By Norman J. W. Thrower
During this concise creation to the heritage of cartography, Norman J. W. Thrower charts the intimate hyperlinks among maps and heritage from antiquity to the current day. A wealth of illustrations, together with the oldest recognized map and modern examples made utilizing Geographical details platforms (GIS), remove darkness from the numerous ways that a number of human cultures have interpreted spatial relationships.The moment ediion of Maps and Civilization accommodates quite a few revisions and has new fabric extra during the book."The most suitable one-volume background of cartography. . . . Maps and Civilization can be a detailed better half for an individual attracted to maps: the place they got here from, the place they're now, and the place to head for extra detail."--John P. Snyder, Mercator's WorldNorman J. W. Thrower is professor emeritus of geography on the college of California, l. a.. His different books comprise status at the Shoulders of Giants: an extended View of Newton and Halley and Sir Francis Drake and the recognized Voyage, 1577-1580.
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Example text
Titles currently viewable outside of archives. A full history would want to correct this imbalance, but one-reel films from the pre-feature era remain difficult enough to see under any circumstances, and so I have chosen titles to discuss below mainly from among those available on video. It is compensation that, this year at least, Griffith’s films are unrivaled in stylistic sophistication, if not in their range of subjects. Some of the year’s most fascinating films are in a genre that doesn’t have a precise name: docudramas of social reform, melodramatic reflections of the concerns of the Progressive Era, such as Griffith’s Simple Charity, which contrasts “the red tape” of reform societies with an impoverished 34 SCOTT SIMMON Dorothy West (in shawl, foreground) on Rivington Street, Manhattan, in A Child of the Ghetto.
While commentators feared the influence of moviegoing on young women, a few pointed out how women might be influencing motion pictures. As Bertha Richardson suggested in her revision of The Woman Who Spends: A Study of Her Economic Function, women were a growing force in “the economics of consumption, otherwise known as the spending of their money” (21). The nickels from new audiences added up, and the year saw active, heroic female leads take the screen. 1910 — MOVIES, REFORM, AND NEW WOMEN ■■■■■■■■■■ 33 New Heroines By this time, film audiences had already grown accustomed to genres— relatively formulized plot patterns.
They can watch them without the exciting effects of other forms of diversion” (“Pictures to Soothe Insane”). A screen was installed for bored commuters in Pittsburgh’s central railroad station, with films changed daily, if subjected to one bit of censorship: “‘There will be no pictures of train robberies,’ said Albert Swinehart, who is in charge of the Pennsylvania Railroad detectives, ‘nor of train wrecks. It would leave a bad impression on the minds of the travelers’” (“Films for Commuters”). At nickelodeons, moviegoers came to know on which days of the week new films from their favorite companies were shown; the most popular were from Vitagraph and Biograph.