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 anything else that may seem necessary to do to the finished product. What other artist has his work interfered with by someone else?...We ought to realize that the work of a picture director, worthy of a name, is creative". Bluebird Photoplays

In February 1916, <mask> and Smalley were transferred to Universal's Bluebird Photoplays brand, where they made a dozen features, including The Dumb Girl of Portici (also known as Pavlowa), adapted by <mask> from Daniel Auber's 1828 opera La muette de Portici, Russian ballerina Anna Pavlova's only screen appearance, which was directed to Pavlova's satisfaction by <mask>. The film also starred Rupert Julian as Masaniello. Released to popular acclaim, it premiered on April 3, 1916 at the Globe Theatre in Manhattan. Hoping to "become the editorial page of the studio", and to "provoke a middle-class sense of responsibility for those less fortunate than themselves, and to stimulate moral reforms", <mask> specialized in making films that stressed both high quality and moral rectitude, including films of the "burning social and moral issues of the day", among them such controversial themes as abortion, eugenics, and birth control in Where Are My Children? (1916), influenced by the trial of Charles Stielow, an innocent man who was almost executed, opposition to capital punishment based on circumstantial evidence in  The People vs. John Doe; and alcoholism and opium addiction in Hop, the Devil's Brew, which were all successful at the box office, but, while embraced by reformers in the film industry, "drew the ire of the conservatives". Despite the predominance of strong women in her films, in 1916 <mask> disassociated herself from the women's


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texts: suffrage movement.In Where Are My Children? (working title: The Illborn), which was released on April 16, 1916, <mask> advocates social purity, birth control, and eugenics to prevent the "deterioration of the race" and the "proliferation of the lower classes", and makes "an indirect case for birth control or perhaps even for legalized, and safe, abortions". The film starred Tyrone Power, Sr. and his then-wife Helen Riaume; future star Mary MacLaren made her debut. It also makes use of several trick photography scenes, with an emphasis on multiple exposures to convey information or emotions visually. As a recurring motif, every time a character becomes pregnant, a child's face is double exposed over their shoulder. In March 1916, the National Board of Review expressed disapproval of the film for showings to mixed audiences, but later approved it for adult showings. It was banned in Pennsylvania on the grounds that it "tended to debase or corrupt morals", but Universal won a case in Brooklyn, New York in 1916 to show the film after the district attorney filed suit against the theater manager and the Universal exchange president.Controversy, the threat of censorship, and the banning of Where Are My Children? in some locations helped fuel the box office success of the film, estimated to have grossed in excess of $3 million, in an era where ticket prices were less than 50c each, and "rocketed <mask>'s name to larger audiences, bigger box-office returns, and an even higher annual income". The film spread <mask>'s fame internationally. For example, Kevin Brownlow indicates that this film attracted 30,000 in Preston, Lancashire, 40,000 in Bradford, Yorkshire, and 100,000 in two weeks in

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texts: Sydney. In 2000, the Library of Congress Motion Picture Conservation Center copyrighted a preservation print reconstructed from several incomplete prints. Shoes, a "sociological" film released in June 1916 that <mask> directed for the Bluebird Photoplays, was based on Stella Wynne Herron's short story of the same name, which had been published in Collier's magazine earlier that year. Herron took inspiration from noted social reformer Jane Addams's 1912 book A New Conscience and an Ancient Evil.The nonfiction book depicts the struggles of working-class women for consumer goods and upward mobility and their dubious sexual activities, including prostitution. Starring Mary Maclaren as Eva Meyer, a poverty-stricken shopgirl who supports her family of five, who needs to replace her only pair of shoes, and is so desperate that she sells her virginity for a new pair, it proved to be the most booked Bluebird production of 1916. A version restored digitally from three extant fragments by EYE Film Institute Netherlands, made its debut in North America in July 2011. A scene from the restored "Shoes" showing architect John B. Parkinson's 1910 design for Pershing Square in Downtown Los Angeles has been used by the grassroots Pershing Square Restoration Society in promoting their campaign to restore the historic park. After another significant censorship battle, and a vigorous publicity campaign by Universal, on May 13, 1917, Universal released The Hand That Rocks the Cradle, "one of the most forceful films ever made in support of legalizing birth control", a follow-up to the previous year's top money-maker for Universal, Where Are My Children? Directed by <mask> and Smalley based on their

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 original script, it starred Smalley and <mask>, in her last screen appearance, as a doctor's wife arrested and imprisoned for illegally disseminating family planning information. Influenced by the recent trial and imprisonment of pioneer birth control advocate Margaret Sanger, the film drew explicitly on her headline-generating activism.The film was released only weeks after Sanger's own film, Birth Control, was banned under a 1915 ruling of the United States Supreme Court that films "did not constitute free speech", and the ruling of the New York Court of Appeals that a film on family planning may be censored "in the interest of morality, decency, and public safety and welfare". Sensitive to the opinions of local communities, and hoping to avoid powerful censorship boards in the northeast and midwest, The Hand That Rocks the Cradle was distributed primarily in the southern and western regions of the United States, with the result that it did not attain the record-breaking attendance set by Where Are My Children? the previous year. When The Hand That Rocks the Cradle opened at Clune's Auditorium in Los Angeles in June 1917, <mask> appeared on stage, bitterly denouncing attempts to alter or suppress her film. While The Hand That Rocks the Cradle is now lost, the surviving script and accompanying marketing materials make it clear that <mask> mounted an unstinting argument in favor of "voluntary motherhood". Lois Weber Productions

In June 1917 <mask> became the first American female director to establish and run her own movie studio when she formed her own production company, Lois Weber Productions, with the financial assistance of Universal. She leased a self-contained estate, and

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texts: had offices, dressing rooms, scenic and property rooms, and a  shooting stage constructed.Smalley was made studio manager, and the Smalleys made their home on the studio lot at 1550 N. Sierra Bonita Avenue. According to film historian Shelley Stamp, while <mask> and Smalley were often co-credited as directors, it was "the wife who clearly had the artistic vision to drive the business partnership forward". By this time, <mask>'s "idealized collaborative marriage" with Smalley had begun to show signs of deterioration, which was accelerated by the increased focus of critics and journalists on <mask> as the dominant filmmaker, at the expense of Smalley, after 1916, and <mask> increasingly took credit for her contributions after 1917. However, as early as 1913, some saw <mask> as the "fertile brain" in the partnership, with Smalley seen as an indolent womanizer "who chased every woman on the lot", which resulted in arguments and shouting matches. <mask> consciously resisted the industry's movement toward assembly line-style studio film making. "By concentrating on only one production at a time, and mobilizing her entire workforce around that effort, <mask> aimed for quality film making rather than efficient bookkeeping". <mask>'s independence allowed her to shoot her films in sequence, as she preferred (rather than out of order to suit production schedules).William D. Routt indicates that "Lois Weber Productions were a good investment, cost-effective. The company made movies cheaply: in later years at least shooting on location even for interiors, using a small cast, working fast. Its somewhat sensational topics and titles guaranteed at least a modest box office return, and at times

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texts: may have done much better than that." Karen Mahar attributes the success of <mask>'s films of the 1910s to their representation of "the generational conflict of the era" between the traditional view of women and that of the freedoms of the emerging "New Woman and the emergent consumer culture". Mahar argues that "<mask>'s life was an expression of this generational divide: she was a stage performer and a Church Army Worker, a filmmaker and a middle-class matron, a childless advocate of birth control who 'radiates domesticity'". While <mask> was clearly a New Woman by virtue of her career, she was also publicly identified as the wife and collaborator of her first husband. Shelley Stamp argues that <mask>'s "image was instrumental in defining both her particular place in film-making practices, and women's roles within early Hollywood generally", and that her "wifely, bourgeois persona, relatively conservative and staid, mirrored the film industry's idealized conception of its new customers: white, married, middle-class women perceived to be arbiters of taste in their communities".While <mask>'s beliefs reflected modern values, as did her career as a filmmaker that was atypical for women of her era, she had "internalized much of what the Victorians deemed proper behavior for women", and there are "strong elements of the Victorian code of womanhood in her films". The Smalleys exemplified and promoted the Victorian ideal of marriage as companionship and a partnership. In 1917, <mask> was the only woman granted membership in the Motion Picture Directors Association, and from 1917 <mask> was active in supporting the newly established Hollywood Studio Club, a residence for struggling

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 would-be starlets. After the United States entered World War I, <mask> served on the board of the Motion Picture War Service Association, headed by D. W. Griffith and including Mack Sennett, Charlie Chaplin, Mary Pickford, Douglas Fairbanks, William S. Hart, Cecil B. DeMille, and William Desmond Taylor. The Association raised funds for the construction of a thousand-bed hospital. In 1918, the Fox Film Corporation hired <mask> to direct Queen of the Seas, in which Annette Kellerman swam and dove naked. However, she was replaced eventually by John G. Adolfi.In September 1918, <mask> broke her left arm in two places when she fell in Barker Brothers, a downtown Los Angeles store, forcing her to be hospitalized in the California Hospital. <mask>'s arm was still causing her trouble seven months later. Anita Stewart Productions
Despite continuing to work at Universal, and renting out her studio to other independent producers, including Marshall Neilan, <mask> found it difficult to pay the bills and to find the capital to finance her own productions. By December 1918, <mask> had left Universal, and signed a contract with Louis B. Mayer to direct Anita Stewart for $3,500 a week. In a letter to <mask>, Mayer proclaimed: "My unchanging policy will be great star, great director, great play, great cast. You are authorized to get these without stint or limit. Spare nothing, neither expense, time, or effort.Results only are what I'm after." <mask> made two films with Stewart as the lead: A Midnight Romance and Mary Regan, both released in 1919 to mixed reviews. Famous Players-Lasky
Needing finances, in July 1919 <mask> signed a contract with Famous Players-Lasky to direct five films to be

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texts: distributed through Paramount-Artcraft for $50,000 each, plus one-third of the profits, and guaranteed first-run bookings in Paramount theaters. By January 1920, Smalley and <mask> purchased a two-level home at 1917 N. Ivar Avenue, Hollywood, later the home of Preston Sturges in the 1940s. In October 1920, <mask> purchased the studio facilities at 4634 Santa Monica Boulevard in Los Angeles, near Sunset Boulevard, which she had been leasing for the previous three years. By February 1921, <mask> was at the zenith of her career, regarded "as fearless in the production of her pictures as she once was in her struggle for a living, and her indubitable position is that of one of the best directors of the screen." One newspaper wrote, "<mask> is not only the foremost woman director – she's the whole works", and attributed her success to having "a feminine touch lacking in most man-made films".In an effort to protect the American film industry, by 1921 <mask> advocated the prohibition of the importation of all European films into the United States. In May 1921, <mask> anticipated the possibility of both color and "three-dimensional films". Following "the cinematic rumination on modern marriage begun by Cecil B. DeMille" and like other post-war filmmakers, <mask> turned her attention toward marriage and domestic life to honor her deal with Famous Players-Lasky with such melodramas as To Please One Woman, What's Worth While? Too Wise Wives, and What Do Men Want? However, as the United States entered the Jazz Age in the 1920s, <mask> came to be seen as passé, in part because of her "propensity for didacticism" but also because her "values became increasingly archaic; her moralising,

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 propagandistic tone was unsuited to the era of the 'flapper' girl and a hedonism that seemed all the more urgent". By this time her "morally upright films bored modern audiences", her crusading was unwanted, and her views were considered "quaint". Her fall from favor was also due to her inability or unwillingness to adapt to changing audience tastes, and "her refusal to feature big-name stars or to glamorize consumerist excess in her films."After an advance screening in February 1921, Paramount executives decided not to distribute the fourth film in their arrangement with <mask>, What Do Men Want? a domestic melodrama about a philandering husband and a faithful wife (Claire Windsor), and to cancel their arrangement with <mask> to distribute her films. After making 13 films, by April 1921, Lois Weber Productions collapsed, and <mask> was forced to release all her contracted staff, with the exception of two novice actors. While she would direct a few other movies, effectively her career as a Hollywood director was over. F.B. Warren Corporation

After reading the articles "Impoverished College Teaching" and "Boycotting the Ministry" in the April 30, 1921 issue of Literary Digest about the underpayment of educators and clergy, <mask>, with scenarist Marion Orth, crafted a melodramatic narrative to bring the issue to life in The Blot. Starring Claire Windsor and Louis Calhern, The Blot was her masterpiece, her most successful film from this period and probably <mask>'s best-known film today.The film "rejects the values of capitalist America that measures the value of people in wealth and property" by depicting the compromises and choices impoverished women are forced to make to achieve

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texts: social mobility and financial security. It "condemns capitalistic materialism and linked consumerism with sexual exploitation", and addresses class, money, and ethnicity. "<mask>'s basically Christian ethos shines clearly through this plot: the text disapproves of both the new consumerist immigrant class, and the old aristocratic one". Despite xenophobic assumptions, <mask> advocates learning, asceticism, and service to the needy. According to film historian Kevin Brownlow in The Blot, "<mask>'s technique is reminiscent of that of William C. deMille, with its quietness, in its use of detail, and its emphasis on naturalism. <mask> used the same method of direction, too, filming in continuity." To tell with maximum realism this story of a college professor's family – hardworking but with only a meager income – <mask> filmed in real houses, using a special lighting rig, and gave supporting roles to non-actors.To emphasize this film was a woman-centered narrative, in a "radical departure from Hollywood practice", <mask> used point-of-view cutting from the perspective of the professor's wife. <mask> also used extreme close-ups and an ambiguous ending, that Richard Combs describes The Blot as "so un-Griffithian as to seem almost modernistically open-ended", while others see it as almost surreal, declaring it "the Los Olvidados of the literally down at heel middle class". Due to the collapse of her distribution deal with Paramount, <mask> was forced to distribute The Blot through the F.B. Warren Corporation, a newly formed small independent company that would also distribute a film each by Canadian women producers Nell Shipman and May Tully, later in 1921. The Blot was released on


texts: September 4, 1921, but was not well-received critically and did little box office, and vanished after its run. After The Blot, <mask>'s films did not make money at the box office. For decades, The Blot was considered a lost film, until it was rediscovered by the American Film Institute in 1975 and was reconstituted and restored by Robert Gitt of the UCLA Film & Television Archive in 1986 from an incomplete negative and an incomplete print.The Blot was then produced for video by Kevin Brownlow and David Gill of Photoplay Productions, and released on home video and DVD. As part of the deal to distribute The Blot, F.B. Warren also released What Do Men Want? After the film's premiere at Manhattan's Lyric Theatre on November 13, 1921, The New York Times, while praising <mask> for her casting and the technical aspects of the film, and also the performance of Claire Windsor, dismissed the film as a "simplified sermon" that provided "pat answers" which ignored "the real facts of life", which it considers "incompetent, irrelevant and immaterial". Soon after the New York City premiere of The Blot, and in an attempt to salvage their troubled marriage, <mask> and Smalley sailed for Europe with <mask>'s sister and brother-in-law, Ethel and Louis A. Howland. They ultimately traveled for six months through Europe, Egypt, China, and India. In late December 1921, they were in Rome, with plans to travel to the Orient.<mask> and Smalley returned to the United States on April 7, 1922. On June 24, 1922, <mask> obtained a divorce secretly from Smalley, who was described as both alcoholic and abusive, but kept him as a friend and companion. Their divorce was made public on January 12, 1923 by the Los

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Upon her return to Hollywood, <mask> found an "'industry in transition', evident in the fact that Erich von Stroheim was out of favor, D. W. Griffith was gradually more marginalized, and Rex Ingram, like von Stroheim, could not adapt to production changes demanded by the consolidated studios." As Shelley Stamp explains, "In an age of studio conglomeration and vertical integration, few independents could survive, a reality that hit women particularly hard: both Alice Guy-Blaché and Nell Shipman closed their production companies during this period as well. Will Hays, newly installed at the MPPDA, was also beginning to assert greater control over studio releases." In November 1922, <mask> returned to Universal, where she directed A Chapter in Her Life, based on the 1903 novel Jewel: A Chapter in her Life by Clara Louise Burnham, and a remake of a 1915 film called Jewel, which she had directed previously with Smalley.A Chapter in Her Life was part of "a slate of literary adaptations Universal released that year, headlined by Lon Chaney's The Hunchback of Notre Dame and marketed under the tag line "Great Pictures made from Great Books with Great Exploitation Tieups." The film starring Claude Gillingwater was released on September 17, 1923. However, according to Stamp, "Without a chain of theaters under its control, like emerging studio giants MGM and Paramount, Universal now occupied a significantly different market position than it had during the height of <mask>'s career there in the mid-1910s. With the bulk of urban, first-run theaters closed to Universal, the studio now relied on independent theaters mainly located in small towns and rural areas. Nor


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 was the studio home to the female directing talent it had once been—<mask> was now on her own." Consequently, Universal's trade ads made a clear pitch to small-town exhibitors, offering them "quality" pictures at reasonable prices, providing access to first-run pictures many studios reserved for their large urban venues. A Chapter in Her Life is available on home video and DVD from Nostalgia.Hiatus
While <mask> was praised for her direction in A Chapter in Her Life, "critics felt the film's subject matter – a young girl whose love and faith transform the troubled adults in her life – was ultimately out of step with the times. Film Daily dubbed the material 'old fashioned', with other critics objecting to the film's 'Pollyanna' themes." <mask> subsequently left Universal, vowing not to produce any films for a while, intending to write plays and a novel instead. She traveled to Europe again and spent time at the Colorado summer home of her friend, novelist Margaretta Tuttle, who had written the novel Feet of Clay (later made into a 1924 film by Cecil B. deMille), saying she would remain on vacation until the censors "came to their senses". At the time, <mask> complained of both the control exerted by consolidated studios, as well as the ever more strenuous censorship of the Hays Code: "I have received many offers, but in each case I'm hampered with too many conditions. ... The producers select the stories, select the cast, tell you how much you can pay for a picture and how long you can have to make it in.All this could be borne. But when they tell you that they also will cut your picture, that is too much." The trade journal Film Mercury declared that "it would be interesting to


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 know why [<mask>] has made no films in the past year or so," noting that "it is almost a crime for such wonderful director material to be lying idle while third-raters flood the screen with junk." After suffering a nervous collapse in 1923, <mask> made no movies until 1925. During this period, when <mask> ostensibly "retired from public life", it was rumored that <mask> had attempted suicide and had entered a mental facility to treat her mental depression. By the end of January 1925, <mask> announced her engagement to Captain Harry Gantz (born in Deadwood, South Dakota on September 4, 1887; died August 11, 1949 in Cairns, Queensland, Australia), a retired army officer who had served as a second lieutenant in the Philippine Constabulary from 1907 to 1911, then as a second lieutenant in company C of the 23rd Infantry from 1912 to 1915. In October 1914, Gantz transferred from the 23rd Infantry to the Aviation Section, U.S. Signal Corps, and became a pioneer aviator during the Pancho Villa Expedition, making him an early bird of aviation.On September 1, 1915, Gantz married Beatrice Wooster Miller. At the time of his engagement to <mask>, Gantz was a wealthy orange rancher and the owner of the 140-acre El Dorado Ranch in Fullerton, California. Gantz is credited with bringing <mask> "out of a retirement which was more nearly a despondent withdrawal from public life". However, Anthony Slide indicates that Gantz was "something of an opportunist, who persuaded <mask> to marry him — and co-incidentally let him manage her considerable fortune." Universal
In January 1925, <mask> returned once again to Universal, hired by Carl Laemmle to take charge of all story development for a $5 million


texts: production initiative based around the adaptation of popular novels. Universal released one major big-budget film each year, including The Hunchback of Notre-Dame (1923) and The Phantom of the Opera (1925), both starring Lon Chaney, Sr. After two unsuccessful previews, in 1925 <mask> and Maurice Pivar were assigned to re-edit The Phantom of the Opera before its ultimate release in September 1925. Another novel which Universal decided to film was Uncle Tom's Cabin, for which <mask> completed an adaptation for a film to be directed in 1926 by Harry A. Pollard, who had starred as Uncle Tom in a 1913 version and was, by 1923, Universal's leading director, with nine consecutive hits.In 1926, <mask> signed a new distribution deal with Universal, making her "one of the highest paid women in the business". One of her first "comeback" movies was The Marriage Clause, which <mask> adapted from the short story "Technic" by Dana Burnet in The Saturday Evening Post of May 16, 1925. It starred Francis X. Bushman and brought contract player Billie Dove to international prominence. It was released on September 12, 1926. By June 1926, <mask> was signed to direct Sensation Seekers, a romantic drama based on Ernest Pascal's novel Egypt, that also starred Billie Dove. However, just before her wedding, <mask> replaced Pollard as director of Uncle Tom's Cabin, as he had been hospitalized in Manhattan with blood poisoning and a shattered jaw caused by the "maltreatment" of a tooth infection by a New York dentist. <mask> ceased work on Sensation Seekers and was willing to interrupt her honeymoon to travel to Louisiana to direct the location scenes for Uncle Tom's Cabin.On June 15, the Los Angeles Times


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 reported Gantz had obtained a license to marry <mask>. On June 30, 1926, a justice of the peace married the couple in a ceremony at Enchanted Hill, the home of screenwriter Frances Marion in Santa Ana, California. At their wedding, <mask> reduced her age by nine years to 38 to match her new husband. In 1927, Smalley married music teacher Phyllis Lorraine Ephlin. After five months during which his life was in serious jeopardy, and six jaw operations, Pollard emerged from hospital "disfigured for life, but undaunted, ready once more to resume his megaphone". <mask> was no longer required for Uncle Tom's Cabin. <mask> returned to direct Sensation Seekers, which was released on March 20, 1927.United Artists
In November 1926, <mask> joined United Artists to direct a comedy film called Topsy and Eva based on a popular play of that name written by Catherine Chisholm Cushing, featuring the Duncan Sisters in blackface. <mask> had adapted from the original novel when she was attached to the Universal version of Uncle Tom's Cabin. She attempted to make another serious adaptation, but the studio decided that it should be a comedy rather than a drama. After some shooting by <mask>, she thought some of the scenes to be shot were insulting to African Americans, including such "racist humor as a stork dropping a black baby into a trash can". Topsy and Eva was reassigned to Del Lord to direct, with some additional scenes by D.W. Griffith. By 1927, <mask> advised young women to avoid filmmaking careers. In 1927 DeMille Pictures signed <mask> to direct her final silent movie, The Angel of Broadway, which featured Leatrice Joy, released on October 3, 1927.However, the advent of sound technology and


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 the demise of silent movies, coupled with some negative reviews and poor box office receipts, ended <mask>'s comeback in 1927. For example, Variety believed The Angel of Broadway'''s sentimentality would appeal to the masses, but not to sophisticated urban audiences: "For New York this title is a dud, but in the hinterland it may well be esteemed box office. Pathe has, in fact, a very good commercial property for the territory west of Hoboken". Nadir
By February 1927, <mask> owned and operated <mask>'s Garden Village at 4633 Santa Monica Boulevard in Los Angeles. In the late 1920s, <mask> and Gantz sub-divided the El Rancho ranch, creating the upscale "Brookdale Heights" (now at West Brookfield Place), Fullerton, with the 300–400 residential lots advertised for $1,500 to $3,000 each, and houses priced at $8,000 to $9,000 each. On another part of their acreage, the Gantzes built a Spanish-style residence with a tower retreat for <mask> at 225 W. Union Ave. When <mask> was asked in April 1928 when she might direct again, she replied "when I find a producer who thinks I have intelligence enough to be let alone and go ahead with my own unit."Five years elapsed before <mask> got the opportunity again. While <mask> and Gantz appeared to be enjoying domestic harmony in March 1930, soon afterward <mask> was separated from Gantz and was living with her mother and nephew in Los Angeles. In 1931, Gantz sold the El Dorado ranch to C. Stanley Chapman, the son of Charles C. Chapman. By 1932, <mask> was still separated from Gantz and was managing an apartment building in Fullerton, California. In February 1932, Universal released a condensed version of Shoes called The Unshod Maiden, complete

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 with satirical narration. Final comeback
Through the intervention of Frances Marion, by early June 1932 <mask> was hired by United Artists as a script doctor to work on Cynara with Marion. In February 1933, Universal signed <mask> to scout for new talent and to direct screen tests.Within weeks, <mask> had interviewed 250 girls and young women from dramatic schools. In 1933, Universal offered <mask> another directing contract, assigning her to Edna Ferber's Glamour, but she was removed from the project abruptly and it was transferred to a reluctant William Wyler. <mask> and Gantz spent five weeks on location in Kauai, Hawaii from August 24, 1933,Ancestry.com. California Passenger and Crew Lists, 1882–1957 [database on-line]. Provo, UT, USA: Ancestry.com Operations Inc, 2008–2011. Archive information (series:roll number): m1764:47. as she had been hired by the Seven Seas Corporation to direct Virginia Cherrill (then the fiancée of Cary Grant) and Mona Maris in Cane Fire, a tale of racial prejudice and miscegenation on a Hawaiian sugar plantation. Made on a low budget on the plantations of the Kekaha Sugar Company and the Waimea Sugar Company and at Alexander McBryde's Lawai Kai estate, it was the first film shot on the island of Kauai.It was released as White Heat by the Pinnacle Production Company on June 15, 1934 to limited "commercial and critical success", with <mask> quoted as saying at the time that the film "was not a hit but will not lose any money".White Heat proved to be her final film, and her only talkie. It was shown on television on Friday, June 21, 1940 on NBC's station W2XBS, but is now considered a lost film. Later years and death
<mask> and Gantz divorced about


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 1935. "<mask>", The Hartford Courant (Hartford, CT: November 14, 1939). In November 1939, <mask> was admitted to Good Samaritan Hospital in critical condition, suffering from a stomach ailment that had afflicted her for years. She died almost two weeks later on Monday, November 13, 1939, destitute, from a bleeding ulcer. She was 60 years old.Her younger sister, Ethel Howland, and friends Frances Marion and Veda Terry, were at her bedside. Her death was largely overlooked, with her Variety obituary only two brief paragraphs longVariety (November 15, 1939). and a brief mention in the Los Angeles Examiner. Gossip columnist Hedda Hopper contributed a more substantial tribute in the Los Angeles Times. On Friday, November 17, 1939, more than 300 people attended <mask>'s funeral,"<mask> Rites Set for Today", Los Angeles Times (November 17, 1939): 30. which was paid for by Frances Marion. After the funeral, <mask> was cremated at the Los Angeles Crematory and the location of her remains is unknown. <mask> wrote a memoir, The End of the Circle, which was to have been published shortly before her death  but ultimately was not, despite the efforts of her sister, Ethel Howland, and was later stolen in the 1970s.For her contribution to the motion picture industry, on February 8, 1960, <mask> was awarded a star on the Hollywood Walk of Fame at 6518 Hollywood Blvd. Legacy
The Buffalo Dreams Fantastic Film Festival gives out the <mask> Award in her honor since 2017. A one-woman play, Tea with <mask>, is based on <mask>'s talks at the Hollywood Studio Club. Written, produced and directed by Susan Kurtz, it was recorded and shown at the 53rd Cinecon Film Featival in 2017. Selected

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 filmography

Further reading
Acker, Ally. Reel Women: Pioneers of the Cinema 1896–present. New York, 1991.Foster, Gwendolyn Audrey. Women Film Directors: An International Bio-critical Dictionary. Westport, CT; London, 1995. Koszarski, Richard. 1976. Hollywood Directors: 1914-1940. Oxford University Press.Library of Congress Catalog Number: 76-9262. Lowe, Denise. An Encyclopedic Dictionary of Women in Early American films, 1895–1930. Routledge, 2005. Norden, Martin F. The Birth Control Films of Margaret Sanger and <mask>. (forthcoming). Norden, Martin F.  <mask>: Interviews.Jackson, MS: University Press of Mississippi, 2019. Pendergast, Tom and Sara Pendergast, eds. International Dictionary of Films and Filmmakers, Vol. 2: Directors. Detroit, MI: 2000. Slide, Anthony. <mask>: The Director Who Lost Her Way in History.Westport, CT: Greenwood Press, 1996. Stamp, Shelley. "'Exit Flapper, Enter Woman,' or <mask> in Jazz Age Hollywood". Framework (Fall 2010). Stamp, Shelley. <mask> in Early Hollywood. University of California Press, May 2015.Tibbetts, John C. and James M. Welsh. The Encyclopedia of Filmmakers. Vol. Two. New York, NY: 2002. Unterburger, Amy L., ed. Women Filmmakers & Their Films.Detroit, MI; New York; and London, 1998. Douglas, Illeana, et al., Pioneers: First Women Filmmakers''. Copublished by Library of Congress and Kino Classics, NY, 2018. Pages 52–57 provide overviews and details of several films <mask> and Phillips Smalley co-created between 1911 and 1921. These restored films are featured on disc three of this collection from Kino Lorber, Inc.

References

External links

<mask> at the Women Film Pioneers Project
Literature on <mask>
The Films of <mask>

1879

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1939 deaths
American people of Pennsylvania Dutch descent
American film actresses
American silent film actresses
Actresses from Pittsburgh
Silent film directors
20th-century American actresses
American women film directors
Film producers from Pennsylvania
American women screenwriters
Writers from Pittsburgh
Film directors from Pennsylvania
Deaths from ulcers
Women film pioneers
Screenwriters from Pennsylvania
American women film producers
20th-century American women writers
20th-century American screenwriters
Burials at Kensico


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<mask><mask> (25 October 1849, Asch, Bohemia Austrian Empire – 1 April 1929, San Francisco) was an Austrian-born American physician and ardent, influential exponent of homeopathy. He is known in the field today as the compiler and editor of the Pocket Manual of Homeopathic Materia Medica. The ninth edition has endured as his most re-published version partly because of its then final inclusion of a mini-repertory by his brother, <mask>, MD, also a homeopathic physician. Early life
As a child, <mask>e immigrated to the United States with his family from Asch, then part of the Austrian Empire, a Bohemian region that, since the end of World War II, was part of Czechoslovakia, then, since 1993, the Czech Republic. The Boerickes settled in Cleveland. <mask>'s father, <mask> (1813–1901), married twice, his second being to Henriette C. née Jaenig (1836–1902), <mask>e's stepmother. Medical journal
Boericke was the founding editor in November 1882 of the journal, The California Homeopath.The first five volumes were published bi-monthly. Willis Alonzo Dewey, MD (1858–1938) became co-editor with volume six. Charles Lewis Tisdale, MD (1859–1925), was added as editor with volume eight. With volume nine in 1892, the name changed to The Pacific Coast Journal of Homeopathy under a new editor, Hugo Emil Rudolph Arndt (1849–1913). Boericke was editor again from 1910 to 1915 and from 1918 to 1922. The journal ran until 1940, closing under the editorship of one of Boericke's sons, Charles Caleb <mask>, MD (1897–1965). The publication had been the official  of the state homeopathic medical societies of California, Oregon, and Washington.Hospital and medical college in Northern California
Boericke co-founded the Pacific

masks:
William G
. Boericke
Oscar Eugene Boericke
William Boerick
William Boericke
Franz Oskar Boericke
William Boerick
Boericke


texts:
 Homeopathic Medical College and Hahnemann Hospital in 1881. In 1883, Boericke was a co-incorporator and founding faculty member of the Hahnemann Medical College of San Francisco, graduating its first class in October 1884. The Hahnemann Medical College was absorbed by the University of California, San Francisco, Medical School in July 1918. That same year, the University appointed Boericke as its first homeopathic lecturer, a position he had held from 1883, at the original college, to 1922, at UCSF. Instruction in homeopathy continued at UCSF until 1939, when the school dropped it from the curriculum. Boericke & Tafel

In 1853, <mask>e's uncle, Francis Edmund <mask> (1826–1901), and Rudolph Leonhard Tafel (1831–1896) founded a bookstore specializing in Swedenborgian literature, at 24 South 5th in Philadelphia. Upon the suggestion of Constantine Hering, they began to manufacture and sell homeopathic remedies.Within six months of the formation of the partnership, Rudolph Tafel left to assume a teaching position at the U.S. Naval Academy. That same year (1854), <mask> married Rudolph Tafel's sister, Eliza Mathilda Tafel (1838–1904). Francis Boericke kept the small book store, and took in Rudolph's brother, Adolph Julius Tafel (1839–1995), as an apprentice. In 1855, Adolph Tafel left for the West. In 1863, Francis Boericke earned a medical degree from the Homeopathic Medical College of Pennsylvania. In 1869, he formed a partnership with Adolph Tafel, Boericke & Tafel, a publishing company, homeopathic medicine wholesaler, retailer, and manufacturer, in Philadelphia, headquartered at Fifth Street, above Chesnut.When <mask>e graduated from public high school in Cincinnati in 1863, he moved to

masks:
William Boerick
Boericke
Francis Boericke
William Boerick


texts:
 Philadelphia to work for the Boericke pharmacy. In 1870, Boericke & Tafel opened a branch in San Francisco called "Pioneer Homeopathic Pharmacy", located at 234 Sutter Street. <mask>icke ran it from its inception. In 1876, <mask>e moved back to Philadelphia to attend Hahnemann Medical College, where he graduated with an MD in 1880. He then studied at the Vienna Medical School for one year. Boericke & Schreck
In 1882, <mask>e moved back to San Francisco to practice medicine and, in the spring of that same year, he and Ernest Albert Schreck (1831–1886) purchased the Pioneer Homeopathic Pharmacy and henceforth named it Boericke & Schreck. Boericke and Runyon Company
Schreck died in 1886.In October 1890, Edward Wheelock Runyon (1851–1937) purchased Schreck's half interest and the firm henceforth, until 1950, was known as "Boericke and Runyon". Around 1894, Boericke and Runyon took on another partner, Frederick O. Ernesty (1951–1959) and the firm became known as Boericke, Runyan & Ernesty. Ernesty sold his interest to Boericke and Runyon in 1899 and retired. Around 1920, Boericke and Runyon began producing popular non-prescription home-remedy medicines under the tradename EOPA, the middle four alpha characters from the word "Hom-eopa-thy". EOPA eventually became a subsidiary of Boericke and Runyon – Eopa Company – and distributed medicines nationwide. The Eopa Company operated nationally until the early 1950s. In 1877, Boericke & Tafel opened a pharmacy in Oakland at the Grand Central Hotel at 956 Broadway.They suspended operations in 1882, selling it to <mask> Brueck, a homeopathic pharmacist who had been their manager. In 1886, Brueck sold it to Boericke and Schreck. Legacy
When <mask>e died in

masks:
William Boer
William Boerick
William Boerick
William Adelbert
William Boerick


texts: 1929, approximately three-fourths of the stock in Boericke & Tafel descended to his four surviving sons: (i) Garth Wilkinson <mask>, MD (1893–1968), (ii) <mask> <mask> (1885–1963), (iii) Charles Caleb <mask>, MD (1897–1965), (iv) Arthur Thacher <mask> (1899–1972). Before the end of the 19th century, Boericke & Tafel, headquartered in Philadelphia, became the largest manufacturer of homeopathic medicines in the United States. In 1987, Boericke & Tafel was acquired by VSM (nl) (Voorhoeve Schwabe Merkgeneesmiddelen) of the Netherlands, a subsidiary of the Willmar Schwabe Group (de) of Germany. In 1992, Boericke & Tafel moved to Santa Rosa, California. In 2005, Schwabe Pharmaceuticals closed its Santa Rosa manufacturing facilities and moved its marketing and distribution departments to a sister company, Nature's Way, in Utah, and its manufacturing to the Netherlands and Mexico, where Schwabe, at that time, had facilities that were underused.Boericke and Runyon Company was eventually, sometime after 1950, acquired by Boericke & Tafel. Boericke, who was known internationally in the field of homeopathy, flourished in several dimensions of homeopathy during its rise in the United States. He was a popular clinical physician, prolific academic writer, publisher, medical journal editor, owner of several pharmacies, medicine manufacturer, medical school professor, and published researcher. To the extent that homeopathy had been, and still is, criticized by the mainstream medical community in North America, Boericke's era of homeopathy, and Boericke in particular, was highly transparent and well-published. Boericke was also well-known and influential in Europe, particularly Germany – the birthplace of

masks:
Boericke
William Fay
Boericke
Boericke
Boericke


texts:
 homeopathy, whose people spoke the language of Boericke's childhood. At the end of the 19th century, there was hardly a U.S. city with over 50,000 people that didn't have a homeopathic hospital. In 1890, there were 93 regular medical schools, of which 14 were exclusively homeopathic and 8 were eclectic.In 1900, there were 121 regular medical schools, of which 22 were exclusively homeopathic, and 10 were eclectic. Also in 1900, there were more than 100 homeopathic hospitals, over 60 homeopathic orphan asylums and old people's homes, and over 1,000 homeopathic pharmacies. Teaching of homeopathy in the United States declined rapidly in the early 20th century. The last purely homeopathic medical school closed in 1920, although homeopathic electives continued to be offered by the Hahnemann Medical School in Philadelphia until the 1940s. Criticism in 21st century about the validity of homeopathy is not entirely dissimilar to the criticism of Boericke's era. And, despite the rise in the sale of homeopathic preparations since the late 1980s, particularly in North America, Europe and India, there is one contrasting difference as of 2010: only Arizona, Connecticut, and Nevada license MDs and DOs to practice homeopathy. Personal life
<mask>e finished medical school in 1880 and moved back to San Francisco around 1881.On August 22, 1883, in San Francisco, he married Katherine (Kate) Worcester Fay (1861–1933), the daughter of Caleb Taylor Fay (1821–1885), a Forty-Niner from Massachusetts, San Francisco merchant, and participant in local and California state politics. <mask> and Kate Boericke had five sons and two daughters; the daughters were twins; two of the sons were:
 Garth Wilkinson <mask>, MD (1893–1968),

masks:
William Boerick
William
Boericke


texts:
 graduated in 1918 from the University of Michigan Medical School and taught pediatrics there. He became a surgeon and a published several articles in medical journals on homeopathic medicine. Garth's middle name was from James John Garth Wilkinson, a Swedenborgian writer and close friend of <mask>e. Charles Caleb <mask>, MD (1897–1965), was a physician, surgeon, and influential exponent of homeopathic medicine. But it remained unpublished for 79 years – until Richard M. Haehl (1873–1932) in 1921 and <mask>e in 1922 produced German and English versions, respectively. Hahnemann's manuscript is held at the University of California, San Francisco library.Boericke worked from the original manuscript; Haehl, of Stuttgart, worked from a handwritten copy. Articles and lectures

 "Differentiation Between Melilotus, Glonoin and Belladonna", Pacific Coast Journal of Homeopathy, Vol. 8, No. 5, May 1905, pps. 101–103;
 "Hahnemann's Doctrine of Psora in the Treatment of Disease in Children", The Hahnemannian Monthly, Vol. 29, No. 32, August 1894, pps.500–504;
 "Homeopathy – A Specialty in Therapeutics", Pacific Coast Journal of Homeopathy, Vol. 3, No. 12, December 1895, pps. 451–456;
 "Pain and Its Homeopathic Treatment", North American Journal of Homeopathy, Vol. 46, No. 5, May 1898, pps. 1–7;

Notes

References

External links
 About the manuscript of Samuel Hahnemann's Organon der Heilkunst, Special Collections, University of California, San Francisco
 Materia Medica by <mask>e, full book

1849 births
1929 deaths
American homeopaths
American medical historians
Medical journalists
American medical journalists
People from San Francisco
American pharmacists
Drexel University alumni
Journalists from

masks:
William Boerick
Boericke
William Boerick
William Boerick


texts:
<mask> (March 14, 1882 – May 10, 1931) was an American artist and founding president of the Charleston, South Carolina, branch of the National Association for the Advancement of Colored People. He was excluded from the whites-only artistic movement known as the Charleston Renaissance. Early life
He was born in Charleston, South Carolina, on March 14, 1882. He was one of five surviving children of <mask> and <mask>, a prosperous former coastal schooner captain who owned the Harleston Funeral Home. His mother traced her lineage through several generations of free people of color, while his father was descended from a white planter and one of his slaves. <mask> won a scholarship to study at the Avery Normal Institute, from which he graduated as valedictorian in 1900. He went on to Atlanta University, where he studied chemistry and sociology and took courses with W. E. B.Du Bois, who became a lifelong friend. After graduating in 1904, <mask> stayed on for a year as a teaching assistant in both sociology and chemistry while planning the next step in his education. Although he was admitted to Harvard University, he decided instead to attend the Boston Museum of Fine Art's school. There he studied under the painters William McGregor Paxton and Frank Weston Benson from 1905 to December 1912. <mask> also attended the Art Institute of Chicago over the summer. <mask> returned to South Carolina in 1913 to help his father run the funeral home, continuing to do so until 1931, the year both he and his father died. He became active in local civil rights groups and in 1917 rose to be president of Charleston's newly formed branch of the NAACP.One campaign he led

masks:
Edwin Augustus Harleston
Louisa Moultrie Harleston
Edwin Gaillard Harleston
Harleston
Harleston
Edwin
Harleston


texts:
 succeeded in getting the local public school system to hire black teachers. Art career

<mask> painted in a realist style that was influenced by both his Boston training and his wife Elise Forrest <mask>'s photographic work. He mostly painted portraits, often on commission, and his sitters included notables such as Grace Towns, who later became the first African-American woman elected to the Georgia General Assembly; philanthropist Pierre S. du Pont; and Edward Twitchell Ware, a former president of Atlanta University. He also painted genre scenes of the daily life of Charleston's African-American citizens, especially its rising middle class, as well as landscapes of South Carolina Lowcountry. Out of step with the rising modernism of the 1920s, he saw himself as continuing in the tradition of Henry Ossawa Tanner by portraying black people and their lives realistically instead of as caricatures or stereotypes. <mask> was described by W. E. B. Du Bois as the "leading portrait painter of the race" even though his responsibility for helping to run the funeral home meant he could never devote himself to being a painter full-time.In 1920, <mask> married photographer Elise Forrest, with whom he opened a studio across the street from the funeral home. This studio, which had both workspace and a public gallery to promote their artwork, was the first such public art establishment for Charleston's African-American citizens. <mask> often used Elise's photographs as the basis of his paintings and drawings; one of his best-known works, Miss Sue Bailey with the African Shawl, is based on a photograph by Elise. A three-quarter length seated portrait in dark colors

masks: Harleston Harleston Harleston Harleston Harleston


texts: and muted light, the painting exemplifies <mask>'s commitment to portraying his sitters with dignity. <mask> was actually so pleased with the painting that he entered it in the 1930 Harmon Foundation Awards. Starting in 1930, <mask> helped artist Aaron Douglas paint his Symbolic Negro History murals for Fisk University; these are now considered among Douglas's most important works. This project was completed in 1930, the year before <mask> died.In 1930, <mask> painted Douglas's portrait with the unfinished mural in the background, typically emphasizing the sitter's profession and character while avoiding any suggestion of the picturesque. This mural is vastly different from his usual painting style, which consisted of muted colors like those seen in the painting of Miss Sue Bailey with the African Shawl. The colors he used in the mural showcase a much more vibrant range of shade, which display his range as an artist, and they way he could adjust to work with other artists. <mask> won a number of awards for his work, including the top prize in NAACP-sponsored contests in 1925 (A Colored Grand Army Man) and 1931 (Ouida) and the William E. Harmon Foundation's Alain Locke Prize for portrait painting, also in 1931 (The Old Servant). Despite this modest success, <mask> was largely excluded from the dominantly white artistic circles of the Charleston Renaissance with which his work is today associated. Only writer Julia Peterkin, who won a Pulitzer Prize for her writing about African-American life, appears to have visited Harleston. Although writer DuBose Heyward based a character on him in his novel Mamba's Daughters, it seems they never met in

masks: Harleston Edwin Harleston Harleston Harleston Harleston Harleston


texts:
 person.Racial prejudice and segregation thwarted several potential commissions and blocked a planned 1926 exhibition of his work at the Charleston Museum that had been organized by museum director Laura Bragg and promoted by the city's mayor, Thomas Porcher Stoney. By 1930, the funeral home business was suffering from the Great Depression. Harleston undertook a series of lectures at black colleges to earn money. In April 1931, <mask>'s father died of pneumonia, and <mask> himself (who is said to have kissed his dying father goodbye) succumbed to the same ailment less than a month later at the age of 49. Legacy
<mask>'s paintings are in the collections of the Gibbes Museum of Art (Charleston), the Avery Research Center for African American History and Culture (Charleston), the Savannah College of Art and Design Museum in Savannah, Georgia, and the California African American Museum. <mask>'s papers are held by the South Carolina Historical Society and Emory University's Stuart A. Rose Manuscript, Archives, and Rare Book Library.References

Further reading
 Ball, Edward. The Sweet Hell Inside: The Rise of an Elite Black Family in the Segregated South. William Morrow, 2001. Botsch, Carol Sears. "<mask> Harleston". University of South Carolina-Aiken. Harleston, <mask>. Painter of an Era, 1882-1931.Detroit: Your Heritage House, 1983. (Catalog with bibliography)
 McDaniel, Maurine Akua. <mask> <mask>, Portrait Painter, 1882–1931. Emory University, 1994. External links
 Stuart A. Rose Manuscript, Archives, and Rare Book Library

1882 births
1931 deaths
Charleston Renaissance
20th-century American painters
American male painters
20th-century

masks:
Harleston
Harleston
Harleston
Harleston
Edwin Augustus
Edwin A
Edwin Augustus
Harleston


texts:
<mask> (born Nirmala Nagpal; 22 November 1948 – 3 July 2020) was an Indian dance choreographer in Hindi cinema. She was born in Bombay State (present day Maharashtra), India. She was best known for Dance Form Mujra and the first woman choreographer in Bollywood. With a career spanning over forty years, she choreographed more than 3000 songs. She died on 3 July 2020 of a sudden cardiac arrest. Early life and career
She was born Nirmala Nagpal. Her parents, Kishanchand Sadhu Singh and Noni Singh, migrated to India after partition of India.She started her career as a child artist at the age of three with the film Nazarana as baby Shyama, and was a background dancer in the late 1950s. She learnt dance while working under film choreographer B. Sohanlal, whom she married at the age of 13 while he was 43 years and was already married with 4 children which she did not know at the time of marriage. After having three children (including one that died as an infant), the couple separated; after their separation, she married businessman Sardar Roshan <mask> in 1975 and changed her name after converting to Islam. The couple have one child together: a daughter, Sukaina khan, who is known to run a dance institute in Dubai. Later, she moved to choreography, first as an assistant choreographer and later getting her break as an independent choreographer, with Sadhana Shivdasani's Geeta Mera Naam (1974). However, she had to wait many years to receive acclaim, which came with her work with Sridevi; Hawa Hawai in Mr India (1987), Main Teri

masks:
Saroj Khan
Khan


texts:
 Dushman, Dushman Tu Mera in Nagina (1986) and Mere Haathon Mein in Chandni (1989), and later with Madhuri Dixit, starting with the hit "Ek Do Teen" in Tezaab (1988), Tamma Tamma Loge in Thanedaar (1990) and Dhak Dhak Karne Laga in Beta (1992). Thereafter, she went on to become one of the most successful Bollywood choreographers.In 2014, <mask> worked with Madhuri Dixit again in Gulaab Gang. She was on the advisory board of Rishihood University. Television appearances
<mask> <mask> appeared on a reality dance show as a member of the jury in 2005 Nach Baliye, which aired on STAR One along with two other judges. She also appeared in the second season of the same show. She has recently been a judge for the show Ustaadon Ka Ustaad, which is aired on Sony Entertainment Television (India). She appeared on the 2008 show Nachle Ve with <mask> <mask>, which was aired on NDTV Imagine. She choreographed for this show.She appeared on Sony's Boogie Woogie (TV series) show from December 2008 as one of the judges, along with Javed Jaffrey, Naved Jaffrey and Ravi Behl. She was a judge on the third season of a popular show – Jhalak Dikhhla Jaa, which began on 27 February 2009 and was aired on Sony Entertainment Television (India) alongside former Nach Baliye judge Vaibhavi Merchant and actress Juhi Chawla. She was judging the dance reality show Nachle Ve with <mask> <mask>. She has hosted and completed Nachle Ve with <mask> <mask>. In 2012, The <mask> <mask> Story, a documentary produced by PSBT and Films Division of India and directed by

masks: Khan Saroj Khan Saroj Khan Saroj Khan Saroj Khan Saroj Khan


texts:
 Nidhi Tuli was released. She appeared in Taarak Mehta Ka Ooltah Chashmah as a judge in a dance competition. She won three National Film Awards and eight Filmfare Awards, the most recognition of any choreographer.Death
<mask> <mask> was admitted to Guru Nanak Hospital at Bandra, Mumbai on 17 June 2020, because of breathing difficulties, and died of cardiac arrest on 3 July 2020 at the age of 71. Filmfare Best Choreography Award

<mask> <mask> was the first recipient of the filmfare Best Choreography Award. Filmfare instituted this award after watching the excellent choreography and audience response to <mask>'s song "Ek Do Teen" from Tezaab. <mask> <mask> went on to have a hat-trick at the Filmfare awards winning consistently for 3 years from 1989 to 1991. She also held the record for winning the most Filmfare Best Choreographer Awards, winning 8. Controversy
In April 2018, <mask> made statements defending the practice of casting couch, stating that the film industry provides people employment and "doesn't rape and abandon" them. Following an online backlash, she apologised for her comments.See also
 Indian women in dance

References

External links

1948 births
2020 deaths
20th-century Indian dancers
20th-century Indian women artists
21st-century Indian dancers
21st-century Indian women artists
Best Choreography National Film Award winners
Dancers from Maharashtra
Filmfare Awards winners
Indian choreographers
Indian female dancers
Indian film choreographers
Indian women choreographers
Sindhi people
Women artists from

masks: Saroj Khan Saroj Khan Khan Saroj Khan Khan


texts:
is a professional Japanese baseball outfielder and first baseman for the Fukuoka SoftBank Hawks of Nippon Professional Baseball (NPB). He previously played in NPB for the Hanshin Tigers. Early baseball career
A native of Fukuoka, he began playing as a catcher for the Mikuni Honeys in grade school, then went on to join the Futsukaichi Lions in junior high where he got to participate in national tournaments. Upon entering high school, he secured the outfielder post for the Fukuoka Koudai Joto High School. He was elected as team captain in his second year, but his team never made it past the elimination rounds to summer Koshien. He attended the same high school as fellow Tiger's teammate Ryutaro Umeno who was a year ahead, and like Umeno, he started as an outfielder and graduated as a catcher. Professional career

Hanshin Tigers
Nakatani was selected as the Hanshin Tigers' 3rd round pick in the 2010 Nippon Professional Baseball draft.He signed as a catcher on a contract of 50 million yen and an annual salary of 6 million. He was given the jersey number 60. 2011

In 2011, Nakatani played in 23 Western League games (minors) and batted .261 with 4 RBIs. Because he played mostly as an outfielder and not as a catcher, they changed his training regimen from a catcher to an outfielder at the end of the season. 2012

Nakatani spent most of the 2012 season playing in the minors. He was selected to play in the mid-season Fresh All Star Game on July 18, and was selected as the game's MVP when he scored 2 hits and 3 RBIs. On August 23, he debuted in his 1st official game as the starting right fielder in the match against the Chunichi Dragons at the Kurashiki


texts:
 Muscat Stadium.He appeared in 5 more games, but he failed to record a hit in any of them. He finished the season in the minors, with a .225 batting average, 3 home runs and 27 RBIs. 2013

In 2013, the Tigers officially changed Nakatani's position from catcher to outfielder. He spent the entire season in the farm, and batted .201 in 100 games, with 31 RBIs and 2 home runs. 2014

Nakatani also didn't appear in any main squad matches in this year, and batted his worst at .190 in 93 minor league games. His home run count improved to 7. 2015

Nakatani's improved performance in the minors early in the season finally earned him a spot in the main squad in a match against the Hiroshima Toyo Carp on May 8.He recorded his first official hit as a pro on May 9, but when he went hitless in the next matches, he got sent back to the farm on May 15. He continued to perform well in Western League games, and even got selected as the League MVP of the Month in July. In all his 94-game appearances, he recorded an average of .290 with 9 home runs and 40 RBIs, and was named the Western League's MVP of the season. 2016

Nakatani spent the earlier half of the 2016 season in the farm, where new batting coach and Tigers legend Masayuki Kakefu helped him undergo training to improve his batting form. His efforts paid off when he got called to play with the main squad in June. He recorded his first career RBI on June 19, and his first career home run a few days after. His appearances gradually increased until October, mostly as a center fielder or as a pinch hitter, and he finished the season with 14 RBIs, 4 home runs and a batting average of .266 in 64 games.2017

Nakatani


texts:
 had a shaky start early in the 2017 season as he competed with young guns Shun Takayama and Fumihito Haraguchi for regular playing time in the outfield or at first base. His breakout performance started in May when he went on a hitting spree and reached 5 home runs by the 3rd week. He was rewarded by being assigned the clean up spot for the first time in a May 28 match against the Yokohama DeNA BayStars, and continued to be a regular starting player in the next couple of months. He went 5-for-5 against the Saitama Seibu Lions on June 15, and recorded two hits and two RBIs including a two-run home run against Yomiuri on July 9. This earned him the Sanspo Excellent Player Award for his performance during the Sanspo's Hanshin Tigers Gekirei Series (June 13 to July 12). By July 23, he was leading the team in home runs batted in (10 HRs). He continued to hit well, and even hit home runs in 3 consecutive matches against the Tokyo Yakult Swallows on August 22.In a September 18 match against the Hiroshima Toyo Carp at Koshien Stadium, he recorded his 20th home run of the season in the fourth inning against Yusuke Nomura. He became the first Hanshin right-handed hitting lifer (a player who has played with only one team) to reach 20 home runs since Osamu Hamanaka hit 20 in 2006 (Hamanaka was a lifer at the time he recorded twenty home runs). In 133 main squad game appearances, he led the team in RBIs and home runs (61 RBIs, 20 home runs), with 99 hits and an OPS of 0.697. His performance earned him a 12 million pay raise, making an estimated annual salary of 36 million yen for 2018. 2018

<mask> fell into a slump during spring camp in 2018 and batting only


texts:
 .143 during the exhibition games. Nakatanie failed to make it into the main squad when the season started. His slump continued in the farm, (39 games, .197 average, 3 home runs), but when the main squad needed batting reinforcement, he got called to play on May 22.In the 9th inning of a May 26 game against the Yomiuri Giants, with 2 outs and a runner on 2nd, Nakatani notched his 1st career walk off hit at Koshien. From June onwards however, his performance began to deteriorate, and with the improving performance of other outfielders, his starts gradually decreased. He only appeared in a total of 77 games, hit 26 RBIs with only 5 home runs. 2019

Nakatani played in 62 games for Hanshin in 2019, also playing in 43 games for the farm team. In 131 plate appearances, Nakatani posted a tepid .181/.264/.379 slash with 6 home runs and 19 RBI. 2020

In 2020, the season was delayed because of the COVID-19 pandemic. Nakatani spent the majority of the year with Hanshin's main team, logging a .215/.267/.304 batting line with 2 home runs and 16 RBI in 70 games.2021
Nakatani began the 2021 season with Hanshin's farm team after poor performance in the seasons prior. With the farm team, Nakatani posted a .266 average with 5 home runs and 26 RBI. Fukuoka SoftBank Hawks
On July 2, 2021, Nakatani was traded to the Fukuoka SoftBank Hawks in exchange for Akira Niho. References

External links

 Career statistics - NPB.jp
 13 <mask> Nakatani PLAYERS2021 - Fukuoka SoftBank Hawks Official site

1993 births
Living people
People from Ogōri, Fukuoka
Baseball people from Fukuoka Prefecture
Japanese baseball players
Nippon Professional Baseball outfielders
Hanshin Tigers


texts:
<mask> (born 18 November 1977) is an English actress. Early life

<mask> was born in Burnham Thorpe, Norfolk, on 18 November 1977. Her mother is <mask> (née Harvey). Her father, <mask>, is a jazz pianist who accompanied the BBC National Orchestra of Wales when Raison played a showgirl in the Doctor Who episodes "Daleks in Manhattan" and "Evolution of the Daleks". Raison's parents divorced when she was five years old. From a young age she attended five boarding schools, including Gresham's School, Felixstowe College and Stowe School; her education was paid for by her grandfather. It was at Felixstowe College where she developed an interest in acting; she moved there after experiencing bullying at her previous school.She trained at the Webber Douglas Academy of Dramatic Art. Career

Theatre
In 1999, she played the role of June Stanley in the play The Man Who Came to Dinner. In 2000, <mask> played Desdemona in William Shakespeare's Othello at the Theatre Royal, York. From 27 February to 7 April 2001, she performed in the role of Davina in the farce Don't Just Lie There, Say Something! (originally titled Whitehall Farce) at The Mill, Sonning. From 2002–3, she appeared as Ben-Hur's love interest in a minimalist production of the eponymous play at the Battersea Arts Centre. Later in 2003, she was featured in Pains of Youth, again at the Battersea Arts Centre, playing the death obsessed bisexual Desiree; Lyn Gardner of The Guardian described her performance as making "Desiree's death wish seem tragic rather than merely silly."In 2010 she played the title role in Anne Boleyn, a new play by Howard Brenton, who had also been involved in scripts for BBC's Spooks in which Raison went on to appear in 5 series, which premiered at Shakespeare's Globe on 24 July 2010 to high critical acclaim. In the same Shakespeare's Globe season <mask> also played Anne Boleyn in Henry VIII by William Shakespeare. In

masks:
Miranda Caroline Raison
Miranda Raison
Caroline Raison
Nick Raison
Raison
Raison


texts:
 2011, she appeared as Ann in the short play "Oliver Lewis" by Jack Thorne, part of the series of plays 66 Books performed at the Bush Theatre. In June/July 2012 she appeared in a production of The Physicists: A Comedy in Two Acts at the Donmar Warehouse, playing the roles of Lina Rose, the lead character's ex-wife, and Monika Settler, the lead's attending nurse. From October 2012 Raison starred in The River, a new play by Jez Butterworth, at the Royal Court Theatre (Jerwood) alongside Dominic West. Tickets became "the most sought-after theatre tickets in London" after rave reviews. In 2013–14 she played Anne Faulkner in the theatrical version of Strangers on a Train at the Gielgud Theatre, produced by Barbara Broccoli.From January to February 2015, she starred opposite Shaun Evans in Hello/Goodbye at the Hampstead Theatre. In August 2015 she joined the Kenneth Branagh Theatre Company in The Winter's Tale and Harlequinade which ran at the Garrick Theatre from October 2015 until January 2016. Raison played the wife of Kenneth Branagh's character in both plays. She stated that she enjoyed the experience and was grateful for the opportunity, given that previously she had a bad audition with Branagh for Macbeth in 2011. She also enjoyed learning from Judi Dench. Film and television
Raison's first film role in 2000 was playing Marianne Faithfull in Suzy Q alongside Carice Van Houten

In 2004, Raison was cast as 'Heather' in Match Point, the first Woody Allen film to be made in London. In 2005, she appeared in Deuce Bigalow: European Gigolo, which she said "may as well have been the most brutal Lars von Trier film.Another actress and I actually spent a whole night just crying." She called the experience "regrettable from start to finish" and a "hideous, hideous moment and a great lapse of judgement on my part". <mask>'s breakthrough role was as Jo Portman (2005–2009) in the BBC One television


texts: drama series Spooks (also broadcast under the title MI-5). She requested that the production company let her go in 2009 as she felt that her character could not develop further and wanted to follow up on theatre opportunities. In April 2007 she appeared in the Doctor Who episodes "Daleks in Manhattan" and "Evolution of the Daleks" as Tallulah, a show girl whose opening scene involved singing to a musical number, for which <mask>'s father played the piano background as part of the BBC National Orchestra of Wales. In 2009, she was featured in the show Plus One. She was originally featured in the Comedy Showcase pilot in 2007, where she wore a fat suit.In 2010 after leaving Spooks, she played a model called Abbey in the ITV1 comedy-drama Married Single Other. She had a small role in My Week with Marilyn. She expressed pleasure in being able to work with great British talent and her fascination with Marilyn Monroe. In 2012 she played DI Georgina Dixon in the second series of Vexed, screened on BBC2. In 2013 she played 'Harriet Hammond' in the third series of the BBC legal drama Silk; her character was a practice manager who shook up the firm and a potential love interest for her former Spooks co-star Rupert Penry-Jones' character. In 2014, she had a small role in I Am Soldier, playing "Stella", the lead interrogator in the "Tactical Questioning" portion of the lead character's training. In July 2014 she was announced as a new cast member of Spotless, a (10 × 1 hour episode) drama produced by Canal+.In 2018, <mask> reprised her role as ‘Sylvie’ in 6 episodes of Dark Heart, played xenobiologist ‘Tessia’ in 6 episodes of Nightflyers and appeared in Artemis Fowl. In May 2019 it was announced that <mask> would be joining the main cast of Warrior for the second season. In September 2021 it was announced that <mask> had joined the first season of Sister Boniface Mysteries playing Ruth Penny, a

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 main character across all ten episodes. Other works

In 2005 she appeared in the BBC radio comedy Deep Trouble. She has voiced several video game characters, including Cassandra Pentaghast in the Dragon Age series, Lieutenant Sandra Lansing in Apache: Air Assault and Natasha and other characters in Renegade Ops. BioWare also hired <mask> for providing several voices in Mass Effect: Andromeda. She voiced three characters in The Secret World and lent her voice for Dreamfall Chapters and Blades of Time.<mask> has also voice-acted in several Big Finish Doctor Who audios, including The Davros Mission and The Wreck of the Titan, and plays Constance Clarke, a regular companion to the Sixth Doctor. She also provides additional voices in other Big Finish audio productions, including other Doctor Who stories and The Avengers. In 2013 she joined the CGI series cast of Thomas & Friends and provides the voice of Millie (UK/US), first introduced in King of the Railway. Since July 2017 she has been narrating the BBC2 documentary Hospital. Personal life
She plays golf and is a member of the Aldeburgh Golf Club. While separated from her first husband, Raza Jaffrey, she began a relationship with her Married Single Other co-star Ralf Little in November 2009, which ended in February 2013. She married again in 2017 to Christopher Mollard and had a daughter in that same year.She speaks fluent French and is conversational in Italian and Spanish. Raison is distantly related to Jack Huston. Her cousin, <mask>, was a Chairman of Christie's. Filmography and voice over

References

External links

Living people
1977 births
People educated at Gresham's School
People educated at Stowe School
Alumni of the Webber Douglas Academy of Dramatic Art
Actors from Norfolk
English film actresses
English stage actresses
English television actresses
English video game actresses
English voice actresses
21st-century English

masks:
Raison
Raison
Paul Raison


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<mask> (January 18, 1877—June 9, 1924) was an American journalist, explorer, cinematographer, and producer of numerous travelogues in the silent era. His most notable works are his films depicting Alpine landscapes and his mountain-climbing expeditions in Europe between 1913 and 1918, his explorations of Borneo in 1920, and his excursions to various sites in the United States and Canada in the early 1920s. He was also an accomplished still photographer and book author, publishing in 1914 How to Become an Alpinist, which is illustrated with his photographs. <mask> initially produced films while working in London for the British and Colonial Kinematograph Company, but he later developed his films independently and released them under contract with licensed distributors. Early life and journalism
Born in Baltimore, Maryland in 1877, <mask> was the second of four children of William and Lillian (née Brooks) Burlingham. The federal census of 1880 documents that the <mask>s were still living that year in Baltimore, where <mask>'s father worked as a mechanic or, as identified in that record, a "Pump maker". <mask>'s first jobs were as a grocery boy and a bookkeeper, and his musical talent as a pianist earned him a scholarship to Peabody Institute, a prestigious conservatory in Baltimore.By the late 1890s, <mask> began to focus on a career in journalism, which afforded him opportunities to write and, more importantly, to travel. He relocated to New York City, where he worked for the Evening Post, Commercial Advertiser, the American, and The Evening World. Then, following brief stints as a reporter and editor with other newspapers in Virginia and West Virginia, he sailed to London in 1904. There he obtained jobs with news outlets before moving to Paris, where he continued his career in journalism and where by

masks:
Frederick Harrison Burlingham
Burlingham
Frederick
Burlingham
Frederick
Frederick
Burlingham


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 1909 he was described by some citizens in the French capital as "A 'Back-to-Nature' Tramp". Finally, after years of working for an array of newspapers, <mask> in 1912 turned away from traditional print media and decided to study cinematography, to use the motion-picture camera to record his travels and to share his experiences with audiences in a far more visual, dynamic way. Film career

<mask> left Paris near the end of 1912 and returned to London, where he was soon hired by the British and Colonial Kinematograph Company. In 1913 the company assigned him to travel to Switzerland to film ski-jumping, curling, sleighing, and other Alpine winter sports around St. Moritz.Equipped with a bulky hand-cranked movie camera, a half-plate still camera, and a set of tripods, he also recorded his trek at higher elevations through deep snow at the Bernina Path, as well as ascents of the Matterhorn, Mont Blanc, and the Jungfrau. He continued from those sites to southern Italy, capturing additional scenic footage as he traveled to Mount Vesuvius. There he filmed on December 21, 1913 a deep descent into the volcano's interior. <mask> and his three Italian assistants were nearly asphyxiated by sulphuric fumes as they used ropes to lower themselves down over 1200 feet "to the bottom of the cone". In addition to releasing <mask>'s films The Ascent of the Matterhorn and Descent into the Crater of Vesuvius, the British and Colonial Company between the latter half of 1913 and August 1914 distributed to English cinemas 21 much shorter travelogues shot by him. Most of those short subjects, which averaged only about seven minutes in running time, consisted of tourist-style depictions of the countryside and resorts in southern France, Switzerland, and in the lake district of northern Italy. At the time British and Colonial

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 hired him, <mask> already had experience as a mountaineer.He had traveled to the Alps and was familiar with members of the French and Swiss mountain-climbing communities, which included his future wife Léontine, whom he met in Paris and married in London in 1912. He shared memories of some of his climbs in a volume he published in London in 1914, How to Become An Alpinist. In addition to being a basic guide on mountaineering, the book also features a chapter that introduces readers to the "galaxy" of women climbers in the sport and to their accomplishments in that period. Switzerland and return to the United States
In 1916, with World War I entering its second year, <mask> relocated to Montreux, Switzerland to continue the production of his films. The widening armed conflict, however, continued to restrict and disrupt European travel outside the neutral territory of Switzerland, so he launched return-expeditions to the Matterhorn, Mont Blanc, the Jungfrau, and to other Alpine locations far removed from the war's effects. After the United States entered the war in April 1917, <mask> returned to New York City by July 1918 with his personal film library of over 30,000 feet of master negatives from his European travels. In Manhattan he resumed his work as a producer of "educational" films, and he also registered there in September for American military service.The war in Europe ended just two months later, so the 41-year-old <mask> was never inducted to serve. Expedition to Borneo and final years

After World War I and until his death, <mask> continued to re-edit and release in the United States his past films like The Ascent of the Matterhorn, Mont Blanc, and Descent into the Crater of Vesuvius. He also traveled to new destinations to shoot footage for fresh releases. From late 1919 through 1920, he

masks: Burlingham Burlingham Burlingham Burlingham Burlingham


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 ventured to Southeast Asia to explore and film the landscapes and native peoples of that region, including the Dayak culture of Borneo and areas in that island's interior "never explored before" or documented by Westerners. <mask> was back in the United States by 1921. Later that year he began releasing bi-monthly through Truart Film Corporation installments of a series of 26 one-reel "Burlingham Adventures" produced from his most recent travels, beginning with The Wild Men of Borneo, The Lure of the South Seas, The Island of Surprise, A Borneo Venice, and Monkey Land Up the Barito River. Before and after his trip to Borneo, he also filmed excursions to various locales in the United States and Canada, to sites such as Niagara Falls and the Suwannee River that runs from southern Georgia into Florida.<mask> during the last three years of his life continued to produce and release more travelogues from his large film collection, presented lectures about his expeditions, worked on a book about Borneo, and wrote articles for The National Geographic and other science and film publications. Personal life and death
During his years living and traveling in Europe, <mask> met many fellow Alpine climbers and hiking enthusiasts, including "a wealthy French widow",  Madame Léontine Richard of Paris, whom he married in London in 1912. When <mask> died in New York City in June 1924 at "his home" at 13 Vandam Street in Manhattan, he and Léontine were still married, although newspapers reported she was in Geneva, Switzerland. The cause of <mask>'s death was attributed to a heart attack linked to complications from a severe kidney infection. His body was transferred to Cincinnati, Ohio, where his younger brother Prentice lived and is the city identified by <mask> on his passport applications as his "permanent residence"

masks: Burlingham Burlingham Burlingham Burlingham Frederick Frederick


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 in the United States. <mask>'s gravesite is adjacent to those of his parents and siblings in Cincinnati's Spring Grove Cemetery. <mask>'s death was widely announced in leading American film-industry publications.The Film Daily on June 15, 1924 issued a distinctly personal tribute regarding the loss of their 47-year-old colleague "Burly". The trade paper also shared an anecdote about how his relaxed, unconventional personality once cost him a newspaper job in Paris in 1912:

Surviving films and photographs
Unfortunately, <mask>'s footage of his 1913 ascents of the Matterhorn and Mont Blanc were lost early on in his employment with British and Colonial. In October that year a fire at the company's Endell Street processing plant in London destroyed the original negatives before any copies of those films were printed. Nearly all of <mask>'s other travelogues are believed to be lost. Two of his films, however, are preserved in the British National Film Archives. An undocumented source also contends that another one of his films is held in the "Norwegian Archives", but online searches of the holdings of the Norwegian Film Institute and broader searches through the European Union's "Film Gateway" reveal none of <mask>'s films. A nearly complete copy of his 1913 release Ascent of the Matterhorn is preserved in Switzerland and is available for viewing on the YouTube video-streaming service.This film, the only known print copy, was found in 1953 in a cabinet in Zermatt, Switzerland. Recognized as "the first documentary filming of an ascent of an Alpine peak", its original negative reel was lost in a shipwreck in the Atlantic. Examples of Burlington's work in still photography survive as well as illustrations in period trade journals, papers, and books. His noted 1914 volume How to Become an Alpinist features 63


texts:
<mask> (born February 4, 1975) is an American multidisciplinary artist who works in photography, text, sculpture, and performance. Currently residing and maintaining a studio practice in New York City, <mask> has had work featured in the Venice Biennale (2015). In 2001, <mask> was selected as a Guggenheim Fellow. Early life and education
<mask> was born in New York City and attended Brown University, where she initially studied environmental studies before graduating with a degree in art semiotics. While at Brown, she enrolled in photography classes at the neighboring Rhode Island School of Design. She received her BA in 1997. Works

The Innocents (2002)
In 2000, <mask> was given an assignment by New York Times Magazine to photograph men who had been wrongfully convicted, which inspired her to explore photography's role in the criminal justice system.She applied for a Guggenheim Fellowship which allowed her to travel across the United States photographing and interviewing individuals who were wrongfully convicted. The Innocents depicts individuals sentenced to death or given life sentences largely due to mistaken identity, who were exonerated and released after DNA evidence proved their innocence. <mask> photographed the subjects at sites significant to their wrongful conviction, such as the scene of the crime, misidentificaton, alibi, or arrest. The series was published as a book and exhibited in galleries and museums such as MoMA PS1, the Museum of Contemporary Photography, Gagosian Gallery, and others. In <mask>'s foreword to the book she writes:

Photography's ability to blur truth and fiction is one if its most

masks:
Taryn Simon
Simon
Simon
Simon
Simon
Simon
Simon


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 compelling qualities... Photographs in the criminal justice system, and elsewhere, can turn fiction into fact. As I got to know the men and women in this book, I saw that photography's ambiguity, beautiful in one context, can be devastating in another." Black Square (2006– )

<mask>'s website says of Black Square:

Black Square (2006–) is an ongoing project in which <mask> collects objects, documents, and individuals within a black field that has precisely the same measurements as Kazimir Malevich's 1915 suprematist work of the same name.It is about the consequences of man’s inventions. In an interview with Kate Fowle of the Garage Museum of Contemporary Art, <mask> described the first sculptural iteration of the project, Black Square XVII:

The goal was to construct a black square made from vitrified nuclear waste that would hold within it a letter that I had written to the future. The process of vitrification converts radioactive waste from a volatile liquid to a stable, solid mass resembling polished black glass. It is considered to be one of the safest and most effective methods for the long-term storage and neutralization of radioactive waste. The waste is stored in a steel container reinforced with concrete, at a radon nuclear waste disposal plant outside of Moscow. It will remain at the radon facility, <mask> explained, "until its radioactive properties have diminished to levels deemed safe for human exposure and exhibition—approximately one thousand years after its creation." An American Index of the Hidden and Unfamiliar (2007)

An American Index of the Hidden and Unfamiliar reveals objects, sites, and

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 spaces that are integral to America's foundation, mythology, or daily functioning but remain inaccessible or unknown to a public audience.These unseen subjects range from radioactive capsules at a nuclear waste storage facility to a black bear in hibernation to the art collection of the CIA. <mask> has stated that she "wanted to confront the divide between public and expert access." The book has 70 colour plates and a foreword by Salman Rushdie. Ronald Dworkin wrote a commentary, while curators Elisabeth Sussman and Tina Kukielski of the Whitney Museum of American Art wrote an introduction. It was published by Steidl and exhibited at the Whitney Museum of American Art in 2006. In 2007 it was on view at the Museum für Moderne Kunst in Frankfurt, Germany. She discussed the project with photography historian Geoffrey Batchen for the 8th volume of Museo.Salman Rushdie wrote:

In a historical period in which many people are making such great efforts to conceal the truth from the mass of the people, an artist like <mask> <mask> is an invaluable counter-force. Democracy needs visibility, accountability, light… Somehow, <mask> has persuaded a good few denizens of hidden worlds not to scurry for shelter when the light is switched on, as cockroaches and vampires do, but to pose proudly for her invading lens…"

Zahra/Farah (2008/2009/2011)
Brian De Palma asked <mask> to take the photograph that is the last shot of his 2007 film Redacted. She traveled to Jordan to shoot a young Iraqi actress, Zahra Zubaidi, posed as if lying raped and burned, the victim of American soldiers. [...] Zubaidi has received death threats from family

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 members, who consider Redacted pornographic, and is seeking asylum in the U.S. <mask> arranged for the photograph to be shown at [2011]’s Venice Biennale to draw attention to Zubaidi’s situation. De Palma and <mask> discussed their work and methods in a conversation published in Artforum:

De Palma: Look, the hard thing . . . is that once you have a project, you think about how you’re going to photograph the scene until you actually do it. I have always felt that the camera view is just as important as what’s in front of the camera.Consequently, I’m obsessed with how I’m shooting the scene. When you’re making a movie, you think about it all the time—you’re dreaming about it, you wake up with ideas in the middle of the night—until you actually go there and shoot it. You have these ideas that are banging around in your head, but once you objectify them and lock them into a photograph or cinema sequence, then they get away from you. They’re objectified; they no longer haunt you. <mask>: The haunting can be torturous. I don’t think I’ve ever enjoyed the making of my work. It’s a labor.A Living Man Declared Dead and Other Chapters (2008-2011)

<mask>'s website says of A Living Man Declared Dead and Other Chapters, I–XVIII:

was produced over a four-year period (2008–2011), during which <mask> traveled around the world researching and recording bloodlines and their related stories. In each of the eighteen 'chapters' that make up the work, the external forces of territory, power, circumstance, or religion collide with the internal forces of psychological and physical inheritance. The subjects documented by <mask> include:

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 the Zionist and Jewish establishments in Pre-Israel Palestine, feuding families in Brazil, victims of genocide in Bosnia, the body double of Saddam Hussein's son Uday, and the living dead in India. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. It probes complex narratives in contemporary politics and organizes this material within a system that connects identity, lineage, history, and memory. In The Washington Post, Philip Kennicott wrote:

<mask>’s chapters, although seemingly dry and archival, emerge as remarkably profound meditations on how we sort through the world, what ethical and moral impulses we honor and which ones we squelch. Her work insists on a more fundamentally rational relationship to photographs, and especially to photographs of people."Contraband (2010)
Contraband is "an archive of global desires and perceived threats, encompassing 1,075 images of items that were detained or seized from airline passengers and postal mail entering the United States" from abroad, "taken at both the U.S. Customs and Border Protection Federal Inspection Site and the U.S. Postal Service International Mail Facility at John F. Kennedy International Airport, New York." From November 16 through 20, 2009, <mask> "remained at JFK and continuously photographed items detained or seized from passengers and express mail entering the United States from abroad." <mask>’s images and lists embrace both order and disorder, and open up a third space within the cracks of these forms of control: a space of the surreptitious, the forgotten, the bizarre and

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 the banal, exposed to the cold light of the camera…

Image Atlas (2012)
Created during rhizome.org's Seven on Seven conference, Image Atlas is a collaborative project between <mask> and the programmer and internet activist Aaron Swartz. Image Atlas "investigates cultural differences and similarities by indexing top image results for given search terms across local engines throughout the world. Visitors can refine or expand their comparisons from the 57 countries currently available, and sort by Gross Domestic Product (GDP) or alphabetical order". In an extensive article on the Seven on Seven conference Ben Davis writes that "<mask> suggested that the site might cut against 'the illusion of flattening' on the Web, offering some way of recovering a sense of the local."Curator Lauren Cornell, Adjunct Curator and former Director of Rhizome stated, "The Image Atlas proposes a singular method of retrieving and comparing pictures, to demonstrate the difference in a world supposedly flattened by the forces of the global economy." Picture Collection (2013)

The Picture Collection (2013) was inspired by the New York Public Library’s picture archive, which contains "1.29 million prints, postcards, posters, and images", and is "the largest circulating picture library in the world", "[o]rganized by a complex cataloguing system of more than 12,000 subject headings". <mask> sees this archive as a precursor to Internet search engines. In The Picture Collection, she "highlights the impulse to archive and organize visual information, and points to the invisible hands behind seemingly neutral systems of image gathering". It was


texts:
 developed in response to the online database Image Atlas (2012), created by <mask> with computer programmer Aaron Swartz. Birds of the West Indies (2013–14)

<mask>’s Birds of the West Indies (2013–14) is a two-part work, whose title is taken from the "definitive taxonomy" of the same name by the American ornithologist James Bond. Author Ian Fleming, "an active bird-watcher living in Jamaica", used Bond's name for his novels’ protagonist."This co-opting of a name was the first in a series of substitutions and replacements that would become central to the construction of the Bond narrative." The first element of <mask>'s work is a photographic inventory of the women, weapons, and vehicles of James Bond films made over the past fifty years. This visual database of interchangeable variables used in the production of fantasy examines the economic and emotional value generated by their repetition. In the second element of the work, <mask> casts herself as the ornithologist James Bond, identifying, photographing, and classifying all the birds that appear within the 24 films of the James Bond franchise. <mask>’s discoveries often occupy a liminal space between reality and fiction; they are confined within the fictional space of the James Bond universe and yet wholly separate from it. A Polite Fiction (2014)

<mask>'s website says of A Polite Fiction (2014):

<mask> <mask> maps, excavates, and records the gestures that became entombed beneath – and within – the [Fondation Louis Vuitton's] surfaces during its five-year construction. Designed by Frank Gehry, [the Fondation] was built to house the art collection of Bernard

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 Arnault, one of the world’s wealthiest individuals and owner of the largest luxury conglomerate in the world [LMVH].<mask> collects this buried history and examines the latent social, political, and economic forces pushing against power and privilege. . . . Items include copper and aluminum cables sold to scrap dealers; cement used by a father to build the walls of his daughter's bedroom; and an oak sapling that a worker took to Poland, planted, and named after his boss. The custody and movement of these objects transform their value, as they pass from employer to worker and, ultimately, to artist. Paperwork and the Will of Capital (2015)

The photographs and sculptures of Paperwork and the Will of Capital (2015) take as their subject matter the signings of political accords, contracts, treaties, and decrees in which powerful men flank floral centerpieces curated to convey the importance of the signatories and the institutions they represent. The signings that inform Paperwork and the Will of Capital involve the countries present at the 1944 United Nations Monetary and Financial Conference, in Bretton Woods, New Hampshire, which addressed the globalization of economies after World War II. This led to the establishment of the International Monetary Fund (IMF) and the World Bank. Teju Cole wrote for The New York Times Magazine:

<mask> noticed the ubiquity of floral displays at these occasions.To refocus attention on the workings of power at these signings, she took an oblique approach: a re-creation of the flower arrangements. The flowers were originally a decorative note, a reflex to signal the importance of the

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 occasion. Reconstructed, they are not mere decorations. The people are gone. The documents are absent. The isolated arrangements are like secrets that can be parsed only with the help of their captions. An Occupation of Loss (2016, 2017)

According to <mask>'s website, in An Occupation of Loss (2016):

professional mourners simultaneously broadcast their lamentations, enacting rituals of grief.Their sonic mourning is performed in recitations that include northern Albanian laments, which seek to excavate “uncried words”; Wayuu laments, which safeguard the soul’s passage to the Milky Way; Greek Epirotic laments, which bind the story of a life with its afterlife; and Yezidi laments, which map a topography of displacement and exile. Within a monumental sculptural setting, An Occupation of Loss combines performance, sound, and architecture and:

considers the anatomy of grief and the intricate systems we use to manage contingencies of fate and the uncertain universe. . . The abstract space that grief generates is often marked by an absence of language. . . Results are unpredictable; the void opened up by loss can be filled by religion, nihilism, militancy, benevolence—or anything. An Occupation of Loss was co-commissioned by the Park Avenue Armory and Artangel.Jerry Saltz described his experience of the performance and installation:

After being admitted through a side second-story entrance, 50 or so viewers descend a long staircase to see 11 cement silos or circular towers almost 50 feet high, opened at the top and arranged in a semicircle. It's like a giant pipe organ. Long ramps lead to a slightly elevated oblong


texts:
 opening at the foot of each tower. Viewers may duck inside. There, in intimate quarters usually seated on a bench, are professional mourners from 11 different countries... He describes mixed feelings of intrusion and empathy as he listens to the mourners' expression of inconsolable grief. Publications
The Innocents.New York: Umbrage, 2003. 2nd ed., New York: Umbrage, 2004
An American Index of the Hidden and Unfamiliar. Exhibition catalogue, Whitney Museum of American Art. Göttingen: Steidl, 2007. 2nd ed., Göttingen: Steidl, 2008. 3rd ed., Ostfildern: Hatje Cantz, 2012
Contraband. Göttingen: Steidl/New York: Gagosian Gallery, 2010.2nd ed., Ostfildern: Hatje Cantz, 2015
A Living Man Declared Dead and Other Chapters I – XVIII. Exhibition catalogue, Tate Modern/Neue Nationalgalerie. Berlin/London: Nationalgalerie Staatliche Museen/Mack, 2011. 2nd ed., London/New York: Wilson Center of Photography/Gagosian Gallery, 2012
Birds of the West Indies and Field Guide to Birds of the West Indies. Ostfildern: Hatje Cantz, 2013
Rear Views, a Star-Forming Nebula, and the Department of Foreign Propaganda (Retrospective). London: Tate Publishing, 2015
Paperwork and the Will of Capital. Ostfildern: Hatje Cantz Verlag, 2016
The Picture Collection.Paris: Edition Cahiers d'Art, 2017
An Occupation of Loss. 2001: Guggenheim Fellowship in Photography, New York. 2007: KLM Paul Huf Award, Foam Fotografiemuseum Amsterdam. 2008: Silver Medal Lead Award, Germany. 2008: International Center of Photography Infinity Award for publication, New York. 2009: Deutsche Börse Photography Prize Finalist. 2010: Discovery Award at Rencontres d'Arles,