10" style="margin-bottom:5px;"\s\n onchange="refreshExportList(this.selectedIndex)">\s\n</select><br>\s\n\s\n\s\n<div id="exportFilterPanel" style="display:none">\s\n<table><tr align="left"><td>\s\n selection filter\s\n</td><td align="right">\s\n <a href="JavaScript:;" id="exportHideFilter"\s\n onclick="onClickExportButton(this)" title="hide selection filter">hide</a>\s\n</td></tr></table>\s\n<div class="box">\s\n<input type="checkbox" class="chk" id="exportFilterStart" value="1"\s\n onclick="exportShowFilterFields(this)"> starting date/time<br>\s\n<table cellpadding="0" cellspacing="0"><tr valign="center"><td width="50%">\s\n <select size=1 id="exportFilterStartBy" onchange="exportShowFilterFields(this);">\s\n <option value="0">today</option>\s\n <option value="1">yesterday</option>\s\n <option value="7">a week ago</option>\s\n <option value="30">a month ago</option>\s\n <option value="site">SiteDate</option>\s\n <option value="file">file date</option>\s\n <option value="other">other (mm/dd/yyyy hh:mm)</option>\s\n </select>\s\n</td><td width="50%">\s\n <input type="text" id="exportStartDate" onfocus="this.select()"\s\n onchange="document.getElementById(\s'exportFilterStartBy\s').value=\s'other\s';">\s\n</td></tr></table>\s\n<input type="checkbox" class="chk" id="exportFilterEnd" value="1"\s\n onclick="exportShowFilterFields(this)"> ending date/time<br>\s\n<table cellpadding="0" cellspacing="0"><tr valign="center"><td width="50%">\s\n <select size=1 id="exportFilterEndBy" onchange="exportShowFilterFields(this);">\s\n <option value="0">today</option>\s\n <option value="1">yesterday</option>\s\n <option value="7">a week ago</option>\s\n <option value="30">a month ago</option>\s\n <option value="site">SiteDate</option>\s\n <option value="file">file date</option>\s\n <option value="other">other (mm/dd/yyyy hh:mm)</option>\s\n </select>\s\n</td><td width="50%">\s\n <input type="text" id="exportEndDate" onfocus="this.select()"\s\n onchange="document.getElementById(\s'exportFilterEndBy\s').value=\s'other\s';">\s\n</td></tr></table>\s\n<input type="checkbox" class="chk" id=exportFilterTags value="1"\s\n onclick="exportShowFilterFields(this)"> match tags<br>\s\n<input type="text" id="exportTags" onfocus="this.select()">\s\n<input type="checkbox" class="chk" id=exportFilterText value="1"\s\n onclick="exportShowFilterFields(this)"> match titles/tiddler text<br>\s\n<input type="text" id="exportText" onfocus="this.select()">\s\n</div> \s\n</div> \s\n\s\n\s\n<div style="text-align:center">\s\n<input type=button class="btn3" onclick="onClickExportButton(this)"\s\n id="exportFilter" value="apply filter">\s\n<input type=button class="btn3" onclick="onClickExportButton(this)"\s\n id="exportStart" value="export tiddlers">\s\n<input type=button class="btn3" onclick="onClickExportButton(this)"\s\n id="exportClose" value="close">\s\n</div>\s\n';\n//}}}\n// //===\n\n// // +++[initialize interface]>\n// // +++[exportShowPanel(which)]\n//{{{\nfunction exportShowPanel(which) {\n var index=0; var panel='exportLocalPanel';\n switch (which) {\n case 'file:':\n case undefined:\n index=0; panel='exportLocalPanel'; break;\n case 'http:':\n index=1; panel='exportHTTPPanel'; break;\n case 'https:':\n index=2; panel='exportHTTPPanel'; break;\n case 'ftp:':\n index=3; panel='exportFTPPanel'; break;\n default:\n alert("Sorry, export to "+which+" is not yet available");\n break;\n }\n exportInitPanel(which);\n document.getElementById('exportTo').selectedIndex=index;\n document.getElementById('exportLocalPanel').style.display='none';\n document.getElementById('exportHTTPPanel').style.display='none';\n document.getElementById('exportFTPPanel').style.display='none';\n document.getElementById(panel).style.display='block';\n}\n//}}}\n// //===\n\n// // +++[exportInitPanel(which)]\n//{{{\nfunction exportInitPanel(which) {\n switch (which) {\n case "file:": // LOCAL EXPORT PANEL: file/path:\n // ** no init - security issues in IE **\n break;\n case "http:": // WEB EXPORT PANEL\n case "https:": // SECURE WEB EXPORT PANEL\n // url\n var siteURL=store.getTiddlerText("SiteUrl");\n if (store.tiddlerExists("unawiki_download")) {\n var theURL=store.getTiddlerText("unawiki_download");\n theURL=theURL.replace(/\s[\s[download\s|/,'').replace(/\s]\s]/,'');\n var title=(store.tiddlerExists("unawiki_host"))?"unawiki_host":"SiteHost";\n var theHost=store.getTiddlerText(title);\n if (!theHost || !theHost.length) theHost=document.location.host;\n if (!theHost || !theHost.length) theHost=title;\n siteURL=which+"//"+theHost+theURL\n }\n if (!siteURL) siteURL="SiteUrl";\n document.getElementById("exportHTTPSiteURL").value=siteURL;;\n // server script/params\n var title=(store.tiddlerExists("unawiki_host"))?"unawiki_host":"SiteHost";\n var theHost=store.getTiddlerText(title);\n if (!theHost || !theHost.length) theHost=document.location.host;\n if (!theHost || !theHost.length) theHost=title;\n // get POST\n var title=(store.tiddlerExists("unawiki_post"))?"unawiki_post":"SitePost";\n var thePost=store.getTiddlerText(title);\n if (!thePost || !thePost.length) thePost="/"+title;\n // get PARAMS\n var title=(store.tiddlerExists("unawiki_params"))?"unawiki_params":"SiteParams";\n var theParams=store.getTiddlerText(title);\n if (!theParams|| !theParams.length) theParams=title;\n var serverURL = which+"//"+theHost+thePost+"?"+theParams;\n document.getElementById("exportHTTPServerURL").value=serverURL;\n break;\n case "ftp:": // FTP EXPORT PANEL\n // host\n var siteHost=store.getTiddlerText("SiteHost");\n if (!siteHost || !siteHost.length) siteHost=document.location.host;\n if (!siteHost || !siteHost.length) siteHost="SiteHost";\n document.getElementById("exportFTPHost").value=siteHost;\n // username\n var siteID=store.getTiddlerText("SiteID");\n if (!siteID || !siteID.length) siteID=config.options.txtUserName;\n document.getElementById("exportFTPID").value=siteID;\n // password\n document.getElementById("exportFTPPW").value="";\n // file/path\n document.getElementById("exportFTPFilename").value="";\n break;\n }\n}\n//}}}\n// //===\n\n// // +++[exportInitFilter()]\n//{{{\nfunction exportInitFilter() {\n // TBD: persistent settings via local cookies\n // start date\n document.getElementById("exportFilterStart").checked=false;\n document.getElementById("exportStartDate").value="";\n // end date\n document.getElementById("exportFilterEnd").checked=false;\n document.getElementById("exportEndDate").value="";\n // tags\n document.getElementById("exportFilterTags").checked=false;\n document.getElementById("exportTags").value="not excludeExport";\n // text\n document.getElementById("exportFilterText").checked=false;\n document.getElementById("exportText").value="";\n // show/hide filter input fields\n exportShowFilterFields();\n}\n//}}}\n// //===\n\n// // +++[exportShowFilterFields(which)]\n//{{{\nfunction exportShowFilterFields(which) {\n var show;\n\n show=document.getElementById('exportFilterStart').checked;\n document.getElementById('exportFilterStartBy').style.display=show?"block":"none";\n document.getElementById('exportStartDate').style.display=show?"block":"none";\n var val=document.getElementById('exportFilterStartBy').value;\n document.getElementById('exportStartDate').value\n =getFilterDate(val,'exportStartDate').formatString(config.macros.exportTiddlers.datetimefmt);\n if (which && (which.id=='exportFilterStartBy') && (val=='other'))\n document.getElementById('exportStartDate').focus();\n\n show=document.getElementById('exportFilterEnd').checked;\n document.getElementById('exportFilterEndBy').style.display=show?"block":"none";\n document.getElementById('exportEndDate').style.display=show?"block":"none";\n var val=document.getElementById('exportFilterEndBy').value;\n document.getElementById('exportEndDate').value\n =getFilterDate(val,'exportEndDate').formatString(config.macros.exportTiddlers.datetimefmt);\n if (which && (which.id=='exportFilterEndBy') && (val=='other'))\n document.getElementById('exportEndDate').focus();\n\n show=document.getElementById('exportFilterTags').checked;\n document.getElementById('exportTags').style.display=show?"block":"none";\n\n show=document.getElementById('exportFilterText').checked;\n document.getElementById('exportText').style.display=show?"block":"none";\n}\n//}}}\n// //===\n// //===\n\n// // +++[onClickExportButton(which): control interactions]\n//{{{\nfunction onClickExportButton(which)\n{\n // DEBUG alert(which.id);\n var theList=document.getElementById('exportList'); if (!theList) return;\n var count = 0;\n var total = store.getTiddlers('title').length;\n switch (which.id)\n {\n case 'exportFilter':\n count=filterExportList();\n var panel=document.getElementById('exportFilterPanel');\n if (count==-1) { panel.style.display='block'; break; }\n theList.options[0].text=formatExportListHeader(count,total);\n document.getElementById("exportStart").disabled=(count==0);\n clearMessage(); displayMessage("filtered "+theList.options[0].text);\n if (count==0) { alert("No tiddlers were selected"); panel.style.display='block'; }\n break;\n case 'exportStart':\n exportTiddlers();\n break;\n case 'exportHideFilter':\n case 'exportToggleFilter':\n var panel=document.getElementById('exportFilterPanel')\n panel.style.display=(panel.style.display=='block')?'none':'block';\n break;\n case 'exportSelectChanges':\n var lastmod=new Date(document.lastModified);\n for (var t = 0; t < theList.options.length; t++) {\n if (theList.options[t].value=="") continue;\n var tiddler=store.getTiddler(theList.options[t].value); if (!tiddler) continue;\n theList.options[t].selected=(tiddler.modified>lastmod);\n count += (tiddler.modified>lastmod)?1:0;\n }\n theList.options[0].text=formatExportListHeader(count,total);\n document.getElementById("exportStart").disabled=(count==0);\n clearMessage(); displayMessage(theList.options[0].text);\n if (count==0) alert("There are no unsaved changes");\n break;\n case 'exportSelectAll':\n for (var t = 0; t < theList.options.length; t++) {\n if (theList.options[t].value=="") continue;\n theList.options[t].selected=true;\n count += 1;\n }\n theList.options[0].text=formatExportListHeader(count,count);\n document.getElementById("exportStart").disabled=(count==0);\n clearMessage(); displayMessage(theList.options[0].text);\n break;\n case 'exportSelectOpened':\n for (var t = 0; t < theList.options.length; t++) theList.options[t].selected=false;\n var tiddlerDisplay = document.getElementById("tiddlerDisplay");\n for (var t=0;t<tiddlerDisplay.childNodes.length;t++) {\n var tiddler=tiddlerDisplay.childNodes[t].id.substr(7);\n for (var i = 0; i < theList.options.length; i++) {\n if (theList.options[i].value!=tiddler) continue;\n theList.options[i].selected=true; count++; break;\n }\n }\n theList.options[0].text=formatExportListHeader(count,total);\n document.getElementById("exportStart").disabled=(count==0);\n clearMessage(); displayMessage(theList.options[0].text);\n if (count==0) alert("There are no tiddlers currently opened");\n break;\n case 'exportListSmaller': // decrease current listbox size\n var min=5;\n theList.size-=(theList.size>min)?1:0;\n break;\n case 'exportListLarger': // increase current listbox size\n var max=(theList.options.length>25)?theList.options.length:25;\n theList.size+=(theList.size<max)?1:0;\n break;\n case 'exportClose':\n document.getElementById('exportPanel').style.display='none';\n break;\n }\n}\n//}}}\n// //===\n\n// // +++[list display]\n//{{{\nfunction formatExportListHeader(count,total)\n{\n var txt=total+' tiddler'+((total!=1)?'s':'')+" - ";\n txt += (count==0)?"none":(count==total)?"all":count;\n txt += " selected for export";\n return txt;\n}\n\nfunction refreshExportList(selectedIndex)\n{\n var theList = document.getElementById("exportList");\n if (!theList) return;\n // get the sort order\n if (!selectedIndex) selectedIndex=0;\n if (selectedIndex==0) exportSortBy='modified'; // heading\n if (selectedIndex==1) exportSortBy='title';\n if (selectedIndex==2) exportSortBy='modified';\n if (selectedIndex==3) exportSortBy='modifier';\n\n // get the alphasorted list of tiddlers\n var tiddlers = store.getTiddlers('title');\n // unselect headings and count number of tiddlers actually selected\n var count=0;\n for (var i=0; i<theList.options.length; i++) {\n if (theList.options[i].value=="") theList.options[i].selected=false;\n count+=theList.options[i].selected?1:0;\n }\n // disable "export" button if no tiddlers selected\n document.getElementById("exportStart").disabled=(count==0);\n // update listbox heading to show selection count\n if (theList.options.length)\n theList.options[0].text=formatExportListHeader(count,tiddlers.length);\n\n // if a [command] item, reload list... otherwise, no further refresh needed\n if (selectedIndex>3) return;\n\n // clear current list contents\n while (theList.length > 0) { theList.options[0] = null; }\n // add heading and control items to list\n var i=0;\n var indent=String.fromCharCode(160)+String.fromCharCode(160);\n theList.options[i++]=\n new Option(formatExportListHeader(0,tiddlers.length), "",false,false);\n theList.options[i++]=\n new Option(((exportSortBy=="title" )?">":indent)+' [by title]', "",false,false);\n theList.options[i++]=\n new Option(((exportSortBy=="modified")?">":indent)+' [by date]', "",false,false);\n theList.options[i++]=\n new Option(((exportSortBy=="modifier")?">":indent)+' [by author]', "",false,false);\n // output the tiddler list\n switch(exportSortBy)\n {\n case "title":\n for(var t = 0; t < tiddlers.length; t++)\n theList.options[i++] = new Option(tiddlers[t].title,tiddlers[t].title,false,false);\n break;\n case "modifier":\n case "modified":\n var tiddlers = store.getTiddlers(exportSortBy);\n // sort descending for newest date first\n tiddlers.sort(function (a,b) {if(a[exportSortBy] == b[exportSortBy]) return(0); else return (a[exportSortBy] > b[exportSortBy]) ? -1 : +1; });\n var lastSection = "";\n for(var t = 0; t < tiddlers.length; t++)\n {\n var tiddler = tiddlers[t];\n var theSection = "";\n if (exportSortBy=="modified") theSection=tiddler.modified.toLocaleDateString();\n if (exportSortBy=="modifier") theSection=tiddler.modifier;\n if (theSection != lastSection)\n {\n theList.options[i++] = new Option(theSection,"",false,false);\n lastSection = theSection;\n }\n theList.options[i++] = new Option(indent+indent+tiddler.title,tiddler.title,false,false);\n }\n break;\n }\n theList.selectedIndex=selectedIndex; // select current control item\n}\n//}}}\n// //===\n\n// // +++[list filtering]\n//{{{\nfunction getFilterDate(val,id)\n{\n var result=0;\n switch (val) {\n case 'site':\n var timestamp=store.getTiddlerText("SiteDate");\n if (!timestamp) timestamp=document.lastModified;\n result=new Date(timestamp);\n break;\n case 'file':\n result=new Date(document.lastModified);\n break;\n case 'other':\n result=new Date(document.getElementById(id).value);\n break;\n default: // today=0, yesterday=1, one week=7, two weeks=14, a month=31\n var now=new Date(); var tz=now.getTimezoneOffset()*60000; now-=tz;\n var oneday=86400000;\n if (id=='exportStartDate')\n result=new Date((Math.floor(now/oneday)-val)*oneday+tz);\n else\n result=new Date((Math.floor(now/oneday)-val+1)*oneday+tz-1);\n break;\n }\n // DEBUG alert('getFilterDate('+val+','+id+')=='+result+"\snnow="+now);\n return result;\n}\n\nvar reported=false;\nfunction filterExportList()\n{\n var theList = document.getElementById("exportList"); if (!theList) return -1;\n\n var filterStart=document.getElementById("exportFilterStart").checked;\n var val=document.getElementById("exportFilterStartBy").value;\n var startDate=getFilterDate(val,'exportStartDate');\n\n var filterEnd=document.getElementById("exportFilterEnd").checked;\n var val=document.getElementById("exportFilterEndBy").value;\n var endDate=getFilterDate(val,'exportEndDate');\n\n var filterTags=document.getElementById("exportFilterTags").checked;\n var tags=document.getElementById("exportTags").value;\n\n var filterText=document.getElementById("exportFilterText").checked;\n var text=document.getElementById("exportText").value;\n\n if (!(filterStart||filterEnd||filterTags||filterText)) {\n alert("Please set the selection filter");\n document.getElementById('exportFilterPanel').style.display="block";\n return -1;\n }\n if (filterStart&&filterEnd&&(startDate>endDate)) {\n var msg="starting date/time:\sn"\n msg+=startDate.toLocaleString()+"\sn";\n msg+="is later than ending date/time:\sn"\n msg+=endDate.toLocaleString()\n alert(msg);\n return -1;\n }\n\n // scan list and select tiddlers that match all applicable criteria\n var total=0;\n var count=0;\n reported=false;\n for (var i=0; i<theList.options.length; i++) {\n // get item, skip non-tiddler list items (section headings)\n var opt=theList.options[i]; if (opt.value=="") continue;\n // get tiddler, skip missing tiddlers (this should NOT happen)\n var tiddler=store.getTiddler(opt.value); if (!tiddler) continue; \n var sel=true;\n if ( (filterStart && tiddler.modified<startDate)\n || (filterEnd && tiddler.modified>endDate)\n || (filterTags && !matchTags(tiddler,tags))\n || (filterText && (tiddler.text.indexOf(text)==-1) && (tiddler.title.indexOf(text)==-1)))\n sel=false;\n opt.selected=sel;\n count+=sel?1:0;\n total++;\n }\n return count;\n}\n//}}}\n\n//{{{\nfunction matchTags(tiddler,cond)\n{\n if (!cond||!cond.trim().length) return false;\n\n // build a regex of all tags as a big-old regex that \n // OR's the tags together (tag1|tag2|tag3...) in length order\n var tgs = store.getTags();\n if ( tgs.length == 0 ) return results ;\n tags = tgs.sort( function(a,b){return (a[0].length<b[0].length)-(a[0].length>b[0].length);});\n var exp = "(" + tags.join("|") + ")" ;\n exp = exp.replace( /(,[\sd]+)/g, "" ) ;\n var regex = new RegExp( exp, "ig" );\n\n // build a string such that an expression that looks like this: tag1 AND tag2 OR NOT tag3\n // turns into : /tag1/.test(...) && /tag2/.test(...) || ! /tag2/.test(...)\n cond = cond.replace( regex, "/$1\s\s|/.test(tiddlerTags)" );\n cond = cond.replace( /\ssand\ss/ig, " && " ) ;\n cond = cond.replace( /\ssor\ss/ig, " || " ) ;\n cond = cond.replace( /\ss?not\ss/ig, " ! " ) ;\n\n // if a boolean uses a tag that doesn't exist - it will get left alone \n // (we only turn existing tags into actual tests).\n // replace anything that wasn't found as a tag, AND, OR, or NOT with the string "false"\n // if the tag doesn't exist then /tag/.test(...) will always return false.\n cond = cond.replace( /(\ss|^)+[^\s/\s|&!][^\ss]*/g, "false" ) ;\n\n // make a string of the tags in the tiddler and eval the 'cond' string against that string \n // if it's TRUE then the tiddler qualifies!\n var tiddlerTags = (tiddler.tags?tiddler.tags.join("|"):"")+"|" ;\n try {\n if ( eval( cond ) ) return true;\n }\n catch( e ) {\n if (!reported) displayMessage("Error in tag filter '" + e + "'" );\n reported=true;\n }\n return false;\n}\n//}}}\n// //===\n\n// // +++[output data formatting]>\n// // +++[exportDIVHeader()]\n//{{{\nfunction exportDIVHeader()\n{\n var out=[];\n var now = new Date();\n var u = store.getTiddlerText("SiteUrl",null);\n var title = wikifyPlain("siteTitle").htmlEncode();\n var subtitle = wikifyPlain("siteSubtitle").htmlEncode();\n var user = config.options.txtUserName.htmlEncode();\n var twver = version.major+"."+version.minor+"."+version.revision;\n var pver = version.extensions.exportTiddlers.major+"."\n +version.extensions.exportTiddlers.minor+"."+version.extensions.exportTiddlers.revision;\n out.push("<html><body>");\n out.push("<style type=\s"text/css\s">");\n out.push("#storeArea {display:block;margin:1em;}");\n out.push("#storeArea div");\n out.push("{padding:0.5em;margin:1em;border:2px solid black;height:10em;overflow:auto;}");\n out.push("#javascriptWarning");\n out.push("{width:100%;text-align:left;background-color:#eeeeee;padding:1em;}");\n out.push("</style>");\n out.push("<div id=\s"javascriptWarning\s">");\n out.push("TiddlyWiki export file<br>");\n out.push("Source: <b>"+document.location+"</b><br>");\n out.push("Title: <b>"+title+"</b><br>");\n out.push("Subtitle: <b>"+subtitle+"</b><br>");\n out.push("Created: <b>"+now.toLocaleString()+"</b> by <b>"+user+"</b><br>");\n out.push("TiddlyWiki "+twver+" / "+"ExportTiddlersPlugin "+pver+"<br>");\n out.push("</div>");\n out.push("<div id=\s"storeArea\s">");\n return out;\n}\n//}}}\n// //===\n\n// // +++[exportDIVFooter()]\n//{{{\nfunction exportDIVFooter()\n{\n var out=[];\n out.push("</div></body></html>");\n return out;\n}\n//}}}\n// //===\n\n// // +++[exportXMLHeader()]\n//{{{\nfunction exportXMLHeader()\n{\n var out=[];\n var now = new Date();\n var u = store.getTiddlerText("SiteUrl",null);\n var title = wikifyPlain("siteTitle").htmlEncode();\n var subtitle = wikifyPlain("siteSubtitle").htmlEncode();\n var user = config.options.txtUserName.htmlEncode();\n var twver = version.major+"."+version.minor+"."+version.revision;\n var pver = version.extensions.exportTiddlers.major+"."\n +version.extensions.exportTiddlers.minor+"."+version.extensions.exportTiddlers.revision;\n out.push("<" + "?xml version=\s"1.0\s"?" + ">");\n out.push("<rss version=\s"2.0\s">");\n out.push("<channel>");\n out.push("<title>" + title + "</title>");\n if(u) out.push("<link>" + u.htmlEncode() + "</link>");\n out.push("<description>" + subtitle + "</description>");\n out.push("<language>en-us</language>");\n out.push("<copyright>Copyright " + now.getFullYear() + " " + user + "</copyright>");\n out.push("<pubDate>" + now.toGMTString() + "</pubDate>");\n out.push("<lastBuildDate>" + now.toGMTString() + "</lastBuildDate>");\n out.push("<docs>http://blogs.law.harvard.edu/tech/rss</docs>");\n out.push("<generator>TiddlyWiki "+twver+" plus ExportTiddlersPlugin "+pver+"</generator>");\n return out;\n}\n//}}}\n// //===\n\n// // +++[exportXMLFooter()]\n//{{{\nfunction exportXMLFooter()\n{\n var out=[];\n out.push("</channel></rss>");\n return out;\n}\n//}}}\n// //===\n\n// // +++[exportData()]\n//{{{\nfunction exportData(theList,theFormat)\n{\n // scan export listbox and collect DIVs or XML for selected tiddler content\n var out=[];\n for (var i=0; i<theList.options.length; i++) {\n // get item, skip non-selected items and section headings\n var opt=theList.options[i]; if (!opt.selected||(opt.value=="")) continue;\n // get tiddler, skip missing tiddlers (this should NOT happen)\n var thisTiddler=store.getTiddler(opt.value); if (!thisTiddler) continue; \n if (theFormat=="DIV")\n { out.push(thisTiddler.title+"\sn"+thisTiddler.saveToDiv()); }\n if (theFormat=="XML")\n { out.push(thisTiddler.saveToRss()); }\n }\n return out;\n}\n//}}}\n// //===\n// //===\n\n// // +++[exportTiddlers(): output selected data to local or server]\n//{{{\nfunction exportTiddlers()\n{\n var theList = document.getElementById("exportList"); if (!theList) return;\n\n // get the export settings\n var theProtocol = document.getElementById("exportTo").value;\n var theFormat = document.getElementById("exportFormat").value;\n\n // assemble output: header + tiddlers + footer\n var theHeader = (theFormat=="XML")?exportXMLHeader():exportDIVHeader();\n var theData=exportData(theList,theFormat); var count=theData.length;\n var theFooter = (theFormat=="XML")?exportXMLFooter():exportDIVFooter();\n var txt=theHeader.join("\sn")+theData.join("\sn")+theFooter.join("\sn");\n var msg="";\n switch (theProtocol) {\n case "file:":\n var theTarget = document.getElementById("exportFilename").value.trim();\n if (!theTarget.length) msg = "A local path/filename is required\sn";\n if (!msg && saveFile(theTarget,txt))\n msg=count+" tiddler"+((count!=1)?"s":"")+" exported to local file";\n else if (!msg)\n msg+="An error occurred while saving to "+theTarget;\n break;\n case "http:":\n case "https:":\n var theTarget = document.getElementById("exportHTTPServerURL").value.trim();\n if (!theTarget.length) msg = "A server URL is required\sn";\n if (!msg && exportPost(theTarget+encodeURIComponent(txt)))\n msg=count+" tiddler"+((count!=1)?"s":"")+" exported to "+theProtocol+" server";\n else if (!msg)\n msg+="An error occurred while saving to "+theTarget;\n break;\n case "ftp:":\n default:\n msg="Sorry, export to "+theLocation+" is not yet available";\n break;\n }\n clearMessage(); displayMessage(msg,theTarget);\n}\n//}}}\n// //===\n\n// // +++[exportPost(url): cross-domain post] uses hidden iframe to submit url and capture responses\n//{{{\nfunction exportPost(url)\n{\n var f=document.getElementById("exportFrame"); if (f) document.body.removeChild(f);\n f=document.createElement("iframe"); f.id="exportFrame";\n f.style.width="0px"; f.style.height="0px"; f.style.border="0px";\n document.body.appendChild(f);\n var d=f.document;\n if (f.contentDocument) d=f.contentDocument; // For NS6\n else if (f.contentWindow) d=f.contentWindow.document; // For IE5.5 and IE6\n d.location.replace(url);\n return true;\n}\n//}}}\n// //===\n

\nHow, when, why did this ever get the reputation of a classic ? The standard opinion on Sturges is that he made a few good 'uns before the 1960s, but that it's all downhill from there -- and that includes the bloated, amazingly awkward (and I think, fun) //Hallelujah Trail// (1965). The halo of good coverage usually includes this //Gunfight//, a reworking on the ~Earp-Clanton affair back in Tombstone, back in those days (the timeframe is never too clearly given here).\n\nThe point, I think, is legend and how to deal with it. At least that's the feeling one gets from a series of formal elements in the film. The music from Tiomkin, though a repeat in style and substance of his //High Noon// work -- there's a direct echo, if not a quotation, from "Do not forsake me oh my darling" in the opening song -- adds an original touch in its ballad format. It weaves itself back into the telling of the story at several key junctures, every time Earp moves on to a new town, in the best //picaresque// tradition. The vagueness of the land and of the geography could be another example, though one wonders what is formal discourse and what is just pure sloppiness. But it's true that Doge City looks like Tombstone and that both look like the first town, Fort Griffin. Indeed all location shooting was done in Old Tucson, and if you haven't recognized the broken adobe walls and the spread of the town from //Rio Bravo//, then you haven't been paying attention. The landscape itself is generic, so that you could be drawn into thinking that this is all just one large landscape, one town after the other, //the// town of the Old West -- the stuff of legend indeed. And the towns do look like any movie-western town: the fronts, the hotels, the street-signs (who ever heard of a street sign in Tombstone??) -- all in appropriate wood even when obviously there's not one tree for 500 miles around.\n\nI really feel though that, except for Tiomkin's, this is more sloppiness than design. There's, for instance, the shot of Earp riding into Dodge, past some adobe houses (in tune with the landscape) to turn a corner and find himself in a well-built street that could be any town not too far out West, and so much wood to build a fleet for 50 years. \n\nThe scenario is particularly weak, too. It consistently looks like the filmmakers were trying to build a compelling story and, without the necessary dramatic incidents and construction at their disposal, or character-development, turned to filling every scene with strong language and memorable lines. (It's a temptation that I know particularly well, having fallen prey to it myself when trying my hand at screenwriting.) The truth is that strong lines flow from strong situations and strong characters -- not the other way round. In this case, Burt Lancaster gives a particularly wooden interpretation of Earp that makes one long for the human complexity, the moral qualms and ambiguities of the Henry Fonda characterisation in Ford's //My Darling Clementine// (1949). Friendship ? "Let's say I like your cut" he hammers out to a slightly better Kirk Douglas (Doc Holliday being slightly better than Earp in this version, as a somewhat more complex character -- alcohol, the perverse relationship with the girl -- but who has no more ground for friendship with Earp than Earp has, and whose involvement in the Clanton affairs makes no sense whatsoever. And what's with the happy ending he receives, the chance of getting treatment in Denver ??). That's a bit weak for a relationship that involves saving each other's lives several times, competing, if for just a moment, for the same high-class girl, and crossing each other's path in three different cities. There is no warmth to Lancaster, and his wooden performance is only made worse by the resort to melodrama to advance the moral or emotional points to the story.\n\nMelodrama: gathered the evening before the famed gunfight, the Earps have to listen to feminine hysteria. Virg's wife blathers about his son losing his dad, or Virg having to go kiss him goodbye (for the last time, presumably). As a way to raise the stakes, this is rather pathetic. Contrast with the use of landscape, pacing, tempo, editing and staging in //My Darling Clementine//. The whole film atmosphere there creates suspense and the sense that a titanic clash of wills, of historical forces, is about to take place (Earp's lonely silhouette against cloud-strewn sky, old Clanton's hard close-up waiting). The night before is a drawn-out affair, tense, silent, solitary for Earp (who's lost two brothers by then), guns clicking in position, waiting. Here there's a lot of talking, wife to man, brother to brother, Earp to coughing friend Doc (who is dying, then recovers next morning, helps out in the fight, and lives to see another day). The whole staging is as commonplace as can be: Earp wanting a drink before he leaves, the four (3 Earps and Doc) turning a corner in the street like robots (poor choice of background there, too: no open, heroic vista behind them, just a street corner). But melodrama: tension builds up not in the fight itself (as idiotically put together as anything since //The Great Train Robbery//, the Earp brothers getting wounded because they try to run directly in front and across the firing line...), but later, in the execution-style death of the younger Clanton (and there, too, Earp is saved from disgrace by Doc's timely gunshot). What matters here is the very personal, and not very interesting, conflict in the Earp character about his own sensibility. Because this has not been built in the film (consistently, that is. There is, indeed, the scene of the moralizing lesson given to the drunk young man, with the lovely conclusion that gives rise to of the [[most ridiculous lines]] ever. But that's precisely a very strange episode, inconclusive, unrelated), it is not at that point an element of the suspense. This outer motivation, not just not germane to the plot, but sensational, and emotional, in nature, is what marks it as an element from [[the melodramatic compact]].\n\nIn this as in most any other scenes, the film tries to build drama without forceful dramatic material. The result, I found, is stilted, a compendium of the perfect western quotes. One may use it to impress one's friends now and then, but it doesn't make for memorable characters. Maybe that's not the point, but it doesn't hold well to the comparison with Ford's earlier treatment of the Clanton deal.

<<tabs txtFavourite\n\n"The 1919 film" "1919, the film" "Heart o' the Hills (1919)"\n\n"The 1912 novel" "1912, the novel" "the 1912 novel"\n\n"scenario" "the screenplay" "the McConville scenario"\n\n>>\n\n

[[Production details|http://www.imdb.com/title/tt0010227/combined]]\nMary Pickford in the Kentucky Hills, among the hillbillies, a hillbilly herself...\nWell, almost, since the film was shot in the San Bernardino mountains, East of Los Angeles...(according to the [[notes from the Milestone release|http://www.milestonefilms.com/pdf/HeartPK.pdf]])\nYet the film does try to give some idea of quaint Kentucky ways: the language of the intertitle ("you uns", "he aire", and so on....), the shingy, the tall pines. But it remains more quaint than Kentucky, and if that's [[regional realism]], then one understands better how much more realistic Flaherty's [[Moana (1924)]] is. //Heart o' the Hills// fails in conveying more than a few Kentucky postcards (as opposed to [[M'Liss (1918)]] for instance) because of spatial and plot discontinuities inherent in the tableau aesthetic. In terms of [[the tourist's gaze]], this film is more impressions than immersion. //Moana//, by contrast, is all immersion -- even if, as usual with [[realism]], this is no guarantee of truth.\nThis tense drama, based on the 1912 novel by [[John Fox Jr.]] which may be read [[here|http://www.gutenberg.org/dirs/etext04/hrthl10.txt]], is not quite Mary Sunshine in ways -- yet still follows a familiar pattern with her of poor girl making it rich (here she is adopted by a southern gentleman who had partnered with some Yankee who'd swindled poor Mary of her Kentucky, coal-rich, mountain land). The story may have been too complicated to fit in a short 6 reels, so that all that remains are the main tableaux from the plot, unconnected from each other:\n*Mary's memory of her father's death\n*fishing with Jason\n*dancing at Grandpap's\n*Dispossessed--night riding, and vengeance\n*the "trial"\n*6 years later: a lady returns to her mother--closure\nThe only connection, in terms of plot and linear structure, occurs early: the first image shows Jason told to take care of the garden by his father (Sam de Grasse: see note on [[Sam de Grasse and Stroheim]]). But the boy finds a worm in the mud, and pockets it to run out to fish. Later, he finds Mary at her home where her mother is making ready for the father's visit, and takes her fishing indeed.\nOtherwise, the scenes are temporally, and spatially, disconnected. The dance at grandpap's seems to occur at night (all lights are on inside), yet when Mary joins it it is broad daylight outside (and is that one day after the fishing trip? Later that afternoon?). Spatially, the disconnect is even more jarring: where is Mary as she embraces her father's boots after that dance (supposedly home, but how do we know) ? \nThe film simply refuses to show us all the in-between stuff of life in the Kentucky hills. Rather, it shows us the main moments of the drama. This strategy also tones down the drama of this tense story, as we are made to watch -- and not participate in -- the severall tableaux. The literary equivalent would be rather awkward indeed: "Next, we are shown..."; "and next, ...". Except that here, indeed, the intensity of Pickford's acting (her father's death in her arms, the night arrest at her grandpap's, etc.) contradicts this detached, discontinuous narration.

[[imdb details|http://www.imdb.com/name/nm0380965/]]\nColorised version, which did not bother me as much as it probably should have -- everything is in sweet sugary colours, the morality, the goodie-2-shoe homespun lines, the perfect grand-pa. Little Temple is spunky enough to save the day, not so much when she acts as when she doesn't - her way of walking, her straight face, the way she puts her clothes away or sets the table. There's something strong about her personality, like she will simply refuse to drown in that saccharine -- and repeatitive (how often were we told that she couldn't read, then learnt to) -- script. I don't care much about her smile, and her pouting, or her singing. And I detest it when she's given too much ideology for her age ("I think everyone should go to church on Sunday." Jews too, darling?). Apart from that, it's alright in a Teletubby sort of way.

Pretty exciting stuff: the Great Spirit (Gitche Manito, sounds gypsy to me) calls all tribes to a council (Shoshones and Pawnees are there, but not the Cherokees: how come Longfellow didn't write them in ?). \n<<<\nI have given you streams to fish in,\nI have given you bear and bison,\nI have given you roe and reindeer,\nI have given you brant and beaver,\nFilled the marshes full of wild-fowl,\nFilled the rivers full of fishes:\nWhy then are you not contented? \n<<<\nIndeed the Great Spirit is disgusted by tribes fighting tribes. Amazing how the 1912 //Custer's Last Stand//, when it introduces the figure of the Indian (the "Keep Out" moment), follows verbatim this introduction of Indian life (bison, reindeer, fish).\n\nConveniently, Manitou had warned the Indians of their own disappearance, sign that God (all gods, really) are on the side of Manifest Destiny:\n<<<\nIf [my Prophet's] warnings pass unheeded,\nYou will fade away and perish! \n<<<\nThis Prophet is probably Hiawatha, uniter of the Five Nations into the Iroquois confederacy.\n\nAnd very conveniently too, this first scene of summon by the Great Spirit allows to recycle the image of Indians as little children:\n<<<\nGitche Manito, the mighty,\nThe Great Spirit, the creator,\nSmiled upon his helpless children!\n<<<

How's that for a speed wedding ? He sees her, asks for her hand, she says yes, and off they go back to Hiawatha's mother !\nSo there are several stanzas about the way back to make it a bit more majestic.\nSpeaking of marriage, there's a nice conclusion to this episode, and again it plays on repeating information -- definitely //the// most important technique used in this poem. On leaving for the land of the Dakotas, Hiawatha had had a discussion with his mother. She wanted a daughter-in-law from her own people, not a "moonlight" or a "starlight" -- a good description of foreign beauties -- but a "firelight". In the end, the poem concludes, as Hiawatha brings Minnehaha home:\n<<<\nThus it was that Hiawatha\nTo the lodge of old Nokomis\nBrought the moonlight, starlight, firelight,\nBrought the sunshine of his people,\nMinnehaha, Laughing Water,\nHandsomest of all the women\nIn the land of the Dacotahs,\nIn the land of handsome women. \n<<<\nA nice conclusion to the First Part, what ?

Indian legend to start with: the creation of the four seasons, amiably sprinkled with amorous challenges between the four winds.It's Nature, History, Myths --- as an introduction to the real Hiawatha -- all rolled into one.\nThe [[accompanying illustration|http://etext.lib.virginia.edu/images/modeng/public/LonHiaw/LonH29.jpg]] is a romantic beauty c. 1900.

The illustrations alone are worth the reading in this edition. They are so nicely influenced| by graphic styles of the end of the 19th century ([[romance and realism]]) that they proclaim the fraud of this "faithful" transcription of Indian lore for White audiences: [[Legend and History -- the Indian]] is a White Man's invention.\n[img[allegories|http://cinebuds.online.fr/images/hiawatha1909-2.jpg]]\n\nHiawatha has a childhood that ought to make every Huck-like boy jealous: he runs around freely, grows up around animals and plants, and gets to kill his first deer as a rite of passage. It's an Indian childhood only in parts--most of the time it's a bucolic childhood.

Hiawatha and his father the West Wind fight it out over the Rocky Mountains ! Pretty sensational stuff. It's masterful in the way it uses quaint words and repetitions of figures here and there to make it more folksy, more native.\nH. also meets Laughing Water, Minnehaha, from the land of the Dakotas.

More fighting ! This time, Hiawatha is disatisfied with where his fellowmen take their food: he fasts to pray for another, more regular way. The answer is Mondamin, and after a struggle, Mondamin is laid in the ground. After much care, it becomes the first corn.\n[img[corn planting|http://cinebuds.online.fr/images/hiawatha1909-3.jpg]]\nAt times it's like reading about Lewis Carroll's Jabberwock. (Actually, Lewis Carroll did write a funny parody on the poem, [[Hiawatha's photographing|http://euclid.trentu.ca/math/sb/carroll/hiawatha.html]]. Hiawatha in that poem is a photographer who can't make his family -- his "tribe" -- stand still so all the portraits are ruined. But he still manages to take a group picture...which everyone criticizes, so Hiawatha leaves offended). For instance, this passage of Longfellow's:\n<<<\nThrice they wrestled there together\nIn the glory of the sunset,\nTill the darkness fell around them,\nTill the heron, the Shuh-shuh-gah,\nFrom her nest among the pine-trees,\nUttered her loud cry of famine,\nAnd Mondamin paused to listen. \n<<<\nThat Shuh-shuh-gah that comes at every turn...And sure enough, this habit of giving the name at least twice (in English then in Objiwe or Dakota), is mocked by Carroll:\n<<<\nAnd his overbearing sisters\nCalled him names he disapproved of:\nCalled him Johnny, "Daddy's Darling,"\nCalled him Jacky, "Scrubby School-boy."\n<<<\nAnd, sure enough, it's also criticized by the [[New York Times review of Longfellow's Hiawatha]] (as early as 1855): "we hear continually of "the robin, the opeechee;" the "wild goose, the wawa;" the "blue heron the shu-shu-ga." (...) Mr. Longfellow would have achieved his end quite as well by a few foot notes."(see chapter VIII for more comments on those repetitions)\n([[Lewis Mumford in 1926]] is not very generous to Longfellow either)

Chibiados and Kwasind, Hiawatha's two friends. One charms Nature with his musicianship, the other one dominates or helps it along with his Herculean strength.\nIt's this habit of Longfellow's here (probably to build authenticity) that gets a bit childlike at times:\n<<<\nIn the stream he saw a beaver,\nSaw Ahmeek, the King of Beavers,\n<<<\n\nApparently, Hiawatha's indians play quoits. It [[doesn't seem|http://en.wikipedia.org/wiki/Quoits]] to be an Indian game, though...(but ancient, yes. Maybe that's where the confusion is)

Hiawatha, who guides his canoe with his thoughts (do not try this in your car), gets help from Kwasind clearing the river for the people. This habit of referring to Indian tribes as "the people" helps a bit the illusion that this is a Native text. For instance:\n<<<\nMade its passage safe and certain,\nMade a pathway for the people,\nFrom its springs among the mountains,\nTo the waters of Pauwating,\nTo the bay of Taquamenaw. \n<<<

Hiawatha slains the Sturgeon ! But why ? To get oil from it. He's turning to get quite an authority on how his people can live productive life with Nature....\n\n[[What a line!]]\n\nOf course the whole business of repeating every name twice (once in English, once in Indian language) works as a way to provide indivduality to every natural element. For instance:\n<<<\nAt the stern sat Hiawatha,\nWith his fishing-line of cedar;\nIn his plumes the breeze of morning\nPlayed as in the hemlock branches;\nOn the bows, with tail erected,\nSat the squirrel, Adjidaumo;\nIn his fur the breeze of morning\nPlayed as in the prairie grasses. \n<<<\nThe squirrel is not just any squirrel, he's Adjidaumo (not adjidaumo, note). This is the mythic universe: all objets, all elements, trees, creatures, are individual -- just as individual as Hiawatha. More: the capital letter suggests that they are gods accompanying a god -- that Hiawatha is creating the world as he finds it. (Of course it doesn't help my case that later, after [[the battle of the sturgeon]], Hiawatha names the valiant squirrel...and the name given is...still Adjidaumo. What a let down !)\nIt doesn't work as well when it's done as in the very next stanza:\n<<<\nOn the white sand of the bottom\nLay the monster ~Mishe-Nahma,\nLay the sturgeon, King of Fishes;\nThrough his gills he breathed the water, \n<<<\nEnough already ! So "Mishe" means "great", and a loose translation gives "King of Fishes". As noted in chapter V, this got Longfellow into trouble as early as 1855 (the critic at the New York Times suggesting that the glossary at the end was more than enough). This doesn't work because it really is just padding, and useless padding to boot: we know that sturgeon is great, since he's got his own name (see above) ! \n\nAnd then there's the case of the repetition //without// the Indian name, as in:\n<<<\nSee the Shawgashee, the craw-fish,\nLike a spider on the bottom,\nOn the white and sandy bottom. \n<<<\n(ouch ! //"the"// Shawgashee ? Then it's not a first name, is it ? Well, it could still be "the" great Hercules...). This repetition here of "the bottom" manages to refocus the attention on a detail, which becomes much more meaningful. In itself, that the bottom is "sandy" is not great revelation. But "white" stands out //because// of the repetition -- and therefore "sandy" too takes on a richer, more refined connotation. Everything is magic, everything's fresh and pure as in the first day of creation -- and indeed we're not too far from that first day: Hiawatha himself is a semi-god on Earth. (is this a good enough answer to the New York critic, for whom those sagas lack the level of naturalistic details of Greek mythology ? Not necessarily. This "bottom," //because// it is so extraordinary, is not a real bottom...Speaking of [[bottom]]...)\n\nNow I wonder if the humor here is intentional, with the squirrel perilously perched on the straightened boat:\n<<<\n In his fingers Hiawatha\nFelt the loose line jerk and tighten,\nAs he drew it in, it tugged so\nThat the birch canoe stood endwise,\nLike a birch log in the water,\nWith the squirrel, Adjidaumo,\nPerched and frisking on the summit. \n<<<

More fighting. This time Hiawatha must fight some evil magician out West. Turns out this evil magician would send diseases to the tribes, to it's still a public service disguised as personal revenge (back-story time: he killed Hiawatha's father).\nThis "Out West" sounds more like Lake Ponchartrain than the American West (moss hanging from the trees, placid lakes, bayou-like vegetation making progress difficult).\n~Pearl-Feather, the giant magician, is defeated like Achilles or the Cyclops before him were: he has only one week spot, and that's "At their roots the long black tresses".

And we're off into what promises to be half-child literature, half-epic. As expected, the first verses immediately link the Indian with Nature, and with an irrevocably dead Past (no romance in the Indian ? How about the Indian as ruin ? //That//'s romantic). The "green and silent valley" is thus a double image of peace: geographic and temporal. \n<<<\n"In the vale of Tawasentha,\nIn the green and silent valley,\nBy the pleasant water-courses,\nDwelt the singer Nawadaha.\nRound about the Indian village\nSpread the meadows and the corn-fields,\nAnd beyond them stood the forest,\nStood the groves of singing pine-trees,\nGreen in Summer, white in Winter,\nEver sighing, ever singing."\n<<<\n\nI'll be using the [[1909 edition that's online at the university of Virginia|http://etext.lib.virginia.edu/etcbin/toccer-new2?id=LonHiaw.sgm&images=images/modeng&data=/texts/english/modeng/parsed&tag=public&part=all]]\n\nWikipedia has some good background information on [[the history of the poem and its (non)relation to ehtnographic facts|http://en.wikipedia.org/wiki/Song_of_Hiawatha#Longfellow.27s_Hiawatha_vs._the_historical_Iroquois_Hiawatha]]. Other resources include 19th century ethnologist Horatio Hale's [[criticism of Longfellow's academic source for the poem|http://www.markshep.com/nonviolence/Hiawatha.html]], and [[a list of Ojibwe and Dakota words used by Longfellow in the poem|http://www.native-languages.org/hiawatha.htm]]. The [[New York Times review of Longfellow's Hiawatha]] should not be missed, either...A very good introduction to what reading Longfellow can mean today was published by Rochelle Gurstein in //The New Republic//, March 12, 2001 ("The Importance of Being Earnest").

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*The ~Hole-in-the-Wall gang of //Butch Cassidy and the Sundance Kid// (1969): beyond the strategic advantages of having a ranch tucked out of sight in a hidden valley well protected by walls and canyons, I see the obvious link with that secret valley down Deception Pass (Surprise Valley) that Lassiter brings Jane to at the end of Zane Grey's //[[Riders of the Purple Sage|http://www.gutenberg.org/dirs/etext98/prpsg11.txt]]// (1912). \n<<<\nAbove Venters loomed a wonderful arch of stone bridging the canyon rims, and through the enormous round portal gleamed and glistened a beautiful valley shining under sunset gold reflected by surrounding cliffs. He gave a start of surprise. The valley was a cove a mile long, half that wide, and its enclosing walls were smooth and stained, and curved inward, forming great caves. He decided that its floor was far higher than the level of Deception Pass and the intersecting canyons. No purple sage colored this valley floor. Instead there were the white of aspens, streaks of branch and slender trunk glistening from the green of leaves, and the darker green of oaks, and through the middle of this forest, from wall to wall, ran a winding line of brilliant green which marked the course of cottonwoods and willows.\n<<<\nThere's a hidden Eden out West (characteristically, the film on Cassidy does not see any such special, peaceful, romantic get-away in Bolivia, shown as an impoverished Third World country, whereas the real-life Cassidy and Kid did find a haven in Chile)\n*actually, that's a part of the meaning of the word "West": romantic, secret, away from this world\n*it's also, of course, a staple of oulaw literature. Deadwood Dick has just such a lair hidden in his valley -- until it's turned into an environmental mess by some mining entrepreneur.\n<<<\nReturning to the Flower Pocket by the route to the rugged transverse gulch, and thence through the gaping fissure, we find before us a scene—not of slumbering beauty, but of active industry and labor, such as was not here when we last looked into the flower-strewn paradise of the Hills.\nThe flowers are for the most part still intact, though occasionally you will come across a spot where the hand of man hath blighted their growth.\nWhere stood the little vine-wreathed cabin now may be seen a larger and more commodious log structure, which is but a continuation of the original.\nA busy scene greets our gaze all around. Men are hurrying here and there through the valley—men not of the pale-face race, but of the red race; men, clad only to the waist, with remarkable muscular developments, and fleetness of foot.\nOver the little creek which dashes far adown from pine-dressed mountain peaks, and trails its shining waters through the flowering land, is built another structure—of logs, strongly and carefully erected, and thatched by a master hand with bark and grass. From the roof projects a small smoke-stack, from which emanates a steady cloud of smoke, curling lazily upward toward heaven's blue vault, and inside is heard the grinding, crushing rumble of ponderous machinery, and we rightly conjecture that it is a crusher in full operation. Across from the northern side of the gulch comes a steady string of mules in line, each pulling behind him a jack-sled (or, what is better known to the general reader as a stone-boat) heavily laden with huge quartz rocks. These are dumped in front of one of the large doorways of the crusher, and the "empties" return mechanically and disappear within a gaping fissure in the very mountain side—a sort of tunnel, which the hand of man, aided by that great and stronger arm—powder—has burrowed and blasted out.\nAll this is under the Immediate management of the swarthy-skinned red-men, whose faces declare them to be a remnant of the once great Ute tribe—now utilized to a better occupation than in the dark and bloody days of the past.\nNear the crusher building is a large, stoutly-constructed windlass, worked by mule power, and every few moments there comes up to the surface from the depths of a shaft, a bucketful of rock and sand, which is dumped into a push-car, and from thence transferred to the line of sluice-boxes in the stream, where more half-clothed Utes are busily engaged in sifting golden particles from the rich sand.\nWhat a transformation is all this since we left the Flower Pocket a little over a month ago! Now, everywhere within those majestic mountain-locked walls is bustle and excitement; then, the valley was sleeping away the calm, perfume-laden autumnal days, unconscious of the mines of wealth lying nestling in its bosom, and content and happy in its quietude and the adornments of nature's beauties.\nNow, shouts, ringing halloos, angry curses at the obstinate mules, the rumbling of ponderous machinery, the clink of picks and reports of frequent blasts, the deadened sound of escaping steam, the barking of dogs, the whining of horses—all these sounds are now to be heard.\nThen, the valley was peacefully at rest; the birds chimed in their exquisite music to the Æolian harp-like music of the breeze through the branches of the mountain pines; the waters pouring adown from the stupendous peaks created an everlasting song of love and constancy; bees and humming-birds drank delicious draughts from the blushing lips of a million nodding flowers; the sun was more hazy and drowsy-looking; everything had an appearance of ethereal peace and happiness.\nBut, like a drama on the stage, a grand transformation had taken place; a beautiful dream had been changed into stern reality; quietude and slumber had fled at the bold approach of bustling industry and life. And all this transformation is due to whom?\n\n(from Edward L. Wheeler, //[[Deadwood Dick, the Prince of the Road|http://www.gutenberg.org/files/14902/14902-h/14902-h.htm]]//, 1877\n<<<

Silent Films:\n*F. Richard Jones, [[The Extra Girl|http://www.imdb.com/title/tt0014029/combined?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9dGhlIGV4dHJhIGdpcmx8ZnQ9MXxteD0yMHxsbT01MDB8Y289MXxodG1sPTF8bm09MQ__;fc=1;ft=21;fm=1]], 1923\n*King Vidor, [[Show People|http://www.imdb.com/title/tt0019379/combined?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9c2hvdyBwZW9wbGV8ZnQ9MXxteD0yMHxsbT01MDB8Y289MXxodG1sPTF8bm09MQ__;fc=1;ft=20;fm=1]], 1928\n

!!!American novels that use Hollywood as their setting, and settle some score by the way with the movie industry:\n*[[Merton of the Movies]]\n*//The Little Sister//, Raymond Chandler\n\n!!!American novels that use movies/the motion picture industry/filmmaking in their plot/background/characters\n*[[The Moving Picture Boys in the Jungle (1913)]]\n*[[Buck Parvin (1917)]]

<<tag Hollywood>>\n<<tag HollywoodHowTo>>\n<<tag Western>>\n<<tag FilmAndLiterature>>

As Wikipedia defines him, a novelist from Missouri writing Missouri fiction, best known for the novel //They Had To See Paris// made into a 1927 film where Will Roger got his first major part. No mention of //How Motion Pictures Are Made// in this entry...\nThe mystery is this: what are the films that Homer Croy played in between his leaving the university in Missouri in 1907 and 1922 when //West of the Water Tower//, his first major success, was published ? Notably, what are the "documentaries" that he talks about in //How Motion Pictures Are Made//, where he explains that they are complete fakes (meeting with cannibals, or hunting leopard with the Sultan of Johor) ? \n\n[img[Croy's faking it|http://cinebuds.online.fr/images/croysfake.jpg]] [img[Croy's again faking|http://cinebuds.online.fr/images/croysfake2.jpg]]\n\nMy main question here would be: were those films presented as real documentaries shot on location, or was the fake presented as such. (there is perhaps some irony that this question is popping up in my mind as the [[lonelygirl15]] fake is exposed, but would you believe it? I wasn't aware of the whole sham until this morning!!). Croy implies in the book that the audience was fooled\n<<<\nThus the picture was made and some credit came to the writer for being a wild-game hunter of tried courage, when as a matter of fact he was in little more danger than he would be in his more accustomed Subway crush.\n<<<\nso it's pretty clear to me that the film was //not// honestly sold. It's not uncommon indeed at the time ([[other examples of lying]]?), but when (and why) will this practise stop ? The story on the 1930 film //Ingagi//, [[Before King Kong]], implied that this commercial misrepresenting of studio shootings for on location documentary film-making was banned by the end of the 1920s...\n\nApparently, Homer was on board the Universal Special when Carl Laemmle decided to move to Los Angeles in 1915 (this is well narrated in Koszarski, //An Evening's Entertainment//, pp. 2-5). But no detail on Croy, except that he wrote //How Motion Pictures Are Made//. Croy's impressions of the whole trip were printed in the //Universal Weekly//, 20 March, 27 March and 3 April 1915. \n[[Who is Homer Croy ?]] Were those films early Universal films ?

This is my research ~TiddlyWiki. I'm a film scholar working on silent cinema, and I was looking around for a way to organize the bits and pieces that do not quite form research yet, though they are the stuff of the mind's daily life -- and one day may very well end up in research. I mean bits of readings, films watched, sometimes right to the point, sometimes just for fun. \n[[TiddlyWiki|http://www.tiddlywiki.com]] is my answer for now.\n\nRight now you can read, you can even edit entries, but you won't be able to save anything. All comments should be made by [[email|mailto:flyczba@free.fr]].\n\nUse the tags on the right-hand side menu to browse, \n*~SilentFilms\n*Classical Films\n*Research\netc...\nor see all tiddlers listed in alphabetical order (also on the right-hand side), or use the search box to suit your fancy (try 'russia', or 'bourgeois', or 'prolétaire', or 'earthquake', or 'Mary Pickford', or '...).\n\nAn external link (opens in a new window) looks [[like this|http://http://www.sunrisesilents.com/P25-03_des.html]]\n\nAnd this is what[[ a link to another tidbit in another tiddler]] looks like.\n\nGet the idea ? You read, you jump from thought to thought, you explore. Move, resize, close, do what you like to the tiddlers on your page. And when you're done, [[drop me a line or two|mailto:flyczba@free.fr]].\n\n[[Tiddly]] oh!

[[Tiddly Desktop|http://www.digitaldimsum.co.uk/tiddly/tiddlydesktop/]] does not quite work on Safari, and maybe not on your browser either. Pity. \n\nWhen you click on [[ a link to another tidbit in another tiddler]], it will open ''under'' the one already opened, so you have to scroll down to read it. Tricky. \n\n(Do yourself a favor: switch to Firefox!)\n\n[[External links such as this one|http://www.slate.com]] will open in a new window.\n\nNavigate using the tags on the right-hand side (~SilentFilms, Hollywood and so on). Browse. [[Drop me a line|mailto:flyczba@free.fr]]. [[Tiddly]] oh!

[[CBS reports|http://www.cbsnews.com/stories/2007/01/04/national/main2329468.shtml?source=RSSattr=HOME_2329468]] that a 10-year old boy has accidentally hanged himself after watching the now infamous footage of Saddam's hanging on TV. A sad play-reenactment. On the uncle's reaction, however, one could say more:\n<<<\n "I don't think he thought it was real. They showed them putting the noose around his neck and everything. Why show that on TV?"\n Julio Gustavo\n Sergio Pelico's uncle\n<<<\nI doubt the child did not know. The uncle seems more confused about the power of TV images, and that confusion is pretty widespread among adults--if I judge by the fuddle around the notion of film realism, by the troubled responses to [[lonelygirl15]], or by the overall critical reaction to Saddam's hanging ([[how grainy footage equals cruelty today]]). The adult supposes the child did not know representational codes and therefore, because his most frequent use of TV is to watch fiction on it, all that is on TV is taken as fiction -- that any hanging, regardless of context, is staged, untrue, and therefore, not really harmful.\nThe same, albeit reversed, concept was at work in the the early part of the 20th century when films were analyzed: because it was on film, it was real (or had been when filmed). This lie, shamelessly exploited through advertising, is for instance behind the exploitation of the footage of the execution of anarchist Czolgosz (see [[the gruesome spectacle of death]]), and of countless other reenacted newsreels (or behind much of World War I film coverage), and in the 1920s it is a staple of exploitation tactics for historical romances. And then, back then, how cinema was supposed to ruin the youth of the world, imperil the white man's rule over colonies, and so on. Remember how Jack Johnson's fight films were banned: a black man shown winning, now that's dangerous...\n\nYes, there is a kind of [[violence that does not beget violence (Slate, nov. 3, 2006)]]: that's violence in films. After all, our brain uses so many images, every second, that either all of them have a bearing on our actions, or none of them. Cinema's influence is upon our imagination, not our actions. Our imagination, in turns, influences our actions, of course. Cinema's influence is at best indirect, but mixed with so many other influences...TV did not kill that kid: an accident, a slip, a real rope did.

<<importTiddlers inline>>

/***\n''Import Tiddlers Plugin for TiddlyWiki version 1.2.x and 2.0''\n^^author: Eric Shulman - ELS Design Studios\nsource: http://www.elsdesign.com/tiddlywiki/#ImportTiddlersPlugin\nlicense: [[Creative Commons Attribution-ShareAlike 2.5 License|http://creativecommons.org/licenses/by-sa/2.5/]]^^\n\nWhen many people share and edit copies of the same TiddlyWiki document, the ability to quickly collect all these changes back into a single, updated document that can then be redistributed to the entire group is very important. This plugin lets you selectively combine tiddlers from any two TiddlyWiki documents. It can also bevery useful when moving your own tiddlers from document to document (e.g., when upgrading to the latest version of TiddlyWiki, or 'pre-loading' your favorite stylesheets into a new 'empty' TiddlyWiki document.)\n\n!!!!!Inline interface (live)\n<<<\n<<importTiddlers inline>>\n<<<\n!!!!!Usage\n<<<\nWhen selected, a control panel is displayed consisting of an "import source document" filename input (text field plus a ''[Browse...]'' button), a listbox of available tiddlers, a "differences only" checkbox, an "add tags" input field and four push buttons: ''[open]'', ''[select all]'', ''[import]'' and ''[close]''.\n\nPress ''[browse]'' to select a TiddlyWiki document file to import. You can also type in the path/filename (or URL) of the document you want to import and press ''[open]''. //Note: there is a 1-second delay built in to the import function to allow the browser some time to access and load the document before updating the listbox with the titles of all tiddlers that are available to be imported.//\n\nSelect one or more titles from the listbox (hold CTRL or SHIFT while clicking to add/remove the highlight from individual list items). You can press ''[select all]'' to quickly highlight all tiddler titles in the list. Use the ''[-]'', ''[+]'', or ''[=]'' links to adjust the listbox size so you can view more (or less) tiddler titles at one time. When you have chosen the tiddlers you want to import and entered any extra tags, press ''[import]'' to begin copying them to the current TiddlyWiki document.\n\n''Differences Only:''\n\nThe "differences only" checkbox allows you to filter the list so that you only see tiddlers that either A) don't exist in the current document, or B) have a different date/time stamp (indicating that the tiddler has been changed in some way). This makes it very quick and easy to find and import just the updated tiddlers you are interested in.\n\n''Import Tagging:''\n\nTiddlers that have been imported can be automatically tagged, so they will be easier to find later on, after they have been added to your document. New tags are entered into the "add tags" input field, and then //added// to the existing tags for each tiddler as it is imported.\n\n''Skip, Rename, Merge, or Replace:''\n\nWhen importing a tiddler whose title is identical to one that already exists, the import process pauses and the tiddler title is displayed in an input field, along with four push buttons: ''[skip]'', ''[rename]'', ''[merge]'' and ''[replace]''.\n\nTo bypass importing this tiddler, press ''[skip]''. To import the tiddler with a different name (so that both the tiddlers will exist when the import is done), enter a new title in the input field and then press ''[rename]''. Press ''[merge]'' to combine the content from both tiddlers into a single tiddler. Press ''[replace]'' to overwrite the existing tiddler with the imported one, discarding the previous tiddler content.\n\n//Note: if both the title ''and'' modification date/////time match, the imported tiddler is assumed to be identical to the existing one, and will be automatically skipped (i.e., not imported) without asking.//\n<<<\n!!!!!Import Report History\n<<<\nWhenever tiddlers are imported, a report is generated into ImportedTiddlers, indicating when the latest import was performed, the number of tiddlers successfully imported, from what location, and by whom. It also includes a list with the title, date and author of each tiddler that was imported.\n\nWhen the import process is completed, the ImportedTiddlers report is automatically displayed for your review. If more tiddlers are subsequently imported, a new report is //added// to ImportedTiddlers, above the previous report (i.e., at the top of the tiddler), so that a reverse-chronological history of imports is maintained.\n\nIf a cumulative record is not desired, the ImportedTiddlers report may be deleted at any time. A new ImportedTiddlers report will be created the next time tiddlers are imported.\n<<<\n!!!!!Installation\n<<<\ncopy/paste the following tiddlers into your document:\n''ImportTiddlersPlugin'' (tagged with <<tag systemConfig>>)\n\ncreate/edit ''SideBarOptions'': (sidebar menu items) \n^^Add "< < ImportTiddlers > >" macro^^\n\n''Quick Installation Tip #1:''\nIf you are using an unmodified version of TiddlyWiki (core release version <<version>>), you can get a new, empty TiddlyWiki with the Import Tiddlers plugin pre-installed (''[[download from here|TW+ImportTiddlers.html]]''), and then simply import all your content from your old document into this new, empty document.\n\n''Quick Installation Tip #2:''\nIf you are developing a TiddlyWiki custom code adaptation, you may want to copy/paste the plugin tiddlers directly into the 'storeArea' of your document's source code. To simplify this process, here's a file containing just the storeArea DIV's for the tiddlers you need to install: ''[[import.html|import.html]]''\n<<<\n!!!!!Revision History\n<<<\n''2005.01.06 [2.0.2]''\nWhen refreshing list contents, fixed check for tiddlerExists() when "show differences only" is selected, so that imported tiddlers that don't exist in the current file will be recognized as differences and included in the list.\n''2005.01.04 [2.0.1]''\nWhen "show differences only" is NOT checked, import all tiddlers that have been selected even when they have a matching title and date.\n''2005.12.27 [2.0.0]''\nUpdate for TW2.0\nDefer initial panel creation and only register a notification function when panel first is created\n''2005.12.22 [1.3.1]''\ntweak formatting in importReport() and add 'discard report' link to output\n''2005.12.03 [1.3.0]''\nDynamically create/remove importPanel as needed to ensure only one instance of interface elements exists, even if there are multiple instances of macro embedding. Also, dynamically create/recreate importFrame each time an external TW document is loaded for importation (reduces DOM overhead and ensures a 'fresh' frame for each document)\n''2005.11.29 [1.2.1]''\nfixed formatting of 'detail info' in importReport()\n''2005.11.11 [1.2.0]''\nadded 'inline' param to embed controls in a tiddler\n''2005.11.09 [1.1.0]''\nonly load HTML and CSS the first time the macro handler is called. Allows for redundant placement of the macro without creating multiple instances of controls with the same ID's.\n''2005.10.25 [1.0.5]''\nfixed typo in importReport() that prevented reports from being generated\n''2005.10.09 [1.0.4]''\ncombined documentation with plugin code instead of using separate tiddlers\n''2005.08.05 [1.0.3]''\nmoved CSS and HTML definitions into plugin code instead of using separate tiddlers\n''2005.07.27 [1.0.2]''\ncore update 1.2.29: custom overlayStyleSheet() replaced with new core setStylesheet()\n''2005.07.23 [1.0.1]''\nadded parameter checks and corrected addNotification() usage\n''2005.07.20 [1.0.0]''\nInitial Release\n<<<\n!!!!!Credits\n<<<\nThis feature was developed by EricShulman from [[ELS Design Studios|http:/www.elsdesign.com]]\n<<<\n!!!!!Code\n***/\n\n// // Version\n//{{{\nversion.extensions.importTiddlers = {major: 2, minor: 0, revision: 2, date: new Date(2006,1,6)};\n//}}}\n\n// // 1.2.x compatibility\n//{{{\nif (!window.story) window.story=window;\nif (!store.getTiddler) store.getTiddler=function(title){return store.tiddlers[title]}\nif (!store.addTiddler) store.addTiddler=function(tiddler){store.tiddlers[tiddler.title]=tiddler}\nif (!store.deleteTiddler) store.deleteTiddler=function(title){delete store.tiddlers[title]}\n//}}}\n\n// // Macro\n//{{{\nconfig.macros.importTiddlers = { label: "import tiddlers", prompt: "Copy tiddlers from another document" };\nconfig.macros.importTiddlers.handler = function(place,macroName,params) {\n if (params[0]!="inline")\n { createTiddlyButton(place,this.label,this.prompt,onClickImportMenu); return; }\n createImportPanel(place);\n document.getElementById("importPanel").style.position="static";\n document.getElementById("importPanel").style.display="block";\n}\n\nfunction createImportPanel(place) {\n var panel=document.getElementById("importPanel");\n if (panel) { panel.parentNode.removeChild(panel); }\n setStylesheet(config.macros.importTiddlers.css,"importTiddlers");\n panel=createTiddlyElement(place,"span","importPanel",null,null)\n panel.innerHTML=config.macros.importTiddlers.html;\n store.addNotification(null,refreshImportList); // refresh listbox after every tiddler change\n return panel;\n}\n\nfunction onClickImportMenu(e)\n{\n if (!e) var e = window.event;\n var parent=resolveTarget(e).parentNode;\n var panel = document.getElementById("importPanel");\n if (panel==undefined || panel.parentNode!=parent)\n panel=createImportPanel(parent);\n var isOpen = panel.style.display=="block";\n if(config.options.chkAnimate)\n anim.startAnimating(new Slider(panel,!isOpen,e.shiftKey || e.altKey,"none"));\n else\n panel.style.display = isOpen ? "none" : "block" ;\n e.cancelBubble = true;\n if (e.stopPropagation) e.stopPropagation();\n return(false);\n}\n//}}}\n\n// // CSS\n//{{{\nconfig.macros.importTiddlers.css = '\s\n#importPanel {\s\n display: none; position:absolute; z-index:11; width:30em; right:105%; top:3em;\s\n padding: 0.5em; margin:0em; text-align:left; font-size: 8pt;\s\n background-color: #eee; color:#000000; \s\n border:1px solid black; border-bottom-width: 3px; border-right-width: 3px; -moz-border-radius:1em;\s\n}\s\n#importPanel input { width: 100%; margin: 1px; font-size:8pt; }\s\n#importPanel select { width: 100%; margin: 1px; font-size:8pt; }\s\n#importPanel .importButton { padding: 0em; margin: 0px; font-size:8pt; }\s\n#importPanel .importListButton { padding:0em 0.25em 0em 0.25em; color: #000000; display:inline }\s\n#importAskPanel { display:none; margin:0.5em 0em 0em 0em; }\s\n';\n//}}}\n\n// // HTML\n//{{{\nconfig.macros.importTiddlers.html = '\s\nimport from source document:\s\n<input type="file" id="fileImportSource" size=46\s\n onKeyUp="window.importSource=this.value"\s\n onChange="window.importSource=this.value; onClickImportButton(this)">\s\n<span style="float:left; padding:1px; white-space:nowrap">\s\n <input type=checkbox id="chkImportDiffsOnly" checked style="height:1em; width:auto"\s\n onClick="window.importDiffsOnly=this.checked; refreshImportList();">show differences only\s\n</span>\s\n<span style="float:right; padding:1px; white-space:nowrap">\s\n <a href="JavaScript:;" id="importSmaller" class="importListButton"\s\n onclick="onClickImportButton(this)" title="reduce list size"></a>\s\n <a href="JavaScript:;" id="importLarger" class="importListButton"\s\n onclick="onClickImportButton(this)" title="increase list size">+</a>\s\n <a href="JavaScript:;" id="importMaximize" class="importListButton"\s\n onclick="onClickImportButton(this)" title="maximize/restore list size">=</a>\s\n</span>\s\n<select id="importList" size=1 multiple\s\n onchange="setTimeout(\s'refreshImportList(\s'+this.selectedIndex+\s')\s',1)">\s\n \s\n</select>\s\nadd tags:\s\n<input type=text id="txtImportTags" size=15 onKeyUp="window.importTags=this.value" autocomplete=off>\s\n<div align=center>\s\n <input type=button id="importOpen" class="importButton" style="width:23%" value="open"\s\n onclick="onClickImportButton(this)">\s\n <input type=button id="importSelectAll" class="importButton" style="width:23%" value="select all"\s\n onclick="onClickImportButton(this)">\s\n <input type=button id="importStart" class="importButton" style="width:23%" value="import"\s\n onclick="onClickImportButton(this)">\s\n <input type=button id="importClose" class="importButton" style="width:23%" value="close"\s\n onclick="onClickImportButton(this)">\s\n</div>\s\n<div id="importAskPanel">\s\n tiddler already exists:\s\n <input type=text id="importNewTitle" size=15 autocomplete=off">\s\n <div align=center>\s\n <input type=button id="importSkip" class="importButton" style="width:23%" value="skip"\s\n onclick="onClickImportButton(this)">\s\n <input type=button id="importRename" class="importButton" style="width:23%" value="rename"\s\n onclick="onClickImportButton(this)">\s\n <input type=button id="importMerge" class="importButton" style="width:23%" value="merge"\s\n onclick="onClickImportButton(this)">\s\n <input type=button id="importReplace" class="importButton" style="width:23%" value="replace"\s\n onclick="onClickImportButton(this)">\s\n </div>\s\n</div>\s\n';\n\n// // IE needs explicit global scoping for functions/vars called from browser events\n//{{{\nwindow.refreshImportList=refreshImportList;\nwindow.onClickImportButton=onClickImportButton;\nwindow.getImportedTiddlers=getImportedTiddlers;\nwindow.importSource=""; // path/filename or URL of document to import\nwindow.importedTiddlers; // hash-indexed array of tiddlers from other document\nwindow.importTags=""; // text of tags added to imported tiddlers\nwindow.importListSize=10; // # of lines to show in imported tiddler list\nwindow.importDiffsOnly=true; // show differences option (toggle)\nwindow.importIndex=0; // current processing index in import list\n//}}}\n\n// // Control interactions\n//{{{\nfunction onClickImportButton(which)\n{\n // DEBUG alert(which.id);\n var theList = document.getElementById('importList');\n if (!theList) return;\n var thePanel = document.getElementById('importPanel');\n var theAskPanel = document.getElementById('importAskPanel');\n var theNewTitle = document.getElementById('importNewTitle');\n switch (which.id)\n {\n case 'fileImportSource':\n case 'importOpen': // load import source into hidden frame\n importReport(); // if an import was in progress, generate a report\n window.importedTiddlers=null; // clear the imported tiddler buffer\n refreshImportList(); // reset/resize the listbox\n if (window.importSource=="") break;\n try\n {\n // Load document into hidden iframe so we can read it's DOM\n // set timeout for 1 second and return to browser processing, so it has\n // some time to finish loading the document before we try to read the storeArea\n var url=window.importSource;\n if (url.charAt(1)==":") url="file://"+url; // fixup pc local filename\n loadImportFrame(url);\n setTimeout('getImportedTiddlers()',1000);\n }\n catch(e)\n {\n displayMessage("Error opening "+window.importSource.replace(/\s\s/g,'/')+": " + ((e.message)?e.message:e));\n }\n break;\n case 'importSelectAll': // select all tiddler list items (i.e., not headings)\n importReport(); // if an import was in progress, generate a report\n for (var t = 0; t < theList.options.length; t++)\n theList.options[t].selected=(theList.options[t].value!="");\n break;\n case 'importStart': // initiate the import processing\n importReport(); // if an import was in progress, generate a report\n window.importIndex=0;\n window.importIndex=importTiddlers(0);\n importStopped();\n break;\n case 'importClose': // unload imported tiddlers or hide the import control panel\n // if imported tiddlers not loaded, close the import control panel\n if (!window.importedTiddlers) { thePanel.style.display='none'; break; }\n importReport(); // if an import was in progress, generate a report\n window.importedTiddlers=null; // clear the imported tiddler buffer\n refreshImportList(); // reset/resize the listbox\n break;\n case 'importSkip': // don't import the tiddler\n var theItem = theList.options[window.importIndex];\n for (var j=0;j<window.importedTiddlers.length;j++)\n if (window.importedTiddlers[j].title==theItem.value) break;\n var theImported = window.importedTiddlers[j];\n theImported.status='skipped after asking'; // mark item as skipped\n theAskPanel.style.display='none';\n window.importIndex=importTiddlers(window.importIndex+1); // resume with NEXT item\n importStopped();\n break;\n case 'importRename': // change name of imported tiddler\n var theItem = theList.options[window.importIndex];\n for (var j=0;j<window.importedTiddlers.length;j++)\n if (window.importedTiddlers[j].title==theItem.value) break;\n var theImported = window.importedTiddlers[j];\n theImported.status = 'renamed from '+theImported.title; // mark item as renamed\n theImported.set(theNewTitle.value,null,null,null,null); // change the tiddler title\n theItem.value = theNewTitle.value; // change the listbox item text\n theItem.text = theNewTitle.value; // change the listbox item text\n theAskPanel.style.display='none';\n window.importIndex=importTiddlers(window.importIndex); // resume with THIS item\n importStopped();\n break;\n case 'importMerge': // join existing and imported tiddler content\n var theItem = theList.options[window.importIndex];\n for (var j=0;j<window.importedTiddlers.length;j++)\n if (window.importedTiddlers[j].title==theItem.value) break;\n var theImported = window.importedTiddlers[j];\n var theExisting = store.getTiddler(theItem.value);\n var theText = theExisting.text+'\sn----\sn^^merged from: [['+window.importSource+'#'+theItem.value+'|'+window.importSource+'#'+theItem.value+']]^^\sn^^'+theImported.modified.toLocaleString()+' by '+theImported.modifier+'^^\sn'+theImported.text;\n var theDate = new Date();\n var theTags = theExisting.getTags()+' '+theImported.getTags();\n theImported.set(null,theText,null,theDate,theTags);\n theImported.status = 'merged with '+theExisting.title; // mark item as merged\n theImported.status += ' - '+theExisting.modified.formatString("MM/DD/YYYY hh:mm:ss");\n theImported.status += ' by '+theExisting.modifier;\n theAskPanel.style.display='none';\n window.importIndex=importTiddlers(window.importIndex); // resume with this item\n importStopped();\n break;\n case 'importReplace': // substitute imported tiddler for existing tiddler\n var theItem = theList.options[window.importIndex];\n for (var j=0;j<window.importedTiddlers.length;j++)\n if (window.importedTiddlers[j].title==theItem.value) break;\n var theImported = window.importedTiddlers[j];\n var theExisting = store.getTiddler(theItem.value);\n theImported.status = 'replaces '+theExisting.title; // mark item for replace\n theImported.status += ' - '+theExisting.modified.formatString("MM/DD/YYYY hh:mm:ss");\n theImported.status += ' by '+theExisting.modifier;\n theAskPanel.style.display='none';\n window.importIndex=importTiddlers(window.importIndex); // resume with THIS item\n importStopped();\n break;\n case 'importSmaller': // decrease current listbox size, minimum=5\n if (theList.options.length==1) break;\n theList.size-=(theList.size>5)?1:0;\n window.importListSize=theList.size;\n break;\n case 'importLarger': // increase current listbox size, maximum=number of items in list\n if (theList.options.length==1) break;\n theList.size+=(theList.size<theList.options.length)?1:0;\n window.importListSize=theList.size;\n break;\n case 'importMaximize': // toggle listbox size between current and maximum\n if (theList.options.length==1) break;\n theList.size=(theList.size==theList.options.length)?window.importListSize:theList.options.length;\n break;\n }\n}\n\nfunction importStopped()\n{\n var theList = document.getElementById('importList');\n var theNewTitle = document.getElementById('importNewTitle');\n if (!theList) return;\n if (window.importIndex==-1)\n importReport(); // import finished... generate the report\n else\n {\n // DEBUG alert('import stopped at: '+window.importIndex);\n // import collision... show the ask panel and set the title edit field\n document.getElementById('importAskPanel').style.display='block';\n theNewTitle.value=theList.options[window.importIndex].value;\n }\n}\n//}}}\n\n// // read other document\n//{{{\nfunction loadImportFrame(url) {\n var f=document.getElementById("importFrame"); if (f) document.body.removeChild(f);\n f=document.createElement("iframe"); f.id="importFrame";\n f.style.width="0px"; f.style.height="0px"; f.style.border="0px";\n document.body.appendChild(f);\n var d=f.document;\n if (f.contentDocument) d=f.contentDocument; // For NS6\n else if (f.contentWindow) d=f.contentWindow.document; // For IE5.5 and IE6\n d.location.replace(url);\n}\n\nfunction getImportedTiddlers()\n{\n var importStore = [];\n try\n {\n // make sure there is an import frame\n var f=document.getElementById("importFrame");\n if (!f) { throw("missing importFrame"); }\n // make sure document has valid tiddler store area\n var d=f.document;\n if (f.contentDocument) d=f.contentDocument; // For NS6\n else if (f.contentWindow) d=f.contentWindow.document; // For IE5.5 and IE6\n if (!d) { throw("could not get file contents from importFrame"); }\n var importStoreArea = d.getElementById("storeArea");\n if (!importStoreArea || !(importStore=importStoreArea.childNodes) || (importStore.length==0))\n { throw("no tiddlers found in file"); }\n importStoreArea.normalize();\n var link=unescape(d.location.href).replace(/\s\s/g,"/")\n displayMessage('read '+importStoreArea.innerHTML.length+' bytes from '+link);\n }\n catch(e)\n {\n displayMessage("Error reading "+window.importSource+": " + ((e.message)?e.message:e));\n }\n window.importedTiddlers = new Array();\n for(var t = 0; t < importStore.length; t++)\n {\n var e = importStore[t];\n var title = null;\n if(e.getAttribute)\n title = e.getAttribute("tiddler");\n if(!title && e.id && (e.id.substr(0,5) == "store"))\n title = e.id.substr(5);\n if(title && title != "")\n {\n var theImported = new Tiddler();\n theImported.loadFromDiv(e,title);\n window.importedTiddlers.push(theImported);\n }\n }\n refreshImportList();\n}\n//}}}\n\n// // refresh listbox\n//{{{\nvar importSortBy;\nfunction refreshImportList(selectedIndex)\n{\n var theList = document.getElementById("importList");\n if (!theList) return;\n // if nothing to show, reset list content and size\n if (!window.importedTiddlers) \n {\n while (theList.length > 0) { theList.options[0] = null; }\n theList.options[0]=new Option('please open a document...',"",false,false);\n theList.size=1; // show one line only\n return;\n }\n // get the sort order\n if (!selectedIndex) selectedIndex=0;\n if (selectedIndex==0) importSortBy='title'; // heading\n if (selectedIndex==1) importSortBy='title';\n if (selectedIndex==2) importSortBy='modified';\n if (selectedIndex>2) return; // heading or tiddler item, no refresh needed\n\n // get the alphasorted list of tiddlers (optionally, filter out unchanged tiddlers)\n var tiddlers = [];\n for (t=0;t<window.importedTiddlers.length;t++)\n {\n // don't import tiddler if title/date/time match (i.e., no changes)\n if ( window.importDiffsOnly\n && store.tiddlerExists(window.importedTiddlers[t].title)\n && (window.importedTiddlers[t].modified-store.getTiddler(window.importedTiddlers[t].title).modified==0))\n continue;\n tiddlers.push(window.importedTiddlers[t]);\n }\n tiddlers.sort(function (a,b) {if(a['title'] == b['title']) return(0); else return (a['title'] < b['title']) ? -1 : +1; });\n // clear current list contents\n while (theList.length > 0) { theList.options[0] = null; }\n // add heading and control items to list\n var i=0;\n var indent=String.fromCharCode(160)+String.fromCharCode(160);\n theList.options[i++]=new Option('Select tiddlers to import',"",false,false);\n theList.options[i++]=new Option(((importSortBy=="title" )?">":indent)+' [by title]',"",false,false);\n theList.options[i++]=new Option(((importSortBy=="modified")?">":indent)+' [by date]',"",false,false);\n theList.options[i++]=new Option(tiddlers.length+' tiddler'+((tiddlers.length!=1)?'s are ':' is ')+(window.importDiffsOnly?'different':'in the document'),"",false,false);\n // output the tiddler list\n switch(importSortBy)\n {\n case "title":\n for(var t = 0; t < tiddlers.length; t++)\n theList.options[i++] = new Option(tiddlers[t].title,tiddlers[t].title,false,false);\n break;\n case "modified":\n // sort descending for newest date first\n tiddlers.sort(function (a,b) {if(a['modified'] == b['modified']) return(0); else return (a['modified'] > b['modified']) ? -1 : +1; });\n var lastSection = "";\n for(var t = 0; t < tiddlers.length; t++)\n {\n var tiddler = tiddlers[t];\n var theSection = tiddler.modified.toLocaleDateString();\n if (theSection != lastSection)\n {\n theList.options[i++] = new Option(theSection,"",false,false);\n lastSection = theSection;\n }\n theList.options[i++] = new Option(indent+indent+tiddler.title,tiddler.title,false,false);\n }\n break;\n }\n theList.selectedIndex=selectedIndex; // select current control item\n if (theList.size<window.importListSize)\n theList.size=window.importListSize;\n if (theList.size>theList.options.length)\n theList.size=theList.options.length;\n}\n//}}}\n\n// // import selected tiddlers into local store\n//{{{\nfunction importTiddlers(startIndex)\n{\n if (!window.importedTiddlers) return -1;\n\n var theList = document.getElementById('importList');\n if (!theList) return;\n // if starting new import, reset import status flags\n if (startIndex==0)\n for (var t=0;t<window.importedTiddlers.length;t++)\n window.importedTiddlers[t].status="";\n for (var i=startIndex; i<theList.options.length; i++)\n {\n // if list item is not selected or is a heading (i.e., has no value), skip it\n if ((!theList.options[i].selected) || ((t=theList.options[i].value)==""))\n continue;\n for (var j=0;j<window.importedTiddlers.length;j++)\n if (window.importedTiddlers[j].title==t) break;\n var theImported = window.importedTiddlers[j];\n var theExisting = store.getTiddler(theImported.title);\n // don't import the "ImportedTiddlers" history from the other document...\n if (theImported.title=='ImportedTiddlers')\n continue;\n // don't import tiddler if title/date/time match (i.e., no changes)\n if (window.importDiffsOnly && theExisting && ((theImported.modified-theExisting.modified)==0))\n continue;\n // if tiddler exists and import not marked for replace or merge, stop importing\n if (theExisting && (theImported.status.substr(0,7)!="replace") && (theImported.status.substr(0,5)!="merge"))\n return i;\n // append importation tags (if any)\n if (window.importTags!="")\n theImported.set(null,null,null,null,theImported.getTags()+' '+window.importTags)\n // set the status to 'added' (if not already set by the 'ask the user' UI)\n theImported.status=(theImported.status=="")?'added':theImported.status;\n // do the import!\n store.addTiddler(theImported);\n store.setDirty(true);\n }\n return(-1); // signals that we really finished the entire list\n}\n//}}}\n\n// // generate a report\n//{{{\nfunction importReport()\n{\n\n if (!window.importedTiddlers) return;\n // DEBUG alert('importReport: start');\n\n // if import was not completed, the Ask panel will still be open... close it now.\n document.getElementById('importAskPanel').style.display='none'; \n // get the alphasorted list of tiddlers\n var tiddlers = window.importedTiddlers;\n window.importedTiddlers.sort(function (a,b) {if(a['title'] == b['title']) return(0); else return (a['title'] < b['title']) ? -1 : +1; });\n // gather the statistics\n var count=window.importedTiddlers.length; var added=0; var replaced=0; var renamed=0; var skipped=0; var merged=0;\n for (var t=0; t<count; t++)\n if (window.importedTiddlers[t].status)\n {\n if (window.importedTiddlers[t].status=='added') added++;\n if (window.importedTiddlers[t].status.substr(0,7)=='skipped') skipped++;\n if (window.importedTiddlers[t].status.substr(0,6)=='rename') renamed++;\n if (window.importedTiddlers[t].status.substr(0,7)=='replace') replaced++;\n if (window.importedTiddlers[t].status.substr(0,6)=='merged') merged++;\n }\n var omitted=count-(added+replaced+renamed+skipped+merged);\n // DEBUG alert('stats done: '+count+' total, '+added+' added, '+skipped+' skipped, '+renamed+' renamed, '+replaced+' replaced, '+merged+' merged');\n // skip the report if nothing was imported\n if (added+replaced+renamed+merged==0) return;\n // quick message area summary report\n displayMessage((added+replaced+renamed+merged)+' of '+count+' tiddler'+((count!=1)?'s':"")+' imported from '+window.importSource.replace(/\s\s/g,'/'))\n // create the report tiddler (if not already present)\n var tiddler = store.getTiddler('ImportedTiddlers');\n if (!tiddler) // create new report tiddler if it doesn't exist\n {\n tiddler = new Tiddler();\n tiddler.title = 'ImportedTiddlers';\n tiddler.text = "";\n }\n // format the report header\n var now = new Date();\n newText = "";\n newText += "On "+now.toLocaleString()+", "+config.options.txtUserName+" imported tiddlers from\sn";\n newText += "[["+window.importSource+"|"+window.importSource+"]]:\sn";\n newText += "<"+"<"+"<\sn";\n newText += "Out of "+count+" tiddler"+((count!=1)?"s ":" ")+" in {{{"+window.importSource.replace(/\s\s/g,'/')+"}}}:\sn";\n if (added+renamed>0)\n newText += (added+renamed)+" new tiddler"+(((added+renamed)!=1)?"s were":" was")+" added to your document.\sn";\n if (merged>0)\n newText += merged+" tiddler"+((merged!=1)?"s were":" was")+" merged with "+((merged!=1)?"":"an ")+"existing tiddler"+((merged!=1)?"s":"")+".\sn"; \n if (replaced>0)\n newText += replaced+" existing tiddler"+((replaced!=1)?"s were":" was")+" replaced.\sn"; \n if (skipped>0)\n newText += skipped+" tiddler"+((skipped!=1)?"s were":" was")+" skipped after asking.\sn"; \n if (omitted>0)\n newText += omitted+" tiddler"+((omitted!=1)?"s":"")+((omitted!=1)?" were":" was")+" unchanged/not selected, and "+((omitted!=1)?"were":"was")+" not imported.\sn";\n if (window.importTags!="")\n newText += "imported tiddlers were tagged with: \s""+window.importTags+"\s"\sn";\n // output the tiddler detail and reset status flags\n for (var t=0; t<count; t++)\n if (window.importedTiddlers[t].status!="")\n {\n newText += "#["+"["+window.importedTiddlers[t].title+"]"+"]";\n newText += ((window.importedTiddlers[t].status!="added")?("^^\sn"+window.importedTiddlers[t].status+"^^"):"")+"\sn";\n window.importedTiddlers[t].status="";\n }\n newText += "<"+"<"+"<\sn";\n // output 'discard report' link\n newText += "<html><input type=\s"button\s" href=\s"javascript:;\s" ";\n newText += "onclick=\s"story.closeTiddler('"+tiddler.title+"'); store.deleteTiddler('"+tiddler.title+"');\s" ";\n newText += "value=\s"discard report\s"></html>";\n // update the ImportedTiddlers content and show the tiddler\n tiddler.text = newText+((tiddler.text!="")?'\sn----\sn':"")+tiddler.text;\n tiddler.modifier = config.options.txtUserName;\n tiddler.modified = new Date();\n store.addTiddler(tiddler);\n story.displayTiddler(null,"ImportedTiddlers",1,null,null,false);\n // update the page display\n store.notifyAll();\n}\n//}}}\n

Among other things, wrote the novel that was used in the 1919 Pickford film [[Heart o' the Hills]].\nAccording to [[George Brosi|http://www.english.eku.edu/SERVICES/KYLIT/FOX.HTM]], Fox made a significant contribution to Kentucky literature, with novellas, short stories and novels that made a name for the region, and notably Big Stone Gap, VA. (where he built a house modeled after [[Sir Walter Scott's Abbostford|http://www.melrose.bordernet.co.uk/abbotsford/]]...). //Heart o' The Hills// may not have been his most successful venture. His reputation was built on //The Little Shepherd of Kingdom Come// (filmed at least [[3 times|http://www.imdb.com/name/nm0289073/]] and //The Trail of the Lonesome Pine// (made into film at least [[4 times|http://www.imdb.com/name/nm0289073/]]). \nOf the 11 film adaptations of his works, 9 were made during the Silent era.This link itself is worth investigating. \n(also check the [[Reading links]] for links to some of his fiction online. The Gutenberg project has [[quite a few of his works online|http://www.gutenberg.org/browse/authors/f#a179]])

<<tabs txtFavourite\n\n"Ch. 1" "At Fort Edward" "Mohican 1"\n\n"Ch. 2" "The Munro daughters start for Fort Henry" "Mohican 2"\n\n"Ch. 3" "Hawkeye, Chingachgook, Uncas" "Mohican 3"\n\n"Ch. 4" "Betrayed by the Huron guide" "Mohican 4"\n\n"Ch. 5" "Fleeing through the night" "Mohican 5"\n\n"Ch. 6" "The secret cave" "Mohican 6"\n\n"Ch. 7" "The Iroquois attack at dawn" "Mohican 7"\n\n"Ch. 8" "An Iroquois from the tree -- the men abandon the women" "Mohican 8"\n\n"Ch. 9" "Captured by the Iroquois" "Mohican 9"\n\n"Ch. 10" "Magua's Prisoners" "Mohican 10"\n\n"Ch. 11" "At the torture post -- a thought worse than death" "Mohican 11"\n\n"Ch. 12" "Rescued!" "Mohican 12"\n>>\n\n

This is from the 1909 preface to [[Hiawatha|http://etext.lib.virginia.edu/etcbin/toccer-new2?id=LonHiaw.sgm&images=images/modeng&data=/texts/english/modeng/parsed&tag=public&part=all]]\n<<<\n And no American can fail to derive a satisfaction, apart from poetic enjoyment, in the fact that thus is preserved to the world the real personality, however overlaid with myth and legend, of a great fellow-countryman, a contemporary of Columbus, and, through this poem, now scarcely less well known.\n<<<\nPretty progressive (but then 1909 is the Progressive Era), and pretty messed-up too: is this "fellow-countryman" just "myth and legend" ?

From //The Golden Day//:\n<<<\n"One might remove Longfellow without changing a single possibility of American life; had Whitman died in the cradle, however, the possibilities of American life would have been definitely impoverished. He created a new pattern of experience and character."\n<<<\n(the longevity of Longfellow and his romantic epics in America cinema fits rather well the definition of "a new pattern of experience and character")

[[Movie links]]\n[[Variety Reviews]]\n[[TiddlyWiki links]]\n[[Reading links]]

<<tabs txtFavourite\n\n"Intro." "A song of Nature, and of Ruins" "Hiawatha intro."\n\n"I" "The Peace Pipe -- and Gitche Manito takes a hand" "Hiawatha 1"\n\n"II" "The Four Winds" "Hiawatha 2"\n\n"III" "Hiawatha's Childhood" "Hiawatha 3"\n\n"IV" "Hiawatha and Mudjekeewis" "Hiawatha 4"\n\n"V" "Hiawatha's Fasting" "Hiawatha 5"\n\n"VI" "Hiawatha's Friends" "Hiawatha 6"\n\n"VII" "Hiawatha's Sailing" "Hiawatha 7"\n\n"VIII" "Hiawatha's Fishing" "Hiawatha 8"\n\n"IX" "Hiawatha and the Pearl-Feather" "Hiawatha 9"\n\n"X" "Hiawatha's Wooing" "Hiawatha 10"\n\n"XI" "Hiawatha's Wedding Feast" "Hiawatha 11"\n>>\n\n

<<tabs txtFavourite\n\n"the film" "Priority 1" "M'Liss, the film"\n\n"Harte's story" "Priority 2" "M'Liss, the story"\n\n>>

[[Production details|http://www.imdb.com/title/tt0009326/combined?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9TSdMaXNzfGZ0PTF8bXg9MjB8bG09NTAwfGNvPTF8aHRtbD0xfG5tPTE_;fc=7;ft=23;fm=1]]\nFrom a scenario by Frances Marion, based on Bret Harte's story (which can be read [[here|http://whitewolf.newcastle.edu.au/words/authors/H/HarteBret/prose/roaringcamp/mliss_1.html]])\nMary Pickford is the young daughter of 'Bumper' Smith, the bum of Red Gulch. She's a fiery little thing that plays at robbing the stagecoach, etc. She falls for the schoolmaster, and when he is arrested for the murder of her father, she helps him prove his innocence (the father is murdered for a not-too-clear story of will left by his rich San Francisco brother. The real murderers are lynched, joyously, by the end).\nRich in atmospheric details of camp life: saloon scenes (the spanking of Mexican Joe -- played by [[Monte Blue]]), school pranks, fake stagecoach robbery, crude trial, and lots of family scenes in the Smith cabin when the daughter puts her father to sleep -- or not, as in the scene where she sings [["Rock A My Baby"]] and wakes up Hildegarde the hen). Not an episodic narrartive structure for once--rather the Marshall Neilan touch of lovingly focusing on children's pranks with long shots of Mary running in the setting sun. This still does not offer a linear construction of the plot -- as for a long time nothing of plot value really happens in Red Gulch: just the girl playing around. The real plot (rich brother, will, plot to murder Bummer Smith, false arrest, etc.) happens either elsewhere (in San Francisco, unseen. Just 2 rooms with //very// high ceilings are shown), or rather fast (the last quarter of the film). It offers a nice contrast to the episodic plot structure of [[Heart o' the Hills (1919)]].\nFor a comparison between the film plot and the book, see Harte's story.

Written in two steps by Bret Harte, a first short (4 chapters) version, then in 1863 a more complete serialization, still in the //Golden Era//, which forced Harte to rewrite some of the earlier chapters, and was brought to a stop after 10 chapters (until some unscrupulous hack decided to keep spinning that yarn under Harte's name). \nThere is evidence in the story of it having been rewritten, and rewritten in a hurry. The first chapter, notably, where one suspects Harte had to go back and plant some of the elements he used to broaden his story, is not on par with the following chapters, where the humor is frank, constant, biting, colorful in a non-condescending way. That first chapter, however, is full of melodramatic, clichéd pathos. These are the last lines of the chapter:\n<<<\n[The moon] fell upon the face of the sleeping M’liss, and left a tear glittering on her black lashes and a smile on her lip, which would have been rare to her at any other time; and fell also on the white upturned face of “Old Smith,” with a pistol in his hand and a bullet in his heart, lying dead beside his empty pocket.\n<<<\n This stereotyped pathos is all the more obvious as the ol' Harte humor still shines through. This is from the first paragraph, introducing us to the complicated geography of Red Gulch, Sierra Nevada:\n<<<\nIt is related that one of the tunnel men, two miles from town, met one of these self-reliant passengers with a carpetbag, umbrella, “//Harper’s Magazine//,” and other evidences of “civilization and refinement,” plodding along over the road he had just ridden, vainly endeavoring to find the settlement of Smith’s Pocket.\n<<<\nYes, after chapter 1, "Bummer" Smith is dead -- and he's not the gentle comic figure the daughter dots on. She hates him. The film will make of him and his hen (no hen in sight here) a comic couple and one of the main channels of a lot of its picturesque humor.\n\nThere are also many more characters in Harte's story than in the film, more urchins, used by Harte to introduce key elements of the plot (Aristides discovers someone in the old mine), and who carry a lot of the local humor (Harte lovingly relays all the village rumors and little dramas). The film will be focused on a simpler plot (though more extravagant, with the distant San Francisco brother), and will not really identify who the children are (though there's a vague byline about M'Liss's jealousy of the other girls with the schoolmaster). But there is something odd in how the film shuns the much more coherent, self-centered, and quaint plot constructed by Harte around the old Smith mine (played out, or not?), without any distant, faraway, foreign addition. It is more straightforward -- and more fun, in a western sort of way.\nAt the same time, Harte's story is more cynical (and the early pathos of Chapter 1 could well be intended as cynicism on the part of M'Liss): the girl does accept her new-found "mother", as they both agree on sharing the spoils from the mine -- and sharing the same man: the story ends on a promise by the teacher to look up M'Liss and the woman in San Francisco. Compared to this, the film plot veers toward "goodie-two-shoes", and in this way is simpler: straightforwardly melodramatic heroes and heroins (good teacher, good M'Liss), villains well-established (the Mexican looking [[Monte Blue]]) and deservedly hung in the end (no one dies for all the crimes committed in the Harte story).\n\nSo that the comparison rather clearly shows that the film is based more on melodramatic theatricals than on the cynical psychological toyings of Harte -- with a sprinkling of western folklore (really backwood, countryside charm more than western).

TW <<version>>[[HowTo]][[Tiddly]] [[What's new]] [[favorite searches]] [[RSS|http://cinebuds.online.fr/index.xml]]

[[Tex Ritter is a lawyer]] in charge of dismantling a gang of cattle rustlers trying to scare sheep herders (sheep!). A couple of songs, action in between (there may be just as much time devoted to watching horses running through the Santa Monica hills, as to singing, which leaves very little time, in fact almost nothing, to plot or character development). But to spice it up, they've thrown in some references to //film noir// in a shoot-out sequence that stands out for its stronger visual flair\n[img[1|http://flyczba.free.fr/blogimages/markedformurder02.jpg]]\nThe shadow on the door...\n[img[2|http://flyczba.free.fr/blogimages/markedformurder03.jpg]]\n...leads to a stark, very noir black-and-white photography as the lights are turned out...\nThe noir references continue throughout the sequence:\n[img[gun|http://flyczba.free.fr/blogimages/markedformurder04.jpg]]\nclose-up on the gun (when's the last time you saw that shot in a western? Or what about this [[gun flash]]?)...\n[img[lurk|http://flyczba.free.fr/blogimages/markedformurder05.jpg]]\n...or the face lurking in the shadows.\nNow this noir sequence is a way to spice things up, visually, indeed. But it is also a sign that we're dropping the western references, in favor of more modern, urban, up-to-date conventions. Indeed, the sequence also features a cliché of noir films, the gun-swap by the villain (here, the goal is not to leave fingerprints, though, but rather traces of powder and smell of the gun having been fired; but the process is very similar). With lawyers dressed up as cowboys, singing pseudo-cowboy songs that have become more country than cowboy folklore, we're in the realm of the dude-ranch, made-up B western of cowboys playing cowboys for an urban audience.\n

<<tabs txtFavourite\n\n"Silent Films" "Priority 1" "Menu SilentFilms"\n\n"Hollywood" "Priority 2" "Menu Hollywood"\n\n"How to..." "Priority 3" "Menu HollywoodHowTo"\n\n"Lit." "Priority 4" "Menu Literature"\n\n"Western" "Priority 5" "Menu Western"\n\n"Ideas" "Priority 6" "Menu HalfBakedResearch"\n\n"Vocab." "Priority 7" "Menu Vocab"\n\n>>\n\n

<<listTags HalfBakedResearch>>

<<listTags HollywoodHowTo>>

<<listTags Literature>>

|!~SilentFilms|!~VarietyReviews|\n|<<listTags SilentFilms>>|<<listTags VarietyReviews>>|\n|>|>|bgcolor(navy):|

<<listTags Vocab>>

<<listTags Western>>

<<allTags>>

<<tabs txtFavourite\n\n"the novel (1922)" "Priority 1" "Merton of the Movies, the novel"\n\n"the films" "Priority 2" "Merton of the Movies, the films"\n\n\n>>\n\n

*[[1924, Merton of the Movies, dir. James Cruze|http://www.imdb.com/title/tt0015131/combined?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9bWVydG9uIG9mIHRoZSBtb3ZpZXN8ZnQ9MXxteD0yMHxsbT01MDB8Y289MXxodG1sPTF8bm09MQ__;fc=2;ft=20;fm=1]]\n*[[1932, Make Me a Star|http://www.imdb.com/title/tt0023175/combined]]\n*[[1947, Merton of the Movies|http://www.imdb.com/title/tt0039619/combined?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9bWVydG9uIG9mIHRoZSBtb3ZpZXN8ZnQ9MXxteD0yMHxsbT01MDB8Y289MXxodG1sPTF8bm09MQ__;fc=1;ft=20;fm=1]]\n*Films using a similar theme:\n**Charlie Chaplin, //The Circus//\n**[[1932, Harold Lloyd's Movie Crazy|http://www.imdb.com/title/tt0023241/combined?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9bW92aWUgY3Jhenl8ZnQ9MXxteD0yMHxsbT01MDB8Y289MXxodG1sPTF8bm09MQ__;fc=1;ft=21;fm=1]]\n**Marcel Pagnol, //Le Schpountz//\n*[[Hollywood films on Hollywood]] sometimes deal partly with this same idea of the starry-eyed Hollywood beginner coming to town.\n\n

The 1922 novel by [[Harry Leon Wilson|http://www.imdb.com/name/nm0933491/]] is one of the famous [[Hollywood novels]] of the 20th century, and as usual, it's a pretty bleak statement. Merton is a fool indeed, a fool that never learns to distinguish between real and reel life. He alternates between being Merton Gill or being Clifford Armytage, and in the end he is called Armytage on screen indeed, but his real name as a star is Gill -- and as the confusion in names implies, the confusion between what's real and what's not continues even after his Hollywood //début// and celebrity. The Tragic Comedian is indeed a tragic figure, a ridiculous Hollywood wanabee who makes it though not as he thinks he should (Pagnol's //Le Schpountz// will follow the same development, with Fernandel in the lead), is mocked by all, but gets reconciled to the idea since, after all, this is how he will make his money. Even the claim that he has a genuine talent is not to be taken too seriously (as opposed to //Le Schpountz//), since Merton remains unaware of his talent, and repeats the publicity build-up that some big-shot on the lot has cooked up for him. He has, indeed, no sense of humor, does not understand the jokes he is made to play, which in turns make him quite hilarious to watch. Only he does not play dumb, he is dumb.\nTurned out to be quite a success as a play (adapted by Marc Connelly and George S. Kauffman), and from there, on to Hollywood...

Type the text for 'Moana (1924)'

And we're off for the Last of the Mohicans. We stand warned (in the [[New York Times review of Longfellow's Hiawatha]]: "there is no romance in the Indian." (No romance in the Indian ? Why all those [[backlit Indians]] then ?)\n\nLet's see how Cooper nonetheless pulls it off.\n\nThe first short chapter has it all: a historical background, an encyclopedic turn of mind, some humor (the strange man) and some eroticism (the 2 ladies: check out the loving precision that the 2d has some fuller forms...)\n<<<\nThe flush which still lingered above the pines in the western sky was not more bright nor delicate than the bloom on her cheek; nor was the opening day more cheering than the animated smile which she bestowed on the youth, as he assisted her into the saddle. The other, who appeared to share equally in the attention of the young officer, concealed her charms from the gaze of the soldiery with a care that seemed better fitted to the experience of four or five additional years. It could be seen, however, that her person, though molded with the same exquisite proportions, of which none of the graces were lost by the traveling dress she wore, was rather fuller and more mature than that of her companion.\n<<<

Prisoners, Heyward, Alice, Cora and David now have a chance to at last //talk// to the savages. //Peine perdue//. The only dialogues with Magua are either interrogations or bargaining, as Heyward tries to buy their freedom from him (and simplifying his language into Indianese when speaking to Magua).

After more conversing, Magua reveals his true intent: making of Cora his squaw. Of course that's the famous fate "worse than death" -- or as Heyward takes it one step further:\n<<<\nthe thought itself is worse than a thousand deaths.\n<<<\n(it //could// be that since Cora has a thing for Uncas, though that's not yet clear, it's really the thought of a strange man taking her away that has her all indignant. But since the whole context is one of vengeance, Magua taking upon Munro's daughter whatever hatred he had for the Colonel, and not one of loving or not, I rather think the issue for Cora is to be an indian bride, period. The whole fluff, Alice, then Heyward, being all upset about this, gives it ample confirmation.)\n\nBut then -- cliffhanger, cliffhanger -- a rifle shot kills an Indian.

Combat at last. And in its ferocity, nothing to envy the film version of 1920. See for instance Hawkeye executing point-blank a Huron on the ground:\n<<<\n"Extarminate the varlets! no quarter to an accursed Mingo!"\n\nAt the next moment, the breech of Hawkeye's rifle fell on the naked head of his adversary\n<<<\nSee Uncas answering the war cry of the Hurons with his own:\n<<<\nUncas answered the whoop, and leaping on an enemy, with a single, well-directed blow of his tomahawk, cleft him to the brain.\n<<<\n*Cora almost gets scalped. What a moment ! And who do you think save her ? Romantic logic would suggest Uncas. But, hey, he is an Indian after all, so can't quite make it on his own as a hero of a romance. Hence this "soolution":\n<<<\nBut the conflict was soon decided; the tomahawk of Heyward and the rifle of Hawkeye descended on the skull of the Huron, at the same moment that the knife of Uncas reached his heart.\n<<<

ch. 2 still mixes differents tones: it's hard to feel in the midde of dangerous woods here, with this conversation of music and such. The language is very affected, and the situation, and the singing, hard to accept. Are we drifting into noble sentiments, willy nilly ? en route to the noble savage ? (mistaken for berries indeed)\n<<<\nYon Indian is a runner of the army; and, after the fashion of his people, he may be accounted a hero, returned the officer. He has volunteered to guide us to the lake, by a path but little known, sooner than if we followed the tardy movements of the column; and, by consequence, more agreeably.\n\nI like him not, said the lady, shuddering, partly in assumed, yet more in real terror. You know him, Duncan, or you would not trust yourself so freely to his keeping? \n(...)\n\nShould we distrust the man because his manners are not our manners, and that his skin is dark? coldly asked Cora.\n\nAlice hesitated no longer; but giving her Narrangansett a smart cut of the whip, she was the first to dash aside the slight branches of the bushes, and to follow the runner along the dark and tangled pathway. \n<<<\n\n(turns out Cora's racist misgivings are justified in Chapter 4....)\n\n(turns out [[The Last of the Mohicans (1920)]] will completely forget about this character-trait in the heroine...)

This chapter (introducing Hawkeye, Chingachgook and Uncas) gives an interesting example of schizophrenia: the Indian is made to tell his own story, unvarnished, in his own words, of how the white man has dispossessed him. But his description is as stereotypical as ever. While the white man is already an agent of change, an active force, the indian, though in tune with nature, is stopped and his force spent, about to decline. \nThere's also quite a lot of racial politics. White is white!\n\nCompare the description of the Indian and the white man here. One is wild, noble, barbaric, the other one is refined, persevering, adapted to native ways but not a native.\n<<<\n Still that breathing silence, which marks the drowsy sultriness of an American landscape in July, pervaded the secluded spot, interrupted only by the low voices of the men, the occasional and lazy tap of a woodpecker, the discordant cry of some gaudy jay, or a swelling on the ear, from the dull roar of a distant waterfall. These feeble and broken sounds were, however, too familiar to the foresters to draw their attention from the more interesting matter of their dialogue. While one of these loiterers showed the red skin and wild accouterments of a native of the woods, the other exhibited, through the mask of his rude and nearly savage equipments, the brighter, though sun-burned and long-faced complexion of one who might claim descent from a European parentage. The former was seated on the end of a mossy log, in a posture that permitted him to heighten the effect of his earnest language, by the calm but expressive gestures of an Indian engaged in debate. His body, which was nearly naked, presented a terrific emblem of death, drawn in intermingled colors of white and black. His closely-shaved head, on which no other hair than the well-known and chivalrous scalping tuft* was preserved, was without ornament of any kind, with the exception of a solitary eagle's plume, that crossed his crown, and depended over the left shoulder. A tomahawk and scalping knife, of English manufacture, were in his girdle; while a short military rifle, of that sort with which the policy of the whites armed their savage allies, lay carelessly across his bare and sinewy knee. The expanded chest, full formed limbs, and grave countenance of this warrior, would denote that he had reached the vigor of his days, though no symptoms of decay appeared to have yet weakened his manhood.\n<<<\nL'homme blanc est un corps sculpté par l'effort et par son histoire, il est inscrit dans une histoire, faite d'adaptation (habits indiens) mais aussi de conservation de l'origine (pas de tomahawk).\n<<<\nThe frame of the white man, judging by such parts as were not concealed by his clothes, was like that of one who had known hardships and exertion from his earliest youth. His person, though muscular, was rather attenuated than full; but every nerve and muscle appeared strung and indurated by unremitted exposure and toil. He wore a hunting shirt of forest-green, fringed with faded yellow*, and a summer cap of skins which had been shorn of their fur. He also bore a knife in a girdle of wampum, like that which confined the scanty garments of the Indian, but no tomahawk. \n<<<

Well, Cora was right after all: that Indian guide was not to be trusted after all. Hawkeye has seen clear through him (hence the name of the scout), but still they can't catch him. But that's one more enemy in the woods...

And now they must flee through the woods, uncertain of their every step, towards some secret place (are we going to be taken to one of those secret valleys of peace that one finds in the west, à la [[Hole in the Wall]]? Well, it's a rock by the river, so it's not clear yet)\nBut first, some romantic sublime:\n<<<\nThe river was confined between high and cragged rocks, one of which impended above the spot where the canoe rested. As these, again, were surmounted by tall trees, which appeared to totter on the brows of the precipice, it gave the stream the appearance of running through a deep and narrow dell. All beneath the fantastic limbs and ragged tree tops, which were, here and there, dimly painted against the starry zenith, lay alike in shadowed obscurity. Behind them, the curvature of the banks soon bounded the view by the same dark and wooded outline; but in front, and apparently at no great distance, the water seemed piled against the heavens, whence it tumbled into caverns, out of which issued those sullen sounds that had loaded the evening atmosphere. It seemed, in truth, to be a spot devoted to seclusion, and the sisters imbibed a soothing impression of security, as they gazed upon its romantic though not unappalling beauties. A general movement among their conductors, however, soon recalled them from a contemplation of the wild charms that night had assisted to lend the place to a painful sense of their real peril.\n<<<\nAnd for all the talk of Indians mistreated at the hands of the Whites in Chapter 3 when Hawkeye and Uncas, the Indian goes back to being a good servant very quickly here:\n<<<\nThe Indians warily retraced their steps toward the place they had left.\n<<<\nLater Hawkeye goes to get them. Delawares and Mohicans (same thing in the book) have a good reputation, Iroquois on the other hand are good enough...for the French ! Go figure...

*We're about to get our secret valley, I can feel it (well I'm wrong: it's just a cavern..with a twist since it is really an //island//...), but first a description of young Uncas (he who is the Last of the Mohicans). It's an interesting experiment: how to say 'noble' without repeating the word too often.\n<<<\nAt a little distance in advance stood Uncas, his whole person thrown powerfully into view. The travelers anxiously regarded the upright, flexible figure of the young Mohican, graceful and unrestrained in the attitudes and movements of nature. Though his person was more than usually screened by a green and fringed hunting-shirt, like that of the white man, there was no concealment to his dark, glancing, fearless eye, alike terrible and calm; the bold outline of his high, haughty features, pure in their native red; or to the dignified elevation of his receding forehead, together with all the finest proportions of a noble head, bared to the generous scalping tuft. It was the first opportunity possessed by Duncan and his companions to view the marked lineaments of either of their Indian attendants, and each individual of the party felt relieved from a burden of doubt, as the proud and determined, though wild expression of the features of the young warrior forced itself on their notice. They felt it might be a being partially benighted in the vale of ignorance, but it could not be one who would willingly devote his rich natural gifts to the purposes of wanton treachery. The ingenuous Alice gazed at his free air and proud carriage, as she would have looked upon some precious relic of the Grecian chisel, to which life had been imparted by the intervention of a miracle; while Heyward, though accustomed to see the perfection of form which abounds among the uncorrupted natives, openly expressed his admiration at such an unblemished specimen of the noblest proportions of man.\n\n"I could sleep in peace," whispered Alice, in reply, "with such a fearless and generous-looking youth for my sentinel. Surely, Duncan, those cruel murders, those terrific scenes of torture, of which we read and hear so much, are never acted in the presence of such as he!" \n<<<\nAlice is "ingenious" to say the least (one of those heroines of romances that has read too many romances herself!), but Cora is beginning to get on everybody's nerve:\n<<<\n"who that looks at this creature of nature, remembers the shade of his skin?"\n\nA short and apparently an embarrassed silence succeeded this remark, which was interrupted by the scout calling to them, aloud, to enter. \n<<<\n\n* Hang on ! Uncas is falling for racist Cora !!\n<<<\nHad there been one there sufficiently disengaged to become a close observer, he might have fancied that the services of the young chief were not entirely impartial. That while he tendered to Alice the gourd of sweet water, and the venison in a trencher, neatly carved from the knot of the pepperidge, with sufficient courtesy, in performing the same offices to her sister, his dark eye lingered on her rich, speaking countenance.\n<<<\n\n* Cliff-hanger: the scream that no one, not even Hawkeye and Uncas and Chingachgook, can understand has been hear twice. And all this while David Gamut was singing some sacred music...the woods have no manners, really.

*Hawkeye is a religious soul. Several times, even when one expects a sturdier reaction from a mountaineer, religious sentiments of a very orthodox nature are put in his mouth, as for instance here in this chapter:\n<<<\n"He who makes strange sounds, and gives them out for man's information, alone knows our danger. I should think myself wicked, unto rebellion against His will, was I to burrow with such warnings in the air!"\n<<<\nAnd all this for just a horse neighing in the dark. \nMeanwhile the easy romanticism to "scary" landscapes transformed into objects of aesthetic contemplation continues: Duncan and Cora survey the landscape at night around the cave, looking for the sound that scared them:\n<<<\n"how much should we prize such a scene, and all this breathing solitude, at any other moment, Cora! Fancy yourselves in security, and what now, perhaps, increases your terror, may be made conducive to enjoyment—"\n<<<\n(that last sentence is itself a pretty good mantra for Hollywood).\nOf course both feelings share a common origin: awe and awe-inspiring nature. For Hawkeye, it's the mystery, for more culture Cora and Duncan, it's the landscape. In aesthetic terms, both are good expressions of the sublime.\n\n*In the heat of battle (the Iroquois are attacking the scout and his party's position), some confused notions about cultures:\n<<<\nAt length, the toughened sinews of the white man [Hawkeye] prevailed over the less practiced limbs of the native. \n<<<\nGoing back to chapter 3 and the respective definitions of the white scout and his Indian friend, it's clear that Cooper is still operating with the same paradigms in mind: Indian = natural nobility and strength, in the end destroyed by white man = industry. Even if, in the present context, it's hard to imagine the Iroquois "less practiced" in hand-to-hand fight than the scout...

*I noted in chapter 6 how much Alice behaves like the reader of the kind of story she's the heroine of. Now it's the Iroquois who act as their own readers:\n<<<\nIt would seem that interest in the result [of the hand-to-hand fights] had kept the natives on the opposite shores in breathless suspense\n<<<\n\n*and as for the undercurrent of racism, there it goes again (as Uncas saves Heyward's life):\n<<<\nDuring this act of friendship, the two young men exchanged looks of intelligence which caused Duncan to forget the character and condition of his wild associate.\n<<<\nor as Hawkeye thinks all is lost\n<<<\nAs for me, who am of the whole blood of the whites, it is befitting that I should die as becomes my color, with no words of scoffing in my mouth, and without bitterness at the heart!\n<<<\nBut in the end, Hawkeye, Chingachgook and Uncas leave the women behind, and only Heyward remains: the hero of the romance must be white, civilized, even though the whole scene's a bit illogical, since Cora's point that the men are more useful running for help than being captured with the ladies was good enough before (if Heyward's point is valid -- that his presence will take away the focus from the women -- then it makes no sense to send the //other// men away...why not just send one messenger ?? The point is again racist here)\n*does this mean the book finds it more difficult to transform Uncas into a romance hero ? It's Hawkeye, not Uncas, who kills the Iroquois on the tree. Pity is the white man's duty here...(see next chapter for more on this ongoing debate in this book about values of heroes and savages)\n

After a long wait, the Hurons, with Le Renard Subtil at their head, find the two women and Heyward (and David Gamut). As in the film, they almost escape discovery...but then they're captured, unceremoniously\n<<<\ndragged from their shelter and borne into the day, where they stood surrounded by the whole band of the triumphant Hurons.\n<<<\n*more on the respective worth (as if this was interesting at all!) of the different heroic cultures that debated on strategy in the preceding chapter. Heyward, once the savage men are gone, remarks:\n<<<\n"I like not the principle of the natives, which teaches them to submit without a struggle, in emergencies that appear desperate," he said, while busied in this employment; "our own maxim, which says, 'while life remains there is hope', is more consoling, and better suited to a soldier's temperament."\n<<<\nAgain, this is illogical. If there's "still hope", then it made no sense for the others to leave. But logic is besides the point, again. What matters for the narrative here is to debate with ideas and symbols of the current culture, around such notions as heroism, romantic, nobility. The interest lies in extending this debate to "savages", even if as we can see the narrative returns to norm fairly quickly by refocusing on more "traditional" role-models.

* name of [[The Virginian]]'s horse\n* name of the first horse bought by [[Charles Marion Russell|http://members.aol.com/Gibson0817/russell.htm]] in the 1880s\n\n

The man who started his career with Griffith on //Birth of a Nation// and ended it as Geronimo in Aldrich's //Apache//. Played a series of Mexican villains in the 1916-1920s (cf. his bit part in [[M'Liss (1918)]]). He played a good guy in //White Shadows on the South Seas//, played bit parts in 1930s serials (he is Unga Khan, another ethnic villain, in //The Undersea Kingdom//), and he also has a part in //Casablanca//, though I haven't spotted him there yet...

*episodic, with tableaux of the main scenes, as in [[Heart o' the Hills (1919)]]\n*atmospheric, with lots of details that do not advance the plot, as in [[M'Liss (1918)]]\n!!!!Visual narration and the written word\nAh, another can of wiggly worms...One simply cannot ignore the weight of written words on the narrative strategy of any silent film. The image belongs, most of the time, and except a few remarkable experiments late in the day (Murnau's //Tabu// for instance), to a written narrative with images in between. (another exception would be slapstick where the image, interestingly, functions quite indepentently of words, since their chief function is to //add// to the comedy, not explain, or move it along. In drama, on the other hand, dialogue, and explanations, are paramount. Seems to me there's a tension at work here: there's more direct reality in the image, but the written word comes to negate that, and tamper it:\n*either because, as in some cases, the image just fails to reach the impact of the written description (I'm thinking of a shot from //The Heart of Texas Ryan// where the written words promised lots of cactus trees, and the image shows a barren plain). If the image is disappointing then we're going to go with the written word -- and this is a not so rare experience, of being more caught up in the intertitles than in what the images show, because they don't show a lot.\n*or the image is quite evocative, even more so than the written words that preceded it, but even in this case, //because// the written words are most of the time highly literary, they link the image back with the narrative tradition, away from any direct realism, distancing the viewer from the reality shown. The rhetorics of written descriptions, in other words, overlaps with and often overwhelms the visual rhetorics at work

<<tabs txtFavourite\n\n"Help!" "Priority 1" "HowTo"\n\n"Silent Cinema" "Priority 2" "Menu SilentFilms"\n\n"Classical Hollywood" "Priority 3" "Menu Hollywood"\n\n"Research Ideas" "Priority 4" "Menu Research"\n\n"Links" "Priority 5" "LinkMenu"\n\n>>\n\n

* Cortes, the great conqueror (and slaughterer) of Inca civilization, becomes the purveyor of the American Dream //à la// Yankee Statue of Liberty in [[Captain from Castile (1947)]]. I suppose you //could// imagine a discourse of Cortes as bringing civilization, since that was pretty standard discourse for a long time. But economic opportunity for the downtrodden masses ? That's a new tack to me.\n* Which reminds me of the scene in [[Red River|http://www.imdb.com/title/tt0040724/fullcredits]] where the John Wayne character confronts the caretaker of the Mexican landlord North of the Rio Grande: he decides that the Mexican has "too much land for one man", and that anyway he got it from the Indians in the beginning (I will try this argument on American folks next time I visit there). But wait a second here ! Doesn't he know that [[cowboys are Mexicans]] ? And isn't it the old trick of blaming your enemy for crimes you yourself have committed ? This is all in a direct line from the school of [[the nobility of cowboys]] (a good example of this is Owen Wister's [[The Virginian]]): strong, morally justified, and Yankee -- even when just a //prolétaire//.

Dec. 28, 1855\nQuite a review ! To say that the critic didn't like the poem is an understatement. He found the subject matter completely undeserving, and the trochaic verses monotonous The whole thing, he thought, was just plain boring.\nThe subject-matter, first. For one thing, sagas are often boring, since they deal with a time when humans were of simpler minds than today:\n<<<\nRude, gigantic, forcible, and crude, they suited the mental conditions of the early ages as the megatherium and mastodon suited the physical. The intelligence of the earth, in the days of legendary song, was huge and broad and coarse. It was to be impressed only by vast exaggerated ideas.\n<<<\nNot only are sagas all about size, "no sublimity of purpose", but they also manifest too obvious an irrealistic attitude to the world:\n<<<\nThere is no nature--no poetry in it. If one of the gods meets a mountain on his travels, it is of gold or iron, or something else of which no mountain ever was made. (...) Now the Greeks in their Mythology--those Greeks who are the ancestors of all modern greatness--never for a moment lost sight of Nature or Poetry, no matter how wildly they flung themselves into legendary fancy. Their Olympus is a living mountain.\n<<<\nLongfellow's Hiawatha is no exception. His hero does the most banal, unconnected exploits to help his people, and even these pale in comparison to Hercules or "Fin Mac Cool, that big stupid Celtic mammoth" (indeed, the critic here may have a point. In overemphasizing naive simplicity, Longfellow sacrifices purpose, and historical / political context to the deeds of Hiawatha. They are just bigger-than-nature deeds, not deeds to accomplish any grander purpose down the road).\n\nSo is Longfellow completely wrong to produce his //Song of Hiawatha//? Maybe, just maybe, he's not wrong to talk about the Indians: this could be of interest to some historians:\n<<<\nAs an Indian Saga, embalming pleasantly enough the monstrous traditions of an uninteresting and, one may almost say, a justly exterminated race, the Song of "Hiawatha" is entitled to commendation. (...) [But] it deals with a subject in which we of the present day have little interest; a subject, too, which will never command any interest upon it sown intrinsic merits. Those Indian legends, like Indian arrow-heads, are well enough to hang up in cabinets for the delectation of the curious. Let antiquaries make use of them. They are too clumsy, too monstrous, too unnatural to be touched by the Poet.\n<<<\nAmbiguously enough, is it because the poem deals with real Indian legends (of value to the "antiquaries", but dumb), or because it idealizes the Indians, that it is to be criticized ? \n<<<\nWe maintain it, there is no romance about the Indian. With his immense genius, Mr. Cooper committed a crime against artistic truth in his highly-colored pictures of Indian life. People, of course, followed his errors, because Genius, however errant, will always find disciples. The melo-dramatic Indian, a combination of the Spartan hero and the Corscan [sic] bandit, began to live his artificial life in our literature. He had dawned in the "Chactas" of M. Chateaubriand, and culminated in the "Uncas" of Mr. Cooper. Since then he has appeared in faded colors in a thousand red romances.\nIn "Hiawatha" we find Indian life transfigured, glorified--a singular medley of the most poetic and the most vulgar elements. The vulgar elements are no doubt truthful enough; for the remainder, we fancy we must be indebted to the imagination of the poet.\n<<<\nWrong because he talks about uninteresting legends, wrong because those legends have no intellectual sublimity, and do not deal with the real world, and wrong because to make them interesting, the poet embellishes Indian mores. Isn't it odd how consistently this review uses "reality" and [[realism]] as the critical yardstick to measure the worth of the poem ?\n

None of that [[Sherlock Holmes and the Secret Weapon (1943)]] here, though we're still trying to fend off Hitler and his fiendish new bombs (the V2s in this case). What struck me here is not just how average the script is, but how bad science-fiction-like the whole film is: from the no-exit sort of serious foolery (Sophia Loren is shot why, exactly?), to the set of the underground V2 factory which looks like a [[1953 monster]] is about to be born there: clearly lit, fake rocks, useless iron scaffoldings all over the place, orders and machine guns behind every door, and before every door guards that must see no more than 2 human beings every 20 hours (but since they look as dumb as the paper rocks around them, no one wonders).\nHas a great example of that Hollywood canard of canards, [[the shaking camera]].

see [[tiddlywikitips|http://tiddlywikitips.com/#%5B%5BPlugin%20FAQ%20List%5D%5D]]

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*[[The Log of a Cowboy|http://www.gutenberg.org/files/12797/12797-8.txt]], Andy Adams (1903)\n*[[A Knight of the Cumberland|http://www.ofcn.org/cyber.serv/resource/bookshelf/kcumb10/]] , John Fox Jr. (1906)\n*[[The Heart of the Hills|http://www.gutenberg.org/etext/5145]], John William Fox Jr. (1912)\n\n*[[The Last of the Mohicans|http://www.gutenberg.org/files/940/940-h/940-h.htm]], J.F.Cooper (1826)\n\n*[[Before the Nickelodeon|http://content.cdlib.org/ark:/13030/ft3q2nb2gw/?&query=&brand=ucpress]], Charles Musser, 1991\n*[[Hollywood in Berlin|http://content.cdlib.org/xtf/view?docId=ft0199n61t&brand=ucpress]], Thomas J. Saunders, 1994\n*[[How I Filmed the War|http://www.archive.org/details/ifilmedwar00maliuoft]], Geoffrey H. Mallins, 1920

A story of the early days, for the showing of //Life of a New York Fireman// in New York:\n<<<\nTo enhance the realism of the fire scenes the operator was required to bend over, while turning the projector, and hold strips of colored gelatine in front of the lens for the purpose of coloring the scenes. While thus occupied, he felt a tap on his shoulder and turned to find a stranger beside him.\n"I just came up from my seat," said the man, indicating the orchestra, "to tell you that something's wrong down there. That film has been running all over me."\nThe operator, still with his hand at the crank, bent over the balcony railing to discover that the film was silently running into the audience below. Instantly the operator abandoned his color scheme and began pulling up his film as fast as one hand would let him. When the end was reached, the operator was shaking as he realized how easily the ending of the film could have been quite a different story, with real firemen in the building where only shadows had been carrying on thrilling adventures.\n(Homer Croy tells this anecdote in //How Motion Pictures Are Made//, 1918, p. 60\n<<<

<<tag HalfBaked>>

<<tag HalfBakedResearch>>\n<<tag Bibliography>>\n<<tag Vocab>>

Got to see it to believe it:\n[img[beach party|http://flyczba.free.fr/blogimages/inoldcaliente1.jpg]]\nThe song is (what else?) "Ride On, Vaquero".\nTwo minutes later, the earthquake hits. Same shot, same position, just the camera moves a little, and Roy Rogers is given one of the [[most ridiculous lines]] of the past century.

In [[Sam de Grasse's career|http://www.imdb.com/name/nm0208659/]], there aren't so many films where he was asked to portray a good character. One of these is in Stroheim's //Blind Husbands//, produced the same year as [[Heart o' the Hills (1919)]]. \nLet me guess here: Stroheim uses him so that he throws the audience off as to who is really bad here. Is the evil lieutenant, so ridiculous in his cowardice, really the villain? What if the whole thing was really a parody, a way for Stroheim to mock the audience's veneration of heroes on the screen ? With Sam de Grasse as the husband, the audience in 1919 is going to have a hard time accepting him as a poor boob of a husband. He is probably guilty of something, somewhere -- if not in that film then surely in others. Heck, the guy looked so villainous that Fairbanks cast him as King John, a villain's villain, in his //Robin Hood//...\nMaybe I've been reading too much [[Merton of the Movies]] lately, but I'm thinking that Stroheim is having de Grasse parody and mock the upstanding clean all-American hero here -- just as he will crucify the manners (and lack thereof) of the American husband in //Foolish Wives//.

//[[Sherlock Holmes and the Secret Weapon|http://www.imdb.com/title/tt0035317/combined?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9c2hlcmxvY2sgaG9sbWVzIGFuZCB0aGUgc2VjcmV0IHdlYXBvbnxmdD0xfG14PTIwfGxtPTUwMHxjbz0xfGh0bWw9MXxubT0x;fc=1;ft=20]]// (1943)\nHere Holmes battles arch-enemy Dr Moriarty for the control of the discovery of scientist Tobel, some sort of super-efficient bomb that must not fall into the hands of the nazis. That's right, the nazis. Moriatti has been resurrected (when did he first die?) to allow for a very patriotic, all-is-good-for-England Sherlock Holmes, made during the war, and with a final very patriotic appeal ("this land...England", apparently lines from Shakespeare's //Richard II//). What a time, and what a war, to have even Sherlock Holmes contributing to the cause. Brave times.\nMoriarty however dies at the end (by falling into his own trap deep into the London sewers).\nHolmes plays a lot on disguise here: he starts as a fake German-sounding bookseller to fool two nazi agents, dresses up later as some East-end sailor in London in search of Moriattii, and finally as one of the scientists that Moriarty is trying to capture. Another typical Sherlock Holmes bit in this is the code-deciphering session (one of the two moments when good old reliable Dr. Watson seems at least partly awake, even though he does not crack the code but is a foil for Holmes' more incisive acumen), a process complicated enough to alllow for more delays and more twists in the plot (three scientists are killed during that time). Holmes also escapes death by a hair not just once but twice (once the chest-barrel where he is a prisoner is intercepted by a surprisingly alert Watson, the other time when Moriarty applies the strategem Holmes has himself devised to kill him -- to draw all of his blood out thanks to a needle, "back to the needle, then, he Holmes?", a self-conscious reference to Holmes' drug addiction). As disguises and dramatic escapes suggests, this Sherlock installment is a bit thin on substance, and a bit heavy on theatricals. The substance is of course provided very clearly and explicitly by the patriotic context (England is at war!), and does not allow for any sort of ambiguous treatment as good characters are very good and patriotic, and bad characters have no appeal left in their pro-German positioning -- so that the chase is all that remains to move the narrative along. The good characters are known, the evil ones too -- only the manner of their end is in doubt. Only the situations will move us --and then they have to be exaggerated to do so, a "take-no-prisoner" approach to story-telling that reminds one of serials once the characters have existed for some four episodes (as is the case here, I believe, for Basil Rathbone as Sherlock Holmes: this is the 4th ~Rathbone-Holmes of the war years, but the first of eleven ~Rathbone-Holmes-William Neill that will last until 1946).\nThus near-death misses might allow for some questioning of audience's expectations, even if for a very short moment. Were we wrong and is Holmes really done for at this point ? He never really is because of the help he receives from a lot of people. It seems here that half of London's population is made up of police officers (Scotland Yard) or of police informers -- that there is no room for anyone not explicitly connected to the narrative. The strategy of not playing for keeps, of overcharging the narrative with dramatic developments because the basic plot has been reduced to such simple and stereotypical elements leads also here to the near-complete evacuation of any non-plot related character and event. Open up the narrative a bit, allow for some random movement, let Holmes and Watson operate in a more real London (and not just a couple of backstage streets), and the film simply crumbles: either Holmes dies, or Tobel would not be allowed to pursue his experiment alone and government protection would simply snuf all sense of suspense out of the film. In other words, because the film must follow a course of intense theatricals to function, it must also do away with anything that is not artificial.\nBut then this logic is the whole point of the fun here: it is about arranging plot elements into a coherent and logical thread. For instance, once Holmes has managed to photograph the coded letter left by Tobel, what more could delay a happy resolution ? The inversion of the last writing is the answer. And why are we not surprise that Holmes knows everything, including how to reveal letters not written on a paper, by their chemical reaction? Because of backstory, that bit of continuity which every Conan Doyle fan knows. This episode in the adventures of Sherlock Rathbone thus functions largely as self-reference ot its own metatext -- and the beauty is that even a Doyle ignoramus like me can enjoy this for what it is, a crisp logical construction of plot elements.

This is completely off topic. But I'm taking notes of things happening, and I need to keep a trace of this article, so here goes.\n[[The Slashdot|http://slashdot.org/]] (beware: "news for nerds" is their byline) has an on-going discussion on whether or not university students ought to attend lectures when today more universities are putting their teachers' lectures online for their students to use. This discussion is [[here|http://ask.slashdot.org/article.pl?sid=06/09/03/2227230]] and the good part is lots of students themselves seem to have weighed in. Most seem to take the view that lectures are an antiquated mode of teaching anyway, and that there are increasingly fewer reasons to maintain them. And what about online universities that grant diplomas to people who follow online courses ?\nNow I firmly believe that all lectures should be taped and distributed online to students enrolled in the class, so they can review what they have missed during the lecture itself, or if they could not make it to class for whatever reason (I don't believe in compulsory attendance, as you can see), along with any extra material available online to encourage students to further study the issues presented. I also think that teaching is bound to become increasingly decentralized thanks to new technologies: that students can more and more build up their own pathway to knowledge, and that the teacher's role, in this high-tech context, is to goad, prode, and maintain all options open--remind the student that B must still be studied, even if the student has a marked preference for A. Be a contrarian, in other words--something that new technologies also have made much easier. Also, the teacher remains a gateway to the historical troves of knowledge found in books, and as more information is available online, specialists who know their libraries on their fingertips become increasingly more valuable, too.\nBut none of this argues for class attendance. Here are my two-cents (you've guessed by now that I'm a university teacher myself):\n*there are so many avenues to knowledge, and more are bound to develop, that it would be foolish (and vain, really) to argue that //only// in lectures can the student learn what he or she's got to learn. \n*while //class// attendance is not required anymore, //university// attendance is more to the point. Coming to the university, showing up for class, meeting after class, etc., will give the rhythm and discipline to acquire knowledge. Some of us, yes, can do this on their own. They have the drive, and the working habits, to study regularly (or not), on their own. But I'd be willing to bet that for most of us the group experience of college and class is what makes learning possible for the most part. Day in, day out, we meet our peers, joke about how useless classes are, how strange teachers appear--but in these meetings we also work out why those classes are important, why those teachers are important, even in an unconscious way. After all, we're //here//, at the university--so why not go to the library, and so on. You see my drift: it's not the work you do, it's showing up for work that matters, sometimes: you meet people, learn new skills, new ideas, you remake the world. I know this can be done in a café, on a lounge, at home. But at work you're bound to do it with people you wouldn't have met otherwise. An a university has unique equipment to remake the world: access to knowledge, ideas, schemes, try-outs, is what it is all about (a university, not just a lecture; though a lecture should be all that).\n*Now, ''sometimes''. I still think that lectures can be important experiences. A brilliant lecture might leave you wondering at the beautiful skills required to make it so brilliant, simple and complex, and a brilliant lecturer might open up new possibilities, illuminations if you will, simply because the lecture is brilliant. Think of it like a concert: yes, you can watch it online, you can play the record, and still get your kicks from it. But nothing ever, ever replaces the live experience. Ah, the joy of a movie crowd roaring its approval at slapstick antics on the screen; ah, the joy of an idea born in the lecture hall while words from the distant lecturer are floating, dream-like with new possibilities. If you have doubts, check this [[lecture on creativity, literacy and education|http://www.ted.com/tedtalks/tedtalksplayer.cfm?key=ken_robinson]], it's a "pretty good" example of a brilliant lecture.

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!!!original fiction\n*Rafael Sabatini, [[Scaramouche|http://www.blackmask.com/olbooks/scmshdex.htm]]\n*Edith M. Hull, [[The Sheik|http://www.gutenberg.org/dirs/etext04/sheik10.txt]] (1921)\n*Edith M. Hull, [[The Shadow of the East|http://www.gutenberg.org/dirs/etext05/8shad10.txt]] (1921)\n*Elynor Glyn, [[Three Weeks|http://www.gutenberg.org/dirs/etext05/83wks10.txt]] (1907)\n*[[The Log of a Cowboy|http://www.gutenberg.org/files/12797/12797-8.txt]], Andy Adams (1903)\n*[[A Knight of the Cumberland|http://www.ofcn.org/cyber.serv/resource/bookshelf/kcumb10/]] , John Fox Jr. (1906)\n*[[The Heart of the Hills|http://www.gutenberg.org/etext/5145]], John William Fox Jr. (1912)\n*Charles Goddard, [[The Perils of Pauline|http://www.gutenberg.org/files/6065/6065.txt]] (1914)

<<tag SilentFilms>>\n[[Variety Reviews]]

cinema research on a daily (I wish !) basis

@@color(#ff9900):[[C I N e B u D S]]@@

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Frank Norris, then an aspiring writer working in San Francisco-based //Wave// magazine, waxing lyrical about a colonization scheme in the Solomon Islands ("A ~South-Sea Expedition", 20 feb. 1897, quoted in //The Apprenticeship Writings of Frank Norris//, 1996, available through Google Books [[here|http://books.google.com/books?vid=ISBN0871692198&id=eR0LAAAAIAAJ&printsec=toc&dq=apprenticeship+writings+of+Frank+Norris&sig=-SN7Am9PFxrscuiN5Yo6Jdjz2UA]]:\n<<<\n[...] The great majority of these men are the big-boned, blonde, long-haired type--the true ~Anglo-Saxon type--and are responding to that same mysterious impulse that ever drives their race toward the setting sun--the same impulse that stirred in the shaggy, hide-clad breasts of their forefathers so many hundreds of years ago in the depths of the Frisian forests and swamps. Here it is again, working itself out under your very eyes. Consider it: we are here in the Far West, we other ~Anglo-Saxons; we have practically just arrived, and the place is hardly built up and made habitable when some hundred of us are already chafin at the barrier of the Pacific--are fitting out a ship and are going further west, further west.\n[...]\nIt is, literally, the beginning of a history. You have gone right back three thousand years, right into the legends, to the time of the migrations (that's what this venture is--a tribal migration). You are back to first principles--to a primal condition of things, where all the old maxims are applicable as soon as the colony begins to work out. "The weakest to the wall," "the survival of the fittest," "the race to the swift," and "the battle to the strong." Every tub will stand on its own bottom on Bougainville Island, and a man is a man only in so far as he can shoot straight, work with his hands, and acquire food.\n<<<\nThe only concern he had over the scheme was that the men would fight over native women they were bound to take as wives ("Let us call them marriages"), thus dooming the colony. Not even the presence of man-eating tribes on those islands seemed to bother him. Some (most) at the time take their racial history pretty literally. But not all:\n\n<<<\nAll this,\n<<<\ncomments the //Los Angeles Times// in Apr. 29, 1897, as the expedition seems to have trouble luring enough candidates (Norris describes the men as having left on Feb. 19, but recruitment leaflets are still circulating by on April 29), \n<<<\nsounds very enticing, and fills the mind of the adventurously-disposed with visions of being a pioneer and living a beatific, idyllic existence on an island where food is to be obtained in plenty, for the trouble of picking it from the trees, where little work yields great results, and where all the conditions of life are strange and beautiful.\nBut there are certain things which the company [the South Sea Islands Mining and Colonization Company] fails to tell the colonists. For one thing, the Solomon Islands are thickly populated with native races, most of them addicted to devouring each other with cheerful rregularity. The islands are partitioned between Germany and England, with a nominal protectorate and real ownership. Even if the colonists could persuade the natives to supply them with land, it is highly probable that they would still have the European governments to reckon with.\n<<<\nAs there is no mention of the expedition in the //Los Angeles Times// after this date, one can suppose that the expedition never even managed to leave San Francisco harbor. What's more, one finds Alex ~McLean, the "captain" of the expedition, engaged in another company (The South Sea Islands Company) trying to recruit trigger-happy ruffians for, this time, a gold-hunting party in the same islands (lured on by report of great quartz mines), in the later months of 1897 and early in 1898. This second expedition, this time, manages to leave (but under a cloud of heavy suspicion when it is discovered that its captain is a notorious pirate who has already spent 10 years in Australian jails for its shady maritime activities), but all those strong men, equipped with many fire arms and ready for difficult camp life, fall sick out at sea and scurvy threatens. The boat must stop at Apia on the way, the captain, wanted by the authorities, vanishes, and our valiant gold-hunters in the land of cannibals return home.\n

A pretty good story from [[Homer Croy]] //How Motion Pictures Are Made// (1918). Once the principle of persistence has been established, it is the need for a projecting machine that delays cinema's invention. (Cinema is thus defined as two things: images appearing to move clearly on a screen, but also images moving seen by many people). Jenkins, following (but not acknowledging) the work of the Lumière brothers in France, projected the "first" moving images on a screen by using an arc-light (the basis for the modern film projector) in Richmond, Indiana (his hometown). (Charles Francis Jenkins will live to be one of the key inventors of television. See [[there|http://www.tvhistory.tv/C-Francis-Jenkins.htm]] for more on his TV inventions). \nThis is how Homer Croy, in his //How Motion Pictures Are Made//, relates the scene:\n<<<

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[img[lawyer|http://flyczba.free.fr/blogimages/markedformurder01.jpg]]\nhmm...sure didn't look like one...

How come this [[review from the New York Times of Scott Fitzgerald's second novel|http://www.nytimes.com/books/00/12/24/specials/fitzgerald-damned.html]] is available for all to see ? In any case, it's interesting to see how that reviewer had a tough time hiding her disgust at the book. \nI wouldn't say the book is a masterpiece of realism -- it's contrived enough and ironic enough throughout to sound like a detached, if blasé, literary effort. But the 1922 reviewer found it disgusting enough (so much whisky in such a dry period!) to see some realism in it:\n<<<\nThe general atmosphere of the book is an atmosphere of futility, waste and the avoidance of effort, into which the fumes of whisky penetrate more and more, until at last it fairly reeks with them. The novel is full of that kind of pseudo-[[realism]] which results from shutting one's eyes to all that is good in human nature, and looking only upon that which is small and mean-a view quite as false as its extreme opposite, which, reversing the process, results in what we have learned to classify as "glad" books.\n<<<\nNeither glad nor depressing. Drama with a happy ending maybe would suit her better ? The times liked it both entertaining, thrilling and moralizing -- but also wholesome as the smile of Doug Fairbanks (which Anthony Patch decidedly is not).

Dir. Don Siegel\nTouristic fun in the long tracking movement that opens the film, fruits, music, crowd, and then the back of an agent -- and then Mitchum, who hasn't got "it": in other words, the plot, and its tension. And a billion questions: what's "it" ? Who are those agents ? Why the viciousness of the fight ? We're hooked.\nShe walks in the apartment, he puts his gun away, he smiles, and -- slap: "Last time you started that, it cost me my bank account." Spunky characters, double-crossing each other, making fun of things beyond our means ( $ 2,000 and such), and the obvious sexuality ("You're not his wife, are you?" "No" "Hmmm" "I don't like this 'Hmm'") -- but it wouldn't just work as well without the contrasty black and white, light and shadows everywhere, every frame a visual pleasure.\nThe little, and frequent, Mexican asides (comments by barbers, the parrot seller, the English-practising inspector, what starts as colorful background becomes a mesh as the inspector becomes involved (+ the barber scene is repeated as he doesn't get fully shaved..."Americano"...), or, later, the goats on the road (a typical local color element that turns into plot as it stops Blake's car and finishes the chase)\n<<<\nHE: I hate to spend the night with an empty revolver.\nSHE: There's always me.\n<<<\nAnd the fights ! Mitchum hit by a //knee in the face//...\n\nIt plays with this process I'm currently calling [[re-fiction]] in a very entertaining way...

Buster builds a boat. In typical Keaton logic, the boat is too big and Buster needs to break the garage door to let it out. \n[img[door|http://flyczba.free.fr/blogimages/boat04.jpg]]\nThe logic is pure Keaton's, of course: destroy your home for your pleasure boat. \n[img[destoryed|http://flyczba.free.fr/blogimages/boat05.jpg]]\nThe comment is also rather clearly social, as the house crumbles in perfect bourgeois //indifférence//: as long as Father looks sternly on, and Mother is behind also looking as though nothing had happened, then appearances are OK and the family's safe...\n[img[family|http://flyczba.free.fr/blogimages/boat02.jpg]]\n(earlier, she had reacted to the catastrophic news that the garage had to be busted to clear the boat, with a perfect oh-this-man-will-never-change shrug\n[img[haughty|http://flyczba.free.fr/blogimages/boat03.jpg]])\nPart of the fun here is in the systematic [[deconstruction of the family]]. And then, as always, the perfect catastrophic logic of conspiring forces, and [[the loser's poetic stance]] which Keaton does to perfection.

Directed by Maurice Elvey, this British version "under the supervision of the author Sir Arthur Conan Doyle" would make a good aesthetic case in how silent film aesthetics twist whatever material they lay their hands on. \n[[The story of the Copper Beeches by Doyle]] is among his most fantastic, and his darkest. But the film does away with most of the grotesque, deformed, monstrous elements by adhering to [[the melodramatic compact]]:\n- the master of Copper Beeches is not a jolly fat man anymore, but a straightlaced, if tall and muscular, individual\n- the suggestive business of the heroin cutting her hair - is gone\n- the suggestive business of the child being very cruel - is gone\n- the suggestive business of dressing up the maid and cracking jokes so all believe that she is the daughter - is gone\n- there is no mention of the mastiff, none !\n- is Holmes disgruntled ? it doesn't show. He's cool, yes, but disgruntled ?\n- Gone is the pale and silent (and just as cruel) wife (in fact there is no wife in the film);\n- and gone, indeed, the subtle and quite effective use of landscape (London town vs. countryside) and weather (fog vs. sun, night), and other architectural elements of the Gothic (the long corridor, the barred room, the skylight, the ladder escape)\nEven more surprisingly perhaps, the point, made repeatedly, and especially in the beginning of that story, by Holmes, that what is striking in his stories is the reasoning in itself, not the flesh and blood stories, that is completely gone, as Holmes is much closer to later versions of reactive detectives, who find clues as they go, rather than to the analytical mind who has [[seven hypotheses]] //before// he even reaches the scene of the crime-to-be.\nWhat remains, then, is a melodramatic family drama focusing not on the crime itself, but rather on the thwarted marriage. Holmes allows not really the solving of a crime, but rather a restoration of romantic bourgeois order where the young girl can marry the (perfectly acceptable) young man who loves her.

[[Subterranean Cinema | http://www.subcin.com/clowncried.html]] has not just the rough draft and the final draft of the film, but also a few pictures, and some articles on production, legal conflicts, and testimonies from people who have seen the film. \nThe first draft of the script does not bode very well for the project. It is sentimental in the extreme (the whole introduction sequence where the clown is depicted as a failure, then his behavior in camp, are not just pathetic: they are profoundly disgusting in their self-centered egotism), and fails to distinguish between the horror of camp-life and clownery. The most problematic sequence, the cold waking-up of Helmut in camp, is a good case of this: Helmut sleeps late in camp. For revenge, the guard opens all windows. Helmut wakes up, shivering. The rest of the sequence is him fighting the cold, but with gags thrown in (frozen socks stand on their own, two faucets that read 'cold', etc). Is this a funny sequence, or a sequence of torture at the hands of a cruel guard ? The script is, horrifyingly, ambiguous on that point. \nInterestingly, that scene was left out of the final draft. The story's writer, Joan O'Brien, seemed to have been the most vocal against the trivialization by Jerry Lewis' s humor of camp life, yet she was the one to have that scene in the first draft. So that what seems rather clear to me is that the ambiguity of the project is a problem from the start, and if the final film felt like too much Jerry Lewis, and in bad taste, it was because the first project was just as much in bad taste.\nBy the end of the script/film, one is left with questioning the whole point of the story: do the nazis really need a clown to take care of children ? Would they care about Jewish kids that much ? Do they have to justify themselves to the clown in his cell, as the commandant of Auschwitz (!) does by saying "we don't want them remembering, and turning on us...it's that simple" ? (And what a pathetic line this is!) Don't they have other ways (and haven't they used them?) to silence children ? And what about the humanization of the guards who enjoy Helmut's show too: what's the message there ? That, if they had a choice, those guards would be nice guys ?? And then, to have a whole film for just this one //involuntary// trip to the gas chamber, seems so high-falutin' that it does give some credence to the accusation that the film, the finished product, was too much about Jerry Lewis doing his stunts in front of a camp background.\nThere goes one Hollywood myth.

This is the Valentino version of [[the story of Dubrovsky from Pushkin]]. As noted there, the film version has done away with any hint of social irony or criticism. It focuses almost entirely on the romantic involvement of Dubrovsky and Masha -- an involvement that is allowed to terminate happily by the elopement of Valentino and Vilma Banks. More, the local color, so important in Pushkin's picture of small village backwood tomfoolery, is completely gone. Rather, Dubrovsky becomes, unapolegetically, a full-fledged Deadwood Dick dime-novel sort of Russian Robin Hood -- a bandit, but really a nobleman in disguise. \nTrue, his banditry is attributed to Catherine's abuse of power. But the only abuse we see is more of the harassment type and not really political as she wants to sleep with that dashing young lieutenant. There is plenty of melodramatic happenstance, unabashed, unashamed, and fully orchestrated to the suspenseful climax: on the //same// night as the czarina tries her move on him, Dubrovsky receives the letter from his sick father, thus creating the moral dilemna that transforms him into a highway bandit. More conventions from [[the melodramatic compact]] ? You bet: (to be continued)

Due to [[a diploma mix-up]] (the [[archive.org copy|http://ia300841.eu.archive.org/2/items/TheElectricHouse/The_Electric_House.mpeg]] was not very clear on //where// this was taking place: the diploma holders are all dressed in full graduation regalia, but they seem to be in an employment office\n[img[library or office|http://flyczba.free.fr/blogimages/electric1.jpg]])\nBuster finds himself hired to do the electric wiring of a house for some [[hotshot bourgeois]].\nThe trouble is, of course, that Buster knows nothing about electricity. While the bourgeois family goes on vacation, he is left with the task of rigging [[the house of his bourgeois boss]] with electric gadgets.\nWhat follows is an orgy of mechanical disfunction, as stairs, trains, lights, and bathtub \n[img[bathtub|http://flyczba.free.fr/blogimages/electric9.jpg]]\nstart misbehaving (this disfunction is partly motivated by the revenge of the slighted electric engineer of the diploma scene, but objects start misbehaving almost as soon as Buster shows them off\n[img[stairs|http://flyczba.free.fr/blogimages/electric8.jpg]]\naccording to the law of unintended consequences that is a staple of Keaton's slapstick, and where he often finds himself trapped [[like a hamster]]).\n\nOf course we know that there is trouble brewing if only because of the rather fanciful inventions that Buster has devised (from the book-giver to [[the subsiding bar-column]] to the train-waiter that delivers the plates).\nBut nothing quite prepares us for the body dislocations that take place once the objects really start going insane:\n[img[hand|http://flyczba.free.fr/blogimages/electric11.jpg]]\nthe hand from the trunk, or\n[img[the feet|http://flyczba.free.fr/blogimages/electric12.jpg]] \nthe feet, or\n[img[head|http://flyczba.free.fr/blogimages/electric13.jpg]]\nthe head.\n([[torture, slapstick style]] indeed)\n\nAs always, it is a flight of pure fancy, taken to absurd and brilliant conclusions (surrealism), but all in such a logical way. In the scene where the girl is trapped in her bed, the iconoclastic conclusion (which is not without its ironic social undertones: a comment on the sacred icon of the bourgeois bedroom where sex is both staged in full splendor (central bed, spatious room), and hidden (collapsible bed)) is reached in a very logical manner: it was the bath-tub, you see, that started to misbehave: it took Keaton in, then retreated to the bathroom, knocking Keaton out at the trap-door between bedrooom and bathroom, leaving the girl seated...on the bed. The amazing poetry of those gadgets turning crazy is mostly due to this careful choreography of tiny physical events, all material and of this world, linked one to the other until they reach a conclusion that is not, indeed, of this world.

[[http://www.stanford.edu/~gdegroat/NT/filmography.htm|http://www.stanford.edu/~gdegroat/NT/filmography.htm]] has //Variety// reviews (and others, too) for most films with Norma Talmadge

<<<\n"It's a woman's pettycoat. Charge !"\n<<<\nA western stood on its head, and though a bit bloated, its very bloat is of the essence. A fake epic ("the land, it all starts with the land" -- but then the geography is so complicated that 3 times we are shown maps, and in the end all get lost in quicksands, somewhere), it needs to take all epic conventions and destroy them by gouging them out of all meaning: heroism, a general sense of purpose (the West without Indian wars descends to the level of playground squabbles), fairness in Indian dealings, the overal grandeur of the man of the west (Oracle Jones, or Capt. Slater), all are studiously, ferociously deprived of their mythic substance. The only myth to survive is love -- Hollywood love between hero and heroine, redemptive love that signals that there is a beyond to the film, our world where the more mature business of organizing one's emotional life really matters, away from film's pleasant but ultimately foolish games.\nYes, it's a long film. It doesn't have to, but then it has a musical prelude, a musical intermission, and a musical conclusion all on a very, absolutely black screen. And it drags on, until film forms reach the point where they start to decompose and rot: the last charge, itself a necessary element in all westerns, becomes a drunken riot of double visions and strange sounds as the cavalry circles round the Indians entrenched behind their wagons, and the Indians are so drunk that the soundtrack is about to stop. At that point one wouldn't be surprised to see the film just stop, freeze on a frame of many irrelevant colours -- as if it just wasn't possible to go on making westerns, period. All in all, a more ambitious endeavour than //The Great Escape// or even //The Magnificent Seven// (really??).

It's kind of a sad coda to American Indian history that the Last of the Mohicans (Uncas) should die attempting to defend the honor of a white woman. Who would have thought it would end like this ? Especially as Cora Munro, in the book, is a self-avowed Indian-hater (at least in the beginning). Tellingly, in the film, this feeling goes entirely unmentionned, as her hatred for men is expressed through the effeminate, and in the end cowardly Captain Randolph. She likes real men -- and a Apollo-like Mohican comes as close to footing that bill as anything. But it is not entirely clear either that she loves Uncas. She is attracted, indeed, but since nothing ever comes off it, nothing more than a shared admiration for nature and a noble sense of self-sacrifice, the whole miscegenation theme gets a bit confused. She likes him but who, after seeing Randolph, wouldn't ? By playing Uncas as the noble hero the film actually softens the shock of a white woman falling for a non-White. Worse, it peppers the narrative with constant reminders that White women fear nothing more than being taken by Red savages as their wives: Alice goes beserck when an Indian takes her under his arm, she faints when the evil Magua takes her away at the end -- in fact, her role consists in looking scared and panicking as soon as Indians are around. And then there is the scene of the Hurons taking the white women away -- a strategically inept army manoeuver if ever there was one (inept on the part of the Whites: they let an //entire// column of women //with children// take to the road without any kind of escort, and not one man or soldier in sight). Overall, the stereotype remains alive and well: no fooling with Indians.\nAnd, really, that is the saddest part of this film. Its representation and use of Indians in the plot is //less// advanced than in the book published one century before. Early on, the book confronts Cora's racism head-on (as you can read in [[Last of the Mohicans]], chapter 2), and I haven't read it all but already the level of anthropological detail is more than the film, with its vague geography, its vague identifying of tribes and customs and costumes, ever does. \nRather, the plot conforms to standard melodramatic material. It heightens all emotional situations in a race to raise the ante so that the final confrontation is super-charged, and delivers the big pay-off. In the process, all historical material recedes as basically immaterial and pointless: who cares for Montcalm and Munro and the whole War of Independence context (barely mentionned), if not for Randolph's treachery -- if not to establish a character's trait ? Who cares about the large-scale, lovingly portrayed massacre of women and children by Hurons (and yet, how long the scene, how potent, how relentless--see the child thrown up in the air by a drunk Huron), if not for the plot of making Alice Magua's //rightful// prize of war ? Historical novels are often opened to that accusation; but seldom does one get to see melodrama smothering History and reducing it to incidental fictive material.\nThe film's visual strategy does not question more the most elementary of traditional shorthand to connote savage life: huge sunsets, wide skies, large vistas opening at the back of caves. Its demands are more aesthetic than geographic The whole staging makes little use of the natural situation, as for instance in the Huron attack on the secret cave: as opposed to the book, there is indeed this time only //one// entrance, and no sense of a waterfall nearby, and much less of the cave being an island in the middle of the river. Indeed, it is very unclear what strategic advantage the cave has, and the whole line of defense, by basically leaving the women to themselves, proves the awkwardness of the staging. What matters in this cave is not its geography, but its symbolic connotations, as emphasized in the shot of Uncas, backlit, against a huge panorama -- a shot so pregnant with visual artistry that it simply must have some antecedent somewhere (and "I aim to find out"! Show me [[backlit Indians]]...). Again, it's a shot steeped in myth, not in reality. The same is true of the forest (even though Clarence Brown was [[proud of his atmospheric tricks]]) which remains the same kind of forest throughout, of the placing of the Delaware camp (by the side of a river, but how close or far from camp?), of the spatial relationship between the first attack by Magua and Munro's camp, etc.\nAnd yet, as Barthélémy Amengual had noted in 1989:\n<<<\n" Sens très personnel de la nature, de l'espace ouvert dont il respecte les beautés tout en les exaltant. le paysage, immense, est souverain. La composition des plans - cadre et lumière, contre-jour, soleil et ombre - picturalise le réel qui reste le réel. Tourneur veut qu'on le voit d'où il est le plus émouvant ; de là ces " points de vue " à partir desquels, comme du sein d'une chambre noire, le regard saisit l'extérieur - clarté, brume, vapeur - au travers d'une ouverture : barrière de rochers, fenêtre, entrée de grotte. Les grottes ont été construites en studio mais il faut le savoir. Impliqué, intégré dans l'aventure par la mise en scène, le spectateur, à la fois dehors et dedans, tantôt près, tantôt terriblement loin, n'échappe pas à l'identification. " \n"Maurice Tourneur l'américain." //Positif// n. 344 dossier " Cinéma muet", oct. 1989: p. 45)\n<<<\nThough [[the visual aestheticism is obvious (and gorgeous)]], the staging manages to capture some sense of the brutality of nature by remaining uncompromising on its choices of sceneries and locations. Tableaux (Montcalm's army crossing the lake) alternate with deep forest (that water from the fire engine certainly works the trick) or with the last, ~Anthony-Mannesque rocks and winding river. Of course that last location is inspired from the //Birth of a Nation// (1915) dénouement (when the mulatto chased the girl off a cliff - she too was fighting to save her racial purity), with a Stroheimesque twist (in its cruelty) that she falls //really by accident// (this last inspired from the demise of libido-driven Austrian officer in //Blind Husbands// (1919)).\nAll in all, it really is an odd film. It seems to be an epic trying to break out of a melodrama. Visually, it tries to both evoke the nostalgic sense of the Savage's nobility -- and to make sense of the gigantic, titanic forces that have shaped the land. It doesn't really succeed, I think, and it certainly gets no help from a scenario that is still, in its lack of maturity, ages behind this visual ambiguity. The scenario still thinks in terms of tableaux (they advance the plot more than images do: check for instance [[the very strange staging of Munro sending Magua to deliver a message to the next fort]]), and the images at times reflect this. But at other times they exhibit a capacity to carry some hidden force, [[the brute idea of natural reality]] -- and that's probably where this film [[impressed audiences back then]].

By Victor Appleton\nBlake and Joe are off to the jungle (to find Joe's sister). The subtitle //Stirring times among the wild animals// says it all. The focus of the filming chums Blake and Joe do in the African jungle is animals and an extended safari (with a human, melodramatic angle of rescuing white folks from so-called dangerous savages). Rhinos, giraffes, baboons, hippos and, in the end, lions (with notable absence of jaguars and tigers, and what, no crocodiles??), with a preference for rhinos (blind but dangerous) and hippos (their mouth). \nMost troubling, as could be expected, is the "relationship" with natives. Porters, but beyond that, it really is not clear if they're humans or not, or what. Africa is mostly for encountering animals, not other forms of human culture. But race (with the dreaded couple civilized/uncivilized) is the dominant paradigm and only whites are worth saving for whites -- as if whites should take care of whites, blacks of blacks (the lion hunt where natives refuse the help of white guns). Blake and Joe, therefore, could not care less about the many details of native life (which they don't film, even when there's nothing else to film), and Appleton himself could not care less. While we have many scenes of hunting and animal wildlife, we have no description of Masai (or any other tribe) life (by the way, [[why Masai ?]]) except as it relates to hunting. Why this complete indifference to other cultures ?

1918, [[Homer Croy]], //How Motion Pictures Are Made//, and the book is now available from Google Books [[here|http://books.google.com/books?vid=OCLC01885138]] (or should be. This still new service from Google appears to be a bit buggy. Sometimes you get to download the book--and sometimes you don't! Depending on where you connect from).\nThe first chapters tell the story of motion pictures. There are two broad figures of paternity that emerge from tskhdcn,c,gc.bnnbkn;km'/////////\n*toys: the //need// for moving images appeared one rainy day, when parents had to find something to amuse their children. From a toy for children it evolved quite easily into a toy for grown-ups--see the [[Story of origins]] of the Jenkins show in Richmond, Indiana, on June 6, 1894.\n**linked to the toy figure, the desire for what we know as home video: recording children at play. Dr. Sellers of Philadelpia perfects the Kinetoscope just for that, and his first film made from photographs ("real" images as opposed to drawings, shown in a machine according to the principle of visual persistence) shows his two children, one at play building something, the other rocking nearby, watching.\n*science: Muybridge attempts to analyze movement by breaking it down into 24 units (How did he get to 24? In Croy, this seems pure chance. Was it?). But even this does not get very far as far as science is concerned. The Muybridge stories are quickly repetitive, and their scientific yield is rather limited (OK so horses when galloping at times have all 4 hooves off the ground). \n\nBut as Croy comments, by 1893 (the Chicago World's Fair) the competition between the two needs was all but over:\n<<<\nOn exhibition in Zoopraxical Hall were the pictures taken by Muybridge and imposed on glass disks, which gave the idea of motion--Zoopraxical Hall being the name muybridge gave to dignify his place of exhibition and to indicate the wonders that might be viewed behind its doors. A few buildings further down even more wonderful moving pictures might be viewed on the depositing of a nickel, but here instead of having them thrown on a wall one had to bend over and apply his eyes to a small peep-hole. [...] One had now the choice of watching on a white expanse of wall the effect of disks revolving, or of applying one's eyes to a pair of enlarging lenses and seeing a serpentine lady flit by in mystic mazes of the dance then so popular. The latter was the one that brought the crowds. With the showing of the film with its superior illusion meant the passing away of the revolving-disk machine. Its interest from then on was merely historical.\n(//How Motion Pictures Are Made//, 1918, p. 33-4)\n<<<\nYou'd have to be a pretty strickt Positivist to believe that what drew people to Edison's show was only the clarity of the display--even if Muybridge's disks showed a rather poorly defined image. It seems to me a pretty safe bet that the serpentine dance, and the promises of what lay behind those "mystic mazes", had a bigger drawing power than studies in semi-nude athletic bodies as presented over at Zoopraxical Hall.\n\nIn the end, the toy narrative is itself subsumed by the exploitation angle: "it sells, therefore it is". The drive to make money out of the new invention is so strong that Armat, co-inventor with C. Francis Jenkins of a pretty reliable projection machine, sells his invention to Edison with the explicit clause that the machine will be marketed as Edison's own.\n<<<\nIn order to secure the largest profit in the shortest time,\n<<<\nwrite the representatives of Raff & Gammon upon buying the Armat machine,\n<<<\nit is necessary that we attach Mr. Edison's name in some prominent capacity to this new machine. While Mr. Edison has no desire to pose as inventor of this machine, yet we think we can arrange with him for the use of his name and the name of his manufactory to such an extent as may be necessary to the best results. We should, of course, not misrepresent the facts to any inquirer, but we think we can use Mr. Edison's name in such a manner as to keep within the actual truth and yet get the benefit of his prestige.\n(//id.//, p. 52)\n<<<\nIn the end, indeed, there's no ethics money can't buy.

This is how [[Homer Croy]] narrates it in his //How Motion Pictures Are Made// of 1918. First, a series of tests to assess audience reaction:\n<<<\nA few timorous ventures were made that showed that audiences were as willing to witness scenes of current actualities as the interpretations of more or less satisfactory actors. (...) Out of these few venturesome scenes the present means of taking and distributing news pictures was built up.\n(p. 252)\n<<<\nKey-word here: "venture". The chronology is all wrong: news films are as old as cinema itself (the first Lumière shows were basically actualities). What moves Croy into thinking that his chronology may be right is the sense of adventure that by 1918 is linked to news film-making: from //Biograph in Battle// (Bitzer's account of how he filmed the Boar war) to [[How I Filmed the War|http://www.archive.org/details/ifilmedwar00maliuoft]] ( Geoffrey H. Mallins's account of his 1914-1918 war experience, to be published in 1920), to articles in //American Cinematographer//, news cameramen like to explain how dangerous their mission is, how they are taking chances for their audience. News filmmaking is always a "venture", and its origins should reflect this. Adventure is built into getting the news.\nNext is the question of how to make news gathering profitable, and what kind of business organisation is best suited for this. Observe this story:\n<<<\nWith the growing interest in news films, plans were matured to widen the scope of the news departments so that all the happenings depicted might not be from New York City. The extending of a news service with the expense involved in having camera men wherever news might be expected made it impossible to compete in price with thhe dramatic film until a solution was forthcoming whereby it was not necessary for a film company to have in waiting an operator at points where news might be expected to materialize.\nThe extension of the service was brought about by commissioning men with cameras to act as news agents in certain districts for the producing company. Each operator was to furnish his own camera, to expose the film at his own judgment, and to submit the negative on approval. By this method the news pictures are now gathered; by this means pictures are forthcoming not only from every city and district in the United States, but from all over the world.\n(pp. 252-53)\n<<<\nThat's right. In the pre-CNN world (or Fox Movietones), since the business model of a news producing company does not quite make sense yet, the solution is a post-CNN solution model of highly-decentralized news gathering. Basically, as Croy explains it, it is up to //local people// to decide, "at [their] own judgment" [[what is news]] and what is not. To me, this immediately calls to mind the potential unleashed by blogs (and video blogs). \n(Now there is //some// hierarchical censoring and selection of news items: the cameramen are asked to send only negatives to the distributors ("news-gathering agency"), for several reasons, including "If the scene is one of interest it is printed and put into the news release"--but at least this selection happens //after// the film has been taken)\nBefore we hang our heads low with despondency over the mess news and tv organisations have wrecked upon us in the intervening period 1920-2000, we may also wonder if this business model does not account for a good portion of the silliness of the "news" of the days: local sporting events, rarities, local freaks, the "actualities" have then very little of what we call "news" (with a big favorite being filming local people doing ridiculous things. An example of that is given in Arbuckle's 1917 comedy //A Reckless Romeo//). There may be a lesson here for wanabee news bloggers around the world today.\n\n(check also this story of [[filming a presidential inauguration, 1917]])

Buster is the whole show, the whole audience, the whole orchestra, [[male and female]], in a vaudeville act (that turns out to be a minstrel's show, thus allowing for one more decoupling of Keaton: black and white). The trick photography (remarkably well done) is not the only trick though, as the act turns out to have been a dream, the bed where Buster was sleeping turns out to have been a theater prop, and the walls of his apartment the cardboard stage set needed for another act. \nNor is Buster the only one to see, or be, double, as Virginia Fox herself becomes a twin (and how is a poor lover to do to recognize [[the one and only]] ?), and then a quartet of girls to bewitch poor Buster.\nSo now, tell me that this is not about theater fakery, about the illusion of reality, and about destroying, and drowning, our complacency as audience ! This is the moment when the stage set litteraly explodes into existence, a veritable birth of reality\n[img[tank|http://flyczba.free.fr/blogimages/playhouse1.jpg]]\nand this is the poor audience's reaction: frightened out of their wits, they rush out amid a flood of much too real water\n[img[water|http://flyczba.free.fr/blogimages/playhouse02.jpg]]\nThey'd come and paid for a show, not the real thing.

[[Production details from imdb|http://www.imdb.com/title/tt0052106/]]\nMankiewicz, adapting Graham Greene, and much to Greene's chagrin ("propaganda") transforming Greene's story.\nWhile in the book the American is really an agent for the C.I.A. working to put a puppet dictator in power in Vietnam, in the film he is just a good guy trying to help the Vietnamese, and it is the British journalist who turns out to help the Communists destroy their main rival (Third Force ~US-backed democracy).\nBehind the fairly obvious (but not necessarily true for all that) comparison with today's Middle East (that comparison, like the proverbial bad penny, turns up pretty often around the web, for instance [[here|http://andromeda.rutgers.edu/~hbf/QUIETAM.htm]]), this is not as bad a film as some (even those trying to make some money on it. W. Russo, who wrote a whole book on the shooting, still calls it "utterly disappointing") suggest. That it does prefigure America's messy involvement with Vietnam is obvious. The whole paeon to Thé and ~Third-Force Diem is unpalatable, to say the least. But the communists indeed were not any better, in the long run, and so I find the film fairly balanced in the sense that one is left with a very confused sense of engagement -- whether Vietnam should be left alone, or helped as the American would want it, or handed over to the communists. No one wins out in the film, and the British hournalist's self-loathing at the end needn't be because indeed he believes the communists are bad -- but because he was manipulated, no matter by whom. \nMaybe it was seeing it dubbed in French that was an interesting experience: the whole play on Phuong's linguistic ability is totally lost ("Tu parles de mieux en mieux l'anglais" when no one else speaks anything else but French...), and when Vito calls Fowler "un couillon" at the end....well dubbing has its subtle, and not so subtle, joys. (Those 1950 dubbing jobs were something, makes you wonder how the French could ever develop a deep love of american cinema. Ever heard Cary Grant in //North by Northwest// explain how "J'suis schlass" when he's reeling drunk? It doesn't get much goofier than that. In fact American cinema must be pretty good to survive such high-flying linguistic tomfoolery)

Owen Wister's tale of cowboy romance, a mix between western literature //à la// [[Andy Adams|http://en.wikipedia.org/wiki/Andy_adams]] and the historical romance tradition of Walter Scott and James Fenimore Cooper. Wister was another one of those [[eastern luminaries that went west]], bringing intellectual traditions and stuffy aristocratic pretensions to this [[world of Genesis]].\nThe most unbearable is the Virginian nonsense, this reconciliation between Southern gentility and Vermont snobbishness, which does not bode well for the West -- a literary convention about [[the nobility of cowboys]] which Wister seemed to take quite literally. And speak of the holiness of marriage, and the respect paid to [[the melodramatic compact]] !

[[Production details|http://www.imdb.com/title/tt0038258/combined?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9dGhlIHdvbWFuIHdobyBjYW1lIGJhY2t8ZnQ9MXxteD0yMHxsbT01MDB8Y289MXxodG1sPTF8bm09MQ__;fc=1;ft=20;fm=1]]

Some solid advice from //The Los Angeles Times//, Dec. 26, 1897\n[img[latimes|http://cinebuds.online.fr/images/kinetoscope.jpg]]

A foggy London morning. Holmes is a disgruntled, bitter man, tired of solving domestic cases without any humph to them. Enters "the case" that takes him into the British countryside, where horror lurks in the very isolation of the houses. A sad, sardonic Holmes indeed. The mansion 'the Copper Beeches' will reveal a young daughter locked up and tied to her bed, and landlords who have more than a streak of cruelty. The fat master almost loses his life at the teeth of a gigantic mastiff he keeps on the premises (an early version of the Hound of the Baskervilles?) - while the younger son is a somber child oscillating in mood between skulking and the torture of some hapless creature.

''How to light a scene when there's no light in it ?''\nFrom [[The Woman Who Came Back]].\nSurely not a very good solution:\n*She's going down the church crypt. There's no light at all, since this is well inside the church, at night, no one else is around, //and she will have to light a candle later down in the crypt//.\n*Yet we can't very well have a dark screen, can we ? She must be seen, but seen in a way that says "darkness" to the audience.\n* But I doubt that the solution is to have her radiate light light an atomic beverage (I'm thinking of course of the glass of milk in Hitchcock's //Shadow of a Doubt//). \n[[insert frame of girl walking down stairs]]\nThere's so much light in here that it makes her lighting the candle, a few steps later, an unnecessary incoherence. Worse, the light is a spot that follows her as a ballerina dancing across the stage -- and not that weird, self-generated light of Hitchcock's glass of milk that gives it its dangerous look.

Jean Hersholt as Dr. Christian (last of the series). Remember Marcus in //[[Greed|http://www.imdb.com/title/tt0015881/combined?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9Z3JlZWR8ZnQ9MXxteD0yMHxsbT01MDB8Y289MXxodG1sPTF8bm09MQ__;fc=2;ft=36;fm=1]]//? He's wised up and aged a bit, and now is the easy-going, reassuring, good doctor of small-town America. \nThe girl (Anne Bennett) sings well (my favorite is when she wins the local singing contest that sends her to the State capitol, thus allowing for the last scene where, on stage, she does her //Traviata// bit with gusto, singing partly to the Governor, partly to her father who is being released as Violetta comes back to life. The only other competitor shown is a black girl who does something jazzy; now the black girl's name is White, and I couldn't help thinking that, good god, no matter what happens, a white girl was going to win this contest), but that's not enough to rescue this one from Saturday matinee obscurity. \nA bad plot has too many loose ends: why is the father arrested ? Isn't the investigation a bit quick ? Where's the evidence (even circumstancial) ? Why does the banker's son ruin himself and probably his father too, and confess, when asked to? and so on...\nThis film also boasts one of the [[most ridiculous lines]] ever,even if the women don't strike me as particularly good even at traditional household chores (they are so clueless faced to the girl's emotions as her father is sent to jail, that it's criminal to leave her in their care). Dorothy Lovett, in particular, is so palefaced that she doesn't seem to be anything beyond a not very imaginative secretary. Hardly a romantic interest !

....................<<tag SilentFilms>>........<<tag Hollywood>>........<<tag Literature>>.....................

Cheyenne Bill, who apparently (at least according to [[his imdb filmography|http://www.imdb.com/name/nm0082270/]]) had a short-lived career between 1928 and 1930 playing in B-westerns, is a deputy trapped between bad ranchers who want to take over grazing land, and the girl (Neva Gerber) who keeps sheep.\nThe story is most pathetic, by Robert Dillon who had written [[more than just one B-Western|http://www.imdb.com/name/nm0227062/]]. Shot in the Santa Monica mountains, there is little to recommend this straight story of bad guys [[plotting endlessly]] (and what ridiculous plots ! Drive the girl to the desert, and then "it's Thompson's word against ours", though the film boasts one of the [[most ridiculous lines]] of all times). The arch of the story is straight as virtue: bad guys / plots / execution / stopped in the nick of time. It feels like a serial, and indeed, it is a serial in disguise: one B-western, with standard straightforward plot, among a long list of B-westerns, with serial star Neva Gerber that audiences, when awake, would have easily recognised.\nOne almost suspects that Neva Gerber simply was contracted to make a film, but her usual partner Ben F. Wilson being unavailable, the studio ([[Morris R. Schlank Prod.|http://www.imdb.com/company/co0127415/]]) put together this super-fast quickie. Interestingly, Gerber retired after the death of Wilson in 1930, after they had starred together in some 39 westerns and serials in the 1910s-1920s. Consider, further, that Gerber had first worked for Schlank in 1928 in [[The Old Code|http://www.imdb.com/title/tt0019230/combined]], directed by Ben F. Wilson himself. So the question is: since he's not in this film, [[where was Wilson in 1929 ?]]

Tiddly\n<<<\nFunction: adjective\nEtymology: tiddly an alcoholic drink, probably from English dialect tiddly\nchiefly British : slightly drunk\n([[The Merriam-Webster Dictionary | http://www.m-w.com]])\n<<<\n[[TiddlyWiki 2.0.2 | http://www.tiddlywiki.com]] was created by [[Jeremy Ruston | http://tiddlywiki.com/#JeremyRuston]] and is published under an [[Open Source License |http://tiddlywiki.com/#OpenSourceLicense]]

|!Date|!url|!toFilename|!backupDir|!user|!status|\n| 16/1/2006 20:9:36 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. |\n| 17/1/2006 12:52:38 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. |\n| 17/1/2006 12:53:28 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. |\n| 17/1/2006 12:55:31 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. |\n| 17/1/2006 12:57:55 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. |\n| 17/1/2006 12:59:52 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. |\n| 17/1/2006 13:1:25 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. |\n| 17/1/2006 13:7:28 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. |\n| 17/1/2006 15:17:54 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. | ok |\n| 17/1/2006 15:26:6 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. |\n| 17/1/2006 17:35:30 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. |\n| 17/1/2006 18:32:42 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. |\n| 17/1/2006 20:12:55 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. | ok |\n| 17/1/2006 20:15:2 | [[store.php|http://flyczba.free.fr/buds/store.php]] | [[index.html|http://flyczba.free.fr/buds/index.html]] | | f.l. | ok |\n| 18/1/2006 11:47:46 | [[store.php|http://flyczba.free.fr/buds-notTWdesktop/store.php]] | [[index.html|http://flyczba.free.fr/buds-notTWdesktop/index.html]] | | f.l. |\n| 18/1/2006 11:54:35 | [[store.php|http://flyczba.free.fr/buds-notTWdesktop/store.php]] | [[index.html|http://flyczba.free.fr/buds-notTWdesktop/index.html]] | | F.L. |\n| 18/1/2006 14:24:44 | [[store.php|http://flyczba.free.fr/buds-notTWdesktop/store.php]] | [[index.html|http://flyczba.free.fr/buds-notTWdesktop/index.html]] | | YourName |\n| 18/1/2006 14:41:22 | [[store.php|http://flyczba.free.fr/buds-notTWdesktop/store.php]] | [[index.html|http://flyczba.free.fr/buds-notTWdesktop/index.html]] | | YourName | ok |\n| 18/1/2006 21:20:13 | [[store.php|http://flyczba.free.fr/buds-notTWdesktop/store.php]] | [[index.html|http://flyczba.free.fr/buds-notTWdesktop/index.html]] | | f.l. |\n| 18/1/2006 22:42:12 | [[store.php|http://flyczba.free.fr/buds-notTWdesktop/store.php]] | [[index.html|http://flyczba.free.fr/buds-notTWdesktop/index.html]] | | f.l. | ok |\n| 20/1/2006 13:6:17 | [[store.php|http://flyczba.free.fr/buds-notTWdesktop/store.php]] | [[index.html|http://flyczba.free.fr/buds-notTWdesktop/index.html]] | | f.l. | ok |\n| 20/1/2006 13:6:59 | [[store.php|http://flyczba.free.fr/buds-notTWdesktop/store.php]] | [[index.html|http://flyczba.free.fr/buds-notTWdesktop/index.html]] | | f.l. |\n| 20/1/2006 19:18:20 | [[store.php|http://flyczba.free.fr/buds-notTWdesktop/store.php]] | [[index.html|http://flyczba.free.fr/buds-notTWdesktop/index.html]] | | f.l. |\n| 22/1/2006 11:53:29 | [[store.php|http://flyczba.free.fr/buds-notTWdesktop/store.php]] | [[index.html|http://flyczba.free.fr/buds-notTWdesktop/index.html]] | | f.l. |\n| 25/1/2006 13:8:2 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 25/1/2006 13:12:57 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 25/1/2006 13:15:26 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 25/1/2006 13:36:9 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 25/1/2006 13:41:25 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 25/1/2006 18:48:54 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 25/1/2006 18:54:54 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 25/1/2006 19:2:21 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 25/1/2006 19:21:13 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 26/1/2006 13:47:24 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 26/1/2006 17:40:6 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 26/1/2006 17:42:5 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 26/1/2006 18:26:47 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 26/1/2006 19:15:16 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 26/1/2006 19:54:43 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 27/1/2006 9:28:35 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 27/1/2006 9:37:46 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 27/1/2006 9:41:50 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 27/1/2006 10:5:3 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 27/1/2006 13:25:10 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 27/1/2006 16:50:2 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 27/1/2006 19:30:31 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 30/1/2006 19:12:12 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 30/1/2006 19:56:52 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 2/2/2006 18:7:10 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 2/2/2006 18:20:55 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 2/2/2006 19:50:46 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 3/2/2006 10:42:53 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 3/2/2006 10:43:16 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 3/2/2006 17:39:15 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 4/2/2006 12:10:51 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 4/2/2006 12:14:25 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 8/2/2006 18:59:13 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 8/2/2006 19:13:42 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 9/2/2006 11:22:27 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 10/2/2006 11:42:5 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 10/2/2006 19:15:51 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 10/2/2006 19:17:5 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 11/2/2006 9:4:37 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 11/2/2006 9:45:37 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 21/2/2006 14:53:10 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 21/2/2006 15:25:52 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 22/2/2006 16:34:33 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 22/2/2006 16:59:5 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 22/2/2006 17:10:46 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 22/2/2006 17:16:20 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 3/3/2006 12:9:44 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 3/3/2006 12:14:47 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 3/3/2006 12:28:20 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 1/5/2006 14:28:26 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 30/5/2006 19:40:32 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 30/5/2006 19:51:29 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 30/5/2006 20:4:36 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 9/6/2006 22:55:19 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 22/6/2006 15:57:56 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 6/9/2006 16:40:57 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 6/9/2006 18:9:16 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 6/9/2006 18:59:27 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 6/9/2006 19:2:6 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 6/9/2006 19:13:37 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 6/9/2006 19:17:53 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 7/9/2006 10:56:7 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 8/9/2006 14:34:22 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 8/9/2006 15:16:43 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 8/9/2006 18:0:5 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 8/9/2006 20:38:10 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 10/9/2006 18:23:56 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 12/9/2006 22:32:9 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 14/9/2006 10:14:21 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 19/10/2006 9:24:21 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 19/10/2006 9:27:51 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 21/10/2006 11:42:29 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 2/11/2006 14:42:0 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 2/11/2006 15:57:11 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 10/11/2006 12:53:48 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 14/11/2006 13:46:5 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 16/11/2006 9:7:9 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |\n| 16/11/2006 15:40:40 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 14/12/2006 15:55:32 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. |\n| 11/1/2007 13:47:46 | [[store.php|http://cinebuds.online.fr/store.php]] | [[index.html|http://cinebuds.online.fr/index.html]] | | f.l. | ok |

version.extensions.UploadPlugin = {major: 3, minor: 0, revision: 3, date: new Date(2006,2,3)};\n\n//\n// Upload Macro\n//\n\nconfig.macros.upload = {\n label: "upload", \n saveLabel: "save to web", \n prompt: "Save and Upload this TiddlyWiki in ", \n accessKey: "U",\n formName: "UploadPlugin",\n contentType: "text/html;charset=UTF-8",\n defaultStoreScript: "store.php"\n};\n\n// only this config need to be translated\nconfig.macros.upload.messages = {\n aboutToUpload: "About to upload TiddlyWiki to %0",\n errorDownloading: "Error downloading",\n errorUploadingContent: "Error uploading content",\n fileNotFound: "file to upload not found",\n fileNotUploaded: "File %0 NOT uploaded",\n label: "upload", \n mainFileUploaded: "Main TiddlyWiki file uploaded to %0",\n prompt: "Save and Upload this TiddlyWiki in ", \n urlParamMissing: "url param missing",\n rssFileNotUploaded: "RssFile %0 NOT uploaded",\n rssFileUploaded: "Rss File uploaded to %0",\n saveLabel: "save to web", \n saveToDisk: "save to disk"\n};\n\nconfig.macros.upload.label = config.macros.upload.messages.label; \nconfig.macros.upload.saveLabel = config.macros.upload.messages.saveLabel; \nconfig.macros.upload.prompt = config.macros.upload.messages.prompt;\n\n\nconfig.macros.upload.handler = function(place,macroName,params){\n var url;\n if (params[0]) {\n url = params[0];\n this.defaultStoreScript = basename(url);\n }\n else\n url = dirname(document.location.toString())+"/"+ this.defaultStoreScript;\n var toFilename=params[1];\n var backupDir=params[2];\n var label;\n if (document.location.toString().substr(0,4) == "http")\n label = this.saveLabel;\n else\n label = this.label;\n createTiddlyButton(place, label, this.prompt+dirname(url), \n function () {upload(url, toFilename, backupDir, true); return false;}, \n null, null, this.accessKey);\n};\n\n//\n// TiddlyWiki Core patches\n//\n\n// overwrite the saveChanges handler \n// configure no Macro instead of saveChanges Macro in case of http: access\nconfig.macros.saveChanges.label = config.macros.upload.messages.saveToDisk;\nconfig.macros.saveChanges.handler = function(place,macroName,params)\n{\n if(!readOnly) {\n if (document.location.toString().substr(0,4) != "http") \n createTiddlyButton(place,this.label,this.prompt,function () {saveChanges(); return false;},null,null,this.accessKey);\n // else no TiddlyButton\n }\n}\n\n// Check if there is any unsaved changes before exiting\n// if unsaved changes : saveOrUpload\n//function checkUnsavedChanges()\ncheckUnsavedChanges = function ()\n{\n if(store && store.dirty) {\n if(confirm(config.messages.unsavedChangesWarning))\n saveOrUpload(false); // Because called by <body onunload=... Upload must be synchronous\n }\n}\n\n//\n// Utility functions \n//\n\nfunction dirname(filePath)\n{\n if ((lastpos = filePath.lastIndexOf("/")) != -1)\n return filePath.substring(0, lastpos);\n else\n return filePath.substring(0, filePath.lastIndexOf("\s\s"));\n}\n\nfunction basename(filePath)\n{\n if ((lastpos = filePath.lastIndexOf("#")) != -1) \n filePath = filePath.substring(0, lastpos);\n if ((lastpos = filePath.lastIndexOf("/")) != -1)\n return filePath.substring(lastpos + 1);\n else\n return filePath.substring(filePath.lastIndexOf("\s\s")+1);\n}\n\n// TiddlyWiki utilities\n\nfunction getLocalPath() {\n //extract from the Jeremy's SaveFile \n var originalPath = document.location.toString();\n // Check we were loaded from a file URL\n if(originalPath.substr(0,5) != "file:")\n {\n alert(config.messages.notFileUrlError);\n displayTiddler(null,"SaveChanges",0,null,null,false,false);\n return;\n }\n // Remove any location part of the URL\n var hashPos = originalPath.indexOf("#");\n if(hashPos != -1)\n originalPath = originalPath.substr(0,hashPos);\n // Convert to a native file format assuming\n // "file:///x:/path/path/path..." - pc local file --> "x:\spath\spath\spath..."\n // "file://///server/share/path/path/path..." - FireFox pc network file --> "\s\sserver\sshare\spath\spath\spath..."\n // "file:///path/path/path..." - mac/unix local file --> "/path/path/path..."\n // "file://server/share/path/path/path..." - pc network file --> "\s\sserver\sshare\spath\spath\spath..."\n var localPath;\n if(originalPath.charAt(9) == ":") // pc local file\n localPath = unescape(originalPath.substr(8)).replace(new RegExp("/","g"),"\s\s");\n else if(originalPath.indexOf("file://///") == 0) // FireFox pc network file\n localPath = "\s\s\s\s" + unescape(originalPath.substr(10)).replace(new RegExp("/","g"),"\s\s");\n else if(originalPath.indexOf("file:///") == 0) // mac/unix local file\n localPath = unescape(originalPath.substr(7));\n else if(originalPath.indexOf("file:/") == 0) // mac/unix local file\n localPath = unescape(originalPath.substr(5));\n else // pc network file\n localPath = "\s\s\s\s" + unescape(originalPath.substr(7)).replace(new RegExp("/","g"),"\s\s");\n return localPath;\n}\n\n//\n// LogUpload\n//\n\nfunction getLogUploadTiddler() {\n var tiddler;\n if (version.major < 2)\n tiddler = store.tiddlers['UploadLog'];\n else\n tiddler = store.getTiddler("UploadLog");\n if (!tiddler) \n {\n tiddler = new Tiddler();\n tiddler.title = 'UploadLog';\n tiddler.text = "|!Date|!url|!toFilename|!backupDir|!user|!status|";\n if (version.major < 2)\n store.tiddlers['UploadLog'] = tiddler;\n else\n store.addTiddler(tiddler);\n }\n return tiddler;\n}\n\nfunction logUpload(url, toFilename, backupDir) \n{\n var tiddler = getLogUploadTiddler();\n var now = new Date();\n var newText = "| ";\n //newText += now.toLocaleString() + " | ";\n \n newText += now.getDate()+"/"+(now.getMonth()+1)+"/"+now.getFullYear() + " ";\n newText += now.getHours()+":"+now.getMinutes()+":"+now.getSeconds()+" | ";\n newText += "[["+basename(url)+"|"+url + "]] | ";\n newText += "[["+basename(toFilename) + "|" + dirname(url)+"/"+basename(toFilename) + "]] | ";\n newText += backupDir + " | ";\n newText += config.options.txtUserName + " |";\n\n tiddler.text = tiddler.text + "\sn" + newText;\n tiddler.modifier = config.options.txtUserName;\n tiddler.modified = new Date();\n if (version.major < 2)\n store.tiddlers['UploadLog'] = tiddler;\n else\n store.addTiddler(tiddler);\n //displayTiddler(document.getElementById('sidebar'),"UploadLog",1,null,null,false);\n if (version.major < 2)\n store.notifyAll();\n}\n\nfunction logUploadStatusOk() \n{\n var tiddler = getLogUploadTiddler();\n var newText = " ok |";\n tiddler.text = tiddler.text + newText;\n tiddler.modifier = config.options.txtUserName;\n tiddler.modified = new Date();\n if (version.major < 2)\n store.tiddlers['UploadLog'] = tiddler;\n else\n store.addTiddler(tiddler);\n //displayTiddler(document.getElementById('sidebar'),"UploadLog",1,null,null,false);\n if (version.major < 2)\n store.notifyAll();\n store.notify('UploadLog',true);\n}\n\n//\n// download file before save it\n// \n\nfunction download(uploadUrl, uploadToFilename, uploadBackupDir, asynchronous) {\n var request;\n try {\n request = new XMLHttpRequest();\n } \n catch (e) { \n request = new ActiveXObject("Msxml2.XMLHTTP"); \n }\n try {\n if (uploadUrl.substr(0,4) == "http") {\n netscape.security.PrivilegeManager.enablePrivilege("UniversalBrowserRead");\n }\n else {\n netscape.security.PrivilegeManager.enablePrivilege("UniversalXPConnect");\n }\n } catch (e) { }\n\n request.open("GET",document.location.toString(), asynchronous);\n if (asynchronous) {\n request.onreadystatechange = function () {\n if (request.readyState == 4) {\n if(request.status == 200) {\n uploadChangesFrom(uploadUrl, uploadToFilename, uploadBackupDir, request.responseText, asynchronous);\n }\n else\n alert(config.macros.upload.messages.errorDownloading.format([document.location.toString()]));\n }\n }\n }\n request.send(null);\n if (! asynchronous) {\n if(request.status == 200) {\n uploadChangesFrom(uploadUrl, uploadToFilename, uploadBackupDir, request.responseText, asynchronous);\n }\n else\n alert(config.macros.upload.messages.errorDownloading.format([document.location.toString()]));\n }\n\n}\n\n// saveOrUpload\n\nfunction saveOrUpload(asynchronous) {\n if (document.location.toString().substr(0,4) == "http") {\n // try a default synchronous upload\n var url = dirname(document.location.toString())+"/"+ config.macros.upload.defaultStoreScript;\n upload(url, null, null, asynchronous);\n }\n else \n saveChanges();\n}\n\n//\n//Upload\n//\n\nfunction upload(url, toFilename, backupDir, asynchronous)\n{\n clearMessage();\n // only for forcing the message to display\n if (version.major < 2)\n store.notifyAll();\n if (url == null) {\n alert(config.macros.upload.messages.urlParamMissing);\n return;\n }\n if (backupDir == null)\n backupDir = '';\n var toPath;\n if (toFilename)\n toPath = toFilename;\n else {\n toPath = basename(document.location.toString());\n }\n logUpload(url, toPath, backupDir);\n if (document.location.toString().substr(0,5) == "file:") {\n saveChanges();\n }\n displayMessage(config.macros.upload.messages.aboutToUpload.format([dirname(url)]), dirname(url));\n uploadChanges(url, toPath, backupDir, asynchronous);\n if(config.options.chkGenerateAnRssFeed) {\n //var rssContent = convertUnicodeToUTF8(generateRss());\n var rssContent = generateRss();\n var rssPath = toPath.substr(0,toPath.lastIndexOf(".")) + ".xml";\n uploadContent(url, rssContent, rssPath, '', asynchronous, function (responseText) {\n if (responseText.substring(0,1) != 0) {\n alert(responseText);\n displayMessage(config.macros.upload.messages.rssFileNotUploaded.format([rssPath]));\n }\n else {\n displayMessage(config.macros.upload.messages.rssFileUploaded.format([dirname(url)+"/"+basename(rssPath)]), dirname(url)+"/"+basename(rssPath));\n }\n // for debugging store.php uncomment last line\n //DEBUG alert(responseText);\n }\n );\n }\n return;\n}\n\nfunction uploadChanges(url, toFilename, backupDir, asynchronous)\n{\n var original;\n if (document.location.toString().substr(0,4) == "http") {\n original = download(url, toFilename, backupDir, asynchronous);\n return;\n }\n else {\n // standard way : Local file\n original = loadFile(getLocalPath());\n if(window.Components)\n // it's a mozilla browser\n try {\n netscape.security.PrivilegeManager.enablePrivilege("UniversalXPConnect");\n var converter = Components.classes["@mozilla.org/intl/scriptableunicodeconverter"]\n .createInstance(Components.interfaces.nsIScriptableUnicodeConverter);\n converter.charset = /* The character encoding you want, using UTF-8 here */ "UTF-8";\n original = converter.ConvertToUnicode(original);\n }\n catch(e) {\n }\n }\n //DEBUG alert(original);\n uploadChangesFrom(url, toFilename, backupDir, original, asynchronous);\n}\n\nfunction uploadChangesFrom(url, toFilename, backupDir, original, asynchronous)\n{\n\n var startSaveArea = '<div id="' + 'storeArea">'; // Split up into two so that indexOf() of this source doesn't find it\n var endSaveArea = '</d' + 'iv>';\n // Locate the storeArea div's\n var posOpeningDiv = original.indexOf(startSaveArea);\n var posClosingDiv = original.lastIndexOf(endSaveArea);\n if((posOpeningDiv == -1) || (posClosingDiv == -1))\n {\n alert(config.messages.invalidFileError.format([document.location.toString()]));\n return;\n }\n // I think conversion is automatically done\n //var revised = original.substr(0,posOpeningDiv + startSaveArea.length) + \n // convertUnicodeToUTF8(allTiddlersAsHtml()) + "\sn\st\st" +\n // original.substr(posClosingDiv);\n \n var revised = original.substr(0,posOpeningDiv + startSaveArea.length) + \n allTiddlersAsHtml() + "\sn\st\st" +\n original.substr(posClosingDiv);\n\n // I think conversion is automatically done\n // var newSiteTitle = convertUnicodeToUTF8((getElementText("siteTitle") + " - " + getElementText("siteSubtitle")).htmlEncode());\n var newSiteTitle;\n if(version.major < 2){ //version is set in core TW code\n newSiteTitle = (getElementText("siteTitle") + " - " + getElementText("siteSubtitle")).htmlEncode();\n } else {\n newSiteTitle = (wikifyPlain ("SiteTitle") + " - " + wikifyPlain ("SiteSubtitle")).htmlEncode();\n }\n revised = revised.replace(new RegExp("<title>[^<]*</title>", "im"),"<title>"+ newSiteTitle +"</title>");\n var response = uploadContent(url, revised, toFilename, backupDir, asynchronous, function (responseText) {\n if (responseText.substring(0,1) != 0) {\n alert(responseText);\n displayMessage(config.macros.upload.messages.fileNotUploaded.format([getLocalPath()]));\n }\n else {\n displayMessage(config.macros.upload.messages.mainFileUploaded.format([dirname(url)+"/"+basename(toFilename)]), dirname(url)+"/"+basename(toFilename));\n logUploadStatusOk();\n store.setDirty(false);\n }\n // for debugging store.php uncomment last line\n //DEBUG alert(responseText);\n }\n );\n}\n\nfunction uploadContent(url, content, toPath, backupDir, asynchronous, callbackFn) {\n var boundary = "---------------------------"+"AaB03x";\n //Create XMLHttpRequest Object\n var request;\n try {\n request = new XMLHttpRequest();\n } \n catch (e) { \n request = new ActiveXObject("Msxml2.XMLHTTP"); \n }\n try {\n // Needed for Mozilla if local file tries to access an http URL\n if (document.location.toString().substr(0,4) == "http") {\n netscape.security.PrivilegeManager.enablePrivilege("UniversalBrowserRead");\n }\n else {\n netscape.security.PrivilegeManager.enablePrivilege("UniversalXPConnect");\n }\n } catch (e) { }\n // compose headers data\n var sheader = "\sr\sn";\n sheader += "--" + boundary + "\sr\snContent-disposition: form-data;name=\s"" + config.macros.upload.formName +"\s"\sr\sn\sr\sn";\n sheader += "backupDir="+backupDir+";user=" + config.options.txtUserName + "\sr\sn"; \n sheader += "\sr\sn" + "--" + boundary + "\sr\sn";\n sheader += "Content-disposition: form-data;name=\s"userfile\s";filename=\s""+toPath+"\s"\sr\sn";\n sheader += "Content-Type: " + config.macros.upload.contentType + "\sr\sn";\n sheader += "Content-Length: " + content.length + "\sr\sn\sr\sn";\n // compose trailer data\n var strailer = new String();\n strailer = "\sr\sn--" + boundary + "--\sr\sn";\n var data;\n data = sheader + content + strailer;\n request.open("POST",url,asynchronous);\n if (asynchronous) {\n request.onreadystatechange = function () {\n if (request.readyState == 4) {\n if(request.status == 200)\n callbackFn(request.responseText);\n else\n alert(config.macros.upload.messages.errorUploadingContent);\n }\n };\n }\n request.setRequestHeader("Content-Length",data.length);\n request.setRequestHeader("Content-Type","multipart/form-data; boundary="+boundary);\n request.send(data); \n if (! asynchronous) {\n if(request.status == 200)\n callbackFn(request.responseText);\n else\n alert(config.macros.upload.messages.errorUploadingContent);\n }\n\n}

[[Birth of a Nation (1915)|http://www.variety.com/index.asp?layout=variety100&content=jump&jump=review&reviewID=VE1117789286&category=1935]]\n[[Mickey (1918)|http://www.variety.com/review/VE1117793099?categoryid=31&cs=1&query=mabel+and+normand&display=mabel+normand]]\n[[Scaramouche (1923)|http://www.variety.com/review/VE1117794659?categoryid=31&cs=1&query=scaramouche&display=scaramouche]]\n[[Manhandled (1924)|http://www.variety.com/review/VE1117792915?categoryid=31]]\n[[The Gold Rush (1925)| ]]\n[[The Gold Rush (1925)| ]], follow-up review\n[[Kiss Me Again (1926)|http://www.variety.com/review/VE1117792353?categoryid=31&cs=1&query=monte+and+blue&display=monte+blue]]\n[[The Jazz Singer (1927)|http://www.variety.com/index.asp?layout=Variety100&reviewid=VE1117927053&content=jump&jump=review&category=1935&cs=1]]\n[[Wings (1927)|http://www.variety.com/index.asp?layout=Variety100&reviewid=VE1117487960&content=jump&jump=review&category=1935&cs=1]]\n[[Tarzan of the Apes (1933)|http://www.variety.com/review/VE1117795487?categoryid=31&cs=1&query=van+and+dyke&display=van+dyke]]\n\n

/***\n"Name:" Weblog\n"Version:" 1.2.0\n"Location:" http://checkettsweb.com/styles/themes.htm#WeblogPlugin\n"Author:" Clint Checketts\n\n"Description:" Posts the most recently edited tiddlers when the TiddlyWiki is opened, similar to a blog.\n\n"Syntax:" Change the daysOrPosts and numOfDaysOrPosts variables in the code section.\nExamples:\n{{{\n var daysOrPosts = "days";\n var numOfDaysOrPosts = "2";\n}}}\nwill display the defaultTiddlers then all the tiddlers from the 2 most recent days, except those tagged as SystemTiddlers.\n{{{\n var daysOrPosts = "posts";\n var numOfDaysOrPosts = "15";\n}}}\nwill display the defaultTiddlers then the 15 most recent posts, except those tagged as SystemTiddlers.\n\n"Directions:" Copy this tiddler and tag it as systemConfig. Next, change the daysOrPosts and numOfDaysOrPosts variable to your liking in the 'Settings section'\n\n"Know Issues:" If a defaultTiddlers references a tiddler that has recently been referenced it will appear in the chronological order rather than at the top of the page. Also, if you are inserting the 15 most recent posts and default tiddlers new enough they too will be part of that count. If there is not text in the default tiddler, the weblog plugin isn't run.\n\n"Revision History:"\nv0.1.0 (03 Aug 2005): initial release\nv0.1.2 (03 Aug 2005): fixed 'day' sorting order and permalink breakage\nv0.1.3 (10 Aug 2005): fixed error for when the numOfDaysOrPosts is greater than number of tiddlers.\nv1.1.0 (25 Jan 2005): updated to be compatible with TiddlyWiki 2.0\nv1.2.0 (26 Jan 2005): enabled displaying of tiddlers by date created in addition to date modified\n\n!Settings section: \n***/\n//{{{\nvar daysOrPosts = "posts";\nvar numOfDaysOrPosts = "10";\nvar modifiedOrCreate = "modified";\n\n\n//modified is the other option\n// // We don't want to show tiddlers tagged as systemTiddlers etc. (this doesn't work yet...)\nvar ignoreTags = ("systemTiddlers","systemConfig","weblogIgnore");\n\nStory.prototype.displayTiddlers_original_TiddlyBlog = Story.prototype.displayTiddlers;\nStory.prototype.displayTiddlers = function(src,titles,state,highlightText,highlightCaseSensitive,animate,slowly) {\n // if using the addressbar to select tiddlers return\n if(window.location.hash) daysOrPosts = "";\n if(daysOrPosts == "posts"){\n //lookup the last few posts\n var tiddlerNames = store.reverseLookup("tags","systemTiddlers",false,modifiedOrCreate);\n //Just display all tiddlers if there aren't enough\n if(tiddlerNames.length-numOfDaysOrPosts<0) numOfDaysOrPosts = tiddlerNames.length; \n for(var t = tiddlerNames.length-numOfDaysOrPosts;t<=tiddlerNames.length-1;t++)\n displayTiddler(src,tiddlerNames[t].title,state,highlightText,highlightCaseSensitive,animate,slowly);\n }\n if (daysOrPosts == "days"){\n var lastDay = "";\n var tiddlerNames = store.reverseLookup("tags","systemTiddlers",false,modifiedOrCreate);\n var t = tiddlerNames.length -1;\n var tFollower = 0;\n for(t;t>=0;t--) if(numOfDaysOrPosts >= 0){\n var theDay = tiddlerNames[t].modified.convertToYYYYMMDDHHMM().substr(0,8);\n if(theDay != lastDay){\n numOfDaysOrPosts = numOfDaysOrPosts -1;\n lastDay = theDay;\n tFollower = t;\n }\n }\n\n for(tFollower = tFollower+1; tFollower < tiddlerNames.length;tFollower++){\n displayTiddler(src,tiddlerNames[tFollower].title,state,highlightText,highlightCaseSensitive,animate,slowly);\n }\n\n }\n\n // call the original displayTiddlers function\n this.displayTiddlers_original_TiddlyBlog(src,titles,state,highlightText,highlightCaseSensitive,animate,slowly);\n\n}\n//}}}\n

I remember the night Michael Jordan put up a 40+ point performance with the Washington Wizards, and he said something like: @@color(#ff0000):"I can still score the basket."@@\n\nWell, Longfellow's way of saying: "Hey, I can still write poetry", is:\n<<<\nTill the sky was red with sunrise\n<<<\n(from [[Longfellow's Hiawatha (1855)]], end of chapter VIII)\n

<<timeline>>

* making films in Singapore in 1914\n<<<\nThe present writer was in Singapore at the outbreak of the conflict taking motion pictures.\n(//How Motion Pictures Are Made//, 1918, p. 258)\n<<<\n

/***\n|''Name:''|WikiBar|\n|''Version:''|2.0.0 beta3|\n|''Source:''|[[AiddlyWiki|http://aiddlywiki.sourceforge.net]]|\n|''Author:''|[[Arphen Lin|mailto:arphenlin@gmail.com]]|\n|''Type:''|toolbar macro command extension|\n|''Required:''|TiddlyWiki 2.0.0 beta6|\n!Description\nWikiBar is a toolbar that gives access to most of TiddlyWiki's formatting features with a few clicks. It's a handy tool for people who are not familiar with TiddlyWiki syntax.\nBesides, with WikiBar-addons, users can extend the power of WikiBar.\n!Support browser\n*Firefox 1.5\n!Revision history\n*v2.0.0 beta3 (2005/12/30)\n** remove macros (replaced by TWMacro addon)\n** add wikibar command in toolbar automatically\n** rename DOIT to HANDLER\n** rename TIP to TOOLTIP\n*v2.0.0 beta2 (2005/12/21)\n** re-design Wikibar addon framework\n*v2.0.0 beta1 (2005/12/14)\n** Note:\n*** WikiBarPlugin is renamed to WikiBar\n** New Features:\n*** support TiddlyWiki 2.0.0 template mechanism\n*** new wikibar data structure\n*** new wikibar-addon framework for developers\n**** support dynamic popup menu generator\n*** support most new macros added in TiddlyWiki 2.0.0\n*** multi-level popup menu\n*** fix wikibar tab stop\n*** remove paletteSelector\n** Known Bugs:\n*** popup-menu and color-picker can't be closed correctly\n*** some macros can't be displayed correctly in previewer\n*** text in previewer will be displayed italic\n*v1.2.0 (2005/11/21)\n**New Features:\n***User defined color palettes supported\n####Get color palettes from [[ColorZilla Palettes|http://www.iosart.com/firefox/colorzilla/palettes.html]].\n####Save the palette file(*.gpl) as a new tiddler and tag it with 'ColorPalettes', then you can use it in WikiBar.\n***WikiBar style sheet supported\n***Click on document to close current colorPicker, paletteSelector or aboutWikibar\n*v1.1.1 (2005/11/03)\n**Bugs fixed:\n***'Not enough parameters!' message is displayed when the parameter includes '%+number', ex: 'hello%20world!'\n*v1.1.0 (2005/11/01)\n**Bugs fixed:\n***WikiBar overruns (reported by by GeoffS <gslocock@yahoo.co.uk>)\n**New features:\n***Insert a color code at the cursor. (Thanks to RunningUtes <RunningUtes@gmail.com>)\n***Enable gradient macro. (Thanks to RunningUtes <RunningUtes@gmail.com>)\n***Insert tiddler comment tags {{{/% ... %/}}}. (new feature supported by TiddlyWiki 1.2.37)\n***Insert DateFormatString for {{{<<today>>}}} macro. (new feature supported by TiddlyWiki 1.2.37)\n**Enhanced:\n***Allow optional parameters in syntax.\n**Bugs:\n***'Not enough parameters!' message is displayed when the parameter includes '%+number', ex: 'hello%20world!'\n*v1.0.0 (2005/10/30)\n**Initial release\n!Code\n***/\n//{{{\nconfig.macros.wikibar = {major: 2, minor: 0, revision: 0, beta: 3, date: new Date(2005,12,30)};\nconfig.macros.wikibar.handler = function(place,macroName,params,wikifier,paramString,tiddler){\n if(!(tiddler instanceof Tiddler)) {return;}\n story.setDirty(tiddler.title,true);\n place.id = 'wikibar'+tiddler.title;\n place.className = 'toolbar wikibar';\n};\nfunction wikibar_install(){\n config.commands.wikibar = {\n text: 'wikibar',\n tooltip: 'wikibar on/off',\n handler: function(e,src,title) {\n if(!e){ e = window.event; }\n var theButton = resolveTarget(e);\n theButton.id = 'wikibarButton'+title;\n wikibarPopup.remove();\n wikibar_installAddons(theButton, title);\n wikibar_createWikibar(title);\n return(false);\n }\n };\n config.shadowTiddlers['EditTemplate'] = wikibar_addWikibarCommand(config.shadowTiddlers['EditTemplate']);\n var tiddler = store.getTiddler('EditTemplate');\n if(tiddler){\n tiddler.text = wikibar_addWikibarCommand(tiddler.text);\n }\n}\nfunction wikibar_installAddons(theButton, title){\n var tiddlers = store.getTaggedTiddlers('wikibarAddons');\n if(!tiddlers) { return; }\n theButton.addons=[];\n for(var i=0; i<tiddlers.length; i++){\n try{\n eval(tiddlers[i].text);\n try{\n wikibar_addonInstall(title);\n wikibar_addonInstall = null;\n theButton.addons.push({ok:true, name:tiddlers[i].title});\n }catch(ex){\n theButton.addons.push({ok:false, name:tiddlers[i].title, error:ex});\n }\n }catch(ex){\n theButton.addons.push({ok:false, name:tiddlers[i].title, error:ex});\n }\n }\n}\nfunction wikibar_addWikibarCommand(tiddlerText){\n var div = document.createElement('div');\n div.style.display = 'none';\n div.innerHTML = tiddlerText;\n for(var i=0; i<div.childNodes.length; i++){\n var o=div.childNodes[i];\n if(o.tagName==='DIV'){\n if(o.className=='toolbar'){\n var macroText = o.getAttribute('macro').trim();\n if(macroText.search('wikibar')<=0){\n macroText += ' wikibar';\n o.setAttribute('macro', macroText);\n }\n break;\n }\n }\n }\n return div.innerHTML.replace(/\s"/g, "\s'");\n}\nfunction wikibar_processSyntaxParams(theSyntax, params){\n try{\n var pcr = 'AplWikibarPcr';\n var rx=null;\n var allParams=null;\n if(params){\n if(typeof(params)=='object'){\n for(var i=0; i<params.length; i++){\n if(params[i]){\n params[i] = params[i].replace(new RegExp('%','g'), pcr).trim();\n rx = '(\s\s[%'+(i+1)+'\s\s])' + '|' + '(%'+(i+1)+')';\n theSyntax = theSyntax.replace(new RegExp(rx,'g'), params[i] );\n }\n }\n allParams = params.join(' ').trim();\n }else{\n allParams = params.replace(new RegExp('%','g'), pcr).trim();\n rx = /(\s[%1{1}\s])|(%1{1})/g;\n theSyntax = theSyntax.replace(rx, allParams);\n }\n }\n if(allParams){\n theSyntax = theSyntax.replace(new RegExp('%N{1}','g'), allParams);\n }\n rx=/\s[%(([1-9]{1,}[0-9]{0,})|(N{1}))\s]/g;\n theSyntax = theSyntax.replace(rx, '');\n rx=/%(([1-9]{1,}[0-9]{0,})|(N{1}))/g;\n if( theSyntax.match(rx) ){\n throw 'Not enough parameters! ' + theSyntax;\n }\n theSyntax=theSyntax.replace(new RegExp(pcr,'g'), '%');\n return theSyntax;\n } catch(ex){\n return null;\n }\n}\nfunction wikibar_resolveEditItem(tiddlerWrapper, itemName){\n if(tiddlerWrapper.hasChildNodes()){\n var c=tiddlerWrapper.childNodes;\n for(var i=0; i<c.length; i++){\n var txt=wikibar_resolveEditItem(c[i], itemName);\n if(!txt){\n continue;\n }else{\n return txt;\n }\n }\n }\n return ((tiddlerWrapper.getAttribute && tiddlerWrapper.getAttribute('edit')==itemName)? tiddlerWrapper : null);\n}\nfunction wikibar_resolveEditItemValue(tiddlerWrapper, itemName){\n var o = wikibar_resolveEditItem(tiddlerWrapper, itemName);\n return (o? o.value.replace(/\sr/mg,'') : null);\n}\nfunction wikibar_resolveTiddlerEditorWrapper(obj){\n if(obj.id=='tiddlerDisplay'){return null;}\n if((obj.getAttribute && obj.getAttribute('macro')=='edit text')){return obj;}\n return wikibar_resolveTiddlerEditorWrapper(obj.parentNode);\n}\nfunction wikibar_resolveTiddlerEditor(obj){\n if(obj.hasChildNodes()){\n var c = obj.childNodes;\n for(var i=0; i<c.length; i++){\n var o=wikibar_resolveTiddlerEditor(c[i]);\n if(o){ return o;}\n }\n }\n return ((obj.getAttribute && obj.getAttribute('edit')=='text')? obj : null);\n}\nfunction wikibar_resolveTargetButton(obj){\n if(obj.id && obj.id.substring(0,7)=='wikibar'){ return null; }\n if(obj.tiddlerTitle){\n return obj;\n }else{\n return wikibar_resolveTargetButton(obj.parentNode);\n }\n}\nfunction wikibar_isValidMenuItem(tool){\n if(!tool){ return false; }\n if(tool.TYPE=='MENU' || tool.TYPE=='MAIN_MENU'){\n for(var key in tool){\n if(key.substring(0,8)=='DYNAITEM'){ return true; }\n if(wikibar_isValidMenuItem(tool[key])){ return true; }\n }\n return false;\n }else{\n return (tool.HANDLER? true : false);\n }\n}\nfunction wikibar_editFormat(param){\n var editor = param.button.editor;\n var params = param.params;\n clearMessage();\n if(!editor){ return; }\n var repText = wikibar_processSyntaxParams(this.syntax, params);\n if(repText===null){ return; }\n var st = editor.scrollTop;\n var ss = editor.selectionStart;\n var se = editor.selectionEnd;\n var frontText= '';\n var endText = '';\n var fullText = editor.value;\n if(se>ss && ss>=0){\n frontText = fullText.substring(0, ss);\n endText = fullText.substring(se, fullText.length);\n }\n else if(ss===0 && (se===0 || se == fullText.length) ){\n endText = fullText;\n }\n else if(se==ss && ss>0){\n frontText = fullText.substring(0, ss);\n endText = fullText.substring(se, fullText.length);\n }\n if(repText.indexOf('user_text')>=0 && this.hint){\n repText = repText.replace('user_text', this.hint);\n }\n editor.value = frontText + repText + endText;\n editor.selectionStart = ss;\n editor.selectionEnd = ss + repText.length;\n editor.scrollTop = st;\n editor.focus();\n}\nfunction wikibar_editFormatByWord(param){\n var editor = param.button.editor;\n var params = param.params;\n clearMessage();\n if(!editor){return;}\n var repText = wikibar_processSyntaxParams(this.syntax, params);\n if(repText===null){ return; }\n var st = editor.scrollTop;\n var ss = editor.selectionStart;\n var se = editor.selectionEnd;\n var frontText= '';\n var selText = '';\n var endText = '';\n var fullText = editor.value;\n if(se>ss && ss>=0){\n frontText = fullText.substring(0, ss);\n selText = fullText.substring(ss,se);\n endText = fullText.substring(se, fullText.length);\n }\n else if(ss===0 && (se===0 || se == fullText.length) ){\n endText = fullText;\n }\n else if(se==ss && ss>0){\n frontText = fullText.substring(0, ss);\n endText = fullText.substring(se, fullText.length);\n if(!( fullText.charAt(ss-1).match(/\sW/gi) || fullText.charAt(ss).match(/\sW/gi) )){\n var m = frontText.match(/\sW/gi);\n if(m){\n ss = frontText.lastIndexOf(m[m.length-1])+1;\n }\n else{\n ss = 0;\n }\n m = endText.match(/\sW/gi);\n if(m){\n se += endText.indexOf(m[0]);\n }\n else{\n se = fullText.length;\n }\n frontText = fullText.substring(0, ss);\n endText = fullText.substring(se, fullText.length);\n selText = fullText.substring(ss,se);\n }\n }\n if(selText.length>0){\n repText = repText.replace('user_text', selText);\n }\n if(repText.indexOf('user_text')>=0 && this.hint){\n repText = repText.replace('user_text', this.hint);\n }\n editor.value = frontText + repText + endText;\n editor.selectionStart = ss;\n editor.selectionEnd = ss + repText.length;\n editor.scrollTop = st;\n editor.focus();\n}\nfunction wikibar_editFormatByCursor(param){\n var editor = param.button.editor;\n var params = param.params;\n clearMessage();\n if(!editor){ return; }\n var repText = wikibar_processSyntaxParams(this.syntax, params);\n if(repText===null){ return; }\n var st = editor.scrollTop;\n var ss = editor.selectionStart;\n var se = editor.selectionEnd;\n var frontText= '';\n var endText = '';\n var fullText = editor.value;\n if(se>ss && ss>=0){\n frontText = fullText.substring(0, ss);\n endText = fullText.substring(se, fullText.length);\n }\n else if(ss===0 && (se===0 || se == fullText.length) ){\n endText = fullText;\n }\n else if(se==ss && ss>0){\n frontText = fullText.substring(0, ss);\n endText = fullText.substring(se, fullText.length);\n }\n if(repText.indexOf('user_text')>=0 && this.hint){\n repText = repText.replace('user_text', this.hint);\n }\n editor.value = frontText + repText + endText;\n editor.selectionStart = ss;\n editor.selectionEnd = ss + repText.length;\n editor.scrollTop = st;\n editor.focus();\n}\nfunction wikibar_editFormatByLine(param){\n var editor = param.button.editor;\n var params = param.params;\n clearMessage();\n if(!editor){ return; }\n var repText = wikibar_processSyntaxParams(this.syntax, params);\n if(repText===null){ return; }\n var st = editor.scrollTop;\n var ss = editor.selectionStart;\n var se = editor.selectionEnd;\n var frontText= '';\n var selText = '';\n var endText = '';\n var fullText = editor.value;\n if(se>ss && ss>=0){\n if(this.byBlock){\n frontText = fullText.substring(0, ss);\n selText = fullText.substring(ss,se);\n endText = fullText.substring(se, fullText.length);\n }\n else{\n se = ss;\n }\n }\n if(ss===0 && (se===0 || se == fullText.length) ){\n var m=fullText.match(/(\sn|\sr)/g);\n if(m){\n se = fullText.indexOf(m[0]);\n }else{\n se = fullText.length;\n }\n selText = fullText.substring(0, se);\n endText = fullText.substring(se, fullText.length);\n }\n else if(se==ss && ss>0){\n frontText = fullText.substring(0, ss);\n endText = fullText.substring(se, fullText.length);\n m = frontText.match(/(\sn|\sr)/g);\n if(m){\n ss = frontText.lastIndexOf(m[m.length-1])+1;\n }\n else{\n ss = 0;\n }\n m = endText.match(/(\sn|\sr)/g);\n if(m){\n se += endText.indexOf(m[0]);\n }\n else{\n se = fullText.length;\n }\n frontText = fullText.substring(0, ss);\n selText = fullText.substring(ss,se);\n endText = fullText.substring(se, fullText.length);\n }\n if(selText.length>0){\n repText = repText.replace('user_text', selText);\n }\n if(repText.indexOf('user_text')>=0 && this.hint){\n repText = repText.replace('user_text', this.hint);\n }\n if(this.byBlock){\n if( (frontText.charAt(frontText.length-1)!='\sn') && ss>0 ){\n repText = '\sn' + repText;\n }\n if( (endText.charAt(0)!='\sn') || se==fullText.length){\n repText += '\sn';\n }\n }\n editor.value = frontText + repText + endText;\n editor.selectionStart = ss;\n editor.selectionEnd = ss + repText.length;\n editor.scrollTop = st;\n editor.focus();\n}\nfunction wikibar_editFormatByTableCell(param){\n var editor = param.button.editor;\n var params = param.params;\n clearMessage();\n if(!editor){ return; }\n var repText = wikibar_processSyntaxParams(this.syntax, params);\n if(repText===null){ return; }\n var st = editor.scrollTop;\n var ss = editor.selectionStart;\n var se = editor.selectionEnd;\n var frontText= '';\n var selText = '';\n var endText = '';\n var fullText = editor.value;\n if(ss===0 || ss==fullText.length){\n throw 'not valid cell!';\n }\n se=ss;\n frontText = fullText.substring(0, ss);\n endText = fullText.substring(se, fullText.length);\n i=frontText.lastIndexOf('\sn');\n j=frontText.lastIndexOf('|');\n if(i>j || j<0){\n throw 'not valid cell!';\n }\n ss = j+1;\n i=endText.indexOf('\sn');\n j=endText.indexOf('|');\n if(i<j || j<0){\n throw 'not valid cell!';\n }\n se += j;\n frontText = fullText.substring(0, ss-1);\n selText = fullText.substring(ss,se);\n endText = fullText.substring(se+1, fullText.length);\n if(this.key.substring(0,5)=='align'){\n selText = selText.trim();\n if( selText=='>' || selText=='~' || selText.substring(0,8)=='bgcolor(') {return; }\n }\n if(selText.length>0){\n repText = repText.replace('user_text', selText);\n }\n if(repText.indexOf('user_text')>=0 && this.hint){\n repText = repText.replace('user_text', this.hint);\n }\n editor.value = frontText + repText + endText;\n editor.selectionStart = ss;\n editor.selectionEnd = ss + repText.length - 2;\n editor.scrollTop = st;\n editor.focus();\n}\nfunction wikibar_editSelectAll(param){\n var editor = param.button.editor;\n editor.selectionStart = 0;\n editor.selectionEnd = editor.value.length;\n editor.scrollTop = 0;\n editor.focus();\n}\nfunction wikibar_doPreview(param){\n var theButton = param.button;\n var editor = param.button.editor;\n var wikibar = theButton.parentNode;\n if(!wikibar) { return; }\n title = theButton.tiddlerTitle;\n var editorWrapper = wikibar_resolveTiddlerEditorWrapper(editor);\n var tiddlerWrapper = editorWrapper.parentNode;\n var previewer = document.getElementById('previewer'+title);\n if(previewer){\n previewer.parentNode.removeChild(previewer);\n editorWrapper.style.display = 'block';\n visible=true;\n }else{\n previewer = document.createElement('div');\n previewer.id = 'previewer'+title;\n previewer.className = 'viewer previewer';\n previewer.style.height = (editor.offsetHeight) + 'px';\n wikify(editor.value, previewer);\n tiddlerWrapper.insertBefore(previewer, editorWrapper);\n editorWrapper.style.display = 'none';\n visible=false;\n }\n var pv=null;\n for(var i=0; i<wikibar.childNodes.length; i++){\n try{\n var btn = wikibar.childNodes[i];\n if(btn.toolItem.key == 'preview'){ pv=btn; }\n if(btn.toolItem.key != 'preview'){\n btn.style.display = visible ? '': 'none';\n }\n }catch(ex){}\n }\n if(!pv) { return; }\n if(visible){\n pv.innerHTML = '<font face=\s"verdana\s">∞</font>';\n pv.title = 'preview current tiddler';\n }\n else{\n pv.innerHTML = '<font face=\s"verdana\s">←</font>';\n pv.title = 'back to editor';\n }\n}\nfunction wikibar_doListAddons(param){\n clearMessage();\n var title = param.button.tiddlerTitle;\n var wikibarButton = document.getElementById('wikibarButton'+title);\n var ok=0, fail=0;\n for(var i=0; i<wikibarButton.addons.length; i++){\n var addon=wikibarButton.addons[i];\n if(addon.ok){\n displayMessage('[ o ] '+addon.name);\n ok++;\n }\n else{\n displayMessage('[ x ] '+addon.name + ': ' + addon.error);\n fail++;\n }\n }\n displayMessage('---------------------------------');\n displayMessage(ok + ' ok ; ' + fail + ' failed');\n}\nfunction wikibar_getColorCode(param){\n var cbOnPickColor = function(colorCode, param){\n param.params = colorCode;\n param.button.toolItem.doMore(param);\n };\n wikibarColorTool.openColorPicker(param.button, cbOnPickColor, param);\n}\nfunction wikibar_getLinkUrl(param){\n var url= prompt('Please enter the link target', (this.param? this.param : ''));\n if (url && url.trim().length>0){\n param.params = url;\n this.doMore(param);\n }\n}\nfunction wikibar_getTableRowCol(param){\n var rc= prompt('Please enter (rows x cols) of the table', '2 x 3');\n if (!rc || (rc.trim()).length<=0){ return; }\n var arr = rc.toUpperCase().split('X');\n if(arr.length != 2) { return; }\n for(var i=0; i<arr.length; i++){\n if(isNaN(arr[i].trim())) { return; }\n }\n var rows = parseInt(arr[0].trim(), 10);\n var cols = parseInt(arr[1].trim(), 10);\n var txtTable='';\n for(var r=0; r<rows; r++){\n for(var c=0; c<=cols; c++){\n if(c===0){\n txtTable += '|';\n }else{\n txtTable += ' |';\n }\n }\n txtTable += '\sn';\n }\n if(txtTable.trim().length>0){\n param.params = txtTable.trim();\n this.doMore(param);\n }\n}\nfunction wikibar_getMacroParam(param){\n var p = prompt('Please enter the parameters of macro \s"' + this.key + '\s":' +\n '\snSyntax: ' + this.syntax +\n '\sn\snNote: '+\n '\sn%1,%2,... - parameter needed'+\n '\sn[%1] - optional parameter'+\n '\sn%N - more than one parameter(1~n)'+\n '\sn[%N] - any number of parameters(0~n)'+\n '\sn\snPS:'+\n '\sn1. Parameters should be seperated with space character'+\n '\sn2. Use \s" to wrap the parameter that includes space character, ex: \s"hello world\s"'+\n '\sn3. Input the word(null) for the optional parameter ignored',\n (this.param? this.param : '') );\n if(!p) { return; }\n p=p.readMacroParams();\n for(var i=0; i<p.length; i++){\n var s=p[i].trim();\n if(s.indexOf(' ')>0){ p[i]="'"+s+"'"; }\n if(s.toLowerCase()=='null'){ p[i]=null; }\n }\n param.params = p;\n this.doMore(param);\n}\nfunction wikibar_getMorePalette(unused){\n clearMessage();\n displayMessage('Get more color palettes(*.gpl) from ColorZilla Palettes site', 'http:\s/\s/www.iosart.com/firefox/colorzilla/palettes.html');\n displayMessage('Save it as a new tiddler with \s"ColorPalettes\s" tag');\n}\nfunction wikibar_createWikibar(title){\n var theWikibar = document.getElementById('wikibar' + title);\n if(theWikibar){\n if(theWikibar.hasChildNodes()){\n theWikibar.style.display = (theWikibar.style.display=='block'? 'none':'block');\n return;\n }\n }\n var tiddlerWrapper = document.getElementById('tiddler'+title);\n var theTextarea = wikibar_resolveTiddlerEditor(tiddlerWrapper);\n if(!theTextarea){\n clearMessage();\n displayMessage('WikiBar only works in tiddler edit mode now');\n return;\n }else{\n if(!theTextarea.id){ theTextarea.id = 'editor'+title; }\n if(!theTextarea.parentNode.id){ theTextarea.parentNode.id='editorWrapper'+title; }\n }\n if(theWikibar){\n theWikibar = document.getElementById('wikibar'+title);\n }else{\n var editorWrapper = wikibar_resolveTiddlerEditorWrapper(theTextarea);\n theWikibar = createTiddlyElement(tiddlerWrapper, 'div', 'wikibar'+title, 'toolbar');\n addClass(theWikibar, 'wikibar');\n var previewer = document.getElementById('previewer'+title);\n if(previewer){\n tiddlerWrapper.insertBefore(theWikibar, previewer);\n }else{\n tiddlerWrapper.insertBefore(theWikibar, editorWrapper);\n }\n }\n wikibar_createMenu(theWikibar,wikibarStore,title,theTextarea);\n if(config.options['chkWikibarSetEditorHeight'] && config.options['txtWikibarEditorRows']){\n theTextarea.rows = config.options['txtWikibarEditorRows'];\n }\n setStylesheet(\n '.wikibar{text-align:left;visibility:visible;margin:2px;padding:1px;}.previewer{overflow:auto;display:block;border:1px solid;}#colorPicker{position:absolute;display:none;z-index:10;margin:0px;padding:0px;}#colorPicker table{margin:0px;padding:0px;border:2px solid #000;border-spacing:0px;border-collapse:collapse;}#colorPicker td{margin:0px;padding:0px;border:1px solid;font-size:11px;text-align:center;cursor:auto;}#colorPicker .header{background-color:#fff;}#colorPicker .button{background-color:#fff;cursor:pointer;cursor:hand;}#colorPicker .button:hover{padding-top:3px;padding-bottom:3px;color:#fff;background-color:#136;}#colorPicker .cell{padding:4px;font-size:7px;cursor:crosshair;}#colorPicker .cell:hover{padding:10px;}.wikibarPopup{position:absolute;z-index:10;border:1px solid #014;color:#014;background-color:#cef;}.wikibarPopup table{margin:0;padding:0;border:0;border-spacing:0;border-collapse:collapse;}.wikibarPopup .button:hover{color:#eee;background-color:#014;}.wikibarPopup .disabled{color:#888;}.wikibarPopup .disabled:hover{color:#888;background-color:#cef;}.wikibarPopup tr .seperator hr{margin:0;padding:0;background-color:#cef;width:100%;border:0;border-top:1px dashed #014;}.wikibarPopup tr .icon{font-family:verdana;font-weight:bolder;}.wikibarPopup tr .marker{font-family:verdana;font-weight:bolder;}.wikibarPopup td{font-size:0.9em;padding:2px;}.wikibarPopup input{border:0;border-bottom:1px solid #014;margin:0;padding:0;font-family:arial;font-size:100%;background-color:#fff;}',\n 'WikiBarStyleSheet');\n}\nfunction wikibar_createMenu(place,toolset,title,editor){\n if(!wikibar_isValidMenuItem(toolset)){return;}\n if(!(toolset.TYPE=='MAIN_MENU' || toolset.TYPE=='MENU')){ return; }\n for(var key in toolset){\n if(key.substring(0,9)=='SEPERATOR'){\n wikibar_createMenuSeperator(place);\n continue;\n }\n if(key.substring(0,8)=='DYNAITEM'){\n var dynaTools = toolset[key](title,editor);\n if(dynaTools.TYPE && dynaTools.TYPE=='MENU'){\n wikibar_createMenuItem(place,dynaTools,null,editor,title);\n }else{\n dynaTools.TYPE = 'MENU';\n wikibar_createMenu(place, dynaTools, title, editor);\n }\n continue;\n }\n if((toolset[key].TYPE!='MENU' && toolset[key].TYPE!='MAIN_MENU') && !toolset[key].HANDLER){continue;}\n wikibar_createMenuItem(place,toolset,key,editor,title);\n }\n}\nfunction wikibar_createMenuItem(place,toolset,key,editor,title){\n if(!key){\n var tool = toolset;\n }else{\n tool = toolset[key];\n tool.key = key;\n }\n if(!wikibar_isValidMenuItem(tool)){return;}\n var toolIsOnMainMenu = (toolset.TYPE=='MAIN_MENU');\n var toolIsMenu = (tool.TYPE=='MENU');\n var theButton;\n if(toolIsOnMainMenu){\n theButton = createTiddlyButton(\n place,\n '',\n (tool.TOOLTIP? tool.TOOLTIP : ''),\n (toolIsMenu? wikibar_onClickMenuItem : wikibar_onClickItem),\n 'button');\n theButton.innerHTML = (tool.CAPTION? tool.CAPTION : key);\n theButton.isOnMainMenu = true;\n addClass(theButton, (toolIsMenu? 'menu' : 'item'));\n place.appendChild( document.createTextNode('\sn') );\n if(!toolIsMenu){\n if(config.options['chkWikibarPopmenuOnMouseOver']){\n theButton.onmouseover = function(e){ wikibarPopup.remove(); };\n }\n }\n }else{\n theButton=createTiddlyElement(place, 'tr',key,'button');\n theButton.title = (tool.TOOLTIP? tool.TOOLTIP : '');\n theButton.onclick = (toolIsMenu? wikibar_onClickMenuItem : wikibar_onClickItem);\n var tdL = createTiddlyElement(theButton, 'td','','marker');\n var td = createTiddlyElement(theButton, 'td');\n var tdR = createTiddlyElement(theButton, 'td','','marker');\n td.innerHTML = (tool.CAPTION? tool.CAPTION : key);\n if(toolIsMenu){\n tdR.innerHTML='  &rsaquo;';\n }\n if(tool.SELECTED){\n tdL.innerHTML = '√ ';\n addClass(theButton, 'selected');\n }\n if(tool.DISABLED){\n addClass(theButton, 'disabled');\n }\n }\n theButton.tiddlerTitle = title;\n theButton.toolItem = tool;\n theButton.editor = editor;\n theButton.tabIndex = 999;\n if(toolIsMenu){\n if(config.options['chkWikibarPopmenuOnMouseOver']){\n theButton.onmouseover = wikibar_onClickMenuItem;\n }\n }\n}\nfunction wikibar_createMenuSeperator(place){\n if(place.id.substring(0,7)=='wikibar') { return; }\n var onclickSeperator=function(e){\n if(!e){ e = window.event; }\n e.cancelBubble = true;\n if (e.stopPropagation){ e.stopPropagation(); }\n return(false);\n };\n var theButton=createTiddlyElement(place,'tr','','seperator');\n var td = createTiddlyElement(theButton, 'td','','seperator');\n td.colSpan=3;\n theButton.onclick=onclickSeperator;\n td.innerHTML = '<hr>';\n}\nfunction wikibar_genWikibarAbout(){\n var toolset={};\n toolset.version = {\n CAPTION: '<center>WikiBar ' +\n config.macros.wikibar.major + '.' +\n config.macros.wikibar.minor + '.' +\n config.macros.wikibar.revision +\n (config.macros.wikibar.beta? ' beta '+config.macros.wikibar.beta : '') +\n '</center>',\n HANDLER: function(){}\n };\n toolset.SEPERATOR = {};\n toolset.author = {\n CAPTION: '<center>Arphen Lin<br>arphenlin@gmail.com</center>',\n TOOLTIP: 'send mail to the author',\n HANDLER: function(){ window.open('mailto:arphenlin@gmail.com'); }\n };\n toolset.website = {\n CAPTION: '<center>aiddlywiki.sourceforge.net</center>',\n TOOLTIP: 'go to the web site of WikiBar',\n HANDLER: function(){ window.open('http:\s/\s/aiddlywiki.sourceforge.net/'); }\n };\n return toolset;\n}\nfunction wikibar_genWikibarOptions(title, editor){\n var toolset={};\n toolset.popOnMouseOver = {\n CAPTION:'popup menu on mouse over',\n SELECTED: config.options['chkWikibarPopmenuOnMouseOver'],\n HANDLER: function(param){\n config.options['chkWikibarPopmenuOnMouseOver'] = !config.options['chkWikibarPopmenuOnMouseOver'];\n saveOptionCookie('chkWikibarPopmenuOnMouseOver');\n var title = param.button.tiddlerTitle;\n var wikibar = document.getElementById('wikibar'+title);\n if(wikibar){ wikibar.parentNode.removeChild(wikibar); }\n wikibar_createWikibar(title);\n }\n };\n toolset.setEditorSize = {\n CAPTION:'set editor height: <input id=\s"txtWikibarEditorRows\s" type=text size=1 MAXLENGTH=3 value=\s"' +\n (config.options['txtWikibarEditorRows']? config.options['txtWikibarEditorRows']:editor.rows) + '\s"> ok',\n HANDLER: function(param){\n var input = document.getElementById('txtWikibarEditorRows');\n if(input){\n var rows = parseInt(input.value, 10);\n if(!isNaN(rows)){\n var editor = param.button.editor;\n editor.rows = rows;\n }else{\n rows=config.maxEditRows;\n }\n config.options['txtWikibarEditorRows'] = rows;\n saveOptionCookie('txtWikibarEditorRows');\n config.maxEditRows = rows;\n }\n }\n };\n toolset.setEditorSizeOnLoadingWikibar = {\n CAPTION:'set editor height on loading wikibar',\n SELECTED: config.options['chkWikibarSetEditorHeight'],\n HANDLER: function(param){\n config.options['chkWikibarSetEditorHeight'] = !config.options['chkWikibarSetEditorHeight'];\n saveOptionCookie('chkWikibarSetEditorHeight');\n if(config.options['chkWikibarSetEditorHeight']){\n var rows = config.options['txtWikibarEditorRows'];\n if(!isNaN(rows)){ rows = 15; }\n var editor = param.button.editor;\n editor.rows = rows;\n config.options['txtWikibarEditorRows'] = rows;\n saveOptionCookie('txtWikibarEditorRows');\n }\n }\n };\n toolset.SEPERATOR = {};\n toolset.update = {\n CAPTION: 'check for updates',\n DISABLED: true,\n HANDLER: function(){}\n };\n return toolset;\n}\nfunction wikibar_genPaletteSelector(){\n try{\n var cpTiddlers = store.getTaggedTiddlers('ColorPalettes');\n if(!cpTiddlers) { return; }\n var palettes=[];\n palettes.push(wikibarColorTool.defaultPaletteName);\n for(var i=0; i<cpTiddlers.length; i++){\n palettes.push(cpTiddlers[i].title.trim());\n }\n var toolset={};\n for(i=0; i<palettes.length; i++){\n toolset[palettes[i]] = {\n TOOLTIP: palettes[i],\n SELECTED: (palettes[i]==wikibarColorTool.paletteName),\n HANDLER: wikibar_doSelectPalette\n };\n }\n return toolset;\n }catch(ex){ return null; }\n}\nfunction wikibar_onClickItem(e){\n if(!e){ e = window.event; }\n var theTarget = resolveTarget(e);\n if(theTarget.tagName=='INPUT'){\n e.cancelBubble = true;\n if (e.stopPropagation){ e.stopPropagation(); }\n return;\n }\n var theButton = wikibar_resolveTargetButton(theTarget);\n if(!theButton){ return(false); }\n var o = theButton.toolItem;\n if(!o) { return; }\n var param = {\n event: e,\n button: theButton\n };\n if(o.HANDLER){ o.HANDLER(param); }\n if(o.DISABLED){\n e.cancelBubble = true;\n if (e.stopPropagation){ e.stopPropagation(); }\n }\n return(false);\n}\nfunction wikibar_onClickMenuItem(e){\n if(!e){ e = window.event; }\n var theButton = wikibar_resolveTargetButton(resolveTarget(e));\n if(!theButton){ return(false); }\n e.cancelBubble = true;\n if (e.stopPropagation){ e.stopPropagation(); }\n var title = theButton.tiddlerTitle;\n var editor = theButton.editor;\n var tool = theButton.toolItem;\n if(!tool) { return; }\n var popup = wikibarPopup.create(this);\n if(popup){\n wikibar_createMenu(popup,tool,title,editor);\n if(!popup.hasChildNodes()){\n wikibarPopup.remove();\n }else{\n wikibarPopup.show(popup, false);\n }\n }\n return(false);\n}\nvar wikibarColorTool = {\n defaultPaletteName : 'default',\n defaultColumns : 16,\n defaultPalette : [\n '#FFF','#DDD','#CCC','#BBB','#AAA','#999','#666','#333','#111','#000','#FC0','#F90','#F60','#F30','#C30','#C03',\n '#9C0','#9D0','#9E0','#E90','#D90','#C90','#FC3','#FC6','#F96','#F63','#600','#900','#C00','#F00','#F36','#F03',\n '#CF0','#CF3','#330','#660','#990','#CC0','#FF0','#C93','#C63','#300','#933','#C33','#F33','#C36','#F69','#F06',\n '#9F0','#CF6','#9C3','#663','#993','#CC3','#FF3','#960','#930','#633','#C66','#F66','#903','#C39','#F6C','#F09',\n '#6F0','#9F6','#6C3','#690','#996','#CC6','#FF6','#963','#630','#966','#F99','#F39','#C06','#906','#F3C','#F0C',\n '#3F0','#6F3','#390','#6C0','#9F3','#CC9','#FF9','#C96','#C60','#C99','#F9C','#C69','#936','#603','#C09','#303',\n '#0C0','#3C0','#360','#693','#9C6','#CF9','#FFC','#FC9','#F93','#FCC','#C9C','#969','#939','#909','#636','#606',\n '#060','#3C3','#6C6','#0F0','#3F3','#6F6','#9F9','#CFC','#9CF','#FCF','#F9F','#F6F','#F3F','#F0F','#C6C','#C3C',\n '#030','#363','#090','#393','#696','#9C9','#CFF','#39F','#69C','#CCF','#C9F','#96C','#639','#306','#90C','#C0C',\n '#0F3','#0C3','#063','#396','#6C9','#9FC','#9CC','#06C','#369','#99F','#99C','#93F','#60C','#609','#C3F','#C0F',\n '#0F6','#3F6','#093','#0C6','#3F9','#9FF','#699','#036','#039','#66F','#66C','#669','#309','#93C','#C6F','#90F',\n '#0F9','#6F9','#3C6','#096','#6FF','#6CC','#366','#069','#36C','#33F','#33C','#339','#336','#63C','#96F','#60F',\n '#0FC','#6FC','#3C9','#3FF','#3CC','#399','#033','#39C','#69F','#00F','#00C','#009','#006','#003','#63F','#30F',\n '#0C9','#3FC','#0FF','#0CC','#099','#066','#3CF','#6CF','#09C','#36F','#0CF','#09F','#06F','#03F','#03C','#30C'\n ],\n colorPicker : null,\n pickColorHandler: null,\n userData: null\n};\nwikibarColorTool.paletteName = wikibarColorTool.defaultPaletteName;\nwikibarColorTool.columns = wikibarColorTool.defaultColumns;\nwikibarColorTool.palette = wikibarColorTool.defaultPalette;\nwikibarColorTool.onPickColor = function(e){\n if (!e){ e = window.event; }\n var theCell = resolveTarget(e);\n if(!theCell){ return(false); }\n color = theCell.bgColor.toLowerCase();\n if(!color) { return; }\n wikibarColorTool.displayColorPicker(false);\n if(wikibarColorTool.pickColorHandler){\n wikibarColorTool.pickColorHandler(color, wikibarColorTool.userData);\n }\n return(false);\n};\nwikibarColorTool.onMouseOver = function(e){\n if (!e){ e = window.event; }\n var theButton = resolveTarget(e);\n if(!theButton){ return(false); }\n if(!wikibarColorTool) { return; }\n color = theButton.bgColor.toUpperCase();\n if(!color) { return; }\n td=document.getElementById('colorPickerInfo');\n if(!td) { return; }\n td.bgColor = color;\n td.innerHTML = '<span style=\s"color:#000;\s">'+color+'</span>   ' +\n '<span style=\s"color:#fff;\s">'+color+'</span>';\n e.cancelBubble = true;\n if (e.stopPropagation){ e.stopPropagation(); }\n return(false);\n};\nwikibarColorTool.openColorPicker = function(theTarget, pickColorHandler, userData){\n wikibarColorTool.skipClickDocumentEvent = true;\n wikibarColorTool.pickColorHandler = pickColorHandler;\n wikibarColorTool.userData = userData;\n wikibarColorTool.moveColorPicker(theTarget);\n};\nwikibarColorTool.convert3to6HexColor = function(c){\n c=c.trim();\n var rx=/^\s#(\sd|[a-f])(\sd|[a-f])(\sd|[a-f])$/gi;\n return (rx.test(c)? c.replace(rx, '#$1$1$2$2$3$3') : c);\n};\nwikibarColorTool.numToHexColor = function (n){\n if(typeof(n)=='number' && (n>=0 && n<=255)) {\n s = n.toString(16).toLowerCase();\n return ((s.length==1)? '0'+s : s);\n }else{\n return null;\n }\n};\nwikibarColorTool.renderColorPalette = function(){\n if(wikibarColorTool.paletteName==wikibarColorTool.defaultPaletteName){\n wikibarColorTool.palette=wikibarColorTool.defaultPalette;\n wikibarColorTool.columns=wikibarColorTool.defaultColumns;\n return;\n }\n tiddlerText = (store.getTiddlerText(wikibarColorTool.paletteName, '')).trim();\n if(tiddlerText.length<=0) { return; }\n var cpContents = tiddlerText.split('\sn');\n var colors=[];\n columns = wikibarColorTool.defaultColumns;\n var tmpArray=null;\n errCount=0;\n for(var i=0; i<cpContents.length; i++){\n cpLine=cpContents[i].trim();\n if( (!cpLine) || (cpLine.length<=0) || (cpLine.charAt(0) == '#') ){ continue; }\n if(cpLine.substring(0,8).toLowerCase()=='columns:'){\n tmpArray = cpLine.split(':');\n try{\n columns = parseInt(tmpArray[1],10);\n }catch(ex){\n columns = wikibarColorTool.defaultColumns;\n }\n }else{\n tmpArray = cpLine.replace('\st', ' ').split(/[ ]{1,}/);\n try{\n color='';\n for(var j=0; j<3; j++){\n c=parseInt(tmpArray[j].trim(), 10);\n if(isNaN(c)){\n break;\n }else{\n c=wikibarColorTool.numToHexColor(c);\n if(!c) {break;}\n color+=c;\n }\n }\n if(color.length==6){\n colors.push('#'+color);\n } else {\n throw 'error';\n }\n }catch(ex){\n }\n }\n }\n if(colors.length>0){\n wikibarColorTool.palette = colors;\n wikibarColorTool.columns = columns;\n }else{\n throw 'renderColorPalette(): No color defined in the palette.';\n }\n};\nwikibarColorTool.displayColorPicker = function(visible){\n if(wikibarColorTool.colorPicker){\n wikibarColorTool.colorPicker.style.display = (visible? 'block' : 'none');\n }\n};\nwikibarColorTool.moveColorPicker = function(theTarget){\n if(!wikibarColorTool.colorPicker){\n wikibarColorTool.createColorPicker();\n }\n var cp = wikibarColorTool.colorPicker;\n var rootLeft = findPosX(theTarget);\n var rootTop = findPosY(theTarget);\n var popupLeft = rootLeft;\n var popupTop = rootTop;\n var popupWidth = cp.offsetWidth;\n var winWidth = findWindowWidth();\n if(popupLeft + popupWidth > winWidth){\n popupLeft = winWidth - popupWidth;\n }\n cp.style.left = popupLeft + 'px';\n cp.style.top = popupTop + 'px';\n wikibarColorTool.displayColorPicker(true);\n};\nwikibarColorTool.createColorPicker = function(unused, palette){\n if(palette){ wikibarColorTool.paletteName=palette; }\n wikibarColorTool.renderColorPalette();\n wikibarColorTool.colorPicker = document.createElement('div');\n wikibarColorTool.colorPicker.id = 'colorPicker';\n document.body.appendChild(wikibarColorTool.colorPicker);\n var theTable = document.createElement('table');\n wikibarColorTool.colorPicker.appendChild(theTable);\n var theTR = document.createElement('tr');\n theTable.appendChild(theTR);\n var theTD = document.createElement('td');\n theTD.className = 'header';\n theTD.colSpan = wikibarColorTool.columns;\n theTD.innerHTML = wikibarColorTool.paletteName;\n theTR.appendChild(theTD);\n for(var i=0; i<wikibarColorTool.palette.length; i++){\n if((i%wikibarColorTool.columns)===0){\n theTR = document.createElement('tr');\n theTable.appendChild(theTR);\n }\n theTD = document.createElement('td');\n theTD.className = 'cell';\n theTD.bgColor = wikibarColorTool.convert3to6HexColor(wikibarColorTool.palette[i]);\n theTD.onclick = wikibarColorTool.onPickColor;\n theTD.onmouseover = wikibarColorTool.onMouseOver;\n theTR.appendChild(theTD);\n }\n rest = wikibarColorTool.palette.length % wikibarColorTool.columns;\n if(rest>0){\n theTD = document.createElement('td');\n theTD.colSpan = wikibarColorTool.columns-rest;\n theTD.bgColor = '#000000';\n theTR.appendChild(theTD);\n }\n theTR = document.createElement('tr');\n theTable.appendChild(theTR);\n theTD = document.createElement('td');\n theTD.colSpan = wikibarColorTool.columns;\n theTD.id = 'colorPickerInfo';\n theTR.appendChild(theTD);\n};\nwikibarColorTool.onDocumentClick = function(e){\n if (!e){ e = window.event; }\n if(wikibarColorTool.skipClickDocumentEvent) {\n wikibarColorTool.skipClickDocumentEvent = false;\n return true;\n }\n if((!e.eventPhase) || e.eventPhase == Event.BUBBLING_PHASE || e.eventPhase == Event.AT_TARGET){\n wikibarColorTool.displayColorPicker(false);\n }\n return true;\n};\nfunction wikibar_doSelectPalette(param){\n clearMessage();\n var theButton = param.button;\n if(!theButton.toolItem.key) { return; }\n var palette = theButton.toolItem.key;\n var oldPaletteName = wikibarColorTool.paletteName;\n if(oldPaletteName != palette){\n try{\n wikibarColorTool.createColorPicker(theButton, palette);\n displayMessage('Palette \s"'+palette+'\s" ('+ wikibarColorTool.palette.length +' colors) is selected');\n }catch(ex){\n errMsg = ex;\n if(errMsg.substring(0,18)=='renderColorPalette'){\n displayMessage('Invalid palette \s"' + palette + '\s", please check it out!');\n wikibarColorTool.createColorPicker(theButton, oldPaletteName);\n }\n }\n }\n}\nvar wikibarPopup = {\n skipClickDocumentEvent: false,\n stack: []\n};\nwikibarPopup.resolveRootPopup = function(o){\n if(o.isOnMainMenu){ return null; }\n if(o.className.substring(0,12)=='wikibarPopup'){ return o;}\n return wikibarPopup.resolveRootPopup(o.parentNode);\n};\nwikibarPopup.create = function(root){\n for(var i=0; i<wikibarPopup.stack.length; i++){\n var p=wikibarPopup.stack[i];\n if(p.root==root){\n wikibarPopup.removeFrom(i+1);\n return null;\n }\n }\n var rootPopup = wikibarPopup.resolveRootPopup(root);\n if(!rootPopup){\n wikibarPopup.remove();\n }else{\n wikibarPopup.removeFromRootPopup(rootPopup);\n }\n var popup = createTiddlyElement(document.body,'div','wikibarPopup'+root.toolItem.key,'wikibarPopup');\n var pop = createTiddlyElement(popup,'table','','');\n wikibarPopup.stack.push({rootPopup: rootPopup, root: root, popup: popup});\n return pop;\n};\nwikibarPopup.show = function(unused,slowly){\n var curr = wikibarPopup.stack[wikibarPopup.stack.length-1];\n var overlayWidth = 1;\n var rootLeft, rootTop, rootWidth, rootHeight, popupLeft, popupTop, popupWidth;\n if(curr.rootPopup){\n rootLeft = findPosX(curr.rootPopup);\n rootTop = findPosY(curr.root);\n rootWidth = curr.rootPopup.offsetWidth;\n popupLeft = rootLeft + rootWidth - overlayWidth;\n popupTop = rootTop;\n }else{\n rootLeft = findPosX(curr.root);\n rootTop = findPosY(curr.root);\n rootHeight = curr.root.offsetHeight;\n popupLeft = rootLeft;\n popupTop = rootTop + rootHeight;\n }\n var winWidth = findWindowWidth();\n popupWidth = curr.popup.offsetWidth;\n if(popupLeft + popupWidth > winWidth){\n popupLeft = rootLeft - popupWidth + overlayWidth;\n }\n curr.popup.style.left = popupLeft + 'px';\n curr.popup.style.top = popupTop + 'px';\n curr.popup.style.display = 'block';\n addClass(curr.root, 'highlight');\n if(config.options.chkAnimate){\n anim.startAnimating(new Scroller(curr.popup,slowly));\n }else{\n window.scrollTo(0,ensureVisible(curr.popup));\n }\n};\nwikibarPopup.remove = function(){\n if(wikibarPopup.stack.length > 0){\n wikibarPopup.removeFrom(0);\n }\n};\nwikibarPopup.removeFrom = function(from){\n for(var t=wikibarPopup.stack.length-1; t>=from; t--){\n var p = wikibarPopup.stack[t];\n removeClass(p.root,'highlight');\n p.popup.parentNode.removeChild(p.popup);\n }\n wikibarPopup.stack = wikibarPopup.stack.slice(0,from);\n};\nwikibarPopup.removeFromRootPopup = function(from){\n for(var t=0; t<wikibarPopup.stack.length; t++){\n var p = wikibarPopup.stack[t];\n if(p.rootPopup==from){\n wikibarPopup.removeFrom(t);\n break;\n }\n }\n};\nwikibarPopup.onDocumentClick = function(e){\n if (!e){ e = window.event; }\n if(wikibarPopup.skipClickDocumentEvent){\n wikibarPopup.skipClickDocumentEvent=false;\n return true;\n }\n if((!e.eventPhase) || e.eventPhase == Event.BUBBLING_PHASE || e.eventPhase == Event.AT_TARGET){\n wikibarPopup.remove();\n }\n return true;\n};\nvar wikibarStore = {\n TYPE: 'MAIN_MENU',\n help:{\n TYPE:'MENU',\n CAPTION: '<font face=\s"verdana\s">?</font>',\n TOOLTIP: 'about WikiBar',\n options:{\n TYPE:'MENU',\n DYNAITEM: wikibar_genWikibarOptions\n },\n about:{\n TYPE:'MENU',\n DYNAITEM: wikibar_genWikibarAbout\n }\n },\n preview:{\n TOOLTIP: 'preview this tiddler',\n CAPTION: '<font face=\s"verdana\s">∞</font>',\n HANDLER: wikibar_doPreview\n },\n line:{\n TOOLTIP: 'horizontal line',\n CAPTION: '<font face=\s"verdana\s">—</font>',\n syntax: '\sn----\sn',\n HANDLER: wikibar_editFormatByCursor\n },\n crlf:{\n TOOLTIP: 'new line',\n CAPTION: '<font face=\s"verdana\s">¶</font>',\n syntax: '\sn',\n HANDLER: wikibar_editFormatByCursor\n },\n selectAll:{\n TOOLTIP: 'select all',\n CAPTION: '<font face=\s"verdana\s">§</font>',\n HANDLER: wikibar_editSelectAll\n },\n deleteSelected:{\n TOOLTIP: 'delete selected',\n CAPTION: '<font face=\s"verdana\s">×</font>',\n syntax: '',\n HANDLER: wikibar_editFormat\n },\n textFormat:{\n TYPE: 'MENU',\n CAPTION: 'text',\n TOOLTIP: 'text formatters',\n ignore:{\n TOOLTIP: 'ignore wiki word',\n CAPTION: 'ignore wikiWord',\n syntax: '~user_text',\n hint: 'wiki_word',\n HANDLER: wikibar_editFormatByWord\n },\n bolder:{\n TOOLTIP: 'bolder text',\n CAPTION: '<strong>bolder</strong>',\n syntax: "''user_text''",\n hint: 'bold_text',\n HANDLER: wikibar_editFormatByWord\n },\n italic:{\n TOOLTIP: 'italic text',\n CAPTION: '<em>italic</em>',\n syntax: '\s/\s/user_text\s/\s/',\n hint: 'italic_text',\n HANDLER: wikibar_editFormatByWord\n },\n underline:{\n TOOLTIP: 'underline text',\n CAPTION: '<u>underline</u>',\n syntax: '__user_text__',\n hint: 'underline_text',\n HANDLER: wikibar_editFormatByWord\n },\n strikethrough:{\n TOOLTIP: 'strikethrough text',\n CAPTION: '<strike>strikethrough</strike>',\n syntax: '==user_text==',\n hint: 'strikethrough_text',\n HANDLER: wikibar_editFormatByWord\n },\n superscript:{\n TOOLTIP: 'superscript text',\n CAPTION: 'X<sup>superscript</sup>',\n syntax: '^^user_text^^',\n hint: 'superscript_text',\n HANDLER: wikibar_editFormatByWord\n },\n subscript:{\n TOOLTIP: 'subscript text',\n CAPTION: 'X<sub>subscript</sub>',\n syntax: '~~user_text~~',\n hint: 'subscript_text',\n HANDLER: wikibar_editFormatByWord\n },\n comment:{\n TOOLTIP: 'comment text',\n CAPTION: 'comment text',\n syntax: '/%user_text%/',\n hint: 'comment_text',\n HANDLER: wikibar_editFormatByWord\n },\n monospaced:{\n TOOLTIP: 'monospaced text',\n CAPTION: '<code>monospaced</code>',\n syntax: '{{{user_text}}}',\n hint: 'monospaced_text',\n HANDLER: wikibar_editFormatByWord\n }\n },\n paragraph:{\n TYPE: 'MENU',\n TOOLTIP: 'paragarph formatters',\n list:{\n TYPE: 'MENU',\n TOOLTIP: 'list tools',\n bullet:{\n TOOLTIP: 'bullet point',\n syntax: '*user_text',\n hint: 'bullet_text',\n HANDLER: wikibar_editFormatByLine\n },\n numbered:{\n TOOLTIP: 'numbered list',\n syntax: '#user_text',\n hint: 'numbered_text',\n HANDLER: wikibar_editFormatByLine\n }\n },\n heading:{\n TYPE: 'MENU',\n heading1:{\n CAPTION:'<h1>Heading 1</h1>',\n TOOLTIP: 'Heading 1',\n syntax: '!user_text',\n hint: 'heading_1',\n HANDLER: wikibar_editFormatByLine\n },\n heading2:{\n CAPTION:'<h2>Heading 2<h2>',\n TOOLTIP: 'Heading 2',\n syntax: '!!user_text',\n hint: 'heading_2',\n HANDLER: wikibar_editFormatByLine\n },\n heading3:{\n CAPTION:'<h3>Heading 3</h3>',\n TOOLTIP: 'Heading 3',\n syntax: '!!!user_text',\n hint: 'heading_3',\n HANDLER: wikibar_editFormatByLine\n },\n heading4:{\n CAPTION:'<h4>Heading 4</h4>',\n TOOLTIP: 'Heading 4',\n syntax: '!!!!user_text',\n hint: 'heading_4',\n HANDLER: wikibar_editFormatByLine\n },\n heading5:{\n CAPTION:'<h5>Heading 5</h5>',\n TOOLTIP: 'Heading 5',\n syntax: '!!!!!user_text',\n hint: 'heading_5',\n HANDLER: wikibar_editFormatByLine\n }\n },\n comment:{\n TYPE: 'MENU',\n commentByLine:{\n CAPTION:'comment by line',\n TOOLTIP: 'line comment',\n syntax: '/%user_text%/',\n hint: 'comment_text',\n HANDLER: wikibar_editFormatByLine\n },\n commentByBlock:{\n CAPTION:'comment by block',\n TOOLTIP: 'block comment',\n syntax: '/%\snuser_text\sn%/',\n hint: 'comment_text',\n byBlock: true,\n HANDLER: wikibar_editFormatByLine\n }\n },\n monospaced:{\n TYPE: 'MENU',\n monosByLine:{\n CAPTION: 'monospaced by line',\n TOOLTIP: 'line monospaced',\n syntax: '{{{\snuser_text\sn}}}',\n hint: 'monospaced_text',\n HANDLER: wikibar_editFormatByLine\n },\n monosByBlock:{\n CAPTION: 'monospaced by block',\n TOOLTIP: 'block monospaced',\n syntax: '{{{\snuser_text\sn}}}',\n hint: 'monospaced_text',\n byBlock: true,\n HANDLER: wikibar_editFormatByLine\n }\n },\n quote:{\n TYPE: 'MENU',\n quoteByLine:{\n CAPTION: 'quote by line',\n TOOLTIP: 'line quote',\n syntax: '>user_text',\n hint: 'quote_text',\n HANDLER: wikibar_editFormatByLine\n },\n quoteByBlcok:{\n CAPTION: 'quote by block',\n TOOLTIP: 'block quote',\n syntax: '<<<\snuser_text\sn<<<',\n hint: 'quote_text',\n byBlock: true,\n HANDLER: wikibar_editFormatByLine\n }\n },\n plugin:{\n TYPE: 'MENU',\n code:{\n CAPTION: 'code area',\n TOOLTIP: 'block monospaced for plugin',\n syntax: '\sn\s/\s/{{{\snuser_text\sn\s/\s/}}}\sn',\n hint: 'monospaced_plugin_code',\n byBlock: true,\n HANDLER: wikibar_editFormatByLine\n },\n commentByLine:{\n CAPTION: 'comment by line',\n TOOLTIP: 'line comment',\n syntax: '\s/\s/user_text',\n hint: 'plugin_comment',\n HANDLER: wikibar_editFormatByLine\n },\n commentByBlock:{\n CAPTION: 'comment by block',\n TOOLTIP: 'block comment',\n syntax: '\s/\s***\snuser_text\sn***\s/',\n hint: 'plugin_comment',\n byBlock: true,\n HANDLER: wikibar_editFormatByLine\n }\n },\n css:{\n TYPE: 'MENU',\n code:{\n CAPTION: 'code area',\n TOOLTIP: 'block monospaced for css',\n syntax: '\sn\snuser_text\sn\sn',\n hint: 'monospaced_css_code',\n byBlock: true,\n HANDLER: wikibar_editFormatByLine\n },\n commentByLine:{\n CAPTION: 'comment by line',\n TOOLTIP: 'line comment',\n syntax: '',\n hint: 'css_comment',\n HANDLER: wikibar_editFormatByLine\n },\n commentByBlock:{\n CAPTION: 'comment by block',\n TOOLTIP: 'block comment',\n syntax: '',\n hint: 'css_comment',\n byBlock: true,\n HANDLER: wikibar_editFormatByLine\n }\n }\n },\n color:{\n TYPE: 'MENU',\n TOOLTIP: 'color tools',\n highlight:{\n CAPTION:'highlight text',\n TOOLTIP: 'highlight text',\n syntax: '@@user_text@@',\n hint: 'highlight_text',\n HANDLER: wikibar_editFormatByWord\n },\n color:{\n CAPTION:'text color',\n TOOLTIP: 'text color',\n hint: 'your_text',\n syntax: '@@color(%1):user_text@@',\n HANDLER: wikibar_getColorCode,\n doMore: wikibar_editFormatByWord\n },\n bgcolor:{\n CAPTION:'background color',\n TOOLTIP: 'background color',\n hint: 'your_text',\n syntax: '@@bgcolor(%1):user_text@@',\n HANDLER: wikibar_getColorCode,\n doMore: wikibar_editFormatByWord\n },\n colorcode:{\n CAPTION:'color code',\n TOOLTIP: 'insert color code',\n syntax: '%1',\n HANDLER: wikibar_getColorCode,\n doMore: wikibar_editFormatByCursor\n },\n 'color palette':{\n TYPE:'MENU',\n DYNAITEM: wikibar_genPaletteSelector,\n SEPERATOR:{},\n morePalette:{\n CAPTION:'more palettes',\n TOOLTIP:'get more palettes',\n HANDLER: wikibar_getMorePalette\n }\n }\n },\n link:{\n TYPE: 'MENU',\n TOOLTIP: 'insert link',\n wiki:{\n CAPTION:'wiki link',\n TOOLTIP: 'wiki link',\n syntax: '[[user_text]]',\n hint: 'wiki_word',\n HANDLER: wikibar_editFormatByWord\n },\n pretty:{\n CAPTION: 'pretty link',\n TOOLTIP: 'pretty link',\n syntax: '[[user_text|%1]]',\n hint: 'pretty_word',\n param: 'PrettyLink Target',\n HANDLER: wikibar_getLinkUrl,\n doMore: wikibar_editFormatByWord\n },\n url:{\n TOOLTIP: 'url link',\n syntax: '[[user_text|%1]]',\n hint: 'your_text',\n param: 'http:\s/\s/...',\n HANDLER: wikibar_getLinkUrl,\n doMore: wikibar_editFormatByWord\n },\n image:{\n TOOLTIP: 'image link',\n syntax: '[img[user_text|%1]]',\n hint: 'alt_text',\n param: 'image/icon.jpg',\n HANDLER: wikibar_getLinkUrl,\n doMore: wikibar_editFormatByWord\n }\n },\n macro:{},\n more:{\n TYPE: 'MENU',\n TOOLTIP: 'more tools',\n table:{\n TYPE: 'MENU',\n TOOLTIP: 'table',\n table:{\n CAPTION:'create table',\n TOOLTIP: 'create a new table',\n syntax: '\sn%1\sn',\n HANDLER: wikibar_getTableRowCol,\n doMore: wikibar_editFormatByWord\n },\n header:{\n TOOLTIP: 'table header text',\n syntax: '|user_text|c',\n hint: 'table_header',\n HANDLER: wikibar_editFormatByWord\n },\n cell:{\n TOOLTIP: 'create a tabel cell',\n syntax: '|user_text|',\n hint: 'your_text',\n HANDLER: wikibar_editFormatByWord\n },\n columnHeader:{\n CAPTION:'column header',\n TOOLTIP: 'create a column header cell',\n syntax: '|!user_text|',\n hint: 'column_header',\n HANDLER: wikibar_editFormatByWord\n },\n cell:{\n TYPE: 'MENU',\n CAPTION: 'cell options',\n bgcolor:{\n CAPTION: 'background color',\n TOOLTIP: 'cell bgcolor',\n syntax: '|bgcolor(%1):user_text|',\n hint: 'your_text',\n HANDLER: wikibar_getColorCode,\n doMore: wikibar_editFormatByTableCell\n },\n alignLeft:{\n CAPTION: 'align left',\n TOOLTIP: 'left align cell text',\n syntax: '|user_text|',\n hint: 'your_text',\n HANDLER: wikibar_editFormatByTableCell\n },\n alignCenter:{\n CAPTION: 'align center',\n TOOLTIP: 'center align cell text',\n syntax: '| user_text |',\n hint: 'your_text',\n HANDLER: wikibar_editFormatByTableCell\n },\n alignRight:{\n CAPTION: 'align right',\n TOOLTIP: 'right align cell text',\n syntax: '| user_text|',\n hint: 'your_text',\n HANDLER: wikibar_editFormatByTableCell\n }\n }\n },\n html:{\n TYPE: 'MENU',\n html:{\n CAPTION: '<html>',\n TOOLTIP: 'html tag',\n syntax: '<html>\snuser_text\sn</html>',\n hint: 'html_content',\n byBlock: true,\n HANDLER: wikibar_editFormatByLine\n }\n }\n },\n addon:{\n TYPE: 'MENU',\n TOOLTIP:'3rd party tools',\n 'about addons':{\n TOOLTIP: 'list loaded addons',\n HANDLER: wikibar_doListAddons\n },\n SEPERATOR:{}\n }\n};\naddEvent(document, 'click', wikibarColorTool.onDocumentClick);\naddEvent(document, 'click', wikibarPopup.onDocumentClick);\nwikibar_install();\n//}}}

/***\n|''Name:''|YourSearchPlugin|\n|''Version:''|2.0.2 (2006-02-13)|\n|''Source:''|http://tiddlywiki.abego-software.de/#YourSearchPlugin|\n|''Author:''|UdoBorkowski (ub [at] abego-software [dot] de)|\n|''Licence:''|[[BSD open source license]]|\n|''TiddlyWiki:''|2.0|\n|''Browser:''|Firefox 1.0.4+; Firefox 1.5; InternetExplorer 6.0|\n<<tiddler [[YourSearch Introduction]]>>\nFor more information see [[Help|YourSearch Help]].\n\n!Compatibility\nThis plugin requires TiddlyWiki 2.0. \nUse http://tiddlywiki.abego-software.de/#YourSearchPlugin-1.0.1 for older TiddlyWiki versions.\n\n!Revision history\n* v2.0.2 (2006-02-13)\n** Bugfix for Firefox 1.5.0.1 related to the "Show prefix" checkbox. Thanks to Ted Pavlic for reporting and to BramChen for fixing. \n** Internal\n*** Make "JSLint" conform\n* v2.0.1 (2006-02-05)\n** Support "Exact Word Match" (use '=' to prefix word)\n** Support default filter settings (when no filter flags are given in search term)\n** Rework on the "less than 3 chars search text" feature (thanks to EricShulman)\n** Better support SinglePageMode when doing "Open all tiddlers" (thanks to EricShulman)\n** Support Firefox 1.5.0.1\n** Bug: Fixed a hilite bug in "classic search mode" (thanks to EricShulman)\n* v2.0.0 (2006-01-16)\n** Add User Interface\n* v1.0.1 (2006-01-06)\n** Support TiddlyWiki 2.0\n* v1.0.0 (2005-12-28)\n** initial version\n!Code\nThe code is compressed. \n\nYou can retrieve a readable source code version from http://tiddlywiki.abego-software.de/#YourSearchPlugin-src.\n/%\n***/\nif(!version.extensions.YourSearchPlugin){version.extensions.YourSearchPlugin={major:2,minor:0,revision:2,date:new Date(2006,2,13),type:"plugin",source:"http://tiddlywiki.abego-software.de/#YourSearchPlugin"};var alertAndThrow=function(_1){alert(_1);throw _1;};if(!window.abego){window.abego={};}if(abego.YourSearch){alertAndThrow("abego.YourSearch already defined");}abego.YourSearch={};if(version.major<2){alertAndThrow("YourSearchPlugin requires TiddlyWiki 2.0 or newer.\sn\snGet YourSearch 1.0.1 to use YourSearch with older versions of TiddlyWiki.\sn\snhttp://tiddlywiki.abego-software.de/#YourSearchPlugin-1.0.1");}var STQ=function(_2,_3,_4,_5){this.queryText=_2;this.caseSensitive=_3;if(_5){this.regExp=new RegExp(_2,_3?"mg":"img");return;}this.terms=[];var re=/\ss*(\s-)?([#%!=]*)(?:(?:("(?:(?:\s\s")|[^"])*")|(\sS+)))(?:\ss+((?:[aA][nN][dD])|(?:[oO][rR]))(?!\sS))?/mg;var _7=re.exec(_2);while(_7!=null&&_7.length==6){var _8="-"==_7[1];var _9=_7[2];var _a=_9.indexOf("!")>=0;var _b=_9.indexOf("%")>=0;var _c=_9.indexOf("#")>=0;var _d=_9.indexOf("=")>=0;if(!_a&&!_b&&!_c){_a=config.options.chkSearchInTitle;_b=config.options.chkSearchInText;_c=config.options.chkSearchInTags;if(!_a&&!_b&&!_c){_a=_b=_c=true;}}if(_4){_b=false;_c=false;}var _e;if(_7[3]){try{_e=eval(_7[3]);}catch(ex){}}else{_e=_7[4];}if(!_e){throw "Invalid search expression: %0".format([_2]);}var _f=_7[5]&&_7[5].charAt(0).toLowerCase()=="o";this.terms.push(new STQ.Term(_e,_a,_b,_c,_8,_f,_3,_d));_7=re.exec(_2);}};var me=STQ.prototype;me.getMatchingTiddlers=function(_10){var _11=[];for(var i in _10){var t=_10[i];if((t instanceof Tiddler)&&this.matchesTiddler(t)){_11.push(t);}}return _11;};me.matchesTiddler=function(_14){if(this.regExp){return this.regExp.test(_14.title)||this.regExp.test(_14.text);}var n=this.terms.length;if(n==0){return false;}var _16=this.terms[0].matchesTiddler(_14);for(var i=1;i<this.terms.length;i++){if(this.terms[i-1].orFollows){if(!_16){_16|=this.terms[i].matchesTiddler(_14);}}else{if(_16){_16&=this.terms[i].matchesTiddler(_14);}}}return _16;};me.getOnlyMatchTitleQuery=function(){if(!this.onlyMatchTitleQuery){this.onlyMatchTitleQuery=new STQ(this.queryText,this.caseSensitive,true,this.useRegExp);}return this.onlyMatchTitleQuery;};me.getMarkRegExp=function(){if(this.regExp){return "".search(this.regExp)>=0?null:this.regExp;}var _18={};var n=this.terms.length;for(var i=0;i<this.terms.length;i++){var _1b=this.terms[i];if(!_1b.negate){_18[_1b.text]=true;}}var _1c=[];for(var t in _18){_1c.push("("+t.escapeRegExp()+")");}if(_1c.length==0){return null;}var _1e=_1c.join("|");return new RegExp(_1e,this.caseSensitive?"mg":"img");};me.toString=function(){if(this.regExp){return this.regExp.toString();}var _1f="";for(var i=0;i<this.terms.length;i++){_1f+=this.terms[i].toString();}return _1f;};STQ.Term=function(_21,_22,_23,_24,_25,_26,_27,_28){this.text=_21;this.inTitle=_22;this.inText=_23;this.inTag=_24;this.negate=_25;this.orFollows=_26;this.caseSensitive=_27;this.wordMatch=_28;var _29=_21.escapeRegExp();if(this.wordMatch){_29="\s\sb"+_29+"\s\sb";}this.regExp=new RegExp(_29,"m"+(_27?"":"i"));};STQ.Term.prototype.toString=function(){return (this.negate?"-":"")+(this.inTitle?"!":"")+(this.inText?"%":"")+(this.inTag?"#":"")+(this.wordMatch?"=":"")+"\s""+this.text+"\s""+(this.orFollows?" OR ":" AND ");};STQ.Term.prototype.matchesTiddler=function(_2a){if(!_2a){return false;}if(this.inTitle&&this.regExp.test(_2a.title)){return !this.negate;}if(this.inText&&this.regExp.test(_2a.text)){return !this.negate;}if(this.inTag){var _2b=_2a.tags;if(_2b){for(var i=0;i<_2b.length;i++){if(this.regExp.test(_2b[i])){return !this.negate;}}}}return this.negate;};var stringToInt=function(s,_2e){if(!s){return _2e;}var n=parseInt(s);return (n==NaN)?_2e:n;};var getIntAttribute=function(_30,_31,_32){return stringToInt(_30.getAttribute(_31));};var isDescendantOrSelf=function(_33,e){while(e!=null){if(_33==e){return true;}e=e.parentNode;}return false;};var getMatchCount=function(s,re){var m=s.match(re);return m?m.length:0;};var createEllipsis=function(_38){var e=createTiddlyElement(_38,"span");e.innerHTML="…";};var isWordChar=function(c){return (c>="a"&&c<="z")||(c>="A"&&c<="Z")||c=="_";};var getWordBounds=function(s,_3c){if(!isWordChar(s[_3c])){return null;}for(var i=_3c-1;i>=0&&isWordChar(s[i]);i--){}var _3e=i+1;var n=s.length;for(i=_3c+1;i<n&&isWordChar(s[i]);i++){}return {start:_3e,end:i};};var removeTextDecoration=function(s){var _41=["''","{{{","}}}","//","<<<","/***","***/"];var _42="";for(var i=0;i<_41.length;i++){if(i!=0){_42+="|";}_42+="("+_41[i].escapeRegExp()+")";}return s.replace(new RegExp(_42,"mg"),"").trim();};var logText="";var lastLogTime=null;var logMessage=function(_44,s){var now=new Date();var _47=lastLogTime?(now-lastLogTime).toString():"";logText+="<tr><td>"+now.convertToYYYYMMDDHHMMSSMMM()+"</td><td align='right'>"+_47+"</td><td>"+_44+"</td><td>"+s.htmlEncode()+"</td></tr>\sn";lastLogTime=now;};function writeLog(){var t=" <<JsDoIt 'WriteLog' 'WriteLog' 'javascript:writeLog();story.closeTiddler(\s"Log\s");story.displayTiddler(null,\s"Log\s");'>>"+"<html><table><tbody><tr><th>Time</th><th>Delta (ms)</th><th>Kind</th><th>Message</th></tr>\sn"+logText+"</tbody></table></html>";store.saveTiddler("Log","Log",t,config.options.txtUserName,new Date(),["System","Log"]);logText="";lastLogTime=null;}var yourSearchResultID="yourSearchResult";var yourSearchResultItemsID="yourSearchResultItems";var maxCharsInTitle=80;var maxCharsInTags=50;var maxCharsInText=250;var maxPagesInNaviBar=10;var itemsPerPageDefault=25;var itemsPerPageWithPreviewDefault=10;var minMatchWithContextSize=40;var maxMovementForWordCorrection=4;var matchInTitleWeight=4;var precisionInTitleWeight=10;var matchInTagsWeight=2;var resultElement;var lastResults;var lastQuery;var lastSearchText;var searchInputField;var searchButton;var firstIndexOnPage=0;var currentTiddler;var indexInPage;var indexInResult;var getItemsPerPage=function(){var n=(config.options.chkPreviewText)?stringToInt(config.options.txtItemsPerPageWithPreview,itemsPerPageWithPreviewDefault):stringToInt(config.options.txtItemsPerPage,itemsPerPageDefault);return (n>0)?n:1;};var standardRankFunction=function(_4a,_4b){var _4c=_4b.getMarkRegExp();if(!_4c){return 1;}var _4d=_4a.title.match(_4c);var _4e=_4d?_4d.length:0;var _4f=getMatchCount(_4a.getTags(),_4c);var _50=_4d?_4d.join("").length:0;var _51=_4a.title.length>0?_50/_4a.title.length:0;var _52=_4e*matchInTitleWeight+_4f*matchInTagsWeight+_51*precisionInTitleWeight+1;return _52;};var findMatches=function(_53,_54,_55,_56,_57,_58){lastSearchText=_54;var _59=_53.reverseLookup("tags",_58,false);var _5a=new STQ(_54,_55,false,_56);lastQuery=_5a;var _5b=_5a.getMatchingTiddlers(_59);var _5c=abego.YourSearch.getRankFunction();for(var i=0;i<_5b.length;i++){var _5e=_5b[i];var _5f=_5c(_5e,_5a);_5e.searchRank=_5f;}if(!_57){_57="title";}var _60=function(a,b){var _63=a.searchRank-b.searchRank;if(_63==0){if(a[_57]==b[_57]){return (0);}else{return (a[_57]<b[_57])?-1:+1;}}else{return (_63>0)?-1:+1;}};_5b.sort(_60);lastResults=_5b;return _5b;};var moveToWordBorder=function(s,_65,_66){var _67;if(_66){_67=getWordBounds(s,_65);}else{if(_65<=0){return _65;}_67=getWordBounds(s,_65-1);}if(!_67){return _65;}if(_66){if(_67.start>=_65-maxMovementForWordCorrection){return _67.start;}if(_67.end<=_65+maxMovementForWordCorrection){return _67.end;}}else{if(_67.end<=_65+maxMovementForWordCorrection){return _67.end;}if(_67.start>=_65-maxMovementForWordCorrection){return _67.start;}}return _65;};var getContextRangeAround=function(s,_69,_6a,_6b,_6c){var _6d=Math.max(Math.floor(_6c/(_6b+1)),minMatchWithContextSize);var _6e=Math.max(_6d-(_6a-_69),0);var _6f=Math.min(Math.floor(_6a+_6e/3),s.length);var _70=Math.max(_6f-_6d,0);_70=moveToWordBorder(s,_70,true);_6f=moveToWordBorder(s,_6f,false);return {start:_70,end:_6f};};var getTextAndMatchArray=function(s,_72){var _73=[];if(_72){var _74=0;var n=s.length;var _76=0;do{_72.lastIndex=_74;var _77=_72.exec(s);if(_77){if(_74<_77.index){var t=s.substring(_74,_77.index);_73.push({text:t});}_73.push({text:_77[0],isMatch:true});_74=_77.index+_77[0].length;}else{_73.push({text:s.substr(_74)});break;}}while(true);}else{_73.push({text:s});}return _73;};var simpleCreateLimitedTextWithMarks=function(_79,s,_7b){if(!lastQuery){return;}var _7c=getTextAndMatchArray(s,lastQuery.getMarkRegExp());var _7d=0;for(var i=0;i<_7c.length&&_7d<_7b;i++){var t=_7c[i];var _80=t.text;if(t.isMatch){createTiddlyElement(_79,"span",null,"marked",_80);}else{var _81=_7b-_7d;if(_81<_80.length){_80=_80.substring(0,_81)+"...";}createTiddlyText(_79,_80);}_7d+=_80.length;}};var addRange=function(_82,_83,_84){var n=_82.length;if(n==0){_82.push({start:_83,end:_84});return;}var i=0;for(;i<n;i++){var _87=_82[i];if(_87.start<=_84&&_83<=_87.end){var r;var _89=i+1;for(;_89<n;_89++){r=_82[_89];if(r.start>_84||_83>_87.end){break;}}var _8a=_83;var _8b=_84;for(var j=i;j<_89;j++){r=_82[j];_8a=Math.min(_8a,r.start);_8b=Math.max(_8b,r.end);}_82.splice(i,_89-i,{start:_8a,end:_8b});return;}if(_87.start>_84){break;}}_82.splice(i,0,{start:_83,end:_84});};var getTotalRangesSize=function(_8d){var _8e=0;for(var i=0;i<_8d.length;i++){var _90=_8d[i];_8e+=_90.end-_90.start;}return _8e;};var writeTextAndMatchRange=function(_91,s,_93,_94,_95){var t;var _97;var pos=0;var i=0;var _9a=0;for(;i<_93.length;i++){t=_93[i];_97=t.text;if(_94<pos+_97.length){_9a=_94-pos;break;}pos+=_97.length;}var _9b=_95-_94;for(;i<_93.length&&_9b>0;i++){t=_93[i];_97=t.text.substr(_9a);_9a=0;if(_97.length>_9b){_97=_97.substr(0,_9b);}if(t.isMatch){createTiddlyElement(_91,"span",null,"marked",_97);}else{createTiddlyText(_91,_97);}_9b-=_97.length;}if(_95<s.length){createEllipsis(_91);}};var getMatchedTextCount=function(_9c){var _9d=0;for(var i=0;i<_9c.length;i++){if(_9c[i].isMatch){_9d++;}}return _9d;};var getMatchedTextWithContextRanges=function(_9f,s,_a1){var _a2=[];var _a3=getMatchedTextCount(_9f);var pos=0;for(var i=0;i<_9f.length;i++){var t=_9f[i];var _a7=t.text;if(t.isMatch){var _a8=getContextRangeAround(s,pos,pos+_a7.length,_a3,_a1);addRange(_a2,_a8.start,_a8.end);}pos+=_a7.length;}return _a2;};var fillUpRanges=function(s,_aa,_ab){var _ac=_ab-getTotalRangesSize(_aa);while(_ac>0){if(_aa.length==0){addRange(_aa,0,moveToWordBorder(s,_ab,false));return;}else{var _ad=_aa[0];var _ae;var _af;if(_ad.start==0){_ae=_ad.end;if(_aa.length>1){_af=_aa[1].start;}else{addRange(_aa,_ae,moveToWordBorder(s,_ae+_ac,false));return;}}else{_ae=0;_af=_ad.start;}var _b0=Math.min(_af,_ae+_ac);addRange(_aa,_ae,_b0);_ac-=(_b0-_ae);}}};var writeRanges=function(_b1,s,_b3,_b4,_b5){if(_b4.length==0){return;}if(_b4[0].start>0){createEllipsis(_b1);}var _b6=_b5;for(var i=0;i<_b4.length&&_b6>0;i++){var _b8=_b4[i];var len=Math.min(_b8.end-_b8.start,_b6);writeTextAndMatchRange(_b1,s,_b3,_b8.start,_b8.start+len);_b6-=len;}};var createLimitedTextWithMarksAndContext=function(_ba,s,_bc){if(!lastQuery){return;}if(s.length<_bc){_bc=s.length;}var _bd=getTextAndMatchArray(s,lastQuery.getMarkRegExp());var _be=getMatchedTextWithContextRanges(_bd,s,_bc);fillUpRanges(s,_be,_bc);writeRanges(_ba,s,_bd,_be,_bc);};var createLimitedTextWithMarks=function(_bf,s,_c1){return createLimitedTextWithMarksAndContext(_bf,s,_c1);};var myStorySearch=function(_c2,_c3,_c4){highlightHack=new RegExp(_c4?_c2:_c2.escapeRegExp(),_c3?"mg":"img");var _c5=findMatches(store,_c2,_c3,_c4,"title","excludeSearch");firstIndexOnPage=0;showResult();highlightHack=null;};var myMacroSearchHandler=function(_c6,_c7,_c8){var _c9="";var _ca=null;var _cb=function(txt){if(config.options.chkUseYourSearch){myStorySearch(txt.value,config.options.chkCaseSensitiveSearch,config.options.chkRegExpSearch);}else{story.search(txt.value,config.options.chkCaseSensitiveSearch,config.options.chkRegExpSearch);}_c9=txt.value;};var _cd=function(e){_cb(searchInputField);return false;};var _cf=function(e){if(!e){var e=window.event;}switch(e.keyCode){case 13:_cb(this);break;case 27:if(isResultOpen()){closeResult();}else{this.value="";clearMessage();}break;}if(String.fromCharCode(e.keyCode)==this.accessKey||e.altKey){reopenResultIfApplicable();}if(this.value.length<3&&_ca){clearTimeout(_ca);}if((this.value.length>2)&&(this.value!=_c9)){if(!config.options.chkUseYourSearch||config.options.chkSearchAsYouType){if(_ca){clearTimeout(_ca);}var txt=this;_ca=setTimeout(function(){_cb(txt);},500);}}if(this.value.length==0){closeResult();}};var _d3=function(e){this.select();reopenResultIfApplicable();};var btn=createTiddlyButton(_c6,this.label,this.prompt,_cd);var txt=createTiddlyElement(_c6,"input",null,null,null);if(_c8[0]){txt.value=_c8[0];}txt.onkeyup=_cf;txt.onfocus=_d3;txt.setAttribute("size",this.sizeTextbox);txt.setAttribute("accessKey",this.accessKey);txt.setAttribute("autocomplete","off");if(config.browser.isSafari){txt.setAttribute("type","search");txt.setAttribute("results","5");}else{txt.setAttribute("type","text");}searchInputField=txt;searchButton=btn;};var isResultOpen=function(){return resultElement!=null&&resultElement.parentNode==document.body;};var closeResult=function(){if(isResultOpen()){document.body.removeChild(resultElement);}};var openAllFoundTiddlers=function(){closeResult();if(lastResults){var _d7=[];for(var i=0;i<lastResults.length;i++){_d7.push(lastResults[i].title);}story.displayTiddlers(null,_d7);}};var refreshResult=function(){if(!resultElement||!searchInputField){return;}var _d9=store.getTiddlerText("YourSearchResultTemplate");if(!_d9){_d9="<b>Tiddler YourSearchResultTemplate not found</b>";}resultElement.innerHTML=_d9;firstIndexOnPage=Math.floor(firstIndexOnPage/getItemsPerPage())*getItemsPerPage();applyHtmlMacros(resultElement,null);refreshElements(resultElement,null);if(lastResults&&lastResults.length>0){var _da=store.getTiddlerText("YourSearchItemTemplate");if(!_da){alertAndThrow("YourSearchItemTemplate not found");}var _db=document.getElementById(yourSearchResultItemsID);if(!_db){_db=createTiddlyElement(resultElement,"div",yourSearchResultItemsID);}var _dc=Math.min(firstIndexOnPage+getItemsPerPage(),lastResults.length);indexInPage=-1;for(var i=firstIndexOnPage;i<_dc;i++){currentTiddler=lastResults[i];indexInPage++;indexInResult=i;var _de=createTiddlyElement(_db,"div",null,"yourSearchItem");_de.innerHTML=_da;applyHtmlMacros(_de,null);refreshElements(_de,null);}}currentTiddler=null;ensureResultIsDisplayedNicely();};var ensureResultIsDisplayedNicely=function(){adjustResultPositionAndSize();scrollVisible();};var scrollVisible=function(){if(resultElement){window.scrollTo(0,ensureVisible(resultElement));}if(searchInputField){window.scrollTo(0,ensureVisible(searchInputField));}};var adjustResultPositionAndSize=function(){if(!searchInputField){return;}var _df=searchInputField;var _e0=findPosX(_df);var _e1=findPosY(_df);var _e2=_df.offsetHeight;var _e3=_e0;var _e4=_e1+_e2;var _e5=findWindowWidth();if(_e5<resultElement.offsetWidth){resultElement.style.width=(_e5-100)+"px";_e5=findWindowWidth();}var _e6=resultElement.offsetWidth;if(_e3+_e6>_e5){_e3=_e5-_e6-30;}if(_e3<0){_e3=0;}resultElement.style.left=_e3+"px";resultElement.style.top=_e4+"px";resultElement.style.display="block";};var showResult=function(){if(!resultElement){resultElement=createTiddlyElement(document.body,"div",yourSearchResultID,"yourSearchResult");}else{if(resultElement.parentNode!=document.body){document.body.appendChild(resultElement);}}refreshResult();};var reopenResultIfApplicable=function(){if(searchInputField==null||!config.options.chkUseYourSearch){return;}if((searchInputField.value==lastSearchText)&&lastSearchText&&!isResultOpen()){if(resultElement&&(resultElement.parentNode!=document.body)){document.body.appendChild(resultElement);ensureResultIsDisplayedNicely();}else{showResult();}}};var setFirstIndexOnPage=function(_e7){if(!lastResults||lastResults.length==0){return;}firstIndexOnPage=Math.min(Math.max(0,_e7),lastResults.length-1);refreshResult();};var onDocumentClick=function(e){if(e.target==searchInputField){return;}if(e.target==searchButton){return;}if(resultElement&&isDescendantOrSelf(resultElement,e.target)){return;}closeResult();};var onDocumentKeyup=function(e){if(e.keyCode==27){closeResult();}};addEvent(document,"click",onDocumentClick);addEvent(document,"keyup",onDocumentKeyup);config.macros.yourSearch={label:"yourSearch",prompt:"Gives access to the current/last YourSearch result",funcs:{},tests:{"true":function(){return true;},"false":function(){return false;},"found":function(){return lastResults&&lastResults.length>0;},"previewText":function(){return config.options.chkPreviewText;}}};config.macros.yourSearch.handler=function(_ea,_eb,_ec,_ed,_ee,_ef){if(_ec.length==0){return;}var _f0=_ec[0];var _f1=config.macros.yourSearch.funcs[_f0];if(_f1){_f1(_ea,_eb,_ec,_ed,_ee,_ef);}};config.macros.yourSearch.funcs.itemRange=function(_f2){if(lastResults){var _f3=Math.min(firstIndexOnPage+getItemsPerPage(),lastResults.length);var s="%0 - %1".format([firstIndexOnPage+1,_f3]);createTiddlyText(_f2,s);}};config.macros.yourSearch.funcs.count=function(_f5){if(lastSearchText){createTiddlyText(_f5,lastResults.length.toString());}};config.macros.yourSearch.funcs.query=function(_f6){if(lastResults){createTiddlyText(_f6,lastSearchText);}};config.macros.yourSearch.funcs.version=function(_f7){var t="YourSearch %0.%1.%2".format([version.extensions.YourSearchPlugin.major,version.extensions.YourSearchPlugin.minor,version.extensions.YourSearchPlugin.revision]);var e=createTiddlyElement(_f7,"a");e.setAttribute("href","http://tiddlywiki.abego-software.de/#YourSearchPlugin");e.innerHTML="<font color=\s"black\s" face=\s"Arial, Helvetica, sans-serif\s">"+t+"<font>";};config.macros.yourSearch.funcs.copyright=function(_fa){var e=createTiddlyElement(_fa,"a");e.setAttribute("href","http://tiddlywiki.abego-software.de");e.innerHTML="<font color=\s"black\s" face=\s"Arial, Helvetica, sans-serif\s">© 2005-2006 <b><font color=\s"red\s">abego</font></b> Software<font>";};config.macros.yourSearch.funcs.linkButton=function(_fc,_fd,_fe,_ff,_100,_101){if(_fe<2){return;}var _102=_fe[1];var text=_fe<3?_102:_fe[2];var _104=_fe<4?text:_fe[3];var _105=_fe<5?null:_fe[4];var btn=createTiddlyButton(_fc,text,_104,closeResultAndDisplayTiddler,null,null,_105);btn.setAttribute("tiddlyLink",_102);};config.macros.yourSearch.funcs.closeButton=function(_107,_108,_109,_10a,_10b,_10c){var _10d=createTiddlyButton(_107,"close","Close the Search Results (Shortcut: ESC)",closeResult);};config.macros.yourSearch.funcs.openAllButton=function(_10e,_10f,_110,_111,_112,_113){if(!lastResults){return;}var n=lastResults.length;if(n==0){return;}var _115=n==1?"open tiddler":"open all %0 tiddlers".format([n]);var _116=createTiddlyButton(_10e,_115,"Open all found tiddlers (Shortcut: Alt-O)",openAllFoundTiddlers);_116.setAttribute("accessKey","O");};var onNaviButtonClick=function(e){if(!e){var e=window.event;}var _119=getIntAttribute(this,"page");setFirstIndexOnPage(_119*getItemsPerPage(),0);};config.macros.yourSearch.funcs.naviBar=function(_11a,_11b,_11c,_11d,_11e,_11f){if(!lastResults||lastResults.length==0){return;}var _120;var _121=Math.floor(firstIndexOnPage/getItemsPerPage());var _122=Math.floor((lastResults.length-1)/getItemsPerPage());if(_121>0){_120=createTiddlyButton(_11a,"Previous","Go to previous page (Shortcut: Alt-'<')",onNaviButtonClick,"prev");_120.setAttribute("page",(_121-1).toString());_120.setAttribute("accessKey","<");}for(var i=-maxPagesInNaviBar;i<maxPagesInNaviBar;i++){var _124=_121+i;if(_124<0){continue;}if(_124>_122){break;}var _125=(i+_121+1).toString();var _126=_124==_121?"currentPage":"otherPage";_120=createTiddlyButton(_11a,_125,"Go to page %0".format([_125]),onNaviButtonClick,_126);_120.setAttribute("page",(_124).toString());}if(_121<_122){_120=createTiddlyButton(_11a,"Next","Go to next page (Shortcut: Alt-'>')",onNaviButtonClick,"next");_120.setAttribute("page",(_121+1).toString());_120.setAttribute("accessKey",">");}};config.macros.yourSearch.funcs["if"]=function(_127,_128,_129,_12a,_12b,_12c){if(_129.length<2){return;}var _12d=_129[1];var _12e=(_12d=="not");if(_12e){if(_129.length<3){return;}_12d=_129[2];}var test=config.macros.yourSearch.tests[_12d];var _130=false;try{if(test){_130=test(_127,_128,_129,_12a,_12b,_12c)!=_12e;}else{_130=(!eval(_12d))==_12e;}}catch(ex){}if(!_130){_127.style.display="none";}};var createOptionWithRefresh=function(_131,_132,_133,_134){invokeMacro(_131,"option",_132,_133,_134);var elem=_131.lastChild;var _136=elem.onclick;elem.onclick=function(e){var _138=_136.apply(this,arguments);refreshResult();return _138;};return elem;};config.macros.yourSearch.funcs.chkPreviewText=function(_139,_13a,_13b,_13c,_13d,_13e){var _13f=_13b.slice(1).join(" ");var elem=createOptionWithRefresh(_139,"chkPreviewText",_13c,_13e);elem.setAttribute("accessKey","P");elem.title="Show text preview of found tiddlers (Shortcut: Alt-P)";return elem;};config.macros.foundTiddler={label:"foundTiddler",prompt:"Provides information on the tiddler currently processed on the YourSearch result page",funcs:{}};config.macros.foundTiddler.handler=function(_141,_142,_143,_144,_145,_146){if(!currentTiddler){return;}var name=_143[0];var func=config.macros.foundTiddler.funcs[name];if(func){func(_141,_142,_143,_144,_145,_146);}};var closeResultAndDisplayTiddler=function(e){closeResult();var _14a=this.getAttribute("tiddlyLink");if(_14a){var _14b=this.getAttribute("withHilite");var _14c=highlightHack;if(_14b&&_14b=="true"&&lastQuery){highlightHack=lastQuery.getMarkRegExp();}story.displayTiddler(this,_14a);highlightHack=_14c;}return (false);};var getShortCutNumber=function(){if(!currentTiddler){return -1;}if(indexInPage>=0&&indexInPage<=9){return indexInPage<9?(indexInPage+1):0;}else{return -1;}};config.macros.foundTiddler.funcs.title=function(_14d,_14e,_14f,_150,_151,_152){if(!currentTiddler){return;}var _153=getShortCutNumber();var _154=_153>=0?"Open tiddler (Shortcut: Alt-%0)".format([_153.toString()]):"Open tiddler";var btn=createTiddlyButton(_14d,null,_154,closeResultAndDisplayTiddler,null);btn.setAttribute("tiddlyLink",currentTiddler.title);btn.setAttribute("withHilite","true");createLimitedTextWithMarks(btn,currentTiddler.title,maxCharsInTitle);if(_153>=0){btn.setAttribute("accessKey",_153.toString());}};config.macros.foundTiddler.funcs.tags=function(_156,_157,_158,_159,_15a,_15b){if(!currentTiddler){return;}createLimitedTextWithMarks(_156,currentTiddler.getTags(),maxCharsInTags);};config.macros.foundTiddler.funcs.text=function(_15c,_15d,_15e,_15f,_160,_161){if(!currentTiddler){return;}createLimitedTextWithMarks(_15c,removeTextDecoration(currentTiddler.text),maxCharsInText);};config.macros.foundTiddler.funcs.number=function(_162,_163,_164,_165,_166,_167){var _168=getShortCutNumber();if(_168>=0){var text="%0)".format([_168.toString()]);createTiddlyElement(_162,"span",null,"shortcutNumber",text);}};function scrollToAnchor(name){return false;}if(config.options.chkUseYourSearch==undefined){config.options.chkUseYourSearch=true;}if(config.options.chkPreviewText==undefined){config.options.chkPreviewText=true;}if(config.options.chkSearchAsYouType==undefined){config.options.chkSearchAsYouType=true;}if(config.options.chkSearchInTitle==undefined){config.options.chkSearchInTitle=true;}if(config.options.chkSearchInText==undefined){config.options.chkSearchInText=true;}if(config.options.chkSearchInTags==undefined){config.options.chkSearchInTags=true;}if(config.options.txtItemsPerPage==undefined){config.options.txtItemsPerPage=itemsPerPageDefault;}if(config.options.txtItemsPerPageWithPreview==undefined){config.options.txtItemsPerPageWithPreview=itemsPerPageWithPreviewDefault;}config.shadowTiddlers.AdvancedOptions+="\sn<<option chkUseYourSearch>> Use 'Your Search' //([[more options|YourSearch Options]])//";config.shadowTiddlers["YourSearch Introduction"]="!About YourSearch\sn"+"\sn"+"YourSearch gives you a bunch of new features to simplify and speed up your daily searches in TiddlyWiki. It seamlessly integrates into the standard TiddlyWiki search: just start typing into the 'search' field and explore!\sn"+"\sn"+"''May the '~Alt-F' be with you.''\sn"+"\sn"+"\sn"+"!Features\sn"+"* YourSearch searches for tiddlers that match your query ''as you type'' into the 'search' field. It presents a list of the ''\s"Top Ten\s"'' tiddlers in a ''popup-like window'': the ''[[YourSearch Result]]''. The tiddlers currently displayed in your TiddlyWiki are not affected.\sn"+"* Using ''~TiddlerRank technology'' the [[YourSearch Result]] lists the ''most interesting tiddlers first''.\sn"+"* Through ''Filtered Search'' and ''Boolean Search'' you can easily refining your search, like excluding words or searching for multiple words. This way less tiddlers are displayed in the [[YourSearch Result]] and you can faster scan the result for the tiddler you are looking for.\sn"+"* The [[YourSearch Result]] lists the found tiddlers ''page-wise'', e.g. 10 per page. Use the ''Result Page Navigation Bar'' to navigate between pages if the result does not fit on one page.\sn"+"* The [[YourSearch Result]] states the ''total number of found tiddlers''. This way you can quickly decide if you want to browse the result list or if you want to refine your search first to shorten the result list.\sn"+"* Beside the ''title of the found tiddlers'' the [[YourSearch Result]] also ''displays tags'' and ''tiddler text previews''. The ''tiddler text preview'' is an extract of the tiddler's content, showing the most interesting parts related to your query (e.g. the texts around the words you are looking for).\sn"+"* The words you are looking for are hilited in the titles, tags and text previews of the [[YourSearch Result]].\sn"+"* If you are not interested in the tiddler text previews but prefer to get longer lists of tiddlers on one result page you may ''switch of the text preview''.\sn"+"* If the [[YourSearch Result]] contains the tiddler you are looking for you can just ''click its title to display'' it in your TiddlyWiki. Alternatively you may also ''open all found tiddlers'' at once. \sn"+"* Use [[YourSearch Options]] to customize YourSearch to your needs. E.g. depending on the size of your screen you may change the number of tiddlers displayed in the [[YourSearch Result]]. 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([[www.abego-software.de|http://www.abego-software.de]])\n\nRedistribution and use in source and binary forms, with or without modification,\nare permitted provided that the following conditions are met:\n\nRedistributions of source code must retain the above copyright notice, this\nlist of conditions and the following disclaimer.\n\nRedistributions in binary form must reproduce the above copyright notice, this\nlist of conditions and the following disclaimer in the documentation and/or other\nmaterials provided with the distribution.\n\nNeither the name of abego Software nor the names of its contributors may be\nused to endorse or promote products derived from this software without specific\nprior written permission.\n\nTHIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS "AS IS" AND ANY\nEXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES\nOF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT\nSHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT,\nINCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED\nTO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR\nBUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN\nCONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN\nANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH\nDAMAGE.\n***/\n\n

The diploma mix-up in Buster Keaton's [[The Electric House (1922)]] is itself a rather sardonic comment on education and the economy. If all a university does is give out certificates, and if all it takes is a fake diploma to get a job, then we are in trouble. The whole ceremony is rather weird: there's an audience\n[img[audience|http://flyczba.free.fr/blogimages/electric4.jpg]]\nand the graduates are sitting in neat little rows like the cogs in the industrial machinery they seem promised to become\n[img[rows|http://flyczba.free.fr/blogimages/electric3.jpg]]\nand are they really sitting on the American flag ??\n[img[flag|http://flyczba.free.fr/blogimages/electric5.jpg]]

Type the text for 'authenticity'

*Maurice Tourneur, [[The Last of the Mohicans (1920)]]:\n[img[Uncas|http://cinebuds.online.fr/images/lastofthemohicans1920-1.jpg]]\n\n*John Rea Neill, illustration for Longfellow's //Hiawatha//, published 1909:\n[img[Chibiados the musician|http://cinebuds.online.fr/images/hiawatha1909-4.jpg]]

Robert Flaherty, presumably //after// the //White Shadows on the South Seas// fiasco:\n<<<\nWorking in Hollywood is like sailing on a sewer in a glass-bottom boat.\n<<<\n

[img[busted|http://cinebuds.free.fr/images/bourgeois_couple_busted.jpg]]\nFrom //Along Came Auntie// (1926)\n...\nor even more unambiguously:\n[img[couple|http://cinebuds.free.fr/images/bourgeois_couple_farted.jpg]]

''Bunkum''\n<<<\nVariant(s): bun·combe /'b&[ng]-k&m/\nFunction: noun\nEtymology: Buncombe county, N.C.; from a remark made by its congressman, who defended an irrelevant speech by claiming that he was speaking to Buncombe\n: insincere or foolish talk : NONSENSE\n([[The Merriam-Webster Dictionary|http://www.m-w.com]])\n<<

*[[Monte]] is a ~Spanish-American [[three-card con-game|http://en.wikipedia.org/wiki/Three_card_monte/]]\n* cowboys ride [[pinto horses|http://]]\n

Buster Keaton's [[The Boat (1921)]] in ten minutes deconstructs the family to the point of nonexistence (indeed this is fairly frequent in slapsticks: See the end of //Along Came Auntie// (1926), and the [[bourgeois couple busted]]). But he pieces it back together just when he's through destroying the //topoi// of family life. \nAfter the home, the family loses the car\n[img[car|http://flyczba.free.fr/blogimages/boat06.jpg]]\n\nbut soon rallies round Father\n[img[dad|http://flyczba.free.fr/blogimages/boat07.jpg]]\n\nIn the boat, the family painting (a standard marine view) is leaking\n[img[marine|http://flyczba.free.fr/blogimages/boat08.jpg]]\n\nand Mother's cooking is not quite what it should be\n[img[cooking|http://flyczba.free.fr/blogimages/boat09.jpg]]\n\nBut, eventually, the holy family is together, praying\n[img[prayer|http://flyczba.free.fr/blogimages/boat10.jpg]]\n\nor saying goodbye\n[img[bye|http://flyczba.free.fr/blogimages/boat11.jpg]]\n\nor walking away together\n[img[walk|http://flyczba.free.fr/blogimages/boat12.jpg]]\n\n...even though that reconstruction is the conclusion of a painstakingly ridiculous belief that they were all drowning together under Father's enlightened guidance.

*Owen Wister\n*Francis Parkman\n*Theodore Roosevelt

Try these for fun:\n*<<search hillbilly>> <<search plane>>\n*<<search 'King John'>> <<search Pickford>>\n*<<search Russia>> <<search earthquake>>\n*<<search hokum>> <<search 'civil servant'>>\n*<<search prolétaire>> <<search Keaton>>\n*<<search 'Red Gulch'>> <<search 'Old Faithful'>>\n*<<search tableaux>> <<search 'voyeur'>>\n*<<search Saddam>> <<search Czolgosz>>\n

<<<\nIn events of national importance elaborate preparations are made in advance for their filming. At the second inaugural of President Wilson a platform was erected along the line of march for the use of motion-picture photographers. Across from it was the Capitol building @@color(#cc0000):so that the passing procession would have a patriotic background@@. The photographers were required to take their positions on the platform early in the morning, with an examination of their cameras by members of the Secret Service, whereupon the photographers were locked in and required to remain until after the passing of the procession. In this way all chance of anarchistically minded individuals being near the line of march was eliminated. As soon as the parade had passed the operators were released and allowed to rush their negatives to their respective companies. In this way scenes from the inaugural procession were shown in Washington the same evening.\n\n(Croy H., //How Motion Pictures Are Made//, 1918)\n<<<\nBeing very upfront about image manipulation in news films, is he not ? And what about those security measures, huh ? Guess those anarchists back then had the government pretty worried (even though [[the gruesome spectacle of death]] was all they had to fight for, that didn't seem to discourage them)

There's a number of directors who were sent to shoot on location in the south seas on the strength not of their intimate knowledge of the south seas, but of their mastery of on-location shooting while making westerns.\n*W.S. "Woody" or "one-shot" Van Dyke, from westerns to [[White Shadows in the South Seas|http://www.imdb.com/title/tt0019574/combined]]\n*Edward Laemmle, his uncle's nephew (!), from serial westerns to [[Shipwrecked among Cannibals|http://www.imdb.com/title/tt0011687/combined?fr=c2l0ZT1kZnx0dD0xfGZiPXV8cG49MHxrdz0xfHE9c2hpcHdyZWNrZWQgYW1vbmcgY2FubmliYWxzfGZ0PTF8bXg9MjB8bG09NTAwfGNvPTF8aHRtbD0xfG5tPTE_;fc=1;ft=2]]\n

[img[flash|http://flyczba.free.fr/blogimages/markedformurder06.jpg]]\nPretty cool, huh ?

''Hokum''\n<<<\nPronunciation: 'hO-k&m\nFunction: noun\nEtymology: probably blend of hocus-pocus and bunkum\n1 : a device used (as by showmen) to evoke a desired audience response\n2 : pretentious nonsense [[bunkum]]\n([[The Merriam-Webster Dictionary|http://www.m-w.com]])\n<<

OK, and how do we know that, in Buster Keaton's [[The Electric House (1922)]], the big fat round character is, indeed, a bourgeois ? He's complacent, neatly dressed, dominating, patronising -- a result of both his self-asserting gestures and his rotundity -- and has the flower-pot daughter to match\n[img[bourgeois|http://flyczba.free.fr/blogimages/electric2.jpg]]\nwhich is of course stressed even more by Buster's miniature stature when standing next to him. A nice example of silent film's ability to suggest psychology, social history, class consciousness, by graphic means only: scale of sizes, dress code, occupation of frame space -- indeed a very ironical and self-conscious use of the conventional triangular composition of shots.

My two-cents on Saddam's hanging video. \n- the silent version vs. the sound version: because it is silent, the first one creates "dignity"\n- realistic codes: the phone camera, because it's filming is obviously unofficial (many commentators have noted how the camera points to the ground repeatedly; its whole origin and its credentials are perfect, as anti-official as you can make them) is the real, true version (while the TV shots, more stable, have a contrived air compared to them)\n- the grain: the grain in the phone footage, due to the necessary enlargement to show a phone video on the web, spells cruelty, barbarism for many commentators who don't seem to distinguish between the event itself and its representation. It is barbarous--in a technical way: technically barbarous at a time when we're used to crystal sharp images.\n- the props and costumes: so many have taken the costumes used in the video to task (they look like terrorists with their hoods on etc.)\nIn fact, the video of Saddam's hanging really could be staged (the shaky, camera-to-the-ground technique is a trope of many docu-fictions). But the lack of sophistication of most analysts, confusing the event with its phone-video representation, is quite appalling.\nWe're as naive today about the truthfulness of images as people were in the 1920s when they really thought a film had been shot in Hungary when it had been made on a Hollywood backstage. And the naiveté is about the same domain: not the medium of cinema itself as is often thought, but rather the domain of special effects. \nHollywood used to spend a lot of time and energy publicizing its special effects: the technology of cinema was new, and in the scientific paradigm of the times (the 1910s-1920s), it was smart (from the point of view of advertising) to play cinema for the mechanical wonder that it was. So many articles on camera tricks, trick-editing, background paintings, and the working-man's pride of cinematographers obvious in every issue of //American Cinematographers// (dating back to 1919). __At the same time__ Hollywood sold its films as truth, truth-telling, historically grounded, and so forth. But the technological discourse served as a reminder that it was all contrived. And this corrective was necessary because there was a prevalent sense that all images were truth (see the enormous popularity of screen idols in the 1920s; or the large acceptance of Hollywood history as fact -- and Hollywood did not try too hard to dispel that myth either, quite the opposite. It also advertised on it!). New, modern technologies may well be blurring lines once again: do all webcams, or cellphones, film the truth just because they are near-ubiquitous (in terms that the early 20th century might recognize: because the capturing of reality has never been so easy and direct) ?\n\nRead Gombrich once more (//Art and Representation///): all images, that is //all// images, are perceived through representational codes ("schemata"). Reality is somewhere beyond those schemata (just like reality is beyond words). The phone video of Saddam's hanging is cruel not because of the grain, or the low-key lighting. Those (the visual aspect of the video--in essence the whole video, really) are perceived as formal elements and recognized as formal elements by the brain, thus helping to classify the video (realistic ? a painting ? a film ? gothic ?). There's a visual tension: we know we should be witnessing a State controlled execution (and [[what does that look like, anyway?]]), but we see something that shemata tell us is more a cruel, vengeful, shabby, and probably illegal affair. Take all that away, and what do you have: the execution of a dictator in a country on the brink of utter collapse, a country searching for its polity. What else did anyone expect ? Saddam, for some (not for me!), //looked// dignified because he was shot from far away, and he is the only recognizable human figure in the film. (while the taunts are off-screen, dehumanized). Dignity should not be confused with a straight back...\n\nAll this of course does not mean that no moral judgment can be passed on that execution. But judgment should not be based on images, though some elements in those images can be accepted as basis of moral arguments (the soundtrack, mostly). The images portray not what happened but what our mind thinks such images ought to portray (an execution of an innocent man in the hands of hooded terrorists in some dark cell somewhere). This is a pretty basic distinction which few seem to have made. And that is important if we don't want to be irrational about it ("human sacrifice", Krauthammer?). \nIf moral judgement can be passed on that execution, at least it should not be based on the size of the pixels on the image.

''idealism''\n<<<\n|īˈdē(ə)ˌlizəm| noun \n1 the practice of forming or pursuing ideals, esp. unrealistically : //the idealism of youth//. Compare with [[realism]]. \n* (in art or literature) the representation of things in ideal or idealized form. Often contrasted with [[realism]] (sense 2).\n(New Oxford American Dictionary)\n<<

About [[The Last of the Mohicans (1920)]]...\n\nFLETCHER Adele Whitely.: "Across the Silversheet." //Motion Picture Magazine// vol. 21, No. 3, avril 1921: 108-110\n<<<\nMaurice Tourneur may always be depended upon for artistry. And in the James Fenimore Cooper tale, "The Last of the Mohicans," he has undoubtedly revelled in the great stage nature has set for him. Taking the famous Leatherstocking story for his foundation, he has given the silversheet one of the finest things it has had in months. And in giving his every scene a background worthy of the artis's brush, he has not neglected his plot, his people. He has given the massacre scenes a hideous reality--the regimental scenes a dashing spirit and his characters, one and all, a humanness.\n<<<

Here we take a look at how an execution looks like. Not by a firing-squad, not outside, and not by terrorists. State-controlled, indoors, executions in a death-penalty chamber. Since most commentators said that Saddam's execution looked like a job done by terrorists (and I think their reaction shows [[how grainy footage equals cruelty today]]), I immediately wondered: "what does an execution look like, anyway?" My hunch is that it's going to look horrific, regardless of who does it. But the initial reaction to Saddam seemed to suggest that there would have been a more visually acceptable way to hang him.\n\nI'm not the first one to wonder, either. As far back as 1928, a daring reporter secreted a miniature film camera [img[http://newsimg.bbc.co.uk/media/images/42406000/jpg/_42406921_camera_museum_203.jpg]] (quite a technological wonder by itself) to an execution to show what really went on inside a death-penalty chamber (where's that film?). I myself do not remember seeing a real hanging before, or any execution either. Fictional lynchings, yes (if you want to catch up on lynching techniques, //Hang 'Em High// is a good place to start). I've seen photographs of an empty electric chair, or prisoners walking to the chamber (but usually it stops there). About the most realistic reenactment I've seen is the straight-on, eerily undramatic short Edison film for the execution of Czolgosz (that's in [[the gruesome spectacle of death]]).\n[[Slate has an explainer on how a hanging takes place|http://www.slate.com/id/2156656/]], with details on how many feet the body should drop, and what technique is used in Iran. But no images, beyond a link to a grainy image of Washington State [[execution room| http://www.richard.clark32.btinternet.co.uk/walla1.jpg]]. More photographs of gallows can be found at [[http://www.richard.clark32.btinternet.co.uk/|http://www.richard.clark32.btinternet.co.uk/]].\n\nAfter a little research around the web, I think we'd agree that in film at least an execution probably looks like this.\n\n* [[execution of Japanese WW2 war criminal|http://www.youtube.com/watch?v=yTTgXqfV8dE]] with technical comments. I'm sort of glad that we didn't get the shot of executioners taking the noose off Saddam's neck, I can hear the comments already...\n* [[execution of Austrian WW2 war criminals|http://www.youtube.com/watch?v=LgPsUytsLmY]], and the Austrian Nazi has that far-away, life-longing, dignified look on his face, wouldn't you say ? And what about the gruesome holding of the head (probably to prevent decapitation) at the end, pretty cruel looking, no ?\n* [[execution of German WW2 war criminals in Germany, 1946|http://www.youtube.com/watch?v=DacWUQCGslY]]. Here everybody does a good job of looking impressively bureaucratic, bringing dignity of some sort to the whole proceedings -- and efficiency. But whoever shot this had a good eye for side-shots, such as \n[img[http://cinebuds.online.fr/images/executionwomanlaughing.jpg]]\nthis woman laughing in between two executions\nor\n[img[http://cinebuds.online.fr/images/executionchaplaughing.jpg]]\nthis chap talking amiably with his friends, in between two rounds. \nEven the guard\n[img[http://cinebuds.online.fr/images/executionguardbored.jpg]]\nis caught feeling a bit distracted and bored.\nIt's just hard to sustain dignity, you see.

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<<tabs txtFavourite\n\n"The Woman Who..." "Priority 1" "TheWomanWho"\n\n"Dick Tracy" "Priority 2" "Menu Dick Tracy"\n\n>>\n\n

from [[The Electric House (1922)]], running hopelessly down up-moving stairs...\n[img[stairs|http://flyczba.free.fr/blogimages/electric10.jpg]]\n\nfrom [[The Boat (1921)]], running as the boat is turning wildly around...\n[img[boat|http://flyczba.free.fr/blogimages/boat01.jpg]]

I particularly enjoy the efforts made at spotting elements in the videos that are tell-tale elements //in spite of// the film.\n<<<\n''The Grass Beneath Her Feet:'' Extensive research has gone into analyzing the plant life lonelygirl15 tramps through on her swimming trip. An investigator calling himself "The Curious Botanist" spots in one frame the telltale Nolina parryi, an herb native to and found only in California.\nThe fact that the video may have been shot in the home state of the entertainment industry is a near-smoking gun for those who believe this is a professional or semiprofessional hoax.\nIn an e-mail to ~ToLD, Jessica, a 23-year-old law student who is an active driver of the lonelygirl15 forums sums up her further environmental studies thusly:\n"The 'indoor' location is a structure somewhere in the San Mateo/Mountain View area. We are 100% confident of this much. The 'outdoor' locations were filmed in the Sierra Mountains. Several people claiming to be botanists have credibly concluded in the forum that the 'hiking' video was filmed in the northern region of the Sierras (hence closer to the Mountain View area), and the 'swimming video' much farther south, in the southeastern part of California. In either case, then, the outdoor videos were filmed in the Sierra Mountains"\nThe smoking gun here being the "Mountain View" connection — not far from home of ~YouTube HQ.\n\n''The Eye of the Beholder:'' The nature of the content in the new video has sounded alarms among many and provided further evidence that there is driving force behind these videos other than lonelygirl15 herself. The allegedly lascivious camera angles from which lonelygirl15 is photographed are said to be those from which no shy 16-year-old would ever display herself.\n\n(//Los Angeles Times//, [[Aug. 31, 2006|http://www.latimes.com/entertainment/news/la-et-lonelygirl31aug31,1,653379.story]])\n<<<\nThis is exactly what was going on in the 1920s with audiences engaged in hunts for clues that the movies were really fakes and not real as the prevalent illusion sold by producers was. Are we going back to a time when the desire to be fooled will be so strong, and the technology so new, that the illusion of reality will once more engulf our perception of film? When suspension of disbelief, because of the newness of the technology, will be so easy as to create perceptual ambiguities ?\n\nOther "jarring" details were noticed along the way:\n<<<\nFans soon started to notice jarring details. A music clip from an undiscovered L.A. band was mixed in to her well-edited montage sequences. Her room was movie-set neat. Above her bookshelf hung a photo of famed occultist Aleister Crowley. Thin already, Bree talked about an upcoming religious ceremony that she would participate in, even though it involved going on a diet.\n\n(//Los Angeles Times//, [[\nSept. 8, 2006|http://www.latimes.com/business/custom/admark/la-et-lonelygirl8sep08,1,6702325.story?coll=la-headlines-business-advert]])\n<<<\nAnd this reads like "Hollywood realism 101": the first tell-tale detail of some unrealistic production, in a Hollywood perspective, is the inconsistencies. Not that "reality" is always consistent, or cannot be presented as inconsistent. But Hollywood has clearly blended the two to the point where "film [[realism]]" could be equaled to "[[story consistency]]", a value established in the film industry very, very early on. This was the lesson already learnt in [[Dick Tracy, chapter 4]]. I'm saying more than just that the plot must cohere, which is the case of all dramatic standard artform. This inner coherence in films is made to apply to the visual and material world too. In this case, a teenager's bedroom presented as a real teenager's bedroom must look like our notion of a teenager's bedroom: bright, smallish, cluttered, with cultural references visible on the wallls and bookshelves. This creates a mental back-and-forth whereby the illusion of reality is maintained (again, the back-and-forth is not between the film and reality, but between the film and our notions of reality, which makes it more powerful as it remains a very mental game). As soon as any inconsistency is revealed, and sustained across several segments of the audience, then the "mystery" of the film production (is it real ? Isn't it ?) is destroyed, and [[as appears to be happening here|http://stats.agentidea.com/]], no mystery - no audience.\nAnd there you have the reason for such popular news items as "Why do they do it?" in //Photoplay// issues in the 1920s, a regular feature that exposed, and mocked, unrealistic inconsistencies in Hollywood films. It is fun to see us going back to this naïveté after all this while of moving images.\n(for conflicting views on this, see [[lonelygirl15 debated]]

A few comments gleaned mostly from //The New York Times Screen Blog// by Virginia Heffernan ([[link|http://screens.blogs.nytimes.com/?p=77]]), and //Silicon Valley Watcher//, link [[here|http://www.siliconvalleywatcher.com/mt/archives/2006/09/lonelygirl15_fa.php]:\nPeeved:\n<<<\nSeptember 12th, 2006\n10:09 pm\nI don’t think i’d ever go to see one of their films, this isn’t a “new art form.” This is deception, manipulation, and bad acting from the get go. Most people recognized the farce from the start.\n— Posted by G.North\n<<<\n\nNot naïve at all, but still somehow fighting to defend the "mystery" (let me dream about a somewhere else that looks more real than where I am for the time being--and let me dream that it is real):\n<<<\nSeptember 12th, 2006\n10:24 pm\nI never really cared if the videos were authentic or not. They were entertaining, and far more entertaining than most of what is on TV. She and Daniel alone were far more captivating than the cast of any ‘must-see’ sitcom.\nI understand that people have a ‘need’ to know that what they’re watching on a DIY service is real, especially when the assumption is that the videos are real, like Nornna’s or thewinekone’s, but I don’t think that people who outed Jessica Rose and the actor who plays Daniel are better people than those who scripted and produced the lonelygirl15 series. Why dispel something so harmless? No one was injured because a few young adults wanted to get movie contracts or break into the business, and thousands of people were entertained.\nKilling the mystique behind lonelygirl15 was basically pointless. It was so obviously scripted after a while that identifying bookcases bought at Ikea or areas in Southern California where they went swimming or hiking was about as productive or intelligent as trying to find the Simpsons’ hometown of Springfield on a map of the US. No one cares which Springfield it is, or in which state it’s located. We just like watching things that happen somewhere we’re not.\n— Posted by Vanessa\n<<<\n\nUncharitable, but correct:\n<<<\nSeptember 12th, 2006\n10:56 pm\nHaha, the geeks got played.\nNo Feynman loving, Diamond quoting, lonely girl out there for you all to dote over.\nShe played you all the way to a hollywood career.\nSuckers.\n— Posted by Kyle\n<<<\n\nPeeved, in the Vanessa-way quoted above ([[realism]] is not what's real but what I (want to) believe is real, remember. Why the fury, otherwise, if this was just a diversion. There was more here: something Steve, and Vanessa, and the million others wanted to fervently //believe// in):\n<<<\nSeptember 13th, 2006\n3:20 am\nFrankly, I was feeling rather jaded by home-grown videos until lonelygirl15 came along. She instantly popped out with her rubber-faced expressions and giddily winsome looks. I knew from the start she was a performer and a very bright one at that, I mean, c’mon!\nSo now that the curtain’s been pulled all the way back thanks the meddlesome overachievers/cyber detectives who couldn’t leave well enough alone, this charming video series will most likely shrink away. I’m mad as hell it had to end like this. I don’t think I’ll watch very much post-Bree ~YouTube.\n— Posted by Steve\n<<<\n\nAnd a bit of historical perspective:\n<<<\nSeptember 13th, 2006\n4:58 am\nThis is all vaguely unnerving. Will it be divulged that Nelson Mandela is a character in an elaborately-planned, lifetime-long dramatic work? Did the actor who played Abraham Lincoln live a quiet, secluded retirement after his character’s “assassination”?\nI am reminded of the British actor who, decades after World War II, reported that he had masqueraded as Winston Churchill for the Prime Minister’s most famous radio addresses.\n— Posted by ~RLaPuma\n<<<\n\nAnd I'd agree with Kyle[1] here:\n<<<\nSeptember 13th, 2006\n7:10 am\nI think the real lesson here is that the internet’s primary usefulness is in tearing things down and/or apart.\n— Posted by Kyle[1]\n<<<\n\nLastly, a word from the childhood neighborhood: they're //not// amused, and not very proud (but why should they care ? Don't all images lie ?)\n<<<\nby: Nicole on September 13, 2006 02:39 PM\n\ni'm from mt maunganui and actually know jessica rose. I was stunned to see her on the nz news last night and had no idea that all this youtube stuff was going on, i'm sure if anyone else who knew her was aware of what was going on they would have said who she was. As for me: In my opinion I am rather disappointed in Jessica for lying and doing what she's doing. It is creative, I will give her that, but how sad to have to resort to pretending to be a 15 or 16yr old when you're only 19 yourself. Sorry Jess, but it really is a shame all this happened, the country is laughing at you.\n

Keaton in [[The Playhouse (1921)]], man, woman, old and young\n[img[couple|http://flyczba.free.fr/blogimages/playhouse04.jpg]]

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!!!!From [[Dick Tracy, chapter 4]], the Republic Serial (1937)\nThis is a criminal from the evil Spider Ring, about to jump out of a dirigible with the precious Mogra necklace. He's cool and on top of his game, but just as he climbs out, he hits his hat against the window.\n[img[hat|http://cinebuds.online.fr/images/dicktracych4hat.jpg]]\nHm. Too bad.

*When the western turns psychological, but doesn't quite nail it. We're in [[Gunfight at the OK Corrall]] by John Sturges, 1965 -- @@color(#990000):but really the whole film could be quoted here@@ -- and Earp has just brought young drunk Clanton back to ''mom'':\n<<<\nYoung Clanton: "@@I never really wanted to be a gunfighter....guess I was feeling lonely@@."\n(but one has to emphasize that he's not feeling very bright at the time; 5 seconds before in film-time he was plump out in a riding carriage. This does something to a man's self-reflexive qualities)\n<<<\n\n*She is ''@@color(#00ccff):Carrie, the pearl of sunshine Hawaii@@'' (In George Fitzmaurice's //The Barker//, 1928), and..."''she has performed before all the crowned heads of Europe . . . and before some @@very peculiar@@ people in Brooklyn''"\n\n*Theda Bara in //@@color(#0000cc):The Blue Flame@@// (1920), from //Shadowland//, vol.2 No. 9, May 1920, by "the Critic": \n"When one wreck staggers into @@color(#ff9900):Theda Bara's orange-tinted boudoir@@, the vampire hisses:''@@color(#cc0000):"Get me $85,000 or I'll shake you like I shake my shimmy!"@@''\n*What's a sheriff to do ?\n<<<\n"What makes you think you can take the law in your hands", says the (clueless) villain to ''sheriff deputy'' Thundering Thompson ([[Thundering Thompson (1929)]])\n<<<\n''On a California beach, //In Old Caliente//:''\n"- What's that ?" (she says)\n"-Oh, just an earthquake" (answers sleepy Roy Rogers)\n\n[[The Woman Who Came Back|http://www.imdb.com/title/tt0038258/fullcredits]]:\n "- The flowers ! They're dead!" (says the woman who thinks she's a witch)\n "- That's strange. They were lovely when the florist put them in the box. What were you reading?" (answers not too bright doctor-lover)\n\n*"You look so....domestic!", says Roy to Judy, from [[They Meet Again (1941)]], in a particularly shabby pick-up line.\n**"This kitchen doesn't need a woman!" says Jennifer/Doris Day in a super-modern machine-operated kitchen (//The ~Glass-Bottom Boat//, 1966)

''naturalism''\nsee [[realism]]\n<<<\n|ˈna ch ərəˌlizəm| noun \n1 (in art and literature) a style and theory of representation based on the accurate depiction of detail. \nThe name “Naturalism” was given to a 19th-century artistic and literary movement, influenced by contemporary ideas of science and society, that rejected the idealization of experience and adopted an objective and often uncompromisingly realistic approach to art. Notable figures include the novelist Zola and the painter Théodore Rousseau.\n(New Oxford American Dictionary)\n<<\n

''obvious''\n<<<\nEtymology: Latin obvius, from obviam in the way, from ob in the way of + viam, accusative of via way -- more at ~OB-, VIA\n1 archaic : being in the way or in front\n2 : easily discovered, seen, or understood\nsynonym see EVIDENT\n(The Merriam Webster Online)\n<<<\nYep, you guessed it. This is right up there with [[verisimilitude]] and [[realism]] as being both in your face (aesthetic realism, not verisimilitude), but also perfectly acceptable (aesthetic verisimilitude, but not realism). Maybe that's film realism ?

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''How to film an aside where characters are plotting, out of hearing range from the main character ?''\nSilent films are not silent: only the audience is deaf when watching them. So many scenes of arguing, plotting, devising schemes, and backroom dealings...\nHere's an example from [[Thundering Thompson (1929)]]:\n[img[plotting|http://flyczba.free.fr/blogimages/thunderingthompson1.jpg]]\nWhat you can see here is a visual equivalent to a theatrical staging of an aside: Thompson is just on the right of the frame, so he cannot hear what they are saying: out of frame = out of hearing range. This audio-visual logic is further enhanced by something you cannot see in this one frame: the continuous movements of characters in the frame. How do we know they're plotting, arguing, etc. ? Because of the micro-movements of all characters: a shoulder, a head butting in, a lanky guy listening in then moving out and turning to another...a visual discussion.

Brownlow, Kevin, //The Parade Gone By// (1964) , p. 144.\nClarence Brown. Interview conducted by Brownlow in Paris in September 1965 and October 1966:\n<<<\n"In //The Last of the Mohicans// we made much use of lighting effects and weather atmosphere. We used smokepots to create the suggestion of sunrays striking through woodland mist. The rainstorm in the forest was simply a fire engine and a hose. (...) When the girls are escaping from the Indian ambush, I put the camera on a perambulator (...). We follow the girls running away; suddenly two Indians block their path. The camera stops - the perambulator stops - and this accentuates the girls' surprise."\n<<<\n

One way those films (I'm thinking for instance of [[The Big Steal (1949)]], but I could be talking about [[Broken Arrow (1950)]] or [[Captain Lightfoot (1955)]] or any other standard Classical Hollywood) grab you is through their trick of re-fictionalizing their characters -- recycling them through different plot cycles. From a distance it looks like the age-old question "is he good or bad ?" but in its working it's a tid bit more interesting: characters are redefined along the way by other characters, who paint them as different plot entities and peg on them different plot potentialities, never quite materialized, but entertained long enough to be diverting, or engrossing, and to color the whole narrative with an added element of fantasy. And it's not either the old Shakespeare trick of a "comedy of errors", since the plot does not turn into revealing identities -- or even if it does, it could entirely do without this re-fiction process. \n\nRather, it's a way for the narrative to open to multiple potential narratives: character A tells us or character B that character C is such-and-such, say, a bad father (family comedy), but character B thinks character A is a crook (crime thriller), but A is in love with B (romantic comedy) until C tells A that B is really a killer (crime thriller), and C reveals himself as A's partner-in-crime -- but B really sees the good guy in A (melodrama), etc. Along the way, along the plot, we've opened up several possible branchings into other genres. They're never fully exploited, and they don't have to. The point is that the characters themselves are writing different stories along the way, or at least throwing the audience different leads to different stories. In other words, the different tones of the story (comedy here, tragic there, etc.) are made to follow the different hypotheses we make on the characters, and the hypotheses the characters make about each other.\n\nSo the story is not just written from one angle, it reverberates through different points of view and becomes all the richer for it. And just when you're tired of one possibility, someone throws in a new idea (wait! He //could// be this...). The characters, like us, discover who they are and what plot they belong to as they go--which explains, maybe, why it doesn't matter that film-makers do not know how the film ends (//Casablanca//) as they're making it: in a real sense, in a classical film, the fun is to watch the characters figure out the ending between themselves as if they were also reading their unfolding story.\n\nSeems to me this constant refictionalizing process is not often at work in silent films.

''realism''\nNot to be confused with [[naturalism]]\n<<<\n|ˈrēəˌlizəm| noun \n1 the attitude or practice of accepting a situation as it is and being prepared to deal with it accordingly : //the summit was marked by a new mood of realism//. *the view that the subject matter of politics is political power, not matters of principle : //political realism is the oldest approach to global politics//. \n2 the quality or fact of representing a person, thing, or situation accurately or in a way that is true to life : //the earthy realism of Raimu's characters//. \n*(in art and literature) the movement or style of representing familiar things as they actually are. Often contrasted with [[idealism]] (sense 1). While realism in art is often used in the same contexts as [[naturalism]], implying a concern to depict or describe accurately and objectively, it also suggests a deliberate rejection of conventionally beautiful or appropriate subjects in favor of sincerity and a focus on simple and unidealized treatment of contemporary life. Specifically, the term is applied to a late 19th-century movement in French painting and literature represented by Gustave Courbet in the former and Balzac, Stendhal, and Flaubert in the latter.\n(New Oxford American Dictionary)\n<<<\n\nBut as noted in [[realistic fiction]], realism as "rejection" is realism only on a temporary basis, and its truer-to-life aspect relies too much on where you've been to work.

What's a realistic film ?\n* does it have to have non professional actors and be shot on location ? Then [[Chang: a drama of the wilderness (1927)]] or [[The Big Steal (1949)]] are both realistic.\n** whereas //Chang// really is melodrama, intense melodrama in the twisting of real Thai life to fit a somewhat absurd (and White oriented) screenplay of constant hunting. (As noted in the review on this site, the villagers would rather build a vast trap for elephants rather than rebuild their village that those elephants have just destroyed.) To take it for anything more than that would be to fall prey to unhealthy ideological considerations -- that Thai reality conforms to a white hunter's view of it.\n**and //The Big Steal// is as much about Mexican reality as a 2-week stay in the classiest hotel in Mexico would be.\n\n* does it have to be, like neo-realist films, about some dire, non-melodramatic, non-cliché situation, thus purporting to explore and criticize //social// reality ?\n** in that case you're immediately in trouble: whose social reality ? //The Big Steal// is a very good study, on some levels, of some American tourists down in Mexico, their disregard for what they obviously perceive as the surrounding backwardness (chicken and kids). It doesn't offer much in the line of criticism, though...\n** hm, and neo-realist films are //not// melodramatic ?\n** ''and'' it ain't enough: //Greed// is so embdued by symbolism that it hardly qualifies as a realistic film: see the funeral //cum// marriage scene, or the perverted pleasure the film has in dragging everything and everyone in the mud of its despair...\n\nNot sure that the definition of [[realism]] will help us much. Maybe this illustration of [[romance and realism]] will be of more use ?\n\n* maybe there are very few realistic fictions, but many fictions that use realistic devices here and there ?\n** especially in film: the realism of trees, objects, backgrounds, open vistas, roadsides, unscripted movements of leaves and animals, of the air, the wind, the sea.\n*** is the question : how do films, for purposes we won't go into, can reality?\n**** and then it's a question of editing, camera movement, music, sound effects, sets, contrasts, photography, greys, gestures...\n\n

A school of representation (in literature, or in film) that emphasizes local lifestyles and the out-of-the-way, great outdoors, purporting to represent the life of local folks as authentically as possible.

This edition of [[Longfellow's Hiawatha (1855)]] (the edition is from 1909) is illustrated by John Rea Neill who became famous as [[the illustrator of Frank Baum's Wizard of Oz stories|http://etext.lib.virginia.edu/toc/modeng/public/BauMarv.html]] -- isn't this [[a very good scarecrow|http://etext.lib.virginia.edu/images/modeng/public/BauMarv/BauM264.jpg]]?). \nHis work on the Cinderella story in 1908 has for instance a lot of [[journalistic clarity|http://www.usm.edu/english/fairytales/cinderella/c10-15.gif]] to it at times (in this illustration she looks just like [[any girl on a bench|http://www.usm.edu/english/fairytales/cinderella/c10-31.gif]]. At other times it takes on a more [[cartoonish aspects|http://www.usm.edu/english/fairytales/cinderella/c10-18.gif]] (and also somewhat reminiscent of ~McKay's //Little Nemo// in the [[vagueness of the space|http://www.usm.edu/english/fairytales/cinderella/c10-23.gif]], and also [[here|http://www.usm.edu/english/fairytales/cinderella/c10-26.gif]])\nIn Hiawatha, he does both: romantic view of the Indian, enigmatic, noble, gentle allegories, but also hard grass and sinewy muscles...\n[img[Hiawatha walking away|http://cinebuds.online.fr/images/hiawatha1909-1.jpg]]

In [[The story of the Copper Beeches by Doyle]], Holmes mentions that he has seven different ways of construing the story told him by the young maid. This is even before he reaches the Copper Beeches. Yet Watson never gives us those seven different narratives imagined by Holmes ! As a literary exercise, it would have been quite fascinating to see seven different stories constructed by the same narrator from a common set of premisses...

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[[Bernard McConville|http://www.imdb.com/name/nm0566338/]] had been at work in films since 1916, notably with Norma Talmadge (//The Missing Links//, 1916, and //Going Straight//, 1916, also directed by Sidney Franklin -- the [[Variety review of that film|Going Straight (1916)]] is a good example of the demand by 1910 critics for psychological realism in the plots...). He will only cooperate again with Mary Pickford on [[Little Lord Fauntleroy|http://www.imdb.com/title/tt0012397/]]. in 1921.\nThe [[film notes coming with the 2005 DVD release of Heart o' the Hills|http://www.milestonefilms.com/pdf/HeartPK.pdf]] (.pdf) explain well how the scenario:\n- dropped a lot of subplots, incest, assassinations, political doings from the book;\n- permuted the situations of Jason and Mavies (in the book he lives with his mother, she lives with her father)\n- brought out more clearly the theme of child abuse (Mavies and Jason show each other their scars)\n- offered some comic scenes to Pickford (the train)\n- brought out in sharper relief some of the more dramatic moments (the night-riding in white robes, yikes)\n- and did what it had to do \n<<<\nto turn a long-winded soap opera with a fatalistic streak into a prime Pickford vehicle\n(Daniel Eagan)\n<<<\nMy hunch is that by cutting out too much scenarist ~McConville ended up by taking out the backbone of the story -- ending up indeed with just 6 major moments worth of drama.\n

Wonder what hollywood would make of this scene (biblical rip-off of course):\n<<<\nIn his wrath he darted upward,\nFlashing leaped into the sunshine,\nOpened his great jaws, and swallowed\nBoth canoe and Hiawatha.\n\n\n Down into that darksome cavern\nPlunged the headlong Hiawatha,\nAs a log on some black river\nShoots and plunges down the rapids,\nFound himself in utter darkness,\nGroped about in helpless wonder,\nTill he felt a great heart beating,\nThrobbing in that utter darkness.\n\n\n And he smote it in his anger,\nWith his fist, the heart of Nahma, \n(from [[Longfellow's Hiawatha (1855)]], chapter VIII)\n<<<\nApart from //Pinnochio//, are there many other scenes of men trapped inside water monsters in Hollywood cinema ?

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This cannot be resisted. Do yourself a favor and go take a look at [[the execution of Czolgosz|http://memory.loc.gov/cgi-bin/query/D?papr:59:./temp/~ammem_WTfb::]] in 1901 (a dispossessed anarchist, he shot and killed President ~McKinley in 1901 at the ~Pan-American Exposition -- no wonder that they were taking pretty stiff security measures for the [[filming a presidential inauguration, 1917]]). Once, twice, //three times//,\n<<<\nThe current is turned on at a signal from the Warden, and the assassin heaves heavily as though the straps would break. \n(from contemporary Edison catalog)\n<<<\n[img[hooked up|http://cinebuds.online.fr/images/czolgosz1.jpg]] [img[are you dead yet ?|http://cinebuds.online.fr/images/czolgosz2.jpg]]\n\nEven though that's a fake (as discussed in [[what is news]], reconstituted actualities do not pose any specific ethical question to people then), there's something sick about it all. Voyeuristic doesn't seem to even begin to describe the sickening //complacency// of the urge to show the guy dying. But I guess a shocker [[can't be resisted today|http://www.nytimes.com/2006/12/14/us/14tookie.html?_r=1&oref=slogin]], and it couldn't be resisted then...\n\n(check [[Death-like]]] for an early use of film to teach how to kill)

And what a house (from Keaton's [[The Electric House (1922)]]!\n[img[house|http://flyczba.free.fr/blogimages/electric6.jpg]]\nWhat style ! What beams and architectural details (the door for instance) ! Together with the furry texture of the palm trees overcrowding the long shot, the visual elements are too exotic, and too many, to place the house geographically -- an //ubuesque// house, indeed, that belongs to the land of keatonian geography.\nObserve how the grotesque of the situation is enhanced by the long shot of Buster reading his first manual in electricity engineering\n[img[buster reading|http://flyczba.free.fr/blogimages/electric7.jpg]]\nAgain, this is mostly a scaling effect (large hosue, small character) which makes a psychological point (he's overpowered by the task, and by the house), and a comical one too. (but it's also a matter of perspective, and position within the frame, as Buster is located //not// smack in the middle of the lane, but slightly off-center...)

Keaton, in [[The Boat (1921)]], does the looser as only he knows how:\nLooser loses boat\n[img[boat1|http://flyczba.free.fr/blogimages/boat13.jpg]]\nnot just once, but twice\n[img[boat2|http://flyczba.free.fr/blogimages/boat14.jpg]]\nand both times, stoically, resigned, poetically oblivious of the mass of natural forces that have conspired against him.

This is a list of melodramatic conventions found in silent (or not) films:\n*no child can be bad; all children are good and innocent.\n**and most children are blond.\n*the body of woman is sacred. Its mutilation, even if it means wearing someone else's dress, cannot be contemplated.\n*the family structure is always good.\n**and, one may add, holy. Marriage, notably, is no laughing matter.\n**if confronted with a bad (cruel) family structure, it will be best to omit certain elements of it so it does //not// look like the classic family structure.\n*powerful, irrational emotions will overpower women, and occasionally men. \n**Insanity (sometimes temporary, sometimes not) is always a possible consequence.\n**irrational, and, one should add, unmotivated emotions. Melodrama distinguishes itself by appealing to our simple, emotional nature to justify plot elements that the rest of the plot is unconcerned with\n*Bad news always travel together, and hit at the same time.\n**Time, indeed, is always compressed around some key incidents.\n\n\n

*Wister, from his journals (1885?):\n<<<\nEvery man, woman, and cowboy I see comes from the East - and generally from New England, thank goodness. If that's the stock that is going to fill these big fields with people, our first hundred years will grow to be only the mythological beginnings in the time to come.\n<<

Suppose you're in love.\nSuppose the girl you love has a twin sister.\nSuppose you want to marry the girl you love.\nThis is Keaton's solution in [[The Playhouse (1921)]]:\n[img[girl|http://flyczba.free.fr/blogimages/playhouse03.jpg]]\nNot elegant, but to the point.

You know the deal:\n* an earthquake starts around the cowboys' campfire (you're //In Old Caliente// with [[Roy Rogers singing on a California beach to his belle while there's an earthquake]]): no one moves, but the camera goes wobbly\n* rocket boosters start humming just behind a frail glass, and the control room goes red, and the camera goes wobbly again (but the glass does not break: you're in [[Operation Crossbow (1965)]])\nHang on a second: the camera shakes ! This most abhored, and banned, occurence in Hollywood, this taboo of film-making, is happening right there and then ! There is no taboo: just film grammar. Shaking means the ground shakes (why else would the camera shake?), even when the actors do not bat an eyelid.\nThe shaking camera is what Hollywood realism is all about: a shorthand, a code of representation. It is as hokum as the rest -- but it //means// realism (more on that confusion in [[#3]]).

The tiddler 'the story of Dubrovsky by Pushkin' doesn't yet exist. Double-click to create it

//The Eagle//'s story is from Pushkin's unfinished short story [[Dubrovsky | http://home.freeuk.com/russica2/books/pushk/dub/dub.html]] written in 1841. It's not just that [[the film plot | http://imdb.com/title/tt0015772/plotsummary]] for [[The Eagle (1925)]] is nothing like the original, it's really how different it is.\nPushkin's story in the translation I read is a medley of styles and purposes. It's a rather melodramatic love affair playing on the conventions of the brigand-love-beautiful-damsel type. There's plently of costume play, disguises, secret identities and sudden dramatic revelations (notably with Dubrovsky's living with Troekurov as the French tutor Mr. Deforge). In the second part of the story, this becomes the prevalent notion, even if Pushkin retains more than a trace of irony in the marriage of beautiful Marya Kirilovna to old rake Prince Vereisky. Instead of a conventional last-minute rescue from Dubrovsky (and one expects that he's going to turn up at the secret, and rapid, marriage ceremony, either as a fake priest, or even as the Prince himself), the young girl gets married, and packed off to a life of solitude and misery. Indeed, she did not say "no", and commonsense (but not romantic) Dubrovsky is a fool for having counted on the girl's stamina (turns out she had none: she herself was not a romantic heroine, in spite of Pushkin's self-conscious assertion to the opposite at the beginning of chapter VIII: \n<<<\nThe reader has probably already guessed that Kiril Petrovitch's daughter (...) is the heroine of our story).\n<<<\nUnceremoniously, the story drops her, and finishes off Dubrovsky himself by shipping him abroad after a conclusive, if rather unheroic, battle against the Czar's soldiers in the woods. \nThis irony is everywhere to be felt in the first part of the story, before Dubrovsky reveals himself behind his disguise of Mr. Deforge. It is irony attacking small-country squires and their gross manners (Troekurov's amorous inclinaisons towards his serf-maidens), local police corruption (the new captain of the police force agreeing with Troekurov that he is, indeed, a fool), justice \n<<<\nChapter II: We quote [the court's decision] in full, believing that every one will be pleased to learn one of the methods whereby in Russia a man can lose an estate to which he has incontestable rights\n<<<\n-- official Russia is in for a severe flogging. Everything is turned on its head: even friendship becomes full-fledged hatred (between Troekurov and Dubrovsky, life-long pals) on the spur of the moment. This irony indeed allows the melodramatic plot to move forward and be more acceptable: if Dubrovsky becomes instantly crazy at the reading of the court's decision against him, it is not because we are in a bad //Pamela// sort of story, but because he is a fool and open to ridicule. In other words, Pushkin plays with [[the melodramatic compact]] to create a slapstick criticism of Russia. This is a very clever narrative strategy as it allows Pushkin to get away with rather incredible, and very unsatisfying, elements in his story (Dubrovsky disappearing at the end for instance), by charging them all to the sense that all humans, deep down, are ridiculous. \nAs the hero to the story, Dubrovsky does not escape from this pervasive sense of ridicule. Dubrovsky's opening description is not exactly flattering: \n<<<\nIt is time to introduce the reader to the real hero of our story. (...) Careless and ambitious, he indulged in extravagance, played cards, made debts and, little troubling about the future, vaguely thought sometimes that sooner or later he would have to marry a rich wife. (chapter III)\n<<<\nThen again, his dreaminess when decisive action is required, on the way back to his father's house, does not bode very well. Conversely, his decisive action, when Troekurov comes to apologize and give him back his estate, could not come at a worst moment -- he turns him away without listening --, a moment when some dreamy listening might have been in order. Here again, Pushkin takes very conventional traditions, and subtly, slowly, turns them into outright ironic ridicule.\nAnd then there are the "little people". Serfs, servants, coach-drivers, police officers, no-account local landlords, small village urchins, they all have a name, an identity, and make for a strong presence in the tale. Not only is this ridiculous melodramatic story set in real places where the geography (notably between the estates of the two feuding families) is clear and organized (including over time: Dubrovksy remembers when as a child he used to play in this wood and that with little Masha); it also has a strong realistic social background. This is, of course, on a par with the social criticism implicit in this story of outright corruption. But it is still remarkable how the power figures (Czar, Catherine II) are absent (except as distant points of reference that have no influence whatsoever on the story), and how the story is focused on a rather narrow, and a lower, sociological circle. \nIn the end, no one knows what's going on. The real authorities (the soldiers in the end) are far away. Once they intervene the story ends (but Pushkin refuses the mantle of efficiency to them: their battle with Dubrovsky is a disaster, even if he does decide to run away because of them). There is a story because those little people are trapped together in some no-account landscape and place. No one is in charge, the story goes by leaps and bounds, dictated by the moods of this or that character, irrationally. Still the serfs are touching figures, in their devotion to Dubrovsky (though he has no regard for them and their devotion, in the end calling them all brigands), and even if they prefer to save a cat to a police-officer (in the fire of Dubrovsky's house). Pushkin brings the story down to earth, where it belonged in the first place, strips it of romantic conventions, exposes corruption -- and leaves them all behind in the end. It's a way of grounding the story in a very realistic setting -- to deny it any reality because the fanciful irony is everywhere, and masterfully discharged by the narrator.\nI'll be looking at the film story next. I think there's a story there in how Hollywood, in 1925, with Valentino and remarkable technical achievements, refuses anything that reeks of outright social irony, goes back to the melodramatic romanticism, adds an extra layer of it just to make sure -- but still manages to touch us.

Look how this gag is set up in Buster Keaton's [[The Electric House (1922)]]\nBuster, who thinks he's being haunted, runs in the room to explain his troubles to the other men, but, typically, no one listens to this insignificant homunculus (physically, and socially insignificant)\n1. [img[http://flyczba.free.fr/blogimages/electric14aa.jpg]]\nOutside the room, a man lights up, and puts, nonchalant, a hand on the door-window\n2. [img[http://flyczba.free.fr/blogimages/electric14a.jpg]]\nBuster, talking to himself, looks up\n3. [img[http://flyczba.free.fr/blogimages/electric14c.jpg]]\nReverse-shot on the ghost-like hand\n4. [img[http://flyczba.free.fr/blogimages/electric14d.jpg]]\nBuster reacts with horror\n5. [img[http://flyczba.free.fr/blogimages/electric14e.jpg]]\nand //because// he has his hand on his eyes, he doesn't notice he's being lifted by the subsiding bar-column\n6. [img[http://flyczba.free.fr/blogimages/electric14.jpg]]\nOnce up there, he re-arranges his coat (why ? He's not untidy; he's just preparing the next gag...)\n7.. [img[http://flyczba.free.fr/blogimages/electric14f.jpg]]\nbefore stepping off\n8. [img[http://flyczba.free.fr/blogimages/electric15.jpg]]\n

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Type the text for 'the very strange staging of Munro sending Magua to deliver a message to the next fort'

[[The Last of the Mohicans (1920)]], review from //The National Board of Review//, dec. 1920:\n<<<\nThe composition of //The Last of the Mohicans// is superb. It ranges in almost exact impression from that of the color sketches of Remington to that of the drawings of Doré. Here are color, tone, line, sky, cliff, forest and human figures at their most expressive in motion-photography. It is the forerunner of that impressionism which the future of the motion picture holds perhaps beyond that of all other arts.\n<<<

What goes on in a bourgeois bedroom ? Silent films are remarkably inventive and provide answers not quite as dull as you might expect...\n!!!!//Along Came Auntie// (1926)\n[img[bedroom|http://cinebuds.free.fr/images/auntie_bedroom_voyeur.jpg]]\nMaybe they're strangling each other...(that Laurel-scripted Hardy vehicle also uses the bedroom to stage a fine instance of a [[bourgeois couple busted]] -- also in this case the couple is gay, even if it's just for a short spell)\n\n!!!!//The Electric House// (1922)\n[img[bathtub|http://flyczba.free.fr/blogimages/electric9.jpg]]\nMaybe they are looking at a bathtub sliding across the floor...

From [[Along Came Auntie|http://www.imdb.com/title/tt0016600/]] (1926), scripted by Stan Laurel, with Hardy only, and poor Glenn Tryon trying to make it to his next film assignment...\n\nFirst, gagging:\n[img[torture1|http://cinebuds.free.fr/images/13 torture-le maillet dans la bouche.jpg]]\n\nThen tying:\n[img[torture2|http://cinebuds.free.fr/images/14 torture-le filet.jpg]]\n\nThen strangling:\n[img[torture3|http://cinebuds.free.fr/images/17 torture-strangled.jpg]]\n\nAh, the good ol' slapstick days...\n(More body dislocations in [[The Electric House (1922)]])

''verisimilitude''\n<<<\n|ˌverəsəˈmiliˌt(y)oōd| \nnoun \nthe appearance of being true or real :/// the detail gives the novel some verisimilitude.//\nORIGIN early 17th cent.: from Latin verisimilitudo, from verisimilis ‘probable,’ from veri (genitive of verus ‘true’ ) + similis ‘like.’\n(New Oxford American Dictionary)\n<<

This from //Slate// magazine ([["Proof that Internet Porn Prevents Rape"|http://slate.com/id/2152487/]]):\n<<<\nviolent criminals prefer violent movies, and as long as they're at the movies, they're not out causing mischief. They'd rather see Hannibal than rob you, but they'd rather rob you than sit through Wallace & Gromit.\n<<<

<<tabs txtFavourite\n\n"the projetct" "what this section should be about" "what does that look like: the project"\n\n"Death-penalty" "Execution in a death-penalty chamber" "it looks like...an execution in a death-penalty chamber"\n\n>>\n\n

I'm sick and tired of reading that this //looked// like that, or that this //didn't look good//, and so on. I want to ask: what does it look like, anyway ? How do we know what anything looks like ? So I'll try to come up with visual catalogues on a few topics where I think anyone would be hard-pressed to know what it looks like -- a condition that however precludes ''no one'' from taking appearances for reality...\n\nGoogle Image and Google Books will be my tools, at least for a first try. Maybe I'll ~YouTube a bit, too. To be continued...

Back in //those// days...([[Homer Croy]], //How Motion Pictures Are Made//, pp. 255 seq.)\n* __accidents__\n<<<\nWith the explosion of the Seventh Avenue Subway near the Pennsylvania Station in New York, photographers were rushed to the scene by Jack Cohn, in charge of the news department of a film company, a few minutes after the announcement of the explosion, which occurred at half past eight in the morning. At twelve the pictures were being shown on Broadway. (...) The chauffeurs were instructed to drive to the scene of the disaster, beating in their promptness the Fire Department. Cameras from different points of observation were held on the scenes of wreckage and rescue, the negatives rushed to the developing-room, and the printing given preference over the day's run of dramatic subjects, establishing a record for promptness.\n(p. 256)\n<<<\nThis was the sept. 22, 1915 explosion as the New York subway was being excavated under Seventh Av. A dynamite explosion collapsed the temporary wooden structure erected above so that street activity could continue unimpeded while below the subway was being built. Eight people died.\n* __war__\nEven if staged. What's [[hokum]] ? What is [[verisimilitude]] ? What is [[authenticity]] ?\n<<<\n[After an operator fails to capture a San Juan charge up hill because of camera malfunction]] The fact that his operator failed him at the crucial moment did not keep an energetic manufacturer from showing the fight in all its fury. In similar form Dewy's triumph at Manila Bay was shown, although there was not a camera man within five hundred miles of the scene of the conflict. Instead of being fought on a New Jersey hill as San Juan was, it is interesting to note, Manila's glory was passed on to breathless thousands by means of miniature ships belching forth their flame in the back yard of a Brooklyn studio.\n(p. 257)\n<<<\nNow, that by 1898 no one really cared whether or not the film news was faked, I can accept. But by 1918 ? Croy doesn't sound too concerned about [[journalistic ethics]] here, does he?\n* __war > men dying__\nWe're now in Mexico, with Villa. Cameramen are having trouble finding some "interesting" scenes to show, because of the nature of the guerrilla war. (pp. 257-8)\n<<<\nPrisoners were interesting, as were the scenes of confusion after a village raid, but the demand was for men falling in battle. \nUnable to get scenes they wanted, arrangements were made by a motion-picture company for exclusive photographic rights with Villa, with the result that from that time on Villa deployed and attacked only after approval on the part of the photographers. Night attacks were no longer made and fighting as much as possible was held between the hours of nine in the morning and five in the afternoon. But even with this agreement, the arrangements were not altogether satisfactory, for the reason that Villa wished to appear personally in the film to the exclusion of all else. The public was desirous of seeing the leader, but after a few different poses at his tent, on horseback, sweeping the field with his glasses, and conferring with his staff, the public was eager to see the sanguinary results of all this preparation.\n<<<\nIsn't there some irony here that the //motion//-picture camera's greatest moment should be when it shows the passing of all motion from a body ? I guess that's what's referred to as the camera's immodest intrusiveness--or, in other words, its surgical, scientific removal from and of life. There's a confusion here: is this science, or just voyeurism ? We are back at the [[Story of origins]]...Only the entertainment value has become a bit difficult to defend, has it not ? I mean, talk about [[the gruesome spectacle of death]]...An oft-repeated buzz word at the time was that movies were "life-like". [[Death-like]] would seem more like it.

He was shooting two films for Trinity Pictures and director Frank S. Mattison

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*Owen Wister, in his journal of the first western trip,1885. Description of Wyoming:\n<<<\nWhen you go for miles through the piled rocks where the fire has risen straight out of the crevices, you never see a human being -- only now and then some disappearing wild animal. It's like what scenery on the moon must be. Then suddenly you come around a turn and down into a green cut where there are horsemen and wagons and hundreds of cattle, and then it's like Genesis. Just across this corduroy bridge are a crowd of cowboys round a fire, with their horses tethered.\n<<

<<<\nThey carried one piece of cheese, the size of a fist, the weight of a brick, the hue of a corpse. And the passengers, seeing it, exclaimed, "There's Old Faithful again!" and took off their hats.\n(Owen Wister, [[The Virginian]])\n<<<\nAs the note by John Seelye explains, the joke is also about the smell of the Yellowstone geyser.\n<<<\nWe have left the Geysers, and I do not care to see them again....I do not like their neighborhood. The air has drafts of stenches through it sometimes like sulphur, sometimes like a stale marsh.\n(Wister, //Journal//, 1887)\n<<<\nNot quite the [[world of Genesis]], he ?