Wednesday, November 30, 2011

What is the b&w movie takes place in a circus with a girl and two boys horse vaulting?

Boy 1 %26amp; Girl have a thing going on. They have horse vaulting act. Boy 2 joins circus. Starts to get in with Girl. Boy 1 tries to show off by doing tricks without his safety harness on. Falls. Hurts himself badly. Boy 2 now has to take his place.|||August 12, 2009 - It's mid-month and that means it's solicit time! Dark Horse has released artwork and information for its books that will ship to stores beginning November 2009. All text and images are provided by Dark Horse.



Dawn breaks over a sprawling forest in Cretaceous North America鈥攁 dawn far colder than its peaceful, forest-dwelling herbivores are used to. The seasons are changing, and it's time for the able-bodied to migrate south. But the trek is a dangerous one even when massive herds band together, for while there is safety in numbers, numbers also draw attention, and the carnivores are moving in! This journey may not last long when the first hunter arrives, a ferocious tyrannosaurus rex who has her sights set on a young triceratops!



- Ricardo Delgado鈥攁 prolific development and storyboard artist who has worked on such hit films as Men in Black, The Incredibles, WALL-E, X-Men Origins: Wolverine, and the Matrix series鈥攔eturns once again to his critically

acclaimed, Eisner Award鈥搘inning comic series, Age of Reptiles!

Can an android dream? After waking from what appears to be just that, the android Sereda struggles with the idea that he may be more damaged than he originally thought. Still, whether it's simply his programming or a newly found free will, Sereda is hell bent on effecting the rescue of the woman whose voice brought him down into the bewildering maze of a seemingly endless necropolis. Most of the surviving planetary prospectors are willing to follow him into the labyrinth, but there are two major obstacles to the rescue mission: a horde of marauding xenomorphs, and the man who shot Sereda, who isn't about to let a damaged synthetic lead the other survivors anywhere.



From the bleeding edge of terror, Aliens returns to comics featuring the talented creative team of writer John Arcudi (The Mask, B.P.R.D., Doom Patrol), penciller Zach Howard (Shaun of the Dead, Outer Orbit), and inker Mark Irwin (X-Men: Age of Apocalypse, Batman). This all-new Aliens series is but the first stage in the Aliens/Predator/Aliens vs. Predator relaunch.



"Dark Horse's Aliens might just be back on top of the science-fiction-horror genre."

鈥擣angoria online



"Ricardo Delgado once again takes us back to the Age of Reptiles! And I am thrilled to go there."

鈥擩ohn Landis, filmmaker (An American Werewolf in Paris, Michael Jackson's ThrillerStay tuned early next week as we bring you DC and Marve|||Target girl is a term sometimes used in circus and vaudeville to denote a female assistant in "impalement" acts such as knife throwing, archery or sharpshooting. The assistant stands in front of a target board or is strapped to a moving board and the impalement artist throws knives or shoots projectiles so as to hit the board but miss the assistant. The image or character of the target girl has also permeated beyond the impalement arts and become an icon in fiction and visual media.



Although some assistants are male there is no common equivalent term for a male assistant. This reflects the fact that, historically at least, female assistants have predominated in the acts in question.[1] The presence of an assistant as a human target provides a powerful element of risk. Without assistants placing themselves in danger these acts would be simple demonstrations of accuracy, but with the potential for injury or death the show is much more dramatic. Target girls often wear revealing costumes, thus adding an element of overt sexuality to an act. In this respect there is some similarity to magicians' assistants, although there is a distinct difference in that any apparent danger to an assistant in a magic act is mostly an illusion, whereas impalement acts are demonstrations of accuracy, nerve and calculated risk and the danger is real.[2] While some observers have perceived target girls as masochistic or passive and some feminists criticise the concept as misogynist, several target girls have given accounts of themselves as assertive women and portrayed their experiences as empowering (see Target girls as authors).



Various theories have been put forward to explain the enduring appeal of the target girl. These range from simple awe at the display of steely nerves and complete trust to more complex psychological and philosophical theories. While some point to overtones of sadomasochistic eroticism, others cite dramaturgical works and point to parallels with the story arc of the hero in classic drama.[3] In particular the assistant's performance is said to mirror the plot device of the hero's ordeal, in which the hero proves his or her heroic qualities through self-sacrifice or by facing extreme peril.[4] Jim Steinmeyer, a noted illusion designer who has written well-regarded books on the history of magic, has identified a fashion for female peril as entertainment in the post-First World War period. Steinmeyer has written that P. T. Selbit's stage debut of the Sawing Through A Woman illusion in 1921 marked the beginning of a trend for women as the victims of choice for acts simulating danger or torture. While Steinmeyer focuses on stage magic and attributes some of the trend to practical factors, he also points to a broader pattern in entertainment generally, which he links to social trends. He concludes that: "...beyond practical concerns, the image of the woman in peril became a specific fashion in entertainment".[5] A further view on historical trends is provided by performer and blogger Ula the Painproof Rubbergirl, who has acted as a target girl for New York-based knife thrower The Great Throwdini. In an extensive article on her experiences and philosophical approach to the art she notes: "Knife throwing is an old act. So is high wire. And rodeo. And stone throwing, witch burning, beheading, Roman gladiators, jousting, dog fights,you name it - we, humans, love it. And we love a vulnerable woman. Isn't there something oddly attractive about the woman in danger? I remember seeing lots of soundless black and white movies with a girl tied to the railroad tracks or a girl tied to a sawmill by some evil perverted landlord.|||IMDb user comments for

"The Adventures of Spin and Marty" (1955) More at IMDbPro 禄



12 out of 13 people found the following comment useful :-

gee, it's swell!, 28 October 1999

Author: Goon-2 from WA



I grew up on "The Mickey Mouse Club" repeats as a child, yet I have absolutely no recollection of watching this corny, but entertaining "serial" that played within them, and have only now "discovered" it through watching reruns again.



Listed as a "western,"which is a genre I don't usually like, this is actually a sort of charming little show about two friends who meet at a western-themed summer camp named, surprise surprise, Spin Evans(who would name their child SPIN?!), a fun-loving country boy and Marty Markham, a spoiled rich kid who takes his butler to camp with him and demands of everybody. At first Spin and Marty are enemies(very entertaining), but slowly their hatred dwindles and soon they are the best of pals, getting into lots of adventures at their camp with Mr. Perkins(Marty's butler), the camp counselor and their other friends Ambitious(ugh), Moochie(Kevin Corcoron, of just about every Disney project at the time) and gettting some girl friends like Annette and Darlene(the Mousketeers, who act...just like they do in the Mickey Mouse club.) The plots are usually simple(Moochie gets lost in the desert, Spin and Marty enter horse races, etc), but it is in a nice and relaxing way, and the acting, by Tim Considine(later to go onto "My Three Sons") and David Stollery is actually pretty good, considering. It's one of those dated little shows that would never sell with the wild, Pokemon obsessed kids of today, but it's kind of fun to watch and look back upon the olden days, when all entertainment was that simple and relaxed and "feel good." This is certainly a fun and feel good show alright. Swell.|||If you want to see a movie about a boy who runs away to join the circus and becomes a girl, here it is.



James Otis Kaler was an extremely prolific author of boys' novels, all of which have vanished into obscurity except one: 'Toby Tyler', the tale of an abused boy who runs away and joins the circus. 'Circus Days', intended as a star vehicle for child actor Jackie Coogan, is based on that novel ... yet radically alters the material. (Which may explain why the film studio did not use the title of the original novel -- still hugely popular in 1923 -- for this movie.) In 1960, 'Toby Tyler' was remade by Walt Disney ... and again, the film radically deviated from the novel. But these two film versions deviate from the novel in very different directions.



SLIGHT SPOILERS. Young Toby (Coogan) is constantly beaten, whipped and overworked by Eben Holt, his mother's sister's husband. When Toby accidentally breaks Holt's chinaware, he is terrified that he'll receive another flogging. He runs away, and lands up with a convenient circus in which he gets a job as a concessionaire, selling lemonade and other snacks.



The original novel got a whole chapter out of Toby's ordeal when one of his customers slips him a bad nickel. In the Disney movie, that incident is reduced to one line of dialogue. 'Circus Days' substitutes a very implausible sequence in which Toby accidentally fills lemonade glasses with petrol, and sells this to customers ... who don't notice the switch until they drink it. Surely the colour and the fumes would tip them off? A kindly circus clown (Cesare Gravina: a good performance in a badly-written role) uses his own savings to help Toby get out of trouble. Yes, circus performers always have lots of money saved up. The movie gets even less plausible (and more offensive) when Toby gets locked in the lion's cage. The beast lumbers towards him on all fours ... and turns out to be an African-American man wearing a lion's skin and head (with 'yassuh' dialogue in the intertitles). Turns out that the lion died, so they offered the job to Old Black Joe.



The bareback rider in the circus is pretty Jeannette, a girl about Toby's age (played by an actress rather older). Toby's carelessness causes an accident in which Jeannette sprains her ankle, and she can't perform. No problem: the circus crew dress up Toby as a girl, and they train him to do Jeannette's riding act. (With some very obvious stunt doubling.) There's a very sick-making moment here when Luigi the clown kisses Toby. It's bad enough that a man is kissing a boy, but the boy is dressed as a girl and the man is costumed as a clown. I couldn't help thinking of a certain gay serial killer who wore a clown costume. Ugh!



In the original novel, Toby Tyler did indeed become a bareback rider ... a *male* equestrian, under the name Monsieur Ajax. The Disney film applied that name to a character not present in the novel: a boy equestrian who was Toby's rival. The female impersonation angle was devised for this Jackie Coogan movie, and is blessedly absent from the novel and Disney's remake.|||The Boeing B-47 Stratojet was a medium-range and medium-size jet bomber capable of flying at high subsonic speeds and primarily designed for penetrating the airspace of the Soviet Union. A major innovation in post-World War II combat jet design, it helped lead to the development of modern jet airliners. While the B-47 never saw major combat use, it remained a mainstay of the U.S. Air Force's Strategic Air Command (SAC) during the 1950s and early 1960s.

Contents

[hide]



* 1 Development

o 1.1 Preliminary designs

o 1.2 NACA design tests

o 1.3 USAAF selects Boeing

* 2 Design stages

o 2.1 XB-47

+ 2.1.1 Description

+ 2.1.2 Performance and engines

+ 2.1.3 Drag chutes

o 2.2 Crew and loads

o 2.3 Second X-model

o 2.4 X-model competitions

* 3 Operational history

o 3.1 Early years

o 3.2 Training and problems

o 3.3 Prime years

o 3.4 Later years

+ 3.4.1 Strategic operations

o 3.5 Production numbers

* 4 Variants

o 4.1 B-47A

o 4.2 B-47B

+ 4.2.1 Avionics and bombing

+ 4.2.2 B-model modifications

o 4.3 B-47E

+ 4.3.1 JATO

+ 4.3.2 E-model modifications

o 4.4 RB-47E/RB-47H/ERB-47H/RB-47K

+ 4.4.1 Bomb bay modifications

+ 4.4.2 H-models delivered

o 4.5 QB-47

o 4.6 Conversions and special modifications

+ 4.6.1 B-47B

+ 4.6.2 B-47Es

* 5 Operators

* 6 Survivors

* 7 Specifications (B-47E)

* 8 Popular culture

* 9 See also

* 10 References

* 11 External links



[edit] Development



The B-47 arose from a 1943 U.S. Army Air Forces requirement for a jet bomber and reconnaissance aircraft that could reach Nazi Germany in the event that Great Britain fell. The next year, the requirement evolved into a formal request for a bomber with a specified speed of 500 mph (800 km/h) or more, a range of 3,500 mi (5,600 km), and a service ceiling of 40,000 ft (12,200 m). It envisioned using the General Electric TG-180 turbojet engine, then in development. The subsequent von K谩rm谩n mission inspected Nazi Germany laboratories from May 1 - July 1945. One of the members was Boeing's chief aerodynamicist, George Schairer, who became so convinced of the merits of such a design that in May, 1945[clarification needed] he wrote a letter to Boeing management suggesting the matter be investigated.[citation needed]

[edit] Preliminary designs



North American, Convair, and Boeing submitted proposals. The first Boeing proposal, the Model 424, was a modification of a conventional propeller-driven bomber design, basically a scaled-down version of the Boeing B-29 Superfortress fitted with four jet engines.



Meanwhile, the USAAF had awarded study contracts to all three aircraft manufacturers working on the jet bomber project, as well as to Martin, which had also decided to join the fray. All of the competing bombers, including the North American B-45, Convair XB-46 and Martin XB-48 would have conventional straight wings with four to six engines, and would lack the performance of the swept wing B-47.

[edit] NACA design tests



The National Advisory Committee for Aeronautics (NACA, the ancestor of NASA) performed wind tunnel tests on a composite model of the designs submitted by the manufacturers. (The three submissions were generally similar.)



The NACA wind tunnel tests showed that the Boeing model suffered from excessive drag. Boeing engineers then tried a revised design, the Model 432, with the four engines buried in the forward fuselage, but although it had some structural advantages there was little effect on drag. At this point Boeing engineers turned to the German swept-wing data. A little design work by Boeing aerodynamicist Vic Ganzer led to an optimum sweepback of 35 degrees.



Boeing modified the Model 432 design with swept wings and tail, resulting in the Model 448, which was presented to the USAAF in September 1946. The Model 448 retained the four TG-180 engines in the forward fuselage and, at the instigation of project manager George Martin, added two more TG-180s buried in the rear fuselage to provide greater range and performance.



Boeing submitted the Model 448 to the USAAF, only to have it rejected immediately. The Air Force strongly disliked fitting the engines in the fuselage, since that made engine fire or disintegration catastrophic. The engines would have to be moved back out on the wings.

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