113 Sentences With "actualities" | Random Sentence Generator

For another, she wishes to confront the actualities of her body.

These early films, called "actualities," were no more than roughly two minutes long with no plots or characters.

But when it comes to the actualities of business, a schism has developed between the GOP and American companies.

Like "The Wonders," which also drew on real events, "Happy as Lazzaro" finds fairy-tale resonances in modern actualities.

In the absence of dialogue and involved narratives, early films focused on "actualities," or setups that would appear instantly recognizable to audiences.

Advertise on Hyperallergic with Nectar Ads Malcolm Morley's paintings at Sperone Westwater are sumptuous, ingenuous, and ridiculous retellings of rather grim actualities.

The choice of Mr. Handke implies a concept of literature safe from the infelicities of history and actualities of human life and death.

Set free from the self's anxieties and appetites and constant, petulant demands, the meditator can see and share the actualities of existence with others.

The old truism — don't work with children or animals — speaks exactly to why they are the ideal stars of both early actualities and of contemporary Facebook videos.

It wasn't long after the rise of Kinetoscope, actualities and the cinema of attraction that new technologies upended those early forms, giving way to feature-length narratives, talkies and Technicolor.

However, now more than ever, when evidence is leading us to a particular conclusion, we must be diligent in examining our own potential assumptions and always remember that forensic science ultimately deals in evidence and actualities.

It is my fervent belief that no reader could come away from this book with anything like a usable insight into the actualities of the Kristeva-Sollers marriage—or, for that matter, into the institution of marriage itself.

Russell Mills: As with much of my work, I'm inspired and informed by the phenomenal world, the natural world, as matter, as school, and as matrix for the actualities of places people inhabit, merely visit, enjoy, protect, defile, and ignore.

Still, the images and sounds carry with them a sense — made literal toward the end — of unbridled freedom and flight, while the close-ups of Moondoc's face, straining his muscles and lungs with each honk and wail, are reminders of the gritty actualities of creation.

At heart most of us are frightful of being mocked, horrified of the prospect of embarrassment and utterly unable to cope with the actualities of being embarrassed, and that means that things like the Macarena are more helpful, more genuinely useful than they initially seem.

A series of Edison actualities with titles like "What Happened When A Hot Picture Was Taken" and "What Happened In the Tunnel" parallel the modern meme format of pairing a short video with a brief emotional cue: "That feeling when …" Or consider "What happened on 23rd street in New York City," which shows a pair of actors, a man and a woman, strolling down the sidewalk when a gust from a grate blows up the woman's skirt, revealing a tantalizing glimpse of petticoat.

Directors had a great desire to make longer films because it meant greater artistic innovation as they tried to find new ways to engage audiences. The popularity of longer films also meant an increase in production of fictional films as actualities decreased. One of the possible reasons for this shift is that fiction films were often easier to plan and cheaper to film than actualities which were subject to various location-related difficulties. Fiction films quickly became standardized, and the popularity of longer films meant they outperformed actualities, which were usually short.

Derk Bolt (born 24 May 1955) is a Dutch television presenter, editor and producer. He was born in Renkum. After studying journalism (a program which he did not finish) in Utrecht, Bolt started his career at the late night actualities daily radio show Met het Oog op Morgen and as editor at the Alles is Anders Show (KRO). After that he was, among others, reporter at the actualities television show Brandpunt (English: "Focus").

Georges Méliès (left) as Fernand Labori in the reconstructed actuality Dreyfus Meets His Wife at Rennes (1899) Between 1897 and 1902, the French filmmaker Georges Méliès (1861–1938) made numerous actualités reconstituées ("reconstructed actualities" or "reconstructed newsreels"). Unlike conventional actuality films, which presented real-life events or simple naturalistic scenes filmed in a documentary style, these reconstructed actualities were dramatically staged reenactments of current events, employing miniature models and theatrical techniques. Méliès particularly focused on capturing the spectacular nature of the events he recreated. While little is known of the exact release dates for many of Méliès's films, it appears that the reconstructed actualities were offered for sale soon after the events they portrayed, when the news was still fresh in viewers' minds.

The former is the faculty; the latter, the exercise or function. To see in actu primo simply means to have the sense of vision; to see in actu secundo is to actually perform acts of vision. The modern distinction of potential and kinetic energy might serve as another illustration: the loaded gun, or the engine with steam buildup, represent first actualities; the bullet speeding to the mark, the engine flying over the rails, represent second actualities.

In a preface on the DVD's liner notes, Ronny P. Tjandra of Jive! Collection wrote that viewers should view the film with open hearts, as the conflicts within reflected actualities in society.

Actus primus is a technical expression used in scholastic philosophy. The Latin word actus means determination, complement. In every being there are many actualities, which are subordinated. Thus existence supposes essence; power supposes existence; action supposes faculty.

This left production of actualities to smaller producers such as Mitchell and Kenyon in the UK, a company that made no other kinds of films, although Pathé soldiered on among the majors. In mid-1908, French Pathé introduced the first newsreel.British Pathé, "History of British Pathé" The newsreel was a format in which actualities could be combined, and it provided a context for the views that was timely. Also that year, Charles Urban founded the Kinora Company, the first company established for the exclusive purpose of distributing documentaries and other kinds of non-fiction films.

Also in the 1980s, WSB discontinued its NBC affiliation. Its own news staff delivered all the newscasts, with sound and actualities supplied by AP Radio. In the 2010s, WSB affiliated with ABC News Radio for its world and national news coverage.

These reconstructed actualities are part of a wider tradition of "faked" news film, a genre very popular in the early years of cinema. Between 1894 and 1900, every major film studio regularly produced reenactments of current events. Some of these films were deliberate hoaxes, intended to be misconstrued as actual footage of the events they portrayed; others were made with no intention to mislead audiences, and were designed simply as illustrations of the events. In the case of Méliès, the reconstructed actualities were deliberately described as reenactments, and were not intended to be misconstrued as real.

The company's productions mainly consisted of actualities and comedy shorts. It produced The Difficult Couple in 1913, the first feature-length film in the history of China, which was about arranged marriage. This was directed by Zheng Zhengqiu and written by Zhang Shichuan.

Yet these may also be conceived as first actualities. Thus the extensive quantity of a substance is a first actuality when compared to the shape. Power is a first actuality when compared to action. And this is the most frequent application of the terms actus primus and actus secundus.

RKO 2 fed newscasts at :20 repeated at :30 and was aimed at an older audience. Both networks offered sportscasts, music, public affairs programming and closed-circuit affiliate feeds of news and sports correspondent reports and news-maker actualities. The networks were home to three groundbreaking long-form programs.

It's an objective study of the situation. It's composed from a third person's perspective by getting the data from the members on the site. The ethnographer stays as omniscient correspondent of actualities out of sight. The realist reports information in a measured style ostensibly uncontaminated by individual predisposition, political objectives, and judgment.

The Unum is not viewed only as an actus purus, but rather as a "universal potentiality of being". As such, i.e. is placed, in Şora's metaphorical model, at the centre of a sphere of null radius, which has, thus, the same topos as the periphery. The surface of this sphere represents the pure exteriority, composed of "terminal actualities".

In 2002, she moves to Kabul, serving as a journalist reporting on the War in Afghanistan that began in 2001. From 2002 to 2007, she researches opium production in Afghanistan for her book. In her first visit, she finds that her gorgeous childhood memories are obscured by bleak actualities. Taliban leaders have suppressed inhabitants' aesthetic and academic ambitions.

After competitors began exhibiting films on screens, Edison introduced its own, Projecting Kinetoscope, in late 1896. The earliest productions were brief "actualities", showing everything, from acrobats, to parades, to fire calls. But, competition from French and British story films, in the early 1900s, rapidly changed the market. By 1904, 85% of Edison's sales were from story films.

LRN's daily broadcast schedule is a mix of live and prerecorded programs that air throughout the day. LRN provides two news-call programs, each consisting of up to 20 actualities by newsmakers of the day. Affiliates are free to integrate the cuts into locally produced newscasts. LRN news scripts are transmitted to affiliates similar to wire services.

He decided that it is possible for natural and real numbers to be definite sets, and that if one rejects the axiom of Euclidean finiteness (that states that actualities, singly and in aggregates, are necessarily finite), then one is not involved in any contradiction. The philosophical problem of actual infinity concerns whether the notion is coherent and epistemically sound.

Film historian Michael Brooke has described the film as "a very impressive achievement", and "one of the first instances in early cinema of a creative approach towards framing a shot". He has also pointed to the importance of A Sea Cave Near Lisbon and the other films shown in A Tour of Spain and Portugal in terms of its contribution to the history of the British documentary movement, of which he describes R. W. Paul as "was one of its most important precursors." Where previously, factual films generally consisted of stand- alone actualities intended for individual show, the programme put together by Paul from Henry Short's sequences was his first attempt to gather short actualities into a longer collective work. Paul sent Short on a similar trip to Egypt in 1897.

The Michigan Radio Network (or MRN) was a satellite-distributed news service that provides actualities, newscasts, and talk shows to affiliates in Michigan. It was most recently owned by Learfield Communications and had headquarters in Lansing, Michigan. Over the years MRN had been around in various forms and names, and is a sister network to the Michigan Farm Radio Network.

Xu Gan (Chinese: 徐幹, pinyin Xú Gàn, 171–218), courtesy name Weichang ( 偉長), was a philosopher and poet of the late Eastern Han dynasty of China. He was also one of the "Seven Scholars of Jian'an". He is best known in the West for his discourse on the relationship between the names and actualities, preserved in his treatise Zhonglun (中論).

The only known photographs of the building were made in 1914, but these black-and-white images are only marginal representations of the actualities of the work. The building was destroyed soon after the exhibition since it was an exhibition building only and not built for practical use.Richards, p. 16 The Glass Pavilion was a pineapple- shaped multi-faceted polygonal designed rhombic structure.

At the time, few documentaries had been filmed and there was little precedent to guide Flaherty's work. Since Flaherty's time, staging, attempting to steer documentary action, or presenting re-enactment as naturally captured footage has come to be considered unethical. In its earliest years (approx. 1895–1902), film production was dominated by actualities—short pictures of real people in real places.

The first war films come from the Spanish–American War of 1898. Short "actualities" – documentary film-clips – included Burial of the Maine Victims, Blanket-Tossing of a New Recruit, and Soldiers Washing Dishes. These non-combat films were accompanied by "reenactments" of fighting, such as of Theodore Roosevelt's "Rough Riders" in action against the Spanish, staged in the United States.

In 1904, American born English filmmaker Charles Urban made Everyday London, a 12-minute travelogue designed to provide views of England to Australians. This is a full-fledged documentary; although rather roughly assembled, it consists of a great many short shots and is clearly shaped in the manner of a documentary. In 1905, the Lumières ended their production of actualities, and within the next couple of years, major producers such as Edison and Biograph began to abandon the actuality genre; by 1907, American Biograph was no longer making them, and new start up companies such as Kalem never produced them at all, concentrating instead on fiction films with actors. When Gaston Méliès arrived in the United States to found the American division of Star Film, he started out making actualities, but swiftly moved into making Westerns.

Volta was followed starting with the next year by others, such as Bleriot on Sărindar Street, Bristol, Apollo and Venus. The programs consisted of actualities and short "little films with actors" (for example, a five-minute shot of Victor Eftimiu and Aristizza Romanescu during a stately walk on the seashore). The films gradually increased in running time, eventually developing into newsreels and fiction films.

Between 1921 and 1926 Willcox gave birth to four children; she adopted a fifth in 1930. In 1923, following the birth of her third child, Willcox spent six months in bed with puerperal fever (childbirth fever). This led her to question the contradictions between the idealized images she produced, and the actualities of women's lives.see One Woman: sketches/diaries/letters/notes/ fragments from Anita Parkhurst Willcox', pp. 104–109.

The following annotated list collects the Méliès films identified by scholars as reconstructed actualities. The list includes the numbers assigned to them in the catalogues of Méliès's studio, the Star Film Company; the original French and English titles; the date of release; and whether the film survives or is presumed lost. Unless otherwise referenced, these data are derived from research published in 2008 by Jacques Malthête and Laurent Mannoni.

The egg metaphor helps to suggest the gestation of a formation yet to come, and the potential formation of many actualities from a single origin. In chapter three of Anti-Oedipus, Deleuze and Guattari remark that the "body without organs is the deterritorialized socius, the wilderness where the decoded flows run free, the end of the world, the apocalypse",Deleuze and Guattari (1972) and is the eternally renewable product of alienation from the "civilized" world.

From this time Paul continued to experiment with multi-shot actualities, leading to longer works such as Army Life (1900) and Whaling Afloat and Ashore (1908). Unlike most of the other films from Short's trip, A Sea Cave Near Lisbon has survived in its entirety, and has been made available on the British Film Institute DVD collection RW Paul: The Collected Films 1895-1908, with music by silent film accompanist Stephen Horne.

The real-life Dreyfus Affair attracted immense attention both in France and in Britain, and numerous films were made in both countries about the case. Méliès's version was highly publicized, and later recollections and legends claim that it caused considerable interest and controversy at the time. It remains the most famous example of Méliès's staged reconstructions of current events ("reconstructed actualities"), and nine of the eleven installments are known with certainty to survive.

Cecil Hepworth leased a house for £36 per annum in Hurst Grove, Walton-on- Thames in 1899 and established Hepworth Studios.britmovie.co.uk Retrieved 2011-12-28 The film recording studio he built included electric lighting and a film laboratory. Along with his cousin Monty Wicks, Hepworth created the filmmaking production company Hepwix, and began producing actualities, which were newsreel-like short documentary films. A 15 ft by 8 ft stage was also constructed in the house's back garden.tvstudiohistory.co.

Current programming on WSPD features local hosts Fred LeFebvre (morning drive) and Scott Sands (afternoon drive), as well as syndicated programs such as The Rush Limbaugh Show, The Sean Hannity Show, The Glenn Beck Program and Coast to Coast AM. WSPD is affiliated with Fox News Radio, which provides live top-of-the-hour newscasts, actualities, and breaking national news coverage. WSPD features local newscasts on the top and bottom of the hour during morning drive.

Starting in 1906, in Macedonia, the Aromanian Manakia brothers made a career with their social and ethnographic themed actualities. Film screenings resumed in Bucharest in 1905 at various locations, as the Edison, the Eforie, the Lyric Theatre, and Circul Sidoli. In May 1909, the first theater in Romania built especially for exhibiting films, Volta, was opened on Doamnei Street in Bucharest. Transylvania, then part of Austria-Hungary, had already had its first movie theatre in Brașov since 1901.

Plato, The Statesman and The Laws 5\. Aristotle, Political Ideals 6\. Aristotle, Political Actualities 7\. The Twilight of the City-State Part II : The Theory of the Universal Community 8\. The Law of the Nature 9\. Cicero and the Roman Lawyers 10\. Seneca and the Fathers of the Church 11\. The Folk and its Laws 12\. The Investiture Controversy 13\. Universitas Hominum 14\. Philip the Fair and Boniface VIII 15\. Marsilio of Padua and William of Occam 16\.

In 1979, she graduated from the State University of Moldova, the Faculty of Philology, the journalistic section, being a disciple of the professors T. Colac, S. Nucă, E. Ciornîi and others. After graduating from the faculty, she started her journalistic activity at the "Actualities" section of the Moldovan State Television (TVM, now Teleradio Moldova), where she worked for over 15 years. From 1994 to 1996, she was at the “Catalan” television studio. In 1996, the FLUX press group employed her as a reporter.

The identities of the first screen Holmes and his assailant are not recorded. Biograph films before 1903 were mostly actualities (documentary footage of actual persons, places and events), but Sherlock Holmes Baffled is an example of an early Biograph comedy narrative film, produced at the company's rooftop studio on Broadway in New York City. According to Christopher Redmond's Sherlock Holmes Handbook, the film was shot on April 26, 1900. Julie McKuras states that the film was released in May of the same year.

It was and remains a broad doctrine. It eventually allowed states to create "long arm" statutes and responded to the actualities of the national market of the United States. Defendants had often avoided legal responsibilities by "scampering" from the state of occurrence and not being available for service of process. This case changed that to some extent, though the "traditional notions of fair play and substantial justice" are drawn from the Due Process Clause of the Fourteenth Amendment and Aristotle's notions of justice.

Emma Gendron was a French-Canadian screenwriter, playwright, and journalist, born in 1895 in Saint-Barnabe, Quebec, Canada. She has been noted as one of the primary figures in Quebecois silent cinema and was likely one of the first female screenwriters in Quebec. In the early years of Francophone cinema in Canada, films were primarily focused on non-fiction topics; filmmakers produced newsreels, actualities, and travelogues. However, of the few fiction films produced, Emma Gendron was a notable female screenwriter alongside Marguerite Marquis.

The economy of God, as God expresses himself in reality (his energies) was not what the Creed addressed directly. The specifics of God's interrelationships of his existences, are not defined within the Nicene Creed. The attempt to use the Creed to explain God's energies by reducing God existences to mere energies (actualities, activities, potentials) could be perceived as the heresy of semi-Sabellianism by advocates of Personalism, according to Meyendorff. Eastern Orthodox theologians have complained about this problem in the Roman Catholic dogmatic teaching of actus purus.

Inspired by Terry's Aesop's Fables, Disney started a series of circa seven-minute modernized fairy tale cartoons, and a new series of satirical actualities called Lafflets, with Ising's help. After two fairy-tale cartoons, Disney quit his job at Film Ad and started Laugh-O-Gram Films, Inc. with the help of investors. Iwerks, Fred's brother Hugh Harman and Carman Maxwell were among the animators who would produce five more Laugh-O- Gram fairy tale cartoons and the sponsored Tommy Tucker's Tooth in 1922.

Secondly, Mill's formulation leaves open the unsettling possibility that the "gap-filling entities are purely possibilities and not actualities at all". Thirdly, Mill's position, by calling mathematics merely another species of inductive inference, misapprehends mathematics. It fails to fully consider the structure and method of mathematical science, the products of which are arrived at through an internally consistent deductive set of procedures which do not, either today or at the time Mill wrote, fall under the agreed meaning of induction.Macmillan Encyclopedia of Philosophy (1969), "Empiricism", vol.

His target was the loaded national cliché and guilt of the dominant culture. His portraits have been described as drawing out "the psychic cost of the gap between romantic and backward-looking popular stereotypes of Indians and the actualities of their daily lives" and as often employing "a sardonic humour in their revelations of the absurdities of Native people's lives in the twentieth-century world". Scholder did not grow up as an Indian and his unique perspective could not be denied. Scholder resigned from IAIA in 1969 and traveled to Europe and North Africa.

The shilling, the poverty, and the complaint are all posited in terms of the man in London, the man in society and conviviality, and not the man as a particular individual or with idiosyncrasies. It was a poem wholly consonant with the poetry of the Scribblerians. After Ambrose Philips, though, poets would begin to speak of peculiarities and actualities, rather than ideals. It is a debate and a poetic tension that would remain all the way to Samuel Johnson's discussion of the "streaks of the tulip" in the last part of the century (Rasselas).

A former customs employee, he illustrated novels, theater posters, and satire series (Actualités (Actualities), Mon Musée des Souverains (My Museum of Sovereigns)), which portrayed the political rulers of his period. During the 1870 war he published La Ménagerie impériale (The Imperial Zoo) - caricatures which placed the heads of members of the disgraced Bonaparte family and their conspirators on the bodies of animals. The series begins with the former Emperor Napoléon III as a vulture, clutching in his claws the bleeding body of France. He is described by the caption as cowardly and ferocious.

As a suspected communist sympathizer Voranc was arrested in January 1943 and transported to the Sachsenhausen and Mauthausen-Gusen concentration camps. He returned to Ljubljana at the end of the war sick and depressed and unable to communicate with his family and comrades. He returned to his native village in Carinthia where he ceased political activity and removed himself from the political actualities of the newly formed communist Yugoslavia. He worked on Solzice, a historical novel that remained unfinished at the time of his death in Maribor in 1950.

In Eastern Orthodox Christianity, St Gregory Palamas wrote about the "energies" (actualities; singular energeia in Greek, or actus in Latin) of God in contrast to God's "essence" (ousia). These are two distinct types of existence, with God's energy being the type of existence which people can perceive, while the essence of God is outside of normal existence or non-existence or human understanding, i. e. transcendental, in that it is not caused or created by anything else. Palamas gave this explanation as part of his defense of the Eastern Orthodox ascetic practice of hesychasm.

He escapes with an associate and makes his way back to the army in time to participate in the notorious and disastrous battle known variously as the Battle of the Wabash or St. Clair's Defeat. Numerous points in the narrative contradict established facts in the history of the 1791 campaign, and other events seem to be embellishments supplied by someone unfamiliar with the western geography or actualities of Indian warfare. The work was first published in Beers's Almanac and Ephemera ... for 1793 (Hartford, 1792). It proved exceedingly popular, and had at least eight reprint editions in the following two years.

Actuality is the fulfilment of the end of the potentiality. Because the end (telos) is the principle of every change, and for the sake of the end exists potentiality, therefore actuality is the end. Referring then to our previous example, we could say that an actuality is when a plant does one of the activities that plants do. In summary, the matter used to make a house has potentiality to be a house and both the activity of building and the form of the final house are actualities, which is also a final cause or end.

However, contemporary accounts suggest that some viewers assumed the films were genuine, and a few exhibitors even advertised the films falsely as such. After a sustained period of popularity, the genre fell out of favor in the 1910s, apparently due to growing public distaste for artificiality in film reportage. Méliès's reconstructed actualities have been described as an early form of docudrama. They can also be compared to the newspaper and magazine engravings of Méliès's time, many of which made a similar attempt to capture the essence of a news event rather than to simulate it realistically.

The Dreyfus Affair remains the most famous of Méliès's reconstructed actualities, surpassing even his highly successful 1902 work in the genre, The Coronation of Edward VII. The film historian Georges Sadoul believed The Dreyfus Affair to be the first "politically engaged film" in the history of cinema. In a study of the Dreyfus affair, the cultural historian Venita Datta comments appreciatively on the dramatic power of Méliès's series, with the combat between Dreyfusard and anti-Dreyfusard journalists "brilliantly played up". The series is prominently featured in Susan Daitch's 2001 novel Paper Conspiracies, which includes fictionalized accounts of its making, preservation, and survival.

Psychomotor education is a pedagogic and therapeutic approach, the aim of which is to support and aid an individual’s personal development. It is based on a holistic view of human beings that considers each individual as a unity of physical, emotional and cognitive actualities, which interact with each other and the surrounding social environment. Psychomotor specialists study the body and its expressivity. The body is regarded not merely as a mechanism with neurophysiological developments, but also as a thing with deep-rooted emotional traits, which have come about through somato-psychic experiences, particularly in early-childhood.

He was distinguished for energy of Latin style, for vigorous intellectual powers, and for the faculty, rare among his contemporaries, of expressing the facts of modern life, the actualities of personal emotion, in language sufficiently classical yet always characteristic of the man. His prose treatises are more useful to students of manners than the similar lucubrations of Poggio Bracciolini. Yet it was principally as a Latin poet that he exhibited his full strength. An ambitious didactic composition in hexameters, entitled Urania, embodying the astronomical science of the age, and adorning this high theme with brilliant mythological episodes, won the admiration of Italy.

Chomón relied extensively on animation, a field in which he was a pioneer and a technique Georges Méliès seldom, if ever, used. Moreover, Chomón offered slight improvements on some techniques that Méliès already had tried, such as in Les Kiriki, acrobates japonais (1907).Europa Film Treasures: Les Kiriki, acrobates japonaises Chomón's work was also more expansive in terms of genre than that of Méliès; he started in actuality films and continued working in this field after the transition to documentary and was also employed on standard dramatic features as well. Méliès began making actualities also, in 1896, but after discovering and developing the trick film and fantasy genres, he stayed put.

QRS NewMedia, a company Rabinowitz co-founded with Laura Quinn and Mark Steitz, handled satellite feeds and radio actualities for the 1996 Clinton-Gore campaign. Using technology that Rabinowitz brought to national politics for Bill Clinton in 1992, QRS added census data and Nielsen research on each of the nation's television stations to produce breakdowns of viewing audiences, providing campaigns and political strategists with detailed information, including demographics, lifestyles and family income, on who watches what news program. QRS also has created high-tech media presentations for political, government and corporate entities, and consulted nearly every subsequent Democratic Party presidential nominee and convention since.

Surviving hand-tinted still from The Fairylogue and Radio-Plays (1908), based on L. Frank Baum's Oz books Selig studio facilities and extensive backlot in Chicago, 1911 Selig had worked as a magician and minstrel show operator on the west coast of California. Later on, in Chicago he entered the film business using his own photographic equipment, free from patent restrictions imposed through companies controlled by Thomas Edison. In 1896, with help from Union Metal Works and Andrew Schustek, he shot his first film, Tramp and the Dog. He went on to successfully produce local actualities, slapstick comedies, early travelogues and industrial films (a major client was Armour and Company).

Divers at Work on the Wreck of the Maine was one of a series of four reconstructed actualities (actualités reconstituées) filmed by Méliès as illustrations of recent incidents in the Spanish–American War. The film is shot with an aquarium between the camera and the action, allowing real water and fish to be included in the frame; a painted gauze screen in front of the lens adds to the watery effect. The corpse is a mannequin. Méliès may have ended the film when he did partly for practical staging reasons: toward the end of the action, the divers' long air hoses begin to get tangled up with each other.

Overall she considers the three, particularly Wesley Dick were driven by > the actualities of racism on the ground in Britain ... It was essentially > the words of Angela Davis, George Jackson, Bobby Seale and Malcolm X that > honed the resistance: 'Seize the time', 'Off the pigs', 'Fuck the man' were > the themes they transposed to Britain. On the morning of 29 September—fifteen hours after the siege had begun—one of the hostages was released as a sign of good faith. He was a 59-year-old manager of one of the outlets. On the second day another hostage was released after he fell ill.

The series was made entirely in Méliès's Star Films studio in Montreuil, Seine-Saint-Denis, though with a strong emphasis on cinematic realism markedly different from the energetic theatrical style used in Méliès's better-known fantasy films. The series is an elaborate example of Méliès's actualitiés reconstituées ("reconstructed actualities"), films in which current events were recreated in an evocative docudrama-like format. An ironworker with a strong resemblance to Dreyfus was hired for the role in order to increase the series's realism. Méliès himself appears in the series as Dreyfus's attorney Fernand Labori and makes a brief reappearance as a journalist after Labori's attempted assassination.

But this, and Paul's other films, were not projected in public until February 1896."Pioneers: Robert Paul" at EarlyCinema.com Edison's first principal film producer W. K. L. Dickson broke away from the company late 1895 in order to act as partner in his own concern, American Mutoscope and Biograph, which by 1897 had a founded a British subsidiary that Dickson headed.Gordon Hendricks, "Origins of the American Film," New York: Arno Press, New York Times 1972 Although their cameras were even bulkier than Edison's at first, utilizing 68mm film, Biograph's very first subjects — a series of views of Niagara Falls — were actualities, although studio bound subjects dominate the Biograph's years before 1900.

His second film, Conjuring, captured a theatrical magic act on film; his sixth, Watering the Flowers, moved into comedy, remaking the Lumière's influential L'Arroseur Arrosé. Following his discovery of the substitution splice in 1896, Méliès moved further into fiction and trick films, building his own studio on his property in Montreuil, Seine-Saint-Denis to allow for the filming of his theatrically inspired, storytelling-based scènes composées—"artificially arranged scenes." His last nonfiction work was the seventeen-part Paris Exposition, 1900 film series. Because of his move away from actualities into fiction, he is generally regarded as the first person to recognize the potential of narrative film.

In addition to the over-the-air product, reports and actualities are made available to affiliates via the network's Newsfeed service. Many of the aforementioned outlets make heavy use of the CBS network feed material throughout their broadcast day. The network is home to the morning and evening editions of the CBS World News Roundup, U.S. broadcasting's oldest news series. Steve Kathan anchors the morning show, which airs at 8am ET and 7am PT, while Dave Barrett hosts the evening edition at 7pm ET. The Roundup dates back to a special network broadcast on March 13, 1938, featuring live reports from Europe on Germany's annexation of Austria.

Unperturbed by these raids, Reilly conducted meetings on 17 August 1918 between Latvian regimental leaders and liaised with Captain George Alexander Hill, a multilingual British agent operating in Russia on behalf of the Military Intelligence Directorate. Hill later described Reilly as "a dark, well-groomed, very foreign-looking man" who had "an amazing grasp of the actualities of the situation" and was "a man of action". They agreed the coup would occur in the first week of September during a meeting of the Council of People's Commissars and the Moscow Soviet at the Bolshoi Theatre. On 25 August, yet another meeting of Allied conspirators allegedly occurred at DeWitt C. Poole's American Consulate in Moscow.

Frederick S. Armitage (June 19, 1874 in Seneca Falls, NY – January 3, 1933 in Ecorse, MI) was an early American motion picture cinematographer and director, working primarily for the American Mutoscope and Biograph Company. Often identified as "F.S. Armitage" in AM&B; paperwork, Armitage had a hand in creating more than 400 often very short subjects for AM&B; in the days where its films were made as much for the hand-crank operated Mutoscope device as for projection. Several of Armitage's subjects stand out from the company's regular routine of actualities and comic skits in their innovative use of camerawork, superimpositions, time-lapse photography and other effects then new to the art of film-making.

The history of cinema in Romania started before 1900, pushed by film screenings which helped arouse public curiosity towards the new invention and enthusiastic cameramen began making films out of passion for the newly discovered art. Due to the rudimentary technical conditions, the early films were actualities, very short (many less than one minute) one-shot scenes capturing moments of everyday life. The first cinematographic projection in Romania took place on 27 May 1896, less than five months after the first public film exhibition by the Lumière brothers on 28 December 1895 in Paris. In the Romanian exhibition, a team of Lumière brothers' employees screened several films, including the famous L'Arrivée d'un train en gare de La Ciotat.

During December 1835 the Frankfurt Bundestag banned the publication in Germany of many authors associated with the movement, namely Heine, Gutzkow, Laube, Mundt, and Wienbarg. In their reasoning, they explained that the Young Germans were attempting to “attack the Christian religion in the most impudent way, degrade existing conditions and destroy all discipline and morality with belletristic writings accessible to all classes of readers.” The ideology produced poets, thinkers and journalists, all of whom reacted against the introspection and particularism of Romanticism in the national literature, which had resulted in a total separation of literature from the actualities of life. The Romantic Movement was considered apolitical, lacking the activism that Germany's burgeoning intelligentsia required.

Poverty and inequality are persistent in Brazil, largely as a result the legacy of Portuguese colonialism and its dependence on slave labor. The social, economic and political development of Brazil only tended to increase inequality, primarily among the non-white population. "[It is] clear that the darker a Brazilian, the more likely he [is] to be found at the bottom of the socio-economic scale by every indicator- income, occupation, education [...] subtle but unmistakable discrimination in social relations remain[...] although it has never been codified since the colonial era."Skidmore Despite the transition from military dictatorship to democracy in Brazil, there remains a discrepancy between formal principles of the state the actualities of democracy in practice.

Holmberg says that the narrative of "the manga's genesis, especially in its recent melodramatic versions, simply has to go"; "the godfather of did not remake the world of manga ex nihilo, nor simply with the help of a couple of 'influences.' The evidence suggests very clearly that Tatsumi had at his side a copy of 'Black Rainbow,' which he was using more or less as a script". Lastly, he notes similarities between the circus singer Saeko Ozora and postwar singer Hibari Misora, concluding that did not have its roots in the "everyday actualities of postwar Japan and especially its underclass", but rather "mass entertainment and the world of fantasy from magazines and the movies", especially the prepackaged "postwar experience".

Strictly speaking, a sufficient cause cannot be a single factor, as any causal factor must act casually through many other factors. And although a necessary cause might exist, humans cannot verify one, since humans cannot check every possible state of affairs. (Language can state necessary causality as a tautology—a statement whose terms' arrangement and meanings render it is logically true by mere definition—which, as an analytic statement, is uninformative about the actual world. A statement referring to and contingent on the world's actualities is a synthetic statement, rather.) Sufficient causality is more actually sufficient component causality—a complete set of component causes interacting within a causal constellation—which, however, is beyond humans' capacity to fully discover.

At first, Méliès followed the custom of the time, and the example memorably set by the pioneering Lumières, by producing actuality films—brief "slice of life" incidents made by preparing naturalistic scenes for the camera or by filming events of the day. These "cityscapes, scenic views, and domestic vignettes" closely followed the model already set by the Lumières and their salaried operators, who had already been sent to various points abroad to publicize the Lumière camera and bring home actualities filmed in foreign climes. All told, Méliès filmed 93 films, or 18% of his entire output, outdoors as actuality footage. However, Méliès was also interested in expanding his line of films to include less common genres.

He was familiar with the works of Augustine of Hippo, but even more with classical authors like Virgil, Horace, Lucan, and Macrobius. Thietmar witnessed the struggles of the young Ottonian king Otto III and his mother Theophanu to secure their reign. He took some part in some political events of the time; in 994 he was a hostage in the hands of the Norsemen, and he was not unfamiliar with the actualities of war. Upon the death of his parents, he inherited large parts of the Walbeck estates and in 1002 became provost of the family monastery, established by his grandfather Count Lothair II. On 21 December 1004, he was ordained as a priest by Archbishop Tagino of Magdeburg.

These explicit paintings are said to be less so a focus on the physical experience itself than on the psychological aspects and consequences of these acts. In an interview with Paulina McFarland for Art XX Magazine, Majoli stated, "My use of sexuality revolves around the desire to stimulate a visceral response in the viewer to the actualities of our physical nature. SM, which has been the dominant form of sexuality that I employ visually, is useful to me, as it highlights the psychological nature of sexuality and consciousness." These works reference both her own sexuality and sexuality in general, including a life-size portrait of the artist holding a dildo, while a possible reference to Linda Benglis' 1974 Artforum Ad, Majoli's depiction is intimate and personal.

André AumarsUmar Said's legal name as he was a French naturalised citizen. (26 October 1928 – 8 October 2011), born Ayik Umar Said, was an Indonesian-born French journalist and activist. Umar Said is best known for his contributions to the Indonesian delegation at the Tricontinental Conference in Cuba in 1966 and his political writings against the reign of Sukarno of the mid-1960s and on the 30 September Movement, and to the Parisian cooperative restaurant Indonesia which acted as a political refuge during the 1990s. His journalistic contributions include those to Indonesia Raya, Ekonomi Nasional in 1965 where he was editor-in-chief, Harian Rakjat, and his own monthly Chine Express which detailed the actualities of Chinese politics during the 1980s and 90s.

Started in 1990, DOK usually is broadcast on Wednesday, Thursday and partially on Sunday from 20:05 to 20:50 on SRF 1 and repeated on SRF info. The documentary television series focusses on personalities, social life, actualities, but also historical issues, among others the Wauwilermoos internment camp during World War II. DOK claims to maintain the long form [news], the second look behind the news topicality, stories, as unique as the life, first hand recounted. The team therefore produces in-house content, but also serial documentaries, for instance on Swiss migrants to other countries, but also DOK broadcasts productions of other television channels. DOK am Mittwoch (literally "DOK on Wednesday") presents international documentaries on current themes: enthralling stories about human coexistence, and about politically relevant issues.

Shin, widely known as a poet of the people, has literally spent decades writing verse on basically one subject: the life and people of Korean farming villages. Although the focus of his debut works, "Reed” (Galdae) and "Graveside Epitaph” (Myobi) is not restricted to the lives of farmers, the bulk of his remaining poems do treat of that particular topic. The poems of his first collection, Farmer's Dance (Nongmu, 1975), are coherent in their depiction of the actualities of farming life but retain a certain sense of poetic lyricism that lends them a measure of grace. While Shin's poetry is largely concerned with farmers and farming villages, he makes a great deal of effort to present them in their full historical and social context.

The first actuality (actus primus) begins a series; it supposes no other actuality preceding it in the same series, but calls for a further complement, namely, the second actuality (actus secundus). But as the same reality may be called "actuality" when viewed in the light of what precedes, and "potentiality" when viewed in the light of what follows (see actus et potentia), the meaning of the term "first actuality" may vary according to the view one takes, and the point where the series is made to begin. Primary matter (see matter and form) is a pure potentiality, and the substantial form is its first determination, its first actuality. The complete substance constituted by these two principles receives further determinations, which are, in that respect, second actualities.

Lequier wrote in favour of dynamic divine omniscience, wherein God's knowledge of the future is one of possibilities rather than actualities. Omniscience, under this view, is the knowledge of necessary facts as necessary, and contingent facts as contingent. Since the future does not yet exist as anything more than a realm of abstract possibilities, it is no impugning of divine omniscience to claim that God does not know the future as a fixed and unalterable state of affairs: that he does not know what is not there to be known. Lequier's approach guarantees both divine and human freedom, and suggests a partial resolution of the apparent inconsistency of human-wrought evil and the perfect goodness, power and knowledge of God.

Since humans are capable of centring natural forces, by the means of rites, they are themselves "central" to creation. So, human beings participate in the ongoing creation-evolution of the God of Heaven, acting as ancestors who may produce and influence other beings: The metaphor of the moon. The relationship between oneness and multiplicity, between the supreme principle and the myriad things, is notably explained by Zhu Xi through the "metaphor of the moon": In his terminology, the myriad things are generated as effects or actualities ( yòng) of the supreme principle, which, before in potence ( tǐ), sets in motion qi. The effects are different, forming the "myriad species" ( wànshū), each relying upon their myriad modifications of the principle, depending on the varying contexts and engagements.

The actuality film is a non-fiction film genre that, like the documentary film, uses footage of real events, places, and things, yet unlike the documentary is not structured into a larger argument, picture of the phenomenon or coherent whole. In practice, actuality films preceded the emergence of the documentary. During the era of early cinema, actualities—usually lasting no more than a minute or two and usually assembled together into a program by an exhibitor—were just as popular and prominent as their fictional counterparts.American Memory, "The Actuality Film" The line between "fact" and "fiction" was not so sharply drawn in early cinema as it would become after the documentary came to serve as the predominant non- fiction filmmaking form.

Thus, that which integrates physical reality with conceptuality is founded in the "transcendental imagination," a connection that shields, yet binds humanity to reality. People's emotionality coheres to the structures they encounter in life. Winquist argued there is a life history of striving beyond the passage of actualities; emotional and objective understanding (the conceptional reality of the transcendental imagination), as well as subjective goals, and the primordial nature of God bring interpretive, foundational knowledge. Some have argued Winquist’s work is purely academic, at least regarding his posthumously published, “The Surface of the Deep”. And indeed, Winquist argued that a Christological witness cannot be relocated in "fundamental theology"—the philosophical, anthropological, scientific, and theological study to mediate faith’s meaning in culture—without destroying fundamental theology itself.

Irenaeus declares that the Antichrist's future three-and-a-half-year reign, when he sits in the temple at Jerusalem, will be terminated by the second advent, with the resurrection of the just, the destruction of the wicked, and the millennial reign of the righteous. The general resurrection and the judgment follow the descent of the New Jerusalem at the end of the millennial kingdom. Irenaeus calls those "heretics" who maintain that the saved are immediately glorified in the kingdom to come after death, before their resurrection. He avers that the millennial kingdom and the resurrection are actualities, not allegories, the first resurrection introducing this promised kingdom in which the risen saints are described as ruling over the renewed earth during the millennium, between the two resurrections.

By Hume's fork, truths by relations among ideas (abstract) all align on one side (analytic, necessary, a priori), whereas truths by states of actualities (concrete) always align on the other side (synthetic, contingent, a posteriori). Of any treatises containing neither, Hume orders, "Commit it then to the flames, for it can contain nothing but sophistry and illusion". Thus awakened from "dogmatic slumber", Immanuel Kant quested to answer Hume's challenge—but by explaining how metaphysics is possible. Eventually, in his 1781 work, Kant crossed the tines of Hume's fork to identify another range of truths by necessity—synthetic a priori, statements claiming states of facts but known true before experience—by arriving at transcendental idealism, attributing the mind a constructive role in phenomena by arranging sense data into the very experience space, time, and substance.

Levine suggests that, as qualitative experience of a physical or functional state may simply be such a brute fact, perhaps we should consider whether or not it is really necessary to find a more complete explanation of qualitative experience. Levine points out that the solution to the problem of understanding how much there is to be known about qualitative experience seems even more difficult because we also lack a way to articulate what it means for actualities to be knowable in the manner that he has in mind. He does conclude that there are good reasons why we wish for a more complete explanation of qualitative experiences. One very significant reason is that consciousness appears to only manifest where mentality is demonstrated in physical systems that are quite highly organized.

Besides Ross Miller, Floyd Richards, and Fred Wade, Bertel joined an announcing staff that included Ed Anderson, Bob Arel, Frank Atwood, Jean Colbert, Bruce Kern, Paul Lucas, Bob Steele, and Bob Tyrol. Over Bertel's twenty-one year tenure other staff announcers would include Bill Clede, Bill Corsair, Brad Davis, Arnold Dean, George Ehrlich, John Elliott, Bob Ellsworth, Joe Girand, Bill Hanson, Bill Hennessey, Bill Henry, Art Johnson, Lani Jurev, George Malcolm-Smith, Bob Nelson, Mike Ogden, Lou Palmer, Norm Peters, Ray Rice, Robert E. Smith, John Stevens, Al Terzi, Jim Thompson, Doug Webster, Dana Whalen, and Jerry Williams. Staff announcers read commercials, issued station breaks, and delivered newscasts. The staff announcers would read newscasts prepared by the newsroom, often fifteen minutes in length with no breaks, not even for actualities or commercials.

Xun Zi wrote a chapter on "The Rectification of Names" developing a theme that had been introduced by Confucius saying: "Let the ruler be ruler, the subject subject; let the father be father, and the son son." Chapter 22, "on the Rectification of Names", claims the ancient sage kings chose names (Chinese:名, Pinyin:míng) that directly corresponded with actualities (Chinese: 實, Pinyin: shí), but later generations confused terminology, coined new nomenclature, and thus could no longer distinguish right from wrong. Xun Zi not only wrote that chapter on the topic of the rectification of names but went as far as to develop/expand the rectification into a system of logic. Xun Zi, who believed that man's inborn tendencies need to be curbed through education and ritual, countered to Mencius's view that man is innately good.

Certain types of early films lumped into the actuality genre are merely related forms and do not entirely belong to the designation. While sporting events—particularly boat and yacht races—figure into the actuality genre, fight films constitute a genre unto themselves. The first fight films, such as Edison's The Hornbacker-Murphy Fight (1894) actually precede the advent of actualities altogether and, as the genre evolved through 1916, consisted of a mixture of actual, recreated and staged bouts. The fixed camera position common in early cinema was a good match for taking in even many rounds of boxing, and interest in such subjects was further supported by the fact that boxing itself was illegal in most places, and the films provided access to such entertainment where live boxing matches were prohibited by law.

Women must live in the > world as truly as men and in many instances they are as well equipped for > the actualities of life as men. . . . If there is to be anything democratic > or republican about the government of America, that independence must be > based upon the liberty of all of its citizens. . . . When half of the people > of any country are disenfranchised, that country has no freedom. We pretend > to be progressive and we boast our splendid republicanism, but our republic > is more despotic than any monarchy unless all who are taxed have a voice in > the control of public affairs. Her books include Leaf-Shadows and Rose-Drift, Being Little Songs from a Los Angeles Garden (1911) and Mexico City: An Idler’s Note-Book (1901) which featured some of her own photographs and was reviewed favorably.

Halley came to prominence as an artist in the mid-1980s, as part of the generation of Neo-Conceptualist artists that first exhibited in New York's East Village, including Jeff Koons, Haim Steinbach, Sarah Charlesworth, Annette Lemieux, Steven Parrino, Phillip Taaffe, Gretchen Bender, and . Halley's paintings explore both the physical and psychological structures of social space; he connects the hermetic language of geometric abstraction—influenced by artists such as Barnett Newman and Ellsworth Kelly—to the actualities of urban space and the digital landscape. In the 1990s, he expanded his practice to include installations based around the technology of large-scale digital prints. Halley is also known for his critical writings, which, beginning in the 1980s, linked the ideas of French Post-Structuralist theorists such as Michel Foucault and Jean Baudrillard to the digital revolution and the visual arts.

Meanwhile, English filmmakers working in and around Brighton, a group later nicknamed the "Brighton School", made many innovations in narrative film grammar, developing framing and cutting conventions that would later become industry standards. Edwin S. Porter had won acclaim making cameras, film printers, and projectors; however, after his workshop was destroyed by a fire, he accepted a special commission for the Edison Manufacturing Company in 1901. His task to improve Edison's existing projecting equipment was a marked success, and Porter was given a regular job as the cameraman for Edison's New York film studio. (At this point in the American film industry, this job title included operating the camera as well as exercising the creative control that would later be called film directing.) His early films were sketches and actualities in the simple style used by other Edison employees.

The short film was made for publicity purposes, as a series of still photographs to accompany an article in Harper's Weekly. It was the earliest motion picture to be registered for copyright — composed of an optical record of Ott sneezing comically for the camera. The first films shot at the Black Maria, a tar- paper-covered, dark studio room with a retractable roof, included segments of magic shows, plays, vaudeville performances (with dancers and strongmen), acts from Buffalo Bill's Wild West Show, various boxing matches and cockfights, and scantily-clad women. Many of the early Edison moving images released after 1895, however, were non-fictional "actualities" filmed on location: views of ordinary slices of life — street scenes, the activities of police or firemen, or shots of a passing train. On Saturday, April 14, 1894, Edison's Kinetoscope began commercial operation.

These latter two causes (the "formal" and "final"), are concepts no longer used in modern science, and encompass the continuous effect of the intelligent ordering principle of nature itself. Aristotle's special description of causality is especially apparent in the natural development of living things. It leads to a method whereby Aristotle analyses causation and motion in terms of the potentialities and actualities of all things, whereby all matter possesses various possibilities or potentialities of form and end, and these possibilities become more fully real as their potential forms become actual or active reality (something they will do on their own, by nature, unless stopped because of other natural things happening). For example, a stone has in its nature the potentiality of falling to the earth and it will do so, and actualize this natural tendency, if nothing is in the way.

In order to open a second front in the Korean War, CIA officers decided to rely upon a second plan. CIA operators were fearful of Mao Zedong's entry into the war and estimated that a substantial amount of Kuomintang Nationalist guerillas were available to work with the agency. They also estimated that Muslim horseman led by Ma Bufang would be willing to launch attacks against China in its western regions. When both of these efforts proved to be overly projected in terms of success and strategic actualities, the U.S., convinced that a third force was available within China, decided to invest resources into securing such a force to its efforts. In order to facilitate resistance against China's involvement in Korea, the CIA invested over $100 million in buying weapons that would be used by "third force" guerillas in China.

Madhu-vidya occupies a unique place in the Upanishadic scheme of upasana , due to its supremely hidden significance and peculiarly mystic presentation. Chandogya Upanishad takes the Sun as the main symbol and works out the vidya thereon; Brihadaranyaka Upanishad depicts a long series of cause and effect, showing their mutual interdependence and finally leads to the Atman which is shown to be the supreme source of everything else. Sankara takes madhu to mean effect, and he also accepts the primary sense of delight. The effects that flow are not mere imaginary things but are actualities that become visualised; every effect takes shape in a particular form or colour which signifies its concretisation and completion but the essence or the honey has no particular form or colour because it happens to be beyond all manifestations; it is recognized by the heaving at the centre of the Sun.

In a commercial sense, the actuality is of no more worth than its value as stock footage to use in documentaries. Some documentaries have been fashioned from early actualities and passed off as historic without further comment, such as a compilation entitled The San Francisco Earthquake which is rendered in a way that makes the original source material impossible to divine.American Memory, "San Francisco Earthquake and Fire, April 18, 1906" However, actuality films are an inherent part of the development of early motion pictures and the genre deserves study in its own right; the UNESCO Lumière project, BFI's Mitchell and Kenyon collection and certain films in the Library of Congress paper print collection remain the only studies in the genre conducted in a systematic way. The sheer numbers of such films are part of the problem; early actuality films exist in the thousands, and many remain unidentified.

The Association Orchestra Filarmonica del Gran Teatro La Fenice di Venezia performs its activity in concordance with Consiglio di Amministrazione della Fondazione Teatro La Fenice, intending the promotion and diffusion of music, especially the symphonic genre, regionally, nationally and internationally. This is executed with total autonomy, and always in the pursuit of a high artistic-musical prestige. For that purpose the Orchestra realizes its own seasons of concerts at La Fenice and develops contextually intense relationships with multiple cultural actualities for the promotion of its own activity in Italy and foreign countries, availing of the collaboration of prestigious orchestra leaders and soloists famous all over the world. Attention is referenced to the new generations, both keeping a tight contact with viewers that are still in school, that is to say the tomorrow’s public, and dedicating attention to the professional growth of talented young people that are starting to take their first steps in the difficult world of music.

The new genre was extensively influenced by Méliès's experience in theatre and magic, especially his familiarity with the popular French féerie stage tradition, known for their fantasy plots and spectacular visuals, including lavish scenery and mechanically worked stage effects. In an advertisement he proudly described the difference between his innovative films and the actualities still being made by his contemporaries: "these fantastic and artistic films reproduce stage scenes and create a new genre entirely different from the ordinary cinematographic views of real people and real streets." Because A Trip to the Moon preceded the development of narrative film editing by filmmakers such as Edwin S. Porter and D. W. Griffith, it does not use the cinematic vocabulary to which American and European audiences later became accustomed, a vocabulary built on the purposeful use of techniques such as varied camera angles, intercutting, juxtapositions of shots, and other filmic ideas. Rather, each camera setup in Méliès's film is designed as a distinct dramatic scene uninterrupted by visible editing, an approach fitting the theatrical style in which the film was designed.

Unusually for the time, the film was even described in detail in the New York Times; the anonymous reviewer criticized most of the players, but praised the horse riding and stunts, concluding: "All this is the result of poor acting, but the results are certainly astounding." The film was also widely imitated and copied; the Lubin Manufacturing Company made a shot-for-shot remake of it in August 1904, changing only small details. (American film copyright was legally murky until the 1912 Townsend Amendment to the Copyright Act of 1909, so despite the film's Library of Congress registration, unauthorized remakes and adaptations could be made with impunity.) Porter himself directed a 1905 parody of the film, The Little Train Robbery, with children robbing candy and dolls from a miniature railroad car. Despite its wide success and imitators, The Great Train Robbery did not lead to a significant increase in Western- themed films; instead, the genre continued essentially as it had before, in a scattered mix of short actualities and longer stories.